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Mallarmé's Crise de vers and the Brazilian translations to the crisis

Grant number: 14/23689-7
Support Opportunities:Scholarships in Brazil - Scientific Initiation
Effective date (Start): February 01, 2015
Effective date (End): August 31, 2015
Field of knowledge:Linguistics, Literature and Arts - Literature
Principal Investigator:Álvaro Silveira Faleiros
Grantee:Caroline Pessoa Micaelia
Host Institution: Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH). Universidade de São Paulo (USP). São Paulo , SP, Brazil


On his critical poem "Crise de vers", Stéphane Mallarmé will discuss the recent back in the final years of the XIXth century reflections and tensions around the problems related to verse and poetry, as well as the matter of language as a place of crisis. Right in the beginning of the XXIst century, under a critical context that has been relocating the contemporary interpretations about the French poetry's work made by authors like Marcos Siscar, Henry Meschonnic and Jacques Rancière , taking it to a historicizing place related to the matters of voice, of rhythm, of politics and of society, the mallarmean text which has never been translated to Portuguese is translated by two different authors within expressively close publication years. While the first translation, made by Ana Alencar, received the title "Crise do verso", the second, by Fernando Scheibe, was entitled "Crise de verso". The difference between the two titles might pass unnoticed, but it is, however, very relevant to understand what is the crisis about: if verse as form, if poetry as a place of crisis. Considering this, it turns to be relevant to think about the reason why the two translations, within only a few years between publications and, because of that, made under the same critical paradigm, indicate, since the title, so very different translation projects. The main goal of this project is to do a comparative analysis of the two "Crise de vers"' translations to Portuguese, trying to identify the meanders of each translating project in order to understand the way each of them dialogues with mallarmean's work and the critical spectrum in which this work has been inserted in the last couple of years.

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