Fábio Pinto, Katrina Dodson, Julieta Benedetto, Anita Di Marco
Discussão sobre a tradução de literatura latino-americana
Anita Di Marco
Tradutora autônoma (em sua área de formação - arquitetura, urbanismo, patrimônio e afins). Especialização no curso de Daniel Brilhante de Brito (DBB), Rio de Janeiro, 2003-4. Idiomas: IN<>PT<> IT; ES>PT. Tradução de dezenas de artigos e mais de trinta livros para arquitetos e editoras: Perspectiva, UnB; BEI Editorial, Altamira, Barleus, ProEditores, Olhares (SP), Rio Books (RJ) entre outras. Indicada ao prêmio Jabuti 2022, categoria tradução.
Arquiteta urbanista FAU-USP (1976), especialização em Preservação Arquitetônica (Iccrom, Roma, 1982)
Articulista e tradutora das revistas Projeto, Design & Interiores e Finestra Brasil (ProEditores/ 1983-2000.)
Arquiteta urbanista (1978-1987) nas secretarias municipais de São Paulo: de Cultura, no Dep. do Patrimônio Histórico-DPH e no Centro Cultural São Paulo-CCSP; de Planejamento - Denuso); Arquiteta urbanista da Secretaria de Planejamento de Varginha-MG (1990-92 e 2006); Membro do Conselho Deliberativo do Patrimônio Cultural de Varginha-CODEPAC (2004-08; 2010-11).
Títulos de sua autoria:
"Saber Ver: Teatro Capitólio, patrimônio cultural". Rio de Janeiro: Rio Books, 2021, c/ Vanessa CTReis.
"Sala São Paulo de Concertos: 'A revitalização da Estação Júlio Prestes". São Paulo: Alter Market, 2001, com ruth V. Zein. Menção Honrosa na III Bienal Iberoamericana de Arquitectura e Ingenieria Civil (Chile, 2001);
"Sala São Paulo: A Arquitetura da Música", São Paulo: Alter Market, 2007, c/ R.V. Zein.
Curadoria de projetos culturais e exposições:
-Projeto Nômades. Circuito Cultural de Exposições 'Ela, Ele & Eu'.
-Expo Oneyda Alvarenga: seu tempo, sua obra, sua busca, Varginha-MG, em 2015,16, 17, 18, 20, 22 e 23 em Varginha, Campanha, Poços de Caldas, Alfenas.
-Exposição fotográfica “O QUE NÃO SE PERCEBE: um novo olhar sobre o Teatro Capitólio”, maio 2011, 2013, 2023 - Varginha - MG.
-Mostra itinerante "Nosso Patrimônio Vai às Escolas" , Varginha- MG, 2004, c/ Eneida Ferraz (Prêmio Gentileza Urbana, IAB-MG 2011)
Premiações:
Prêmio Gentileza Urbana 2011 (Instituto de Arquitetos do Brasil- IAB-MG), pela concepção/ curadoria da mostra itinerante Nosso Patrimônio Vai às Escolas (2004).
Arquiteta urbanista FAU-USP (1976), especialização em Preservação Arquitetônica (Iccrom, Roma, 1982)
Articulista e tradutora das revistas Projeto, Design & Interiores e Finestra Brasil (ProEditores/ 1983-2000.)
Arquiteta urbanista (1978-1987) nas secretarias municipais de São Paulo: de Cultura, no Dep. do Patrimônio Histórico-DPH e no Centro Cultural São Paulo-CCSP; de Planejamento - Denuso); Arquiteta urbanista da Secretaria de Planejamento de Varginha-MG (1990-92 e 2006); Membro do Conselho Deliberativo do Patrimônio Cultural de Varginha-CODEPAC (2004-08; 2010-11).
Títulos de sua autoria:
"Saber Ver: Teatro Capitólio, patrimônio cultural". Rio de Janeiro: Rio Books, 2021, c/ Vanessa CTReis.
"Sala São Paulo de Concertos: 'A revitalização da Estação Júlio Prestes". São Paulo: Alter Market, 2001, com ruth V. Zein. Menção Honrosa na III Bienal Iberoamericana de Arquitectura e Ingenieria Civil (Chile, 2001);
"Sala São Paulo: A Arquitetura da Música", São Paulo: Alter Market, 2007, c/ R.V. Zein.
Curadoria de projetos culturais e exposições:
-Projeto Nômades. Circuito Cultural de Exposições 'Ela, Ele & Eu'.
