Aspectos estilísticos da tradução de "Corpo fechado", de Guimarães Rosa, para o inglês

Abstract

The translation of Guimarães Rosa works began during the author’s life, and  he  usually  helped  his  translators  in  detailed  letters  with  suggestions and   discussions   about   his   creative   process.   In   the   United   States,   the translation   of   Rosa   into   English   takes   place   in   the   context   of   the approximation of the country with South America between the decades of 1940  and  60,  although  the  effects  of  that  initiative  of  translation  of  Latin American   works   does   not   reach  Brazil   so   intensely   (BARBOSA,   1994; LEVINE,  2006;  KRAUSE,  2010).  In  this  article, we  seek  to  analyze  how  the choices of the translator Harriet de Onís may have influenced the reception of Guimarães Rosa works in English. By comparing the short story “Corpo fechado” (Sagarana, 1946) and its translation, “Bulletproof” (Sagarana, 1966),  we  conclude  that  de  Onís  tends  to  domesticate  (VENUTI,  1995) Rosa’s text, naturalizing his non-conventional   style,   therefore   denying readers the access to his aesthetic project. Lastly, we suggest it is possible that a new translation project for Rosa will receive more attention from the Englishspeaking public than its previous attempt by making the text more challenging to the reader, without denying its identity.