Os ogros têm camadas (dialógicas): a corrosão carnavalesca dos elementos prototípicos dos contos de fadas tradicionais fílmicos em Shrek (2001)
Fairy tales have always been part of the cultural traditions of different peoples. Through oral accounts, these discursive genres were engendered in the formation of generations, with regard to customs, religiosities and behaviors. From then onwards, the unreal, the magical and the irrational, co...
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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/123456789/55170 |
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| Resumo: | Fairy tales have always been part of the cultural traditions of different peoples. Through oral
accounts, these discursive genres were engendered in the formation of generations, with regard
to customs, religiosities and behaviors. From then onwards, the unreal, the magical and the
irrational, common categories in the archetypal representations of fairy tales, became recurrent
conceptions in the creation of stories, whose prohibited, banned or rejected phenomenologies
by society came to be considered possible in the wonderful world. In terms of writing, some
names stood out by producing or assembling collections of fairy tales for children, some of
them being the german brothers Grimm (Snow White and the seven dwarfs); the french Charles
Perrault (Sleeping Beauty) and the danish Hans Christian Andersen (The Little Mermaid). With
technological advances, these same tales gained new versions through the cinematographic
image. The rise of animation cinema, mainly by the Disney industries, contributed to these
narratives, which have resisted for millennia, to establish themselves with the characteristics
they have today. However, in the film Shrek (2001), by DreamWorks, we are presented with
an animated fairy tale in reverse of these oral and cinematographic stories, in which the
problem revolves around the corrosion of filmic texts that present in their plots constructions
of oral stories and, thus, considered as "traditional". In the plot, we are taken to follow the
adventure of the ogre Shrek in search of Princess Fiona, with which he falls in love on the way.
It is on this path that existential dilemmas, identity issues, as well as the chronotopic
interferences of the road in the subjects are revealed. Thus, to corroborate this discussion, we
use the basic precepts that guide the postulates of the Bakhtin Circle, with regard to discursive
genres (BAKHTIN, 2016) (focused on filmic fairy tales); the carnival cosmovision and the
philosophy of laughter (BAKHTIN, 2010, 2018) as principles of subversion and corrosion, and
the concept of chronotope (BAKHTIN, 2018); furthermore, the research is inserted in the
mestizo, hybrid, multidisciplinary and radical area of Applied Linguistics and is based on the
philosophical theories of Byung-Chul Han (2017a, 2017b, 2019, 2021), as well as in the
concept of hypermodernity by Lipovetsky (2004). Regarding the methodology, the
construction and collection of data was developed from a qualitative-interpretative perspective
and was used the evidential paradigm of Ginzburg (1986) and the dialogical comparison, first
thought by Bakhtin (2017) and later elaborated by Manfrim (2017) and Sobral (2017). It's
believed that our corpus presents a conception of the hero, the princess and the grotesque body
whose deconstruction of idealized images of children's tales present, in the movie's
heterodiscourse, representations that differ from those present in fairy tales. |
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