Estudos Linguísticos E Literários
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UNIVERSIDADE FEDERAL DE SANTA CATARINA CAMPUS FLORIANÓPOLIS PROGRAMA DE PÓS-GRADUAÇÃO EM INGLÊS: ESTUDOS LINGUÍSTICOS E LITERÁRIOS PATRICIA BRONISLAWSKI FIGUEREDO READER AND AUDIENCE RESPONSE TO THE DEATH OF SHERLOCK HOLMES: FROM MAGAZINE SHORT STORIES (1890s) TO THE TV SERIES SHERLOCK (2010s) FLORIANÓPOLIS 2020 Patricia Bronislawski Figueredo READER AND AUDIENCE RESPONSE TO THE DEATH OF SHERLOCK HOLMES: FROM MAGAZINE SHORT STORIES (1890s) TO THE TV SERIES SHERLOCK (2010s) Tese submetida ao Programa de Pós Graduação em Letras Inglês: Estudos Linguísticos e Literários da Universidade Federal de Santa Catarina para a obtenção do título de doutora em Inglês: Estudos Linguísticos e Literários. Orientadora: Profa. Dra. Anelise Reich Corseuil Coorientadora: Profa. Dra. Camila A. P. Figueiredo Florianópolis 2020 Ficha de identificação da obra A ficha de identificação é elaborada pelo próprio autor. Orientações em: http://portalbu.ufsc.br/ficha Patricia Bronislawski Figueredo Reader and audience response to the death of Sherlock Holmes: from magazine (short stories - 1890s) to the TV series Sherlock (2010s) O presente trabalho em nível de doutorado foi avaliado e aprovado por banca examinadora composta pelos seguintes membros: Profa. Brunilda Reichmann, Dra. UNIANDRADE (Centro Universitário Campos de Andrade) Profa. Erika Vieira, Dra. Universidade Federal dos Vales do Jequitinhonha e Mucuri Profa. Maria Lúcia Milléo Martins, Dra. Universidade Federal de Santa Catarina Certificamos que esta é a versão original e final do trabalho de conclusão que foi julgado adequado para obtenção do título de doutor em Inglês: Estudos Linguísticos e Literários. ____________________________ Profa. Dra. Rosane Silveira Coordenadora do Programa ____________________________ Profa. Dra. Anelise Reich Corseuil Orientadora ____________________________ Profa. Dra. Camila A. P. Figueiredo Coorientadora Florianópolis, 13 de julho de 2020. Este trabalho é dedicado a Tarcísio, Rafael, Giana e Maria Teresa, maiores presentes do doutorado. ACKNOWLEDGMENTS The writing of this thesis began in my own first encounters with Sherlock Holmes - my constant going to the library as a teenager to discover new books, and my father's indication of The Sign of the Four as a book that would be my first detective novel. Now so few years later, as an undergraduate, a friend's recommendation of Sherlock started the curiosity about the adaptations of Holmesian stories, generating research questions that would take me five years to address academically. This process was surrounded by people who gave me the most valuable academic and personal support, and whose contribution I must acknowledge. First and foremost, I thank God for introducing me this path to Truth, Beauty, and Goodness. Reading (and studying) detective stories shed important light on my understanding of my quest for Truth and helped me grow spiritually and academically. Also, thanks to Mary and St. Edith Stein for the example and intersection for this process. Thanks to my family that grew considerably during these 5 years. I thank my husband Tarcisio for the patience and support, for never letting me give up and giving me great ideas. Rafael, Giana, and Maria Teresa, who have no idea what a dissertation is, but who helped me to stay connected to the reality with their crying, laughing, feeding, and changing diapers while teaching me great things about love and self-sacrifice. Thanks to my parents, Carlos and Nanci, to my sister Thais and my family-in-law, Gislane, Bernardino, and Tamires for the prayers, encouragement, and understanding during my absences. Thanks to my friends - Isa, Jaime, Ana, Lucas, Nicole, Alice, Maura, Marciria, Camila, Maycon, Suelen, Fabio (and the kids!), Elvis, Gi, Luana, Vivi, Gabi - for being there. I thank my adviser Anelise for all the valuable advice, both academic and personal. Camila for the reading suggestions, comments, and encouragement. Professors Brunilda and Eliana for the comments during my qualification, Brunilda, Erika, Maria Lucia, and André for Reading my work and accepting the invitation to be part of the evaluation committee. When I was writing this dissertation, I had a chance to go to a few meetings of the television study group organized by André. Thank you guys, you have no idea how important these few moments were for my research. Also, thanks Eliana and Anelise for guiding me in two semesters of Teaching Practice, and all the undergraduate students in these courses for helping me in this learning process. Thanks professor Rosana and the other PPGI professors. Thanks Valdete for always receiving me with a smile and helping me with the program procedures and documents. Thanks Caroline and Adrielly for all the help in the defense process! Thanks Capes for the financial support, which enabled me to dedicate myself to this research. RESUMO O personagem Sherlock Holmes, criado por Sir Arthur Conan Doyle, tem muitos fãs desde suas primeiras aparições no romance A Study in Scarlet (1887), publicado de forma seriada na revista Beeton’s Christmas Annual e é amplamente