-Expo Oneyda Alvarenga: seu tempo, sua obra, sua busca, Varginha-MG, em 2015,16, 17, 18, 20, 22 e 23 em Varginha, Campanha, Poços de Caldas, Alfenas.
-Exposição fotográfica “O QUE NÃO SE PERCEBE: um novo olhar sobre o Teatro Capitólio”, maio 2011, 2013, 2023 - Varginha - MG.
-Mostra itinerante "Nosso Patrimônio Vai às Escolas" , Varginha- MG, 2004, c/ Eneida Ferraz (Prêmio Gentileza Urbana, IAB-MG 2011)
Premiações:
Prêmio Gentileza Urbana 2011 (Instituto de Arquitetos do Brasil- IAB-MG), pela concepção/ curadoria da mostra itinerante Nosso Patrimônio Vai às Escolas (2004).
Fabio B. Pinto
Pretendo compartilhar neste webinar a experiência de realizar a primeira tradução em língua portuguesa do livro El criador de gorilas, do escritor argentino Roberto Arlt (1900 – 1942), coletânea de contos ambientados no norte da África, especialmente em cidades da região do Marrocos. Principais referências: ARLT, Roberto. El criador de gorilas. Buenos Aires: Losada, 1982 ARLT, Roberto. Aguafuertes españoles. Madrid: La Página, 1993. ARLT, Roberto. África. Buenos Aires: Losada, 2004. GASQUET, Axel. Oriente al Sur – el orientalismo literario argentino de Esteban Echeverria a Roberto Arlt. Buenos Aires: Eudeba,2007. SAÍTTA, S. 2008. El escritor en el bosque de ladrillos. Buenos Aires: Debolsillo, 2008. Minibio: Meu nome é Fabio B. Pinto, sou professor de literatura, tradutor, revisor e preparador de textos, mestre em literaturas de língua portuguesa e doutor em ciências da comunicação. Traduções/adaptações: Dom Quixote, de Miguel de Cervantes (Editora L&PM, 2010); O criador de gorilas, de Roberto Arlt (Editora Coragem, 2022); A Patagônia rebelde, de Osvaldo Bayer (em tradução)
Julieta Benedetto
Héroe de nuestra gente. Primeira tradução e publicação do Macunaíma na Argen=na. Percurso da inves.gação, Mário de Andrade o poeta e o etnógrafo. Resumo Génesis do trabalho. Pesquisa de traduções e estudos sobre a obra de Mário de Andrade. Escolha do texto de origem. Estudo em diversas capas, das línguas, culturas e lendas na rapsódia. Estudo do ritmo, adaptação à língua e cultura de chegada. Apresentação do livro na comemoração dos 100 anos da Semana de Arte Moderna de SP, em fevereiro 2022 em el Museo Malba, Ciudad de Buenos Aires, Argen/na. Principais referências “Macunaíma, o herói sem nenhum caráter. Edição Crítica” coordenada por Telê Porto Ancona Lopez. Arquives de Unesco 1988 “Roteiro de Macunaíma”, Manoel Calvacanti Proença. Editora Civilização Brasileira, Río de Janeiro 1974 “Na ilha de Marapatá, Mário de Andrade lê os hispano-americanos”, Raúl Antelo (Editora Hucitec, Sao Paulo, 1986) “Mário de Andrade e a Argentina”, Patricia Artundo (Editora USP, São Paulo, 2004) Mini bio Julieta BenedeNo. Licenciada em Comunicação Social pela Universidade Nacional de Rosario, Argen/na. Tradutora literária. Editora artesanal transmedia @lei_bailemos_ediciones. Professora de livros, literatura, artes e ciências para crianças e jovens. E na Cátedra Extraordinária Max Aub, Seminário Escritura CIFI, Universidade Nacional Autónoma de México. Traduções publicadas - Macunaíma, el héroe sin ningún carácter (2022, Ed. Mansalva) Com apoio da Fundação Biblioteca Nacional e o Ministério das Relações Exteriores do Brasil - Saci Sarará, de Silvia Cobelo, com trechos do Saci, de Monteiro Lobato (2018, Risco editoras, Arg) - Victoria Regia, de Mário de Andrade (2023, Leí Bailemos ediciones, Arg). Traduções inéditas e em trabalho: - Tu não te moves de ., Hilda Hilst (inédito). - Tao e os outros contos, Silvia Cobelo (inédito) - O turista aprendiz, Mário de Andrade (em tradução) Contato: julieta.benedeNo@gmail.com Crédito Foto: Alejandro Guyot – Cortesía Museo Malba
https://www.nytimes.com/2023/
New Translations Explore Brazil’s ‘Endless and
Unfinished’ Character
Two translations bring canonical works by Mário de Andrade into English, allowing a
glimpse into the author’s “problematic sense of belonging.”
