In hierdie artikel ondersoek ek spanning as literêr-teoretiese konsep. Spanning kan gedefinieer word as 'n benouende affektiewe respons wat in die leser tot stand kom na aanleiding van bepaalde tekstuele prikkels. Ek verskaf eerstens 'n aantal definisies en teorieë om sodoende 'n greep te kry op die tekstuele voorvereistes vir die totstandkoming van spanning. Ek steun veral op twee seminale bronne: Suspense: Conceptualisations, Theoretical Analyses, and Empirical Explorations (1996) en Suspense in the Formula Story (1989). Vervolgens bespreek ek drie onlangse bekroonde spanningsverhale in Afrikaans: Prooi (2018) deur Deon Meyer, Die versoeking van Thomas Maas (2020) deur Chris Karsten, en Hartedief (2021) deur Rudie van Rensburg. Ek wys ten slotte op die mees beduidende ooreenkomste en verskille tussen die drie voorbeeldtekste ten opsigte van die spanningsproses.

Suspense remains a prime source of readerly interest, especially for readers of popular fiction. Successful crime novels, detective stories and thrillers, in particular, are often characterised as "riveting", a "page-turner", or as possessing the power to keep the reader "hooked". In this article I set out to explore the notion of fictional suspense from a literary-narratological point of view. This article is therefore focused on the inner workings of the suspense text itself rather than a reception study or empirical study of reader responses. I begin by outlining several basic definitions and theories pertaining to suspense as a narratological construct in order to provide a conceptual framework within which specific novels can be discussed. Much has been written about fictional suspense over the years, but as a theoretical point of departure, I draw upon two seminal sources: Suspense: Conceptualisations, Theoretical Analyses, and Empirical Explorations (1996), compiled by Peter Vorderer, Hans J Wulff and Mike Friedrichsen (eds), and George N Dove's Suspense in the Formula Story (1989). While admittedly somewhat dated, these sources remain as relevant as ever and provide a useful framework when attempting to define a field as nebulous as that of suspense studies. In short, suspense may be defined as a noxious affective response to afictional or dispositive structure with two logically opposed outcomes, one of which is evil or immoral but probable or likely, and the other of which is moral but improbable or unlikely (Carroll, 1996). This noxious affective response is elicited in the reader to the extent that he/she is concerned about the existence of some credible endangerment to the welfare of aprotagonist(s) with whom he/ she has formed a dispositionally mediated connection. Suspense is evaluated not only in moral terms (good or bad) but also in terms of subjective certainty. Suspense intensifies a) the more the reader cares for a particular protagonist(s), b) the more terrible the perceived threat, and c) the higher the relative probability of an undesirable outcome (Zillmann, 1996). Suspense is therefore an affective response suffused with implicit moral judgements. Inevitably, questions arise around readerly involvement: How exactly could readers be prompted to care about entirely fictional events and entities as if they were, in fact, real? To address this issue, I go on to discuss several theories of readerly involvement including identification, scenic comprehension, vicarious witnessing, empathic distress, and affective perspective taking. Next, I discuss George Dove's approach to popular suspense fiction - an approach which he calls process criticism. For Dove, reader readiness is key i.e., the extent to which a reader has been conditioned by previous encounters with a particular generic or conventional form such as the suspense thriller or detective novel. Implicitly embedded in the popular suspense story are, according to Dove, two axiomatic truths: 1) nothing in the suspense tale is entirely irrelevant, and 2) there will always be (some sort of) resolution in the end (Dove, 1989:18). I also find Dove's explanatory analogies useful. One is the analogy of the author as "Lecturer Beside the Screen" (1989:23), who is continually pointing out things to the reader by way of textual cues. The other is his analogy of two dialogically opposed voices, the so-called "Voice of the Novel" and the "Voice of Cognition" (1989:28), which produce yet another source of metatextual tension for the reader of suspense fiction. Having concluded the theoretical section of the article, I dive into a discussion of three Afrikaans example texts: Prooi (2018) by Deon Meyer, Die versoeking van Thomas Maas (2020) by Chris Karsten, and Hartedief (2021) by Rudie van Rensburg. These three novels were selected because they were each awarded the ATKV-Woordveertjie vir Spanningslektuur (currently the most prominent literary prize for suspense fiction in Afrikaans). Prooi is essentially a political drama with the two major suspense arcs centred on the theme of state capture. While the protagonists are, respectively, an assassin-with-a-conscience and two honest policemen, it is ultimately the fate of South Africa that is on the line. The heroes' struggle is therefore rooted in a deeper historical battle against injustice. The stakes could hardly be higher. In terms of the suspense process, Prooi makes ample use of the conventions of the spy thriller and the hard-boiled police procedural, and culminates in a gripping double-barrel finale. Die versoeking van Thomas Maas chiefly concerns adultery and may be regarded as domestic noir. In this novel, it is the idealised fantasy of the happy, suburban family life that threatens to be destroyed by a femme fatale. The novel is presented as a retelling of Ella Neser's private investigation (Ella being a well-known sleuth in many of Karsten's previous novels). Erotic tension plays a pivotal role in the elicitation of suspense, but in the end Die versoeking van Thomas Maas resembles a Shakespearian tragedy - as suggested by many of the intertextual references in the novel - since the truth proves to be elusive and complicated. Hartedief is a psychological thriller. The association between the serial killer's bloodlust and inclement weather (what may be termed atmospheric suspense), alongside the many macabre and often grisly descriptions of murder victims, contribute strongly to the suspense in Hartedief. A secondary suspense arc - that of corrupt policemen and ruthless gangsters - fuels the primary storyline in that the conspirators represent an additional obstacle to the two honourable detective-protagonists' cause. In all three novels, we find recurring serial characters that are expected to influence readers' moral dispositions from the outset. Furthermore, the strategic use of narrative focalisation and reader privilege (also known as dramatic irony) play a significant role in the evocation of suspense. In all three cases, Prooi, Die versoeking van Thomas Maas and Hartedief, moral valence turned out to be more ambiguous and nuanced than the theory outlined in section 2 of the article suggests. Characters are mostly portrayed as polyvalent, with both "good" and "evil" traits.

