Inscreva-se neste Simp\u00f3sio<\/a><\/p>\n Antes de se inscrever, leia as orienta\u00e7\u00f5es AQUI<\/a><\/span><\/p>\n Lauro Meller <\/em>Natanael Ferreira Fran\u00e7a Rocha Idiomas de trabalho | Work languages: <\/strong> Portugu\u00eas, English, Espa\u00f1ol<\/p>\n Resumo:<\/strong> As institui\u00e7\u00f5es acad\u00eamicas v\u00eam assistindo, nas \u00faltimas d\u00e9cadas, a um crescente interesse pelos estudos de M\u00fasica Popular, sendo a funda\u00e7\u00e3o da IASPM (International Association for the Study of Popular Music), na Universidade de Liverpool, em 1981, um importante marco nessa dire\u00e7\u00e3o. No Brasil, j\u00e1 s\u00e3o muitas as teses e disserta\u00e7\u00f5es de pesquisadores brasileiros dedicadas a temas relacionados \u00e0 M\u00fasica Popular, e j\u00e1 sediamos congressos importantes na \u00e1rea, como o da IASPM-AL (Am\u00e9rica Latina). Por sua vez, os Estudos de Tradu\u00e7\u00e3o, campo tamb\u00e9m relativamente recente nas academias, vem crescendo exponencialmente no cen\u00e1rio brasileiro nos \u00faltimos anos, haja vista a abertura de programas de P\u00f3s-Gradua\u00e7\u00e3o em Tradu\u00e7\u00e3o na USP, UFSC e UFC, dentre outros. A converg\u00eancia entre essas duas \u00e1reas de investiga\u00e7\u00e3o, ambas em processo de consolida\u00e7\u00e3o, parece ser um processo natural, haja vista ser antiga a pr\u00e1tica de se traduzir can\u00e7\u00f5es para que sejam lan\u00e7adas em mercados fonogr\u00e1ficos estrangeiros, sendo um caso emblem\u00e1tico \u201cThe Girl from Ipanema\u201d, vers\u00e3o do letrista norte-americano Norman Gimbel para o cl\u00e1ssico de Tom e Vinicius (ROCHA, 2013); ou, em contrapartida, importar can\u00e7\u00f5es estrangeiras e lan\u00e7\u00e1-las como vers\u00f5es no mercado nacional. As primeiras tentativas de sistematiza\u00e7\u00e3o do processo tradut\u00f3rio de can\u00e7\u00f5es remontam ao s\u00e9culo XIX e \u00e0 tradu\u00e7\u00e3o de \u00f3peras. Nos \u00faltimos anos, no entanto, surgiram modelos te\u00f3ricos espec\u00edficos sobre a tradu\u00e7\u00e3o de can\u00e7\u00f5es populares, como aquele desenvolvido por Peter LOW (2003, 2017), ou os estudos de KAINDL (2005) e FRANZON (2008). Em comum, destacam-se o foco na rela\u00e7\u00e3o dial\u00f3gica entre a m\u00fasica popular e v\u00e1rios tipos de elementos verbais, musicais, visuais, sociais e culturais, al\u00e9m da preocupa\u00e7\u00e3o com os encaixes pros\u00f3dicos, ret\u00f3rico-po\u00e9ticos e musico-sem\u00e2nticos entre letra e m\u00fasica, em tradu\u00e7\u00f5es que, obrigatoriamente devem ser cant\u00e1veis. Apesar da import\u00e2ncia das contribui\u00e7\u00f5es supracitadas, observa-se, ainda, uma car\u00eancia de organiza\u00e7\u00e3o e fichamento dos temas, bem como de um aprofundamento te\u00f3rico substancial, raz\u00e3o pela qual convidamos os colegas pesquisadores a submeter trabalhos que se debrucem sobre o processo tradut\u00f3rio de can\u00e7\u00f5es. Pretende-se investigar a especificidade desse objeto, tanto em estudos de caso como em tentativas de sistematiza\u00e7\u00e3o te\u00f3rico-metodol\u00f3gica. Algumas das quest\u00f5es ou temas que pretendemos contemplar neste GT incluem (mas n\u00e3o se restringem a): i) g\u00eaneros de can\u00e7\u00f5es mais ou menos prop\u00edcios \u00e0 tradu\u00e7\u00e3o, tanto em termos de tecnicalidades da can\u00e7\u00e3o em si quanto por quest\u00f5es mercadol\u00f3gicas; ii) estrat\u00e9gias tradut\u00f3rias aplicadas \u00e0 can\u00e7\u00e3o: domestica\u00e7\u00e3o, exotiza\u00e7\u00e3o etc; iii) teorias da tradu\u00e7\u00e3o aplicadas \u00e0 can\u00e7\u00e3o; iv) an\u00e1lises sobre can\u00e7\u00f5es traduzidas tanto por compositores\/int\u00e9rpretes\/letristas quanto por pesquisadores, dentre outros. Ser\u00e3o tamb\u00e9m bem-vindos trabalhos que versem sobre tradu\u00e7\u00f5es de can\u00e7\u00f5es em situa\u00e7\u00f5es multimodais, por exemplo, aquelas que aparecem em filmes, musicais, pe\u00e7as de teatro, anima\u00e7\u00f5es e videoclipes, em que a inter-rela\u00e7\u00e3o entre os m\u00faltiplos aspectos semi\u00f3ticos envolvidos torna-se ainda mais evidente. Os participantes poder\u00e3o submeter propostas em portugu\u00eas, ingl\u00eas ou espanhol.