By Lucas Iberico Lozada
April 7, 2023 Updated 9:24 a.m. ET
Mário de Andrade’s novel “Macunaíma: The Hero With No Character” follows a shape-
shifting, rule-flouting, race-switching trickster as he roams the vast nation of Brazil,
meeting historical characters, folkloric figures, and outrageously satirized stereotypes
along the way.
Rich with words and references from Indigenous and Afro-Brazilian cultures, the
modernist novel was hailed as a classic upon its publication in 1928, and has long been
seen as an allegory for Brazil’s unique cultural blend. Faced with criticism of the book’s
uncredited reliance on anthropological research, Andrade offered up, in an open letter, a
typically insouciant response: “I copied Brazil.”
Some scholars have deemed the book’s complexity virtually untranslatable — but this
week, New Directions published a new translation of “Macunaíma” by Katrina Dodson
that aims to transport Andrade’s idiosyncratic prose into English.
Over six years of research, Dodson familiarized herself with every aspect of the novel.
She chased down obscure flora and fauna on two trips to the Amazon, waded through
reams of critical commentary, immersed herself in Andrade’s archives in São Paulo and
discussed the book’s continued relevance with contemporary Brazilians. While she found
that for some readers the book continues to represent the “endless and unfinished”
national spirit of Brazil, she also met many Afro-Brazilian and Indigenous artists who
have set out to reclaim the folkloric roots that Andrade drew on.
Inspired by her research, Dodson hopes that her new translation will emphasize just how
deeply personal, and multifaceted, the concept of Brazil was for Andrade.
“Andrade was queer, but very closeted, and also very conflicted about his racial identity,”
she said. “He had African heritage on both sides. Once you know more about him and
more about the context of how he wrote this book, you understand that there are a lot of
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
1 of 9 4/7/23, 10:31 AM
very sincere and serious questions at the heart of it.”
The notion that the book and its main character are a stand-in for the country and its
“amalgamation of different races and ethnicities” has helped establish “Macunaíma” as a
canonical novel, read in every classroom devoted to Brazilian literature, said Pedro Meira
Monteiro, chair of Spanish and Portuguese at Princeton University. But it would be a
mistake to read it as a nationalist project, he said.
“Mário is so profoundly charmed by the endless and unfinished character of Brazil,” he
said, referring to the author by his first name, with the familiarity common to Andrade’s
readers in Brazil.
“He is seeing something that he recognizes as his and at the same time not,” he said.
“There’s a problematic sense of belonging in his work that is profound.”
A more personal register is on full display in “The Apprentice Tourist,” the first
translation of another Andrade book by Flora Thomson-DeVeaux that was also published
this week by Penguin Classics. Compiled from notes Andrade made during his first trip to
the Amazon shortly before “Macunaíma” was released, “The Apprentice Tourist” shows
Andrade’s fascination with Amazonian cultures — and his utter boredom with the
government officials and elites who welcomed the group of travelers along the way.
Andrade was born in São Paulo, the country’s industrial capital, in 1893. He enrolled in
São Paulo’s Dramatic and Musical Conservatory at age 11 to train as a concert pianist,
taught himself French and became enamored with the poetry of the Symbolists. By his
mid-20s he was traveling throughout Brazil, publishing poetry and essays on folklore
along the way.
Andrade’s fascination with the multiplicities of Brazilian culture placed him at the center
of the modernist movements that were sweeping the country in the 1920s. “Macunaíma”
was first excerpted in the Revista de Antropofagia, the journal edited by Oswald de
Andrade (no relation), whose 1928 manifesto proclaimed that Brazilian thinkers needed
to reject European artifice and “cannibalize” native forms of storytelling to produce a new
Brazilian art. Antropofagia, or anthropophagy in English, refers to the eating of human
flesh.
The book found an admiring readership among the Brazilian intelligentsia, but even they
were struck by its incongruities. One critic, João Ribeiro — a prominent folklorist himself
— called it “voluntarily barbarous, primeval, an assortment of disconnected fragments
put together by a commentator incapable of any coordination.”
