Dias Gomes Pantagruélico: diálogos e saramandices entre Gargântua e Pantagruel, o Berço do Herói, Saramandaia e Sucupira ame-a ou deixe-a

• Ano de defesa: 2017
• Autor(a) principal: Langaro, Cleiser Schenatto
• Orientador(a): Alves, Lourdes Kaminski
• Banca de defesa: Marinho, Marcelo , Guizzo, Antonio Rediver , Cruz, Antonio Donizeti da , Silva, Acir Dias da
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Estadual do Oeste do Paraná; Cascavel
• Programa de Pós-Graduação: Programa de Pós-Graduação em Letras
• Departamento: Centro de Educação, Comunicação e Artes
• País: Brasil
• Palavras-chave em Português: Gargântua e Pantagruel; Cultura cômica popular; Realismo grotesco; Dias Gomes
• Palavras-chave em Inglês: Gargantua and Pantagruel; Popular comic culture; Grostesque realism; Dias Gomes
• Área do conhecimento CNPq: LETRAS::LITERATURA COMPARADA
• Link de acesso: http://tede.unioeste.br/handle/tede/3046

This paper is an outcome of the comparison between the works "Gargantua and Pantagruel" (2009), written by François Rabelais in the transition from the Middle Ages to Renaissance, and the works "Sucupira, ame-a ou deixe-a: venturas e desventuras de Zeca Diabo e sua gente na terra de Odorico, o bem amado" (1982), O berço do herói (1990) and Saramandaia (1976-2013), written by twentieth century Brazilian writer and playwright Dias Gomes. The dialog proposed from style and a comic vision of the world guided a comparative analysis of the esthetic projections in the works. A reflection about the esthetics of grotesque realism, the creature-esque, its variations and about the cultural aspect of Rabelais-ish, mocking and witty kind of humor established the dialogue with Dias Gomes' current-day productions, starting from the themes, situations, characters and images that translate the popular comic culture. Dias Gomes approached and re-signified -- in his comic and satirical works -- subjects and style aspects found in Gargantua and Pantagruel. Studies point out to these writers' interest in interfering with the readers' worldview and in generating or boosting reflections that walk the opposite way of the hegemonic powers and the official political and religious regime -- not to mention the rules of aesthetics. Farce and the mocking and witty humor, as well as the creature-centered realism, the low body material, everyday talk topics and language used in the family are phenomena that bring characters, themes and situations narrated by the Brazilian playwright closer to the works of Rabelais. The style of Rabelais echoes in the productions of Dias Gomes.