[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-151771-en":3,"doc-seo-151771-105":30,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":20,"is_downloadable":20,"audit_status":20,"page_count":21,"language":22,"language_code":23,"site_id":24,"html_lang":23,"table_of_contents":25,"faqs":26,"seo_title":27,"seo_description":14,"update_tm":28,"read_time":29},151771,4810365810221,"Aurora","https://ap-avatar.wpscdn.com/davatar_155a257f0dc6eb9ab79c44ca47cae57d",2,"Literature","07+Peliano - Hunting for the Looking-Glass monsters in the history of “Jabberwocky” translations into Brazilian Portuguese","The text traces how “Jabberwocky” from Lewis Carroll has been translated and reimagined in Brazilian Portuguese across different translators and periods. It focuses on the treatment of portmanteau monsters and invented language, showing how Brazilian versions either avoid or embrace neologisms, such as Algaravia, Valentia, Jaguadarte, and other hybrids. Comparative discussion highlights translation choices, including adherence to the poem’s sound and logic, and the influence of creative principles associated with Humpty Dumpty. It also links naming to etymological play, explaining how meanings are constructed through invented words.","Brazilian Portuguese  \nJaguadarte  \nEra briluz. As lesmolisas touvas  \n:WTLI^IU M ZMT^QIU VW[ OZIUQT^W[􀀖  \nEstavam mimsicais as pintalouvas,  \nE os momirratos davam grilvos.  \n“Foge do Jaguadarte, o que não morre!  \nGarra que agarra, bocarra que urra!  \n.WOM LI I^M .MTNMT􀀔 UM] ÅTPW􀀔 M KWZZM  \nDo frumioso Babassurra!”  \nÊle arrancou sua espada vorpal  \n-NWQ I\\Zn[ LW QVQUQOW LW 0WU]VLW􀀖  \n6I nZ^WZI \u003CIU\\IU wTM IÅVIT  \nParou, um dia, sonilundo.  \nE enquanto estava em sussustada sesta,  \nChegou o Jaguadarte, ôlho de fogo,  \n;WZZMTÅÆIVLW I\\ZI^u[ LI ÆWZM[\\I􀀔  \nE borbulia um riso louco!  \nUm, dois! Um, dois! Sua espada mavorta  \n>IQ􀀕^MU􀀔 ^MU􀀕^IQ􀀔 XIZI \\Zn[􀀔 XIZI LQIV\\M􀀉  \nCabeça fere, corta, e, fera morta,  \nEi-lo que volta galunfante.  \n“Pois então tu mataste o Jaguadarte!  \nVem aos meus braços, homenino meu!  \nOh dia fremular! Bravooh! Bravarte!”  \nÊle se ria jubileu.  \nEra briluz. As lesmolisas touvas  \n:WTLI^IU M ZMT^QIU VW[ OZIUQT^W[􀀖  \nEstavam mimsicais as pintalouvas,  \nE os momirratos davam grilvos.  \nAugusto de Campos  \n52  \nBlahblahsaura in Brazil  \nAdriana Peliano  \nHunting for the Looking-Glass monsters in the history of “Jabberwocky”  \ntranslations into Brazilian Portuguese echoes the footsteps of hunting for \\PM QUXW[[QJTM􀀖 \u003CPM ÅZ[\\ \\ZIV[TI\\WZ WN \\PM VWV[MV[QKIT XWMU _I[ I _WUIV􀀔 8MXQ\\Ide Leão, who translated both Alice books in 1934 (Livraria do Globo, illustrated by John Fahrion) . She tried to adapt the scenes described in the verses, but did not use any portmanteau words. The poem was called “Algaravia,” a word that ITZMILa M`Q[\\ML QV 8WZ\\]O]M[M􀀔 UMIVQVO I TIVO]IOM LQٻK]T\\ \\W ]VLMZ[\\IVL WZ I confusion of voices, a gibberish.  \n8ZQWZ \\W \\PI\\􀀔 5WV\\MQZW 4WJI\\W􀀔 NIUML NWZ PQ[ ¹AMTTW_ ?WWLXMKSMZ :IVKPº tales, had translated Alice in Wonderland QV\\W *ZIbQTQIV 8WZ\\]O]M[M NWZ \\PM ÅZ[\\ \\QUM (Companhia Editora Nacional, Alice in Wonderland in 1931 and Through the LookingGlass QV 􀀙!􀀛􀀛􀀑􀀖 *]\\ 4WJI\\W LQL VW\\ \\ZIV[TI\\M \\PM ÅZ[\\ 􀀗 TI[\\􀀔 UW[\\ NIUW][􀀔 IVL UW[\\ KZaX\\QK [\\IVbI WN \\PM XWMU􀀔 J]\\ WVTa \\PM ÅN\\P [\\IVbI􀀔 _PQKP [\\IOM[ \\PM UWV[\\MZ¼[ death, written backwards, but with each letter in a normal position and, therefore, without real mirroring.  \nFollowing the creative principle promoted by Humpty Dumpty, monster and XWMUPI^MJMMV OQ^MV ^MZaLQٺMZMV\\ VIUM[ W^MZ \\PM aMIZ[􀀔 LQٺMZMVKM[ \\PI\\ M`\\MVLML to the poem as a whole. Some translators used existing words like “Algaravia”(above; W\\PMZ[][ML \\PM [IUM \\Q\\TM\" \\Z􀀖 7TQ^MQZI :QJMQZW 6M\\\\W􀀔 -LQ\\WZI LW *ZI[QT􀀔 V􀀖L􀀖 􀀐KQZKI 1950); tr.João Sette Camera, Ciranda Cultural, 2019) or “Valentia”(“Bravery”; tr. Maria Thereza Cunha de Giacomo, Editora Melhoramentos, 1966), or invented words like “Jaguadarte” (tr. Augusto de Campos, Summus, 1976); “Javaleão,”¹2I^ITQOn\\WZ􀀔º IVL ¹2IZIZIKWZ^Wº 􀀐¹\u003CZQ􀀕L]trWº *ZI]TQW \u003CI^IZM[ X]JTQ[PML QV \\PM literary newspaper Nicolau􀀔 􀀙! !􀀑\\# ¹*TIJTI[[I]ZWº 􀀐\\Z􀀖 :QKIZLW /W]^MQI􀀔 5IZ\\QV[  \n.WV\\M[􀀔 􀀙!! 􀀑\\# ¹*M[\\QIT~OQKWº 􀀐\\Z􀀖 -]OwVQW )UILW􀀔 1\\I\\QIQI􀀔 􀀙!!!􀀑\\# ¹8IZOIZn^QWº(tr. Maria Luiza de X. Borges, Alice Edição Comentada, Jorge Zahar, 2002; also tr. 4M\\yKQI ,IV[I􀀔 )]\\wV\\QKI􀀔 􀀚􀀘􀀘 􀀑\\# ¹\u003CIOIZMTrWº 􀀐\\Z􀀖 ?QTTQIU 4IOW[􀀔 4􀀎85􀀔 􀀚􀀘􀀘􀀜􀀑\\#  \n53  \n“Babatrote,”“Jaguaboque,”“Tagareloca,” and ”Jagarroca,”(tr. Yara Azevedo Cardoso in the online magazine Zunái); “Jaalgaravio”(tr. Maria Luiza Newlands ;QT^MQZI IVL 5IZKW[ 5IٺMQ􀀔 ;ITIUIVLZI􀀔 􀀚􀀘􀀙􀀘􀀑\\# ¹/ZQ\\IZZQTPWº 􀀐\\Z􀀖 2WZOM .]Z\\ILWand Liziane Kugland, Alfaguara Brasil, 2012); “Jaberuco”(tr, Alexandre Barbosa de Souza, Cosac Naify, 2015); or simply retained “Jabberwocky” (tr. Cynthia *MI\\ZQKM +W[\\I􀀔 8WM\\Q[I􀀔 􀀚􀀘􀀙􀀝\\# \\Z􀀖 5nZKQI ;WIZM[ /]QUIZrM[􀀔 )]\\wV\\QKI􀀔 􀀚􀀘􀀙 􀀑\\#¹2IO]ILIZ\\º 􀀐\\Z􀀖 ;IZIP 8MZMQZI􀀔 8IVLWZOI􀀔 􀀚􀀘􀀙!􀀑\\# ¹\u003CMa􀂃 AIO]nº 􀀐\\Z􀀖 :QKIZLW Giasseti, Mojo, 2020) . The words oscillate between the name of a hybrid and fabulous monster and an idea that refers to logic and language. If “bestialógico”is a mixture of “bestial” and “lógico”(“logical”),“blablassauro,” mixes the blah, blah, blah WN I RIJJMZQVO KWV^MZ[I\\QWV IVL \\PM /ZMMS _WZL ƇŶЄƅŶ 􀀐¹[I]ZIº􀀑􀀔 TQ","cbCaivysgNDTCo1J","https://ap.wps.com/l/cbCaivysgNDTCo1J","pdf",913203,1,8,"English","en",105,"# Hunting for the Looking-Glass monsters in the history of “Jabberwocky” translations into Brazilian Portuguese\n## Brazilian Portuguese echoes and invented lexicon\n## Augusto de Campos’s transcreation and legacy\n## Etymology, neologisms, and meaning-making","[{\"question\":\"What translation challenge does the text emphasize for “Jabberwocky” in Brazilian Portuguese?\",\"answer\":\"The text emphasizes the difficulty of rendering portmanteau monsters and invented language while preserving their sound, logic, and playful meanings in Portuguese.\"},{\"question\":\"How does Augusto de Campos’s translation differ from other approaches mentioned?\",\"answer\":\"It is presented as among the most successful, due to sophisticated language choices, a strong preface, and a creative strategy that expands the poem’s verbal world through transcreation.\"},{\"question\":\"Why do the translators create or adapt invented words like “Jaguadarte” and “Algaravia”?\",\"answer\":\"They aim to capture both the sense of hybrid, fabulous creatures and the underlying references to logic and language embedded in Carroll’s nonsense.\"}]","07+Peliano - Hunting for the Looking-Glass monsters in the history of “Jabberwocky” translations into Brazilian Portuguese | PDF",1787849010,12,{"code":4,"msg":31,"data":32},"ok",{"site_id":24,"language":23,"slug":33,"title":13,"keywords":34,"description":14,"schema_data":35,"social_meta":86,"head_meta":88,"extra_data":90,"updated_unix":28},"07peliano-hunting-for-the-looking-glass-monsters-in-the-history-of-jabberwocky-translations-into-brazilian-portuguese","",{"@graph":36,"@context":85},[37,53,68],{"@type":38,"itemListElement":39},"BreadcrumbList",[40,44,47,50],{"item":41,"name":42,"@type":43,"position":20},"https://docshare.wps.com","Home","ListItem",{"item":45,"name":46,"@type":43,"position":11},"https://docshare.wps.com/document/","Document",{"item":48,"name":12,"@type":43,"position":49},"https://docshare.wps.com/document/literature/",3,{"item":51,"name":13,"@type":43,"position":52},"https://docshare.wps.com/document/07peliano-hunting-for-the-looking-glass-monsters-in-the-history-of-jabberwocky-translations-into-brazilian-portuguese/151771/",4,{"url":51,"name":13,"@type":54,"author":55,"headline":13,"publisher":57,"fileFormat":60,"inLanguage":23,"description":14,"dateModified":61,"datePublished":62,"encodingFormat":60,"isAccessibleForFree":63,"interactionStatistic":64},"DigitalDocument",{"name":9,"@type":56},"Person",{"url":41,"name":58,"@type":59},"DocShare","Organization","application/pdf","2026-09-05","2026-08-27",true,{"@type":65,"interactionType":66,"userInteractionCount":20},"InteractionCounter",{"@type":67},"ViewAction",{"@type":69,"mainEntity":70},"FAQPage",[71,77,81],{"name":72,"@type":73,"acceptedAnswer":74},"What translation challenge does the text emphasize for “Jabberwocky” in Brazilian Portuguese?","Question",{"text":75,"@type":76},"The text emphasizes the difficulty of rendering portmanteau monsters and invented language while preserving their sound, logic, and playful meanings in Portuguese.","Answer",{"name":78,"@type":73,"acceptedAnswer":79},"How does Augusto de Campos’s translation differ from other approaches mentioned?",{"text":80,"@type":76},"It is presented as among the most successful, due to sophisticated language choices, a strong preface, and a creative strategy that expands the poem’s verbal world through transcreation.",{"name":82,"@type":73,"acceptedAnswer":83},"Why do the translators create or adapt invented words like “Jaguadarte” and “Algaravia”?",{"text":84,"@type":76},"They aim to capture both the sense of hybrid, fabulous creatures and the underlying references to logic and language embedded in Carroll’s nonsense.","https://schema.org",{"og:url":51,"og:type":87,"og:title":13,"og:site_name":58,"og:description":14},"article",{"robots":89,"canonical":51},"index,follow",{"doc_id":7,"site_id":24},{"code":4,"msg":5,"data":92},[93,97,100,104,109,114,119,123,128,131,135],{"id":20,"doc_module":4,"doc_module_name":46,"category_name":94,"show_sort_weight":95,"slug":96},"Story & Novel",90,"story-novel",{"id":11,"doc_module":4,"doc_module_name":46,"category_name":12,"show_sort_weight":98,"slug":99},80,"literature",{"id":52,"doc_module":4,"doc_module_name":46,"category_name":101,"show_sort_weight":102,"slug":103},"Exam",70,"exam",{"id":105,"doc_module":4,"doc_module_name":46,"category_name":106,"show_sort_weight":107,"slug":108},5,"Comic",60,"comic",{"id":110,"doc_module":4,"doc_module_name":46,"category_name":111,"show_sort_weight":112,"slug":113},6,"Technology",50,"technology",{"id":115,"doc_module":4,"doc_module_name":46,"category_name":116,"show_sort_weight":117,"slug":118},7,"Healthcare",40,"healthcare",{"id":21,"doc_module":4,"doc_module_name":46,"category_name":120,"show_sort_weight":121,"slug":122},"Research & Report",30,"research-report",{"id":124,"doc_module":4,"doc_module_name":46,"category_name":125,"show_sort_weight":126,"slug":127},9,"Religion & Spirituality",20,"religion-spirituality",{"id":126,"doc_module":4,"doc_module_name":46,"category_name":129,"show_sort_weight":126,"slug":130},"World Cup","world-cup",{"id":132,"doc_module":4,"doc_module_name":46,"category_name":133,"show_sort_weight":132,"slug":134},10,"Lifestyle","lifestyle",{"id":136,"doc_module":4,"doc_module_name":46,"category_name":137,"show_sort_weight":105,"slug":138},19,"General","general"]