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
2 of 9 4/7/23, 10:31 AM
Dodson approached the book because she felt the existing English translation, E.A.
Goodland’s 1984 version for Random House, had smoothed over the “joy and poetry of the
language, and the cultural politics of the particular mix of languages.”
Take the book’s first line, which half a dozen Brazilian artists and scholars interviewed by
The New York Times quoted, unprompted, from memory: “No fundo do mato-virgem
nasceu Macunaíma, herói da nossa gente.”
Goodland’s translation of the first line ignores Andrade’s sentence structure. It starts: “In
a far corner of Northern Brazil” — words that do not exist in the original — then
continues, “at an hour when so deep a hush had fallen on the virgin forest....” Goodland, a
retired technical director for a sugar company in Guyana, was “well-versed in all of the
natural history foundation of the book,” Dodson said, “but he completely missed the spirit
“My goal was to make you feel the joy of language in the book,”
Katrina Dodson said, “to be carried along by all the humor and
the colloquial ways in which people speak.” Lila Barth for The
New York Times
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
3 of 9 4/7/23, 10:31 AM
of what the book is trying to do. His translation really leans into stereotypes of Brazil
being this sexy, wild place where everyone loses their head.”
Dodson decided to essentially transliterate the line, despite the grammatical
awkwardness it introduces in English: “In the depths of the virgin-forest was born
Macunaíma, hero of our people.” The importance of the line, she said, is not in
establishing where the action is taking place, as Goodland had done, but in bringing the
reader into the fold of the people at hand. “Macunaíma is our hero,” she said.
As her knowledge of the book deepened, Dodson said, she found herself walking back
some of her own interventions to maintain the “music” of the original.
“A lot of the words in the book are not in the regular Brazilian Portuguese dictionaries,”
Dodson noted. “Or if they are, the meanings are ambiguous. My goal was to make you
feel the joy of language in the book, to be carried along by all the humor and the colloquial
ways in which people speak, but also by the beautiful sounds of the Indigenous words.”
For the Brazilian artists behind the book’s many adaptations into film, theater, and art,
Andrade’s insistence on maintaining the complex vernacular that he overheard on his
travels is precisely what makes the book so vital.
Unfinished’ Character
Two translations bring canonical works by Mário de Andrade into English, allowing a
glimpse into the author’s “problematic sense of belonging.”
By Lucas Iberico Lozada
April 7, 2023 Updated 9:24 a.m. ET
Mário de Andrade’s novel “Macunaíma: The Hero With No Character” follows a shape-
shifting, rule-flouting, race-switching trickster as he roams the vast nation of Brazil,
meeting historical characters, folkloric figures, and outrageously satirized stereotypes
along the way.
Rich with words and references from Indigenous and Afro-Brazilian cultures, the
modernist novel was hailed as a classic upon its publication in 1928, and has long been
seen as an allegory for Brazil’s unique cultural blend. Faced with criticism of the book’s
uncredited reliance on anthropological research, Andrade offered up, in an open letter, a
typically insouciant response: “I copied Brazil.”
Some scholars have deemed the book’s complexity virtually untranslatable — but this
week, New Directions published a new translation of “Macunaíma” by Katrina Dodson
that aims to transport Andrade’s idiosyncratic prose into English.
Over six years of research, Dodson familiarized herself with every aspect of the novel.
She chased down obscure flora and fauna on two trips to the Amazon, waded through
reams of critical commentary, immersed herself in Andrade’s archives in São Paulo and
discussed the book’s continued relevance with contemporary Brazilians. While she found
that for some readers the book continues to represent the “endless and unfinished”
national spirit of Brazil, she also met many Afro-Brazilian and Indigenous artists who
have set out to reclaim the folkloric roots that Andrade drew on.
Inspired by her research, Dodson hopes that her new translation will emphasize just how
deeply personal, and multifaceted, the concept of Brazil was for Andrade.
“Andrade was queer, but very closeted, and also very conflicted about his racial identity,”
she said. “He had African heritage on both sides. Once you know more about him and
more about the context of how he wrote this book, you understand that there are a lot of
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
1 of 9 4/7/23, 10:31 AM
very sincere and serious questions at the heart of it.”