<\/p>\n Palavras-chave:<\/strong> Tradu\u00e7\u00e3o de Can\u00e7\u00f5es, Tradu\u00e7\u00e3o Multimodal, M\u00fasica Popular<\/p>\n Abstract:<\/strong> Academic institutions have witnessed a steady growth in Popular Music Studies, and the foundation of IASPM (International Association for the Study of Popular Music), at the University of Liverpool, in 1981, was an important landmark towards the consolidation of this field of study. In Brazil, the theses and dissertations written on this topic are already numerous, and we have hosted important conferences such as IASPM-AL (Latin American branch). Translation Studies, in turn, also a relatively new branch in the academia, has been growing exponentially in the Brazilian scenario in the past few years, seeing that USP, UFSC and UFC, among other universities, opened post-graduate programmes in Translation Studies. The convergence of these two areas, both still fighting for their consolidation, seems to come naturally if one remembers the practice of translating songs to be launched in foreign markets (an emblematic case being \u201cThe Girl from Ipanema\u201d, the version written by American lyricist Norman Gimbel for the classic song by Tom Jobim and Vinicius de Moraes (ROCHA, 2013)); or, conversely, to import foreign songs and launch them in the domestic market and in a local language. The first attempts to systematize song translation date back to the 19th century and to the translation of operas. In the past years, however, specific theoretical models applied to the translation of popular songs appeared, like the one put forward by Peter LOW (2003, 2017), or the studies by KAINDL (2005) and FRANZON (2008). They all have in common the focus on the dialogic relationship between popular music and the several types of verbal, musical, visual, social and cultural elements, besides the concern with the prosodic, rhetoric-poetic and musico-semantic aspects in the interaction between lyrics and music, in translations which must be singable. In spite of the relevance of the aforementioned contributions, there is still a lack of organization and scrutiny of the themes, as well as a need to substantially deepen the theories. Therefore, we invite fellow researchers to submit papers that deal with the process of song translating. We aim at investigating the specificities of this practice, both through case studies and systemized theoretical-methodological studies. Some of the questions or themes that we intend to cover in this group include (but are not restricted to): i) song genres which are more or less prone to be translated, both in terms of the technicalities of songs per se or due to market reasons; ii) translation strategies applied to songs: domestication, exotification etc.; iii) translation theories applied to songs; iv) analyses of songs translated both by songwriters\/singers\/lyricists and by researchers, among others. Papers on the translation of songs in multimodal contexts will also be welcomed, for instance, songs in films, musicals, plays, animations and music videos, where the interrelationship between the multiple semiotic aspects involved are even more evident. Proposals can be submitted for consideration in either Portuguese, English or Spanish.<\/p>\n Keywords:<\/strong> Song Translation, Multimodal Translation, Popular Music<\/p>\n Inscreva-se neste Simp\u00f3sio<\/a><\/p>\n
\nTraduzir Can\u00e7\u00f5es: objetivos, desafios, estrat\u00e9gias
\n<\/strong>Translating Songs: aims, challenges, strategies<\/strong><\/h5>\n
\n<\/em>UFRN
\n<\/em>lauromeller@ymail.com
\n<\/em>http:\/\/lattes.cnpq.br\/3697926063029295<\/em><\/a><\/p>\n
\n<\/em>UFSC
\n<\/em>natanffr@gmail.com
\n<\/em>http:\/\/lattes.cnpq.br\/1334310722020905<\/em><\/a><\/p>\n
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