Da palavra ao traço: a análise dialógica do processo de transposição do cronotopo do sertão, em Grande Sertão: Veredas, para a homônima adaptação em Graphic Novel
João Guimarães Rosa’s literary output has given rise to innumerable actions and events in national or international literary circles, such as meetings, seminars, lectures, and several literary projects, reports, in addition to a vast and relevant academic and editorial production. His work suppor...
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| Formato: | Dissertação |
| Idioma: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/32041 |
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| Resumo: | João Guimarães Rosa’s literary output has given rise to innumerable actions and events in
national or international literary circles, such as meetings, seminars, lectures, and several
literary projects, reports, in addition to a vast and relevant academic and editorial production.
His work supports the development of studies in different areas and promotes the
interdisciplinary dialogue between them, namely, theory and literary criticism, cultural studies,
philosophy, psychology, history, and linguistics, for example. There have been important
intersemiotic translations to his best known and most appreciated tales in the artistic universe
of music, cinema, and television. In this context, special attention is given to his worldrenowned masterpiece, translated into several languages: the novel Grande Sertão: Veredas
[The devil to pay in the backlands] (ROSA, 2001). This work, as well as his short stories, has
also become the object of translation to different artistic adaptations. Thus, at the beginning of
the 21st century it was given a place in the universe of comics, with the explosion of these
artistic objects in the Brazilian publishing market. In an era of enormous exploration of
technological means and processes of communication and information, such as social media,
the primacy of the verbal-visual utterance comes to prominence (BRAIT, 2013) as a new
proposal for literacy and artistic-literary possibilities. In this dialogue between the verbal and
the visual, forming a verbo-visual unity in graphic adaptation, the fundamental theoretical
studies of Brait (2009; 2013; 2014), Ramos (2019), McCloud (1993; 2005), Eisner (2010)
have become essential for the establishment of an interdiscursive and intersemiotic dialogue
between Rosa’s text (2001) and the graphic novel by Guazzelli Filho e Rosa (2016). Based on
theoretical-literary and language studies grounded in Bakhtinian texts (BAKHTIN, 2010;
2011; 2016; 2018b), it is possible to extend the full understanding of his theoretical
investigations to different forms of artistic language and expression, in addition to the
importance of the concept of chronotope to the process and finishing of these forms and
expressions. This understanding guided the analytical activity of our research, with the
perception and unfolding of chronotopic categories in the plot of the novel, namely, the
chronotope of the geographical backlands and the chronotope of the ideological backlands,
and of how the process of their respective transpositions from the strictly verbal to the verbalvisual interpretation occurs in the adapted work. Therefore, we analyzed how the chronotope
is represented verbally and visually in those same categories, that is, the backlands
chronotopically observed in the geographic as well as in the ideological realm. In this process,
excerpts from the aforementioned graphic novel that support our investigation were selected
in both the first and second aspects; however, in the latter, our analysis took place around two
relevant moments in the novel, transposed to the adaptation, due to the tense and creative
value they contain, namely, the demonic pact in Veredas Mortas [Dead Streams] and the
crossing by Liso do Sussuarão [Sussuarão Desert]. Thus, we analyzed the chronotopic
unfolding, according to the theoretical framework, in each of the selected images and,
whenever possible or appropriate, both in its presence and absence, through the following
elements: the chromatic and achromatic sensations produced, that is, the role of colors;
framing (gutter, gap, line, and view plane); and the verbal-visual elements of the linguistic
composition (lettering, text, and balloons). We then came to understand the possibilities,
transformations and difficulties measured in the research results, concluding that the
adaptation was able to respond to architectural and compositional projects (BAKHTIN, 2010)
in the transposition of the source literary work in a satisfactory way. |
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