The notion that the book and its main character are a stand-in for the country and its
“amalgamation of different races and ethnicities” has helped establish “Macunaíma” as a
canonical novel, read in every classroom devoted to Brazilian literature, said Pedro Meira
Monteiro, chair of Spanish and Portuguese at Princeton University. But it would be a
mistake to read it as a nationalist project, he said.
“Mário is so profoundly charmed by the endless and unfinished character of Brazil,” he
said, referring to the author by his first name, with the familiarity common to Andrade’s
readers in Brazil.
“He is seeing something that he recognizes as his and at the same time not,” he said.
“There’s a problematic sense of belonging in his work that is profound.”
A more personal register is on full display in “The Apprentice Tourist,” the first
translation of another Andrade book by Flora Thomson-DeVeaux that was also published
this week by Penguin Classics. Compiled from notes Andrade made during his first trip to
the Amazon shortly before “Macunaíma” was released, “The Apprentice Tourist” shows
Andrade’s fascination with Amazonian cultures — and his utter boredom with the
government officials and elites who welcomed the group of travelers along the way.
Andrade was born in São Paulo, the country’s industrial capital, in 1893. He enrolled in
São Paulo’s Dramatic and Musical Conservatory at age 11 to train as a concert pianist,
taught himself French and became enamored with the poetry of the Symbolists. By his
mid-20s he was traveling throughout Brazil, publishing poetry and essays on folklore
along the way.
Andrade’s fascination with the multiplicities of Brazilian culture placed him at the center
of the modernist movements that were sweeping the country in the 1920s. “Macunaíma”
was first excerpted in the Revista de Antropofagia, the journal edited by Oswald de
Andrade (no relation), whose 1928 manifesto proclaimed that Brazilian thinkers needed
to reject European artifice and “cannibalize” native forms of storytelling to produce a new
Brazilian art. Antropofagia, or anthropophagy in English, refers to the eating of human
flesh.
The book found an admiring readership among the Brazilian intelligentsia, but even they
were struck by its incongruities. One critic, João Ribeiro — a prominent folklorist himself
— called it “voluntarily barbarous, primeval, an assortment of disconnected fragments
put together by a commentator incapable of any coordination.”
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
2 of 9 4/7/23, 10:31 AM
Dodson approached the book because she felt the existing English translation, E.A.
Goodland’s 1984 version for Random House, had smoothed over the “joy and poetry of the
language, and the cultural politics of the particular mix of languages.”
Take the book’s first line, which half a dozen Brazilian artists and scholars interviewed by
The New York Times quoted, unprompted, from memory: “No fundo do mato-virgem
nasceu Macunaíma, herói da nossa gente.”
Goodland’s translation of the first line ignores Andrade’s sentence structure. It starts: “In
a far corner of Northern Brazil” — words that do not exist in the original — then
continues, “at an hour when so deep a hush had fallen on the virgin forest....” Goodland, a
retired technical director for a sugar company in Guyana, was “well-versed in all of the
natural history foundation of the book,” Dodson said, “but he completely missed the spirit
“My goal was to make you feel the joy of language in the book,”
Katrina Dodson said, “to be carried along by all the humor and
the colloquial ways in which people speak.” Lila Barth for The
New York Times
New Translations of Brazilian Writer Mário de Andrea’s Canonical Work... https://www.nytimes.com/2023/
3 of 9 4/7/23, 10:31 AM
of what the book is trying to do. His translation really leans into stereotypes of Brazil
being this sexy, wild place where everyone loses their head.”
Dodson decided to essentially transliterate the line, despite the grammatical
awkwardness it introduces in English: “In the depths of the virgin-forest was born
Macunaíma, hero of our people.” The importance of the line, she said, is not in
establishing where the action is taking place, as Goodland had done, but in bringing the
reader into the fold of the people at hand. “Macunaíma is our hero,” she said.
As her knowledge of the book deepened, Dodson said, she found herself walking back
some of her own interventions to maintain the “music” of the original.
“A lot of the words in the book are not in the regular Brazilian Portuguese dictionaries,”
Dodson noted. “Or if they are, the meanings are ambiguous. My goal was to make you
feel the joy of language in the book, to be carried along by all the humor and the colloquial
ways in which people speak, but also by the beautiful sounds of the Indigenous words.”
For the Brazilian artists behind the book’s many adaptations into film, theater, and art,
Andrade’s insistence on maintaining the complex vernacular that he overheard on his
travels is precisely what makes the book so vital.
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