Makumba: uma proposta de matrigestão tradutória à poética de Amiri Baraka
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Data
2022-06-14
Autores
Reina Peres, Lilian
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Universidade Estadual Paulista (Unesp)
Resumo
De enfoque nacionalista negro, o Black Arts Movement pretendeu tornar o fazer artístico de sua época indissociável à ação revolucionária afro-americana. Ao fundar o Black Arts Repertory Theatre/ School (BART) em 1965, o autor e militante Amiri Baraka ajudou a fundar o movimento, tornando-se, simultaneamente, uma de suas figuras proeminentes. Black Magic (1969) foi a obra em que o autor primeiro compensou pela omissão da temática racial em seus trabalhos prévios, ou seja, ao construir poemas de cunho radicalmente militante, o poeta alinhou ideologicamente sua produção intelectual ao movimento artístico que ajudou a construir. Considerando-se a linguagem em si como “um dos muitos elementos que nos permitem dar sentido às coisas, a nós mesmos” (SPIVAK, 1993, p. 179) e o processo tradutório como “o ato mais íntimo de leitura” (SPIVAK, 1993, p. 180), pretendo, a partir de conceitos da teoria Mulherista, promover um olhar matrigestor à tradução de textos afrodiaspóricos, explorando, assim, de que forma a tradução pode operar enquanto forma de resistência e ativismo afrocentrado. Para tal, busco explorar como operar a tradução de textos negros por meio de uma perspectiva afrorreferenciada. Isto é, discuto o enfoque teórico de como a “tradução enquanto práxis molda as assimétricas relações de poder que operam sob o colonialismo” (NIRANJANA, 1992, p.2) e, também, como subverter essa lógica tendo como referencial teórico o Mulherismo Africana. Teoricamente embasada, portanto, por leituras que interligam os Estudos da Tradução aos Estudos Culturais, Pós-coloniais e às teorias afrocentradas, essa dissertação se propõe a comentar a tradução do título da obra trabalhada, bem como realizar a primeira tradução comentada de poemas selecionados do livro Black Magic (1969).
With a Black nationalist focus, the Black Arts movement intended to make the art of their time indissociable to African American revolutionary action. By founding the Black Arts Repertory Theatre/ School (BART) in 1965, author and activist Amiri Baraka helped found the movement, becoming one of its main figures. Black Magic (1969) was the book where the author first compensated for his lack of racial themes in previous works; that is, in making radically militant poems, the poet ideologically aligned his intellectual production to the artistic movement he had helped to build. Considering that language is inherently “one of many elements that allow us to make sense of things, of ourselves” (SPIVAK, 1993, p. 179), as well as considering that the translations process is “the most intimate act of Reading” (SPIVAK, 1993, p. 180), I intend to, based on some of the main concepts created by the Womanist theory, promote a matri-managing outlook toward Afrodiasporic texts, thus exploring the ways in which translation can operate as a form of resistance and Afrocentric activism. For such, I aim to explore how to operate the translation of Black texts through an Afrocentric perspective, that is, I discuss under this theorical focus how “translation as practice molds, and takes shape within, the asymmetric power relations that operate under colonialism” (NIRANJANA, 1992, p. 2) and how to subvert this logic through having Womanism Africana as the theoretical referential. Theoretically based, therefore, by readings that intertwin Translations Studies, Cultural and Post-colonial Studies, as much as Afrocentric theories, this dissertation proposes the first translation and commentary to Brazilian Portuguese of the title of Black Magic (1969), as well as selected poems from the book.
With a Black nationalist focus, the Black Arts movement intended to make the art of their time indissociable to African American revolutionary action. By founding the Black Arts Repertory Theatre/ School (BART) in 1965, author and activist Amiri Baraka helped found the movement, becoming one of its main figures. Black Magic (1969) was the book where the author first compensated for his lack of racial themes in previous works; that is, in making radically militant poems, the poet ideologically aligned his intellectual production to the artistic movement he had helped to build. Considering that language is inherently “one of many elements that allow us to make sense of things, of ourselves” (SPIVAK, 1993, p. 179), as well as considering that the translations process is “the most intimate act of Reading” (SPIVAK, 1993, p. 180), I intend to, based on some of the main concepts created by the Womanist theory, promote a matri-managing outlook toward Afrodiasporic texts, thus exploring the ways in which translation can operate as a form of resistance and Afrocentric activism. For such, I aim to explore how to operate the translation of Black texts through an Afrocentric perspective, that is, I discuss under this theorical focus how “translation as practice molds, and takes shape within, the asymmetric power relations that operate under colonialism” (NIRANJANA, 1992, p. 2) and how to subvert this logic through having Womanism Africana as the theoretical referential. Theoretically based, therefore, by readings that intertwin Translations Studies, Cultural and Post-colonial Studies, as much as Afrocentric theories, this dissertation proposes the first translation and commentary to Brazilian Portuguese of the title of Black Magic (1969), as well as selected poems from the book.
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Palavras-chave
Negritude, Literatura Afro-americana, Literatura Negra, Tradução, Literatura Afro-brasileira, Blackness, African American Literature, Black Literature, Translation, Afro-Brazilian Literature