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A influência do género, do Autor e da Fonte na revisão de uma obra de ficção
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Livros e autores literários são perspetivados de forma diferente de livros e autores comerciais – ainda que as fronteiras entre uns e outros nem sempre sejam claras. Se os primeiros são vistos como arte, subvertendo as certezas dos leitores sobre o mundo, os segundos têm a imagem de um meio de entretenimento vazio de estilo e descartável. Mesmo os leitores dos géneros comerciais são descritos pejorativamente, como tendo menores conhecimentos. Assumindo a crença de que todos os livros merecem ser revistos com o mesmo cuidado – e de que todos os leitores devem receber um texto isento de erros gramaticais e usos desadequados de linguagem –, procurou-se descobrir de que forma o género, o tipo de autor e a fonte (se um texto é traduzido, um original de língua portuguesa, contemporâneo ou uma publicação póstuma) têm influência – se a tiverem – na revisão de uma obra de ficção, para que, se necessário, seja possível encontrar estratégias que contrabalancem o efeito desses fatores. Com esse objetivo, entrevistaram-se nove revisores e cinco editores, que partilharam a sua experiência nesta área.Esta dissertação inicia-se, assim, com a caracterização do que se entende por ficção literária e comercial, enquadrada numa reflexão teórica e acompanhada de exemplos, e com uma breve descrição das peculiaridades da tradução. No segundo capítulo, são descritos o processo de revisão de texto, os elementos sobre os quais este incide e as fronteiras que o revisor não deve ultrapassar. No terceiro capítulo, após a exposição da metodologia adotada, são apresentadas e analisadas as conclusões desta investigação, pautada por dificuldades como a disparidade das respostas dadas, os raros consensos e a impossibilidade de se obter uma amostra de maiores dimensões, uma vez que a condução e o tratamento de entrevistas detalhadas com 14 profissionais já constituíram um desafio considerável. Apesar das referidas limitações, inerentes a este tipo de trabalho, os dados recolhidos e analisados permitem concluir que é possível identificar importantes diferenças entre o trabalho de revisão de géneros, autores e fontes distintos e que estas são, sobretudo, inconscientes. Existe, nomeadamente, uma tendência para se assumir que desvios à norma e construções estranhas são propositadas em livros de ficção literária e de autores consagrados ou mais vendidos, sendo colocadas menos questões aos autores nestes casos. Há também uma maior probabilidade de livros de ficção comercial e de autores com muitas vendas terem um tempo de revisão mais reduzido, por as datas de publicação serem mais inflexíveis. Por fim, verificou-se que, embora exista um respeito muito grande pelos tradutores, a própria natureza do texto e o maior desapego que estes terão em relação ao livro, por contraste com o autor da obra, resultam num maior nível de intervenção em obras traduzidas do que em obras de língua portuguesa.
Literary books and authors are regarded in a different way than commercial books and authors – notwithstanding the borders between the former and the latter being often unclear. If literary works are considered art, subverting readers’ certainties about the world, commercial ones are deemed a discardable and depleted of style form of entertainment. Even commercial genres’ readers are described in pejorative terms, as having less knowledge. Assuming the belief that all books deserve being copyedited with the same level of attention – and that all readers should receive a text exempt of grammatical errors and inadequate uses of language –, this investigation sought finding out what influence (if any) genre, the type of author and source (if a text is translated, originally written in Portuguese, contemporaneous or a posthumous publication) have over the copyediting of a work of fiction, so that it’s possible, if necessary, to identify strategies that countervail these factors’ effects. Having this purpose in mind, nine copy-editors and five editors were interviewed, sharing their experience in the field. The present dissertation thus begins with the characterization of what’s perceived as literary and commercial fiction, framed in a theoretical reflection and accompanied by examples, and with a brief description of translation’s peculiarities. On the second chapter, the copyediting process, the elements on which it focuses and the lines the copyeditor can’t cross are described. On the third chapter, after presenting the methodology used in this investigation, the conclusions are presented and analyzed. In spite of the difficulties inherent to this work, such as the disparities in the interviewees’ answers, the rare consensus and the impossibility to obtain a bigger sample – since conducing and processing detailed interviews with 14 professionals constituted a considerable challenge already –, the collected and analyzed data allowed to conclude that it’s possible to identify important differences between copyediting distinct genres, authors and sources and that said dissimilarities are mainly unconscious. There is, namely, a tendency to presume that deviations from the language’s norm and strange structures are willful in literary fiction or in texts of consecrated and bestselling authors, who are asked less questions. There is also a bigger probability of commercial fiction books and authors with larger sales having less time for the copyediting phase, given that publication dates are more inflexible. Lastly, it was clear that, in spite of a major respect for translators, the nature of the text itself and the bigger detachment these professionals feel towards the book (contrasting with its author) lead to a deeper level of intervention in translated works than in Portuguese-written ones.
Literary books and authors are regarded in a different way than commercial books and authors – notwithstanding the borders between the former and the latter being often unclear. If literary works are considered art, subverting readers’ certainties about the world, commercial ones are deemed a discardable and depleted of style form of entertainment. Even commercial genres’ readers are described in pejorative terms, as having less knowledge. Assuming the belief that all books deserve being copyedited with the same level of attention – and that all readers should receive a text exempt of grammatical errors and inadequate uses of language –, this investigation sought finding out what influence (if any) genre, the type of author and source (if a text is translated, originally written in Portuguese, contemporaneous or a posthumous publication) have over the copyediting of a work of fiction, so that it’s possible, if necessary, to identify strategies that countervail these factors’ effects. Having this purpose in mind, nine copy-editors and five editors were interviewed, sharing their experience in the field. The present dissertation thus begins with the characterization of what’s perceived as literary and commercial fiction, framed in a theoretical reflection and accompanied by examples, and with a brief description of translation’s peculiarities. On the second chapter, the copyediting process, the elements on which it focuses and the lines the copyeditor can’t cross are described. On the third chapter, after presenting the methodology used in this investigation, the conclusions are presented and analyzed. In spite of the difficulties inherent to this work, such as the disparities in the interviewees’ answers, the rare consensus and the impossibility to obtain a bigger sample – since conducing and processing detailed interviews with 14 professionals constituted a considerable challenge already –, the collected and analyzed data allowed to conclude that it’s possible to identify important differences between copyediting distinct genres, authors and sources and that said dissimilarities are mainly unconscious. There is, namely, a tendency to presume that deviations from the language’s norm and strange structures are willful in literary fiction or in texts of consecrated and bestselling authors, who are asked less questions. There is also a bigger probability of commercial fiction books and authors with larger sales having less time for the copyediting phase, given that publication dates are more inflexible. Lastly, it was clear that, in spite of a major respect for translators, the nature of the text itself and the bigger detachment these professionals feel towards the book (contrasting with its author) lead to a deeper level of intervention in translated works than in Portuguese-written ones.
Descrição
Palavras-chave
Edição de texto Autor Fonte Género Edição Entrevistas Ficção comercial Ficção literária Revisão de texto Commercial fiction Copy-editing Editing Interviews Literary fiction