reconhecido tanto nos textos canônicos escritos por Doyle quanto em suas múltiplas adaptações, alusões e pastiches. A série televisiva Sherlock (2010-) produzida pela BBC, que adapta as narrativas do detetive para o contexto contemporâneo, é considerada inovadora pela crítica por se relacionar com a audiência e com os fãs, deixando indícios em sua narrativa de que a voz dos fãs é ouvida. O presente trabalho investiga a relação entre fãs, mídia e narrativas no período referente à suposta morte do personagem Sherlock Holmes, que corresponde aos contos “The Final Problem” (1893) e “The Empty House” (1903) e o período conhecido como “Grande Hiato” entre eles e os episódios televisivos “The Reichenbach Fall” (2012) e “The Empty Hearse” (2014), e o hiato entre eles, buscando compreender suas diferenças cronológicas e a influência da mediação da crítica contemporânea. Usando os conceitos de recepção desenvolvidos por Wolfang Iser e Hans Robert Jauss, e as discussões sobre adaptação de vários teóricos como Linda Hutcheon e Thomas Leitch, a tese demonstra que não só os eventos narrativos e personagens criados por Doyle são adaptados para a série mas também as estratégias que geram engajamento e o relacionamento com os fãs. Com base nisso, propõe-se uma análise dos diferentes elementos envolvidos nessa relação: o texto em si (e como ele chama o público a uma interação), a recepção crítica (e a mediação nessa relação) e a representação dos fãs e de sua resposta nas narrativas. A análise do conto e do episódio em que o detetive morre mostra como o texto apresenta espaços para serem preenchidos pelo público, chamando-o a dar respostas específicas que são relacionadas tanto com as estratégias retóricas dos textos quanto das expectativas de gênero. A análise de resenhas e artigos publicados após a morte de Sherlock Holmes mostra como a mídia influencia a resposta de fãs e os representa. Enquanto no conto o retorno de Sherlock Holmes tem uma estrutura narrativa similar aos outros contos, na série seu retorno faz referência ao grande número de respostas publicadas no hiato entre as narrativas. Essas referências representam estereótipos de fãs e seu comportamento enquanto deixam implícito os limites esperados nesse comportamento. A diferença entre os meios, e nas expressões de fãs mostra que os contextos, das publicações literárias para nosso mundo midiático contemporâneo, influenciam no relacionamento entre a criação de um personagem e as expectativas de fãs. Palavras-chave: Sherlock Holmes. Adaptação. Recepção. Fãs. ABSTRACT The character Sherlock Holmes, created by Sir Arthur Conan Doyle, has a large number of fans since its first narratives in A Study in Scarlet, published serially in Beeton’s Christmas Annual (1887) and he is widely known either in the canonical texts written by Doyle and in its multiple adaptations, allusions, and pastiche. The TV series Sherlock produced by BBC (2010-), which adapts the detective to the contemporary context, is considered innovative by the critics as it shows the relationship with audience and fans, giving the impression that in its narrative fan voices are heard by the production team. This dissertation investigates the relationship between fans, media and narratives in the period encompassing the supposed death of the character Sherlock Holmes, which corresponds to the short stories The Final Problem” (1893) and “The Empty House” (1903) and the period between them known as “The Great Hiatus” and the episodes “The Reichenbach Fall” (2012) and “The Empty Hearse” (2014) and the hiatus between them, aiming to understand the chronological differences in them and the influence of the mediation of contemporary criticism on the series. Using the concepts of reception theory developed by Wolfgang Iser and Hans Robert Jauss, and the discussion about adaptation from several authors, among them Linda Hutcheon and Thomas Leitch, this dissertation demonstrates that not only the narrative events created by Doyle are adapted to the series but also the narrative strategies that promote engagement and a closer relationship with fans. This thesis proposes an analysis of the different elements in the relationship between the literary and TV texts (and how they call for audience interaction), the critical reception (and its mediation in the relationship), and the representation of fans and their responses in the two narratives. The analyses of the short story and the episode in which the detective dies show how the texts have blanks to be filled in by the audience, calling readers and spectators to specific responses that are both related to the rhetoric strategies of the texts and genre expectations. The analyses of reviews and articles published after the death of Sherlock Holmes show how media influences fan responses and represents them. Whereas in the short stories the return of Sherlock Holmes has a similar narrative structure to the other short stories, in the series his return refers to a large number of fans’ responses publicized during the hiatus between narratives. Such references represent stereotypes of fans and fannish behavior while they imply the expected limits in fannish behavior.