Abstract: Alcestis is a dramatic play that oscillates due to its content between the definition of a tragedy and a satirical drama. This characteristic influences the matter treated by Euripides: the death of the protagonist in benefit of her husband, a situation that can be interpreted as a gratuitous act -pure love for Admetus-, or else as a result of the social condition of the main character, who comes from the ancient aristocracy and responds to the dramatic interpretation carried out in the context of Athenian democracy (438 B. C.). The objective of this article is to analyze the most evident passionate, ethical and sociopolitical implications of Alcestis’s dilemma at accepting her premature death before in order to keep Admetus alive.

Resumen: Alcestis es una pieza dramática que, entre sus peculiaridades, oscila por su contenido entre la definición de una tragedia y de un drama satírico. Esta característica incide en la materia tratada por Eurípides: la muerte de la protagonista en favor de su marido, una situación que puede ser interpretada como un acto gratuito -amor puro por Admeto-, o bien como resultado de la condición social del personaje central, que proviene de la antigua aristocracia y que responde a la interpretación dramática realizada en el contexto de la democracia ateniense (438 a. n. e.). El objetivo de este artículo es analizar las implicaciones pasionales, éticas y sociopolíticas más evidentes ante el dilema de Alcestis de aceptar su muerte antes de tiempo para que Admeto pueda seguir viviendo.

Resumo: Ao voltar-se para a teoria de H. Bergson acerca do processo evolutivo, este texto toma como objeto de reflexão o caráter antinômico das tendências fundamentais do movimento vital: tempo puro e materialidade. Partindo da importância da imagem, nessa filosofia, debruça-se sobre a ontologia bergsoniana, problematizando tanto a noção de elã vital quanto o modo pelo qual a matéria advém e o tempo real nela se inscreve. Ao destacar a ambiguidade do papel desempenhado pela materialidade, no tensionamento das forças vitais, a discussão explicita que o impulso originário instaura, ele próprio, seu antípoda. Revela-se, assim, o caráter dramático que impregna o movimento intrínseco à história da vida, no qual esforço e luta são correlatos dos limites do impulso que a move e quesitos incontornáveis para o ato criador que a define.

Abstract: By referring to H. Bergson's theory about the evolutionary process, this article reflects on the antinomic character of the two fundamental tendencies of the vital movement, which are pure time and materiality. Starting from the importance of the image in this philosophy, it focuses on the Bergsonian ontology, questioning the notion of vital elan and how matter comes and the real-time is inscribed in it. By highlighting the ambiguity of the role played by materiality in the tensioning of vital forces, the discussion explains that the original impulse establishes its antipode. Thus, it reveals the dramatic character that permeates the movement intrinsic to the history of life, in which effort and struggle are correlated to the limits of the impulse that moves it - and inevitable questions for the creative act that defines it.

Vinculada ao Projeto "Medicalização em Goiás: investigações críticas na história e contemporaneidade de práticas e discursos biopsicossociais", o presente artigo relata pesquisa referente ao drama da psiquiatrização docente na relação professor-aluno da rede municipal de Goiânia. O absenteísmo-doença de professores da educação básica por razões médicas codificadas com o índice F do CID-10 mostra um contexto de precarização e alienação do trabalho no capitalismo, com impactos na relação social entre docentes e estudantes. Discutimos as características apontadas dessa (e nessa) interação que desvelam a complexidade dialética do drama do adoecimento psíquico e das condições materiais da vivência laboral, com a análise qualitativa de fichas-sínteses elaboradas a partir de prontuários de licenças médicas disponibilizados pela Junta Médica Municipal de Goiânia. Nosso referencial foi a Psicologia Histórico-Cultural tal como interpretada pela Clínica da Atividade de Yves Clot. Consideramos 35 fichas - de 109 analisadas - que se referem à relação professor-aluno no decorrer do processo de psiquiatrização docente. Em seguida, criamos categorias, rotuladas como queixas e desdobramentos, que revelam processos comuns no sofrimento desses docentes. Observamos que a presença de psicopatologias laborais se relaciona à precarização e à desapropriação do real da atividade pelo trabalhador. Consideramos que a doença é um processo socialmente constituído no âmago de um contexto histórico-social dialético, finalizando nossa pesquisa com destaque para a intervenção do coletivo como recurso de enfrentamento à psiquiatrização, bem como subsidiando políticas públicas que visem a enfrentar a precarização laboral.

As a result of the Project "Medicalization in Goiás: critical investigations in the history and contemporaneity of biopsychosocial practices and discourses", this paper reports a research on the drama of teacher’s psychiatrization in the teacher-student relationship in the municipal educational system of Goiania, Brazil. The sickness absenteeism of teachers from elementary education for medical reasons coded with the F index of the ICD-10 envisages a context of precariousness of work in capitalism, with impacts on the social relationship between teachers and students. We discuss the characteristics pointed out in this interaction that reveal the dialectical complexity of the drama of psychiatric illness and the material conditions of the work experience, performing a qualitative analysis of data collected in sheets, synthesized from medical license records made available by the Municipal Medical Board. Our reference was Cultural-Historical Psychology as interpreted by Yves Clot's Clinic of Activity. We considered 35 sheets that refer to the teacher-student relationship during the process of teacher’s psychiatrization. Thereon, we divided categories between complaints and its developments, which reveal a common process in the suffering of these teachers. The results note that the occupational psychopathologies is related to the precariousness and expropriation of the real of the activity from the workers. We conclude our research with emphasis on the intervention of the collective as a resource to face psychiatrization, as well as subsidizing public policies that aim to face the precariousness of work as a socially constituted process at the heart of a dialectical historical-social context.

Vinculada al Proyecto "Medicalización en Goiás: investigaciones críticas en la historia y contemporaneidad de las prácticas y discursos biopsicosociales", esta investigación de Iniciación Científica se refiere al análisis del drama de la psiquiatrización docente en la relación docente-alumno en la red municipal de Goiânia. El absentismo de docentes de la educación básica por motivos médicos codificados con el índice F de la CIE-10 avizora un contexto de precariedad del trabajo en el capitalismo, con impactos en la relación social entre docentes y alumnos. Discutimos las características señaladas en esta interacción que revelan la complejidad dialéctica del drama de la enfermedad psíquica y las condiciones materiales de el trabajo, con el análisis cualitativo de fichas de síntesis, elaboradas a partir de actas de licencias médicas puestas a disposición por el Consejo Médico Municipal. Nuestra perspectiva fue la Psicología Histórico-Cultural según la interpretación de la Clínica de la Actividad de Yves Clot. Se consideraron 35 fichas que se refieren a la relación docente-alumno. Creamos categorías, divididas entre quejas y sus desarrollos, que revelan procesos comunes en el sufrimiento de estos docentes. Nuestras conclusiones notan que la presencia de psicopatologías ocupacionales está relacionada con la precariedad y expropiación de lo real de la actividad de los trabajadores. Concluimos nuestra investigación con énfasis en la intervención del colectivo como recurso para enfrentar la psiquiatrización, así como subsidiar políticas públicas que apunten a enfrentar la precariedad del trabajo como un proceso socialmente constituido en el seno de un contexto dialéctico histórico-social.

Resumo O presente artigo tem por objetivo reivindicar a centralidade da análise da literatura dramática, para a formulação da noção de estrutura de sentimento e, consequentemente, para o materialismo cultural de Raymond Williams. Para tanto, analisaremos parte da vasta produção do autor, com especial atenção às apresentações e considerações conclusivas de seus livros sobre drama (Williams, 1965, 1969, 2010). Estes, por terem sido totalmente reescritos ao longo de sua carreira, constituem produções privilegiadas para flagrar as transformações teóricas e conceituais de Williams.

Abstract This article aims to sustain the centrality of dramatic literature to the genesis of the notion of structure of feeling and, consequently, for Raymond Williams’s cultural materialism. Therefore, we will analyze part of his vast body of work, being especially attentive to the introductory and conclusive argumentations of his books on drama (Williams, 1965, 1969, 2010). These, since they have been totally rewritten through his career, are seen as privileged productions to grasp Williams’s theoretical and conceptual transformations.

RESUMO Este artigo se debruça sobre o conflito como elemento dramatúrgico, com o objetivo de realizar primeiramente uma revisão bibliográfica sobre esse tema específico, além de mostrar sua presença e relevância não somente em obras dramáticas mais tradicionais como também em dramaturgias de maior ruptura com o cânone dramático nas quais se destacam a epicização e/ou o lirismo. Propõe-se também pensar o conflito como ferramenta de análise e de criação a partir do sistema de divisão em pulsões (intersubjetivo, intrassubjetivo e extrassubjetivo) e em eixos (intraficcional e extraficcional) que se intercambiam.

ABSTRACT This article focuses on conflict as a dramaturgical element, with the objective of firstly performing a bibliographic review on this specific theme, besides showing its presence and relevance not only in more traditional dramatic works but also in dramaturgies of greater rupture from the dramatic canon in which epicization and/or lyricism stand out. It also proposes to consider conflict as a tool for analysis and creation based on the system of division into drives (intersubjective, extrasubjective and intrasubjective) and axes (intrafictional and extrafictional) that interchange.

RÉSUMÉ Cet article se concentre sur le conflit en tant qu’élément dramaturgique, dans le but de réaliser d’abord une revue bibliographique sur ce thèm espécifique, en plus de montrer sa présence et sa pertinence non seulement dans des œuvres dramatiques plus traditionnelles mais aussi dans les dramaturgies de plus grande rupture avec le dramatique canon où ressortent épicisation et/ou lyrisme. Il est également proposé de penser le conflit comme un outil d’analyse et de création basé sur le système de découpage en pulsions (intersubjectif, intrasubjectif et extrasubjectif) et en axes (intrafictionnel et extrafictionnel), qui sont interchangeables.

Abstract: This work seeks to demonstrate how the nota roja news1 written by José Revueltas for the newspaper El Popular, during the forties of the 20th century, could be an example of what in Discipline and Punish, Michel Foucault called a counter-fait diver: a note that uses the criminal events published in the yellow press to show the whole series of social inequalities that underlie these journalistic publications. Although the counter-fait divers assimilates the discursive, narrative, and rhetorical features of the nota roja, it uses them with the intention of generating a semantic twist that reveals the inequalities that underlies its story. This article intend to analyze the note “Awful Drama of Misery”, published in the crime section of El Popular, on October 4, 1942. To do this, a model structure of the nota roja (Barthes, Lara Klahr, Arriaga) is configured, substantive narrative and rhetorical features are identified, and then it is observed how these elements -specifically in the case of “Awful Drama of Misery- are articulated according to the forms and discursive conventions of its time, to turn the nota roja into a testimony of social denunciation.

Resumen: En el presente artículo nos proponemos analizar cómo en las notas rojas que el escritor José Revueltas realizara para el periódico El Popular, entre 1938 y 1942, se encuentran ejemplos de lo que Michael Foucault denominara como “contra-notas rojas”. Si bien la contra-nota roja asimila los rasgos discursivos, narrativos y retóricos propios de la nota roja, los utiliza con la intención de provocar un giro semántico que ponga de manifiesto el relato de las desigualdades que subyace en esta última. En específico, analizaremos la nota “Espantoso drama de miseria”, publicada en la sección policíaca de El Popular, el 4 de octubre de 1942. Para ello, se configura una estructura modélica de la nota roja (Barthes, Lara Klahr, Arriaga), se identifican rasgos narrativos y retóricos sustantivos, y después se observa cómo dichos elementos, de acuerdo con las formas y convenciones discursivas de cada época, se articulan para convertir la plana roja en un testimonio de denuncia social.

Abstract The present work sustains that the dramatic piece Electra Garrigó by Virgilio Piñera retakes the tragic argument from the Atreides myth developed in Aeschylus’ hypotext to turn the communicative intention of the tragic genre and update it in a work of hybrid structure and development that contains formal elements that belong to farce. We will explore how one of the mechanisms in the farce dramatic subgenre operates in Electra Garrigó; i.e., the substitution psychology of the characters, which manifests itself when the psychic facts are moved from one character that should execute them to another character completely opposed and viceverse. As a result, there is a modification in the moods of the characters. Therefore, the myth is transvalued to reflect upon the family, the genesis of society: the Atreides core family becomes the personification of fundamental attitudes from the Cuban bourgeoisie and even of the whole humanity. The dynamics of the Atreides family, a relationship system from which Electra will redeem Orestes and will be emancipated, is established through the freedom evasion mechanisms described by Erich Fromm. Through its formal and thematic constitution, the drama expresses Piñeira’s social concerns derived from the Cuban Neo-colony.

Resumen El presente trabajo sostiene que el drama Electra Garrigó, de Virgilio Piñera, retoma el argumento trágico del mito Atrida desarrollado en el hipotexto de Esquilo, para revirar la intención comunicativa del género trágico, y actualizarlo en una obra de estructura y desarrollo híbridos contenedora de elementos formales pertenecientes a la farsa. En Electra Garrigó, se explorará la operatividad de uno de los mecanismos del subgénero dramático fársico: la psicología sustituida de los personajes, cuyo carácter se modifica cuando los hechos psíquicos se desplazan del personaje que debería ejecutarlos al que es plenamente opuesto y viceversa. Por consiguiente, se transvaloriza el mito para reflexionar sobre la familia, génesis de la sociedad: la familia nuclear Atrida personifica las actitudes fundamentales de la burguesía cubana, incluso, de la humanidad entera. La dinámica de la familia Atrida, sistema de relaciones del cual Electra redimirá a Orestes y se emancipará, se establece mediante los mecanismos de evasión de la libertad descritos por Erich Fromm. A través de su constitución formal y temática, el drama expresa las preocupaciones sociales de Piñera derivadas de la neocolonia cubana.

Abstract: This musicological study addresses the musicalization in Juan Marino’s El siniestro Dr. Mortis, a Chilean radio play, on its last phase (1960-1980). The objectives were: to characterize the genre of "horror music", to clarify the musicalization process of the radio drama El siniestro Dr. Mortis in that period, to identify the title and origin of the musical pieces used in the different episodes and to propose both hermeneutical hypotheses and projections based on the information found. The theoretical frame incorporated several authors, especially K. J. Donnelly and his chacterization of terror music in films, the methodology included interview, bibliographical research and listening of a wide musical repertoire. A peculiar work modality was discovered in the edition of this radio play and the use of pieces coming from concert music, film music and music libraries.

Resumen: Este estudio musicológico aborda la musicalización en el radioteatro chileno El siniestro Dr. Mortis de Juan Marino en su última etapa (1960-1980). Los objetivos fueron caracterizar el género de “música de terror”, esclarecer el proceso de musicalización del radioteatro El siniestro Dr. Mortis en el período mencionado, identificar título y procedencia de los trozos musicales usados en cada episodio, y proponer tanto hipótesis hermenéuticas como proyecciones, a partir de la información encontrada. El marco teórico incorporó varios autores, especialmente K. J. Donnelly y su caracterización del género de música de terror en el cine, y la metodología incluyó entrevista, indagación bibliográfica y escucha de un amplio repertorio musical asociado al Doctor Mortis. Se descubrió una modalidad de trabajo peculiar en la edición de este radioteatro y el uso de piezas de música de concierto, de cine y de librerías musicales.

Abstract In this essay I propose to study how Óscar Liera, in his dramatic text Las fábulas perversas, makes use of the resources of farce to construct a deeply critical vision of a relevant episode in the Mexican history. The playwright recreates the figure of Fray Servando Teresa de Mier and turns him, through the tones of laughter, into a reference and a symbol of freedom, who opposes the abuses of power while unmasking his perverse fables.

Resumen En este ensayo me propongo estudiar cómo Óscar Liera, en su texto dramático Las fábulas perversas, echa mano de los recursos de la farsa para construir una visión profundamente crítica de un episodio relevante de la historia de México. El dramaturgo recrea la figura de Fray Servando Teresa de Mier y lo convierte, mediante los tonos de la risa, en un referente y un símbolo de libertad, que se opone a los abusos del poder al tiempo que desenmascara sus fábulas perversas.

RESUMO Na parte central do livro do Apocalipse (4,1-22,9), há um grupo de hinos (4,8-11; 5,9-14; 7,10-12; 11,15-18; 12,10-12; 15,3-4; 19,1-8) que sintetiza o drama teológico do livro. O enredo desta parte apresenta um julgamento em que Deus age como um justo juiz contra os inimigos. Assim, este artigo apresenta uma análise literária da narração do hino conclusivo (19,1-8). O texto escolhido canta a salvação de Deus e convida a todos a louvar (19,5), por causa do reinado de Deus (19,6) e das núpcias do Cordeiro com sua esposa (19,7), a comunidade de fé, vestida com a justiça dos santos (19,8). Nesta apresentação serão desenvolvidos os seguintes tópicos: a lista dos hinos do Livro do Apocalipse; o contexto literário e a delimitação de 19,1-8; e a análise literária do texto. O último hino constitui um final que retoma muitos temas presentes em outras passagens do Apocalipse, principalmente nos seus hinos.

ABSTRACT In the central part of the Book of Revelation (4:1?22:9), there is a group of hymns (4:8-11; 5:9-14; 7:10-12; 11:15-18; 12:10- 12; 15:3-4; 19:1-8) that synthetizes the theological drama of the book. The plot of this part presents a judgement in which God acts as a fair judge against the enemies. Thus, this paper presents a literary analysis of the narration conclusive hymn (19:1-8). The chosen text sings God’s salvation and invites everyone to praise (19:5), because of God’s reign (19:6) and the nuptials of the Lamb with his wife (19:7), the community of faith, dressed with the Saints’ righteousness (19:8). The following topics will be developed in this presentation: the list of the hymns on the Book of Revelation; the literary context and the delimitation of 19:1-8; and the text’s literary analysis. The last hymn constitutes an ending that recapitulates many themes present in other passages of Revelation, mainly in its hymns.

Resumen La obra de ficción Odisea 2001, en su expresión escrita y cinematográfica, es el motivo para analizar en este trabajo los 3 momentos de la historia humana -ascendencia, decadencia y trascendencia- que identifican al homo sapiens como un ser transitivo, un producto de la evolución autorrealizado pero en riesgo constante de sucumbir a su misma dinámica autopoiética. Según Clarke y Kubrick (1965), el comienzo y ascenso de la especie sapiens radica en la evolución de la inteligencia desde una inducción extraterrestre, premisa que se desprende de la imaginación característica de la ciencia ficción.

Abstract The Science Fiction drama 2001 Space Odyssey is the motive to analyse in this paper the 3 moments in human history -ascendence, decadence and transcendence- that identify homo sapiens as a transitive being, a self-realized product of evolution but in constant risk of succumbing to its own autopoietic dynamics. According to Clarke and Kubrick (1965), the beginning and ascent of the sapiens species lies in the evolution of intelligence from an extraterrestrial induction, a premise that emerges from the characteristic imagination of SF.

Resumen En este artículo se presentan los resultados del plan de trabajo de iniciación científica homónimo, además del desarrollo de la traducción de Ñi pu tremen, mis antepasados (2008), de la compañía KIMVN Teatro Documental, texto dramático producido en español de Chile con pasajes en Mapudungun. La investigación estuvo vinculada al Núcleo de Estudios de Escrituras Performáticas Andinas (NUEEPA), y la Red de Estudios Andinos, con apoyo de la FAPESB. En el período de vigencia, fue realizada gradualmente la traducción interlingüística de Ñi pu tremen al portugués de Brasil. Paralelamente, se realizaron estudios bibliográficos sobre las teorías de traducción cultural e intersemiótica, considerando la pareja español/portugués, la relación entre la literatura y las artes escénicas, así como estudios acerca de los pueblos originarios de Chile y el concepto de teatro documental. El trabajo, de investigación/traducción, se justifica por la posibilidad de alentar la reflexión acerca de la traducción en cuanto apoyo a la comprensión y recepción intercultural entre las lenguas/culturas brasileña y mapuche. En este artículo señalamos cómo proyectos de traducción similares representan una posibilidad de intercambio acerca de la pluralidad étnico-racial de latinoamérica, además de estimular la visibilidad de la dramaturgia y el teatro mapuche chileno.

Resumo Nesse artigo pretende-se apresentar os resultados do plano de trabalho de iniciação científica de mesmo nome, além do desenvolvimento da tradução de Ñi pu tremen, mis antepasados (2008), da companhia KIMVN Teatro Documental, um texto dramático produzido em espanhol chileno com trechos em Mapudungun. A pesquisa, vinculada ao Núcleo de Estudo de Escrituras Performáticas Andinas (NUEEPA), e à Rede de Estudos Andinos, realizou-se com financiamento da FAPESB. Durante o seu período de vigência, a pesquisa teve como objetivo realizar gradualmente a tradução interlíngua de Ñi pu tremen, do espanhol chileno para o português brasileiro. Paralelamente, foram realizados estudos bibliográficos acerca das teorias de tradução cultural e intersemiótica, considerando o par espanhol/português, as relações entre a literatura e as artes cênicas, além de estudos sobre os povos originários do Chile e o conceito de teatro documental. O trabalho, de pesquisa/tradução, é justificado pela possibilidade de promoção de uma reflexão sobre a tradução como auxílio à compreensão e acolhimento intercultural entre as línguas/culturas brasileira e Mapuche. Neste artigo sinalizaremos como projetos de pesquisa em tradução similares representam uma possibilidade de troca de saberes acerca da pluralidade étnico-racial dos países latino-americanos, além de estimular uma maior visibilidade à dramaturgia e ao teatro mapuche chileno.

Abstract This article intends to present the results of the work plan for the scientific initiation that has the same name, as well as the translation of Ñi pu tremen, mis antepasados (2008), by the Documental Theater Company KIMVN, a dramatic text written in Chilean Spanish with excerpts in Mapudungun. The research, associated with the Center of Studies on Andean Performing Writing (NUEEPA), and with the Andean Studies Network, was funded by FAPESB. While it was being conducted, the purpose of the research was the progressive translation of Ñi pu tremens from Chilean Spanish into Brazilian Portuguese. At the same time, bibliographic studies concerning the cultural and intersemiotic translation theories were undertaken, considering the pair Spanish/Portuguese, the relations between literature and performing arts, as well as studies on native people from Chile and the concept of documental theater. The research/translation is justified by the possibility to foster the reflection on the translation as an aid to the comprehension and intercultural shelter between the Mapuche and Brazilian languages/culture. This article highlights how similar research projects on translation studies are potential ways to share knowledge about ethnic-racial plurality of Latin American countries, and provide more visibility to drama and the Chilean Mapuche theater.