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 English speaking public than its previous attempt by making the text more challenging to the reader, without denying its identity.