Luís Fernando Dos Reis Pereira OS PERPÉTUOS E OS

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Luís Fernando Dos Reis Pereira OS PERPÉTUOS E OS 1 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Luís Fernando dos Reis Pereira OS PERPÉTUOS E OS INCOMPLETOS: permanência e movimento nos gibis de super-heróis e na série Sandman DOUTORADO EM COMUNICAÇÃO E SEMIÓTICA São Paulo 2010 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. 2 3 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO – PUC-SP Luís Fernando dos Reis Pereira OS PERPÉTUOS E OS INCOMPLETOS: permanência e movimento nos gibis de super-heróis e na série Sandman Tese apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo como exigência parcial para obtenção do título de Doutor em Comunicação e Semiótica, sob a orientação do Prof. Dr. José Amálio de Branco Pinheiro. São Paulo 2010 4 5 BANCA EXAMINADORA _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ 6 7 AGRADECIMENTOS Agradeço a Amálio Pinheiro, pela orientação e confiança; aos colegas do grupo de pesquisa Comunicação e Cultura: Barroco e Mestiçagem; a Paulo Pereira e Sergio Betarello, pelas colaborações; e ao CNPq, pela bolsa de estudos concedida. 8 9 Somos feitos do mesmo material dos sonhos, e nossa pequena vida é rodeada pelo sono. William Shakespeare, A tempestade, Ato 4, Cena 1. 10 11 PEREIRA, Luís Fernando dos Reis. Os Perpétuos e os Incompletos: permanência e movimento nos gibis de super-heróis e na série Sandman. 2010. 303 f. Tese (Doutorado em Comunicação e Semiótica). Programa de pós-graduação em Comunicação e Semiótica – Pontifícia Universidade Católica de São Paulo. RESUMO. A tese analisa as narrativas ficcionais da série de revistas em quadrinhos Sandman, do autor britânico Neil Gaiman, publicadas originalmente nos EUA pela editora estadunidense DC Comics e no Brasil, a princípio, pela editora Globo, entre 1989 e 1996, a partir da tradução e apropriação de elementos provenientes de diferentes contextos culturais para as construções da narrativa, com o objetivo de demonstrar que Sandman apresenta maior tendência à mobilidade e à articulação do que os gibis de super-heróis, que geralmente enfatizam as estruturas de permanência e isolamento. Em nosso trajeto, investigamos como o princípio de identidade, desenvolvido por determinados núcleos do pensamento ocidental, é aproveitado, assim como características distintas, de outros contextos culturais, colocando em jogo conceitos como centralidade/descentralidade, realidade/ficção, estabilidade/instabilidade, etc. Para fundamentar nosso percurso, recorremos às teorias sobre processos e sistemas semióticos da cultura, explorando e articulando estudos de Iuri Lotman, Severo Sarduy, Amálio Pinheiro, Jésus Martín-Barbero e Edgar Morin, enquanto as teorias de Scott McCloud e Will Eisner embasaram o estudo da linguagem recente e ainda em formação da mídia “quadrinhos” em conjunto com as teorias do romance e da carnavalização de gêneros de Bakhtin, dando suporte aos aspectos da linguagem narrativa da série analisada. Sandman, composta por 75 edições e algumas publicações especiais, combina aspectos dos quadrinhos de super-heróis estadunidenses, mitologia, cultura pop, literatura, religiosidade, paganismo, magia, fantasia, horror gótico, fatos históricos, referências filosóficas, elementos da epopeia clássica e do folclore para contar a história de Sonho, também chamado Oneiros, Morpheus, Tecedor de Formas, etc., soberano do Sonhar, e suas complexas relações com a humanidade e outros seres, entre eles seus irmãos Destino, Morte, Destruição, Desejo, Desespero e Delírio; os deuses modernos e os que já foram esquecidos; suas amantes mortais e imortais; Lúcifer e seus demônios e mesmo os anjos. Na periferia de tal trama em mosaico, pervertendo os elementos épicos clássicos, há resquícios do drama de um herói “ausente”, inacabado e absurdo, incapaz de permanecer igual a si mesmo e que insiste em habitar vários aspectos fronteiriços: ilhas entre a realidade e o Sonhar, regiões brandas, onde o tempo se torna maleável (locais de tradução entre o familiar e o estrangeiro), e seu próprio reino, fronteira metafórica entre a vida e a morte. Tais articulações possibilitam que sejam discutidos o ambiente de operação sígnica proposto por Lotman, a semiosfera, e suas fronteiras móveis/tradutórias, noção-chave para a compreensão das tendências de permanência e de mudança dos textos da cultura. Finalmente, Sonho, protagonista ocasional que é a personificação dos sonhos, questiona, ao longo das histórias, as noções objetivas de identidade, de verdade e de imutabilidade. Pode ser questionado, analogamente, o princípio de identidade de culturas autocentradas e autorreferentes baseadas em lógicas binárias e em sistemas preponderantemente fechados que costumam gerar exclusão, por meio da ideia de verdade e de tolerância, ao contrário dos ambientes do reino do Sonhar de Sandman, afeitos à ideia de hospitalidade discutida por Derrida. Palavras-chaves. Sandman, super-herói, cultura, identidade, épico, quadrinhos. 12 13 ABSTRACT. This thesis analyzes the fictional narratives of the comics books series Sandman, written by the British author Neil Gaiman, originally published by DC Comics and, in Brazil, by Globo, from 1989 to 1996, noting the translation and appropriation of elements from different cultural contexts for the construction of the narrative, in order to demonstrate that Sandman has a higher tendency to mobility and articulation than the superhero’s comic books, which generally emphasize the structures of permanence and isolation. We investigate how the principle of identity, developed by certain core of Western thought is used, as well as different characteristics from other cultural backgrounds, bringing into play concepts such as centrality and periphery, reality/fiction, stability/instability, etc. In support of our journey, we turn to theories about the processes and semiotic systems of culture, exploring and articulating studies of Yuri Lotman, Severo Sarduy, Amálio Pinheiro, Jesus Martín-Barbero and Edgar Morin, while the theories of Scott McCloud and Will Eisner served as basis for studying the “recent” and still “in process” language of the "comics" as art and media; we counted, as well, with the major contributions of Bakhtin’s theories of novel and literary genres carnavalization, to support aspects of narrative language on the studied comics. The Sandman series, with 75 editions and some special publications, combines aspects of the American superhero comics, mythology, pop culture, literature, religion, paganism, magic, fantasy, gothic horror, historical facts, philosophical references, elements of the classic epic and folklore to tell the story of Dream