A interface literatura/cinema em The Hobbit: intersemiótica nas diferentes imagens de Bilbo Baggins

• Ano de defesa: 2020
• Autor(a) principal: Freitas, Edivaldo Simão de
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Estudos da Tradução; J.R.R. Tolkien; Hobbit (Bilbo Baggins)
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/51198

The Hobbit was the first book published by Tolkien during his life and considered by many critics as a meaningful book and of great prestige for the fantasy genre. The first edition, published in 1937, gained notoriety among the readers of the genre. The mentioned literary work talks about a narrative of adventures of a hobbit called Bilbo Baggins that makes a deal with 13 dwarves and the wizard Gandalf to a journey in search for a treasure guarded by a powerful dragon that lives at the Lonely Mountain. The book was adapted by the director Peter Jackson, that was already known by the adaptation of The Lord of the Rings. From the perspective of the Triadic General Theory of Signs by Charles S. Peirce and from the Intersemiotic Translation Theory by Julio Plaza, this research aims to describe, from the iconic, indexical and symbolic translation tipology (or transcreative, transpositive and transcoding), the imagetic possibilities about the Bilbo character, that compose the filmic scenario of adventure in the adaption of The Hobbit plot, analyzing, thus, comparatively, the textual work and how the film can be put, in an instersemiotic dialogue, elements of similarity/ distinction with the original (transcreation) and continuity elements that relate to the original work (transposition), and finally imagetic elements that symbolize (transcode) the iconicity and the indiciality in the Bilbo portrait only in the first movie of the trilogy directed by Peter Jackson. Our theoretical background is based in the following theories: i) From the Literary Theory and the Semiology of Literature by Compagnion (2012); Eagleton (2006), Culler (1999), Pignatari (2004) Genette (1972), and others, ii) From the theory and/or Cinema Semiology by Metz (2018), Stam (2013) and Andrew (2002), iii) From Semiotics and the intersemiotic translation by Peirce (2012) and Júlio Plaza (2013). These last ones are the core basis to the scope in this research.