O mal em Crônica da Casa Assassinada: uma análise da personagem Nina na literatura e no cinema

• Ano de defesa: 2018
• Autor(a) principal: Sampaio, Aíla Maria Leite
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Mulher; Adaptação; Mal; Literary narrative; Filmic narrative
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/30019

In the works by Lúcio Cardoso, the woman stands out as a character of recurring strength that often appears associated with evil and destruction, often harassed and judged as the cause of all problems of those around her. The protagonist of the novel Crônica da Casa Assassinada (1959), for example, is outlined as a woman who violates the role of wife and mother, assuming positions that lead the other characters to associate her with evil. In 1971, the filmmaker Paulo César Saraceni scripted and adapted this work for the cinema, highlighting the movie Casa assassinada, and consolidating the partnership between literature and cinema as well. The aim of this dissertation is to investigate how this adaptation dialogues with the source-text, analyzing if there is any influence of the poetics of Lúcio Cardoso in Saraceni’s version, how the ambivalent model of the woman judged bad is shown in the film; whether this evil is confirmed by the need for self-defense, or it is due to the interpretation of others, who do not understand individual and cultural differences; if the strategies used by the director have brought any significant implications for repositioning the source-text in the Brazilian canon or for the reader's acceptance; we have based our research on previous studies such as those of Lamego (2013), Penha Cardoso (2011; 2012; 2013; 2015); Carelli (1988), Rosa and Silva (1995; 2009) and others. In order to achieve this, we have analyzed the situations in which the female characters (CANDIDO, 1968) stand out as bad in the cardosian literary universe, and then proceeded to analyze them in the film translation; for this last part we have taken as theoretical basis the concept of film adaptation as a type of rewriting, by André Lefevere (2007); for that reason, it is considered that the adapted text (MCFARLANE, 1996) is not a copy of the original but a new writing. Thus, we understand the process as an intertextual dialogism, considering that all forms of text are intersections of other texts (STAM, 2003; 2006); (HUTCHEON, 2011). The results of the analysis showed that the evil attributed to Nina in the novel can not be seen as essential, but stems from the interpretation of her actions by the gaze of others who, having different individual motivations and background, do not understand her worldview; such narrative voices are removed (FRIEDMAN, 2002) in the film adaptation, so the character gains more space of subjectivation and the discourse on the related evil attributed to her is softened, printing in the adaptation marks of the director’s poetics.