Entre coisas selvagens, monstros e feras: as traduções de Where The Wild Things Are para o português brasileiro e para o chinês

No presente artigo, relatamos a construção e análise inicial de um corpus paralelo composto por um livro infantil escrito originalmente em inglês por Maurice Sendak, Where the Wild Things Are, e suas traduções para o português brasileiro e para o chinês, a fim de analisar e comparar as traduções publicadas nas duas línguas. A extração inicial de informações desse corpus está pautada na metodologia da Linguística de Corpus, e, almejando uma análise objetiva, foi utilizado o software WordSmith Tools. Após a exploração do corpus, a fim de entender as escolhas tradutológicas para a expressão ‘wild things’, bem como verificar sua possível tradução literal, julgou-se necessário contatar a tradutora Heloisa Jahn e elaborar uma entrevista proposta a onze falantes nativos de chinês. Os dados obtidos revelaram a similaridade entre as duas traduções.

Into the Wild Childhood: A Study of Wildness in Three 21st-Century Picturebooks

While the majority of the ‘wild’ children’s literature presents male human char­acters, in the 21st century, there is an increasing tendency to publish texts showing a different kind of wildness. In this article, the author analyses three picturebooks published in the 21st century that feature protagonists other than male and/or hu­man: a wild girl (Wild by Emily Hughes, 2012), a pet dog (Such a Good Boy by Mari­anna Coppo, 2020), and a wild tiger (Mr Tiger Goes Wild by Peter Brown, 2013). She investigates to what extent (if any) non-male and/or non-human wildness in these works differs from the most popular one in children’s literature. The author analyses the concept of wildness in the context of a famous children’s picturebook featuring a wild protagonist, Where the Wild Things Are by Maurice Sendak (1963), and other cultural texts using this motif.

Risa salvaje: cómo leer los álbumes de Sendak

La obra de Maurice Sendak condensa una serie de temas centrales (humor, violencia, polémica, sexualidad...) que en ocasiones ha dificultado su comprensión estética. Una lectura formal o moralista no permite descubrir la raíz común de estos fenómenos y aparta a Sendak de la cadena artística (El Bosco, William Blake, los ilustradores del expresionismo alemán...) a la que pertenece. Este artículo explora la raíz común de la imaginación de Maurice Sendak partiendo del concepto de “grotesco”, fundamental en los estudios estéticos contemporáneos sobre la risa. Palabras clave: Maurice Sendak, risa, grotesco, álbum, infancia

Postmodernizm naprawdę dla dzieci. O metafikcji w książkach obrazkowych

The text is an attempt to present what a postmodern picture book for children is. The main thesis indicates the tendency to break the traditional discourse, inscribed in children’s books. Ear-lier it was used mainly in parodies of this type of literature. Authors such as Edward Gorey, Ruth Krauss, and Maurice Sendak, may be considered precursors of post-modern picture books. Contem-porary artists using similar poetics are Raymond Briggs, Chris Van Allsburg, David Wiesner, and Jon Scieszka. Their characteristic features of narration are references to other works, the strategy of unmasking the fictionality of the message and the idea of revealing the materiality of the book. The issue of metafiction came to the fore in theoretical considerations about post-modern picture books from 2018. This kind of academic research can be considered as a manifestation of a broader tendency to constitute a new relationship between the recipient and the text of culture, excluding the naive reception of the reader.

Ethnography and the empathic imperative: Negotiating histories in the Sydney Brundibár Project

The children’s opera Brundibár received fame through performances by Jewish children in the Theresienstadt ghetto from 1943 to 1944. Since its revival in the 1970s, the work has been performed around the world in multiple languages and has been transformed into a best-selling book by Tony Kushner and Maurice Sendak. Used as a tool for Holocaust education, many modern productions emphasize a narrative of cultural resistance as a way of reading the work, transforming Brundibár’s Brechtian agitprop plot of collective action profoundly. In the Sydney production of 2014, a decision was made to stay faithful to the original motives of the composer and librettist, and the production was shaped by ethnographic testimony of those who had witnessed the original performances. This article examines how the historical narrative interacts with the ethnographic and personal encounters in the interpretation and realization of this work. Burdened by a responsibility to historical context, how does ethnography assist in bringing nuance and multi-vocality? In what way does an empathic imperative inform these processes?

Convergence and the Beast: A Canonical Crossover Affair

In the digital age it has become almost impossible to view children’s texts outside the context of the new media. This study will focus on three works of children’s fiction, The Tale of Peter Rabbit by Beatrix Potter, Where the Wild Things Are by Maurice Sendak, and Fantastic Beasts and Where to Find Them by Newt Scamander/J.K. Rowling; and their respective adaptations, Peter Rabbit, Where the Wild Things Are, and Fantastic Beasts and Where to Find Them. The article draws on contemporary theories of adaptation and the media, particularly the theory of ‘convergence’ and its impact on meaning-making in the production and reception of literary texts. It will take into account the cross-media and transmedia approach to analysing children’s texts, as well as the crossover effect of adapting children’s books into films. Particular attention is paid to the adaptation of still into moving imagery and its shifts in focalisation, providing evidence that the new media have made children’s books accessible to a variety of audiences. Such examples display the contemporary complexity of children’s storytelling and culture within and beyond the canon. Owing to the developments in digital media and technologies, which enable the realistic depiction of complex visual and fantastic elements that are characteristic of children’s texts, in the new millennium children’s literature has indeed become ‘everyone’s business’.