Laços e des(laços) na tradução para francês de alguns romances lusófonos (António Lobo Antunes, Mia Couto, Ondjaki, José Eduardo Agualusa, Patricia Melo)

Abstract

The act of translating is imminently an act of passage. A passage from one language to another. A passage from one culture to another. In this crossing there are elements that are maintained, elements that are lost, elements that are added. Ties that are created and ties that are undone. But before embarking on such a journey, the translator assumes the role of reader. The reading and interpretation that result from this have the particularity of being subsequently made public through their rewriting and publication in another language. The translator's work can then be seen as depending on his or her access to and interpretation of the text. Only after accessing the text and interpreting it does the translator begin the work of redaction, taking into consideration the audience and its culture. The identification and definition of the intended audience also depends on the type of work developed by the publisher: innovation and freedom on the part of the translator or submission to the rules of writing according to normative usages. Some games with meaning, the existence of explanations, footnotes or glossaries are elements that reveal and question the translator in this process of transmission from one language to another, requiring the participation of the translator, in a kind of partnership with the author. Based on a corpus of examples collected from António Lobo Antunes: A Morte de Carlos Gardel and Não Entres Tão Depressa Nessa Noite Escura; Mia Couto: O último voo do Flamingo; Ondjaki: Bom dia Camaradas; José Eduardo Agualusa: Barroco Tropical; José Luandino Vieira: Nós, os de Makulusu and finally in the work Elogio da Mentira by Patrícia Melo we intend to reflect on the role and position of the translator in the face of these "deviant" cases that actively request an active role of bond-maker and bond-destroyer on his part. The translator becomes an Author, thus establishing a link with the target language and culture. The works chosen, representative of Lusophony and of the pluricentrism of the Portuguese language and culture, seem to reveal some clues about the role of the translator as a tripartite figure: that of reader, interpreter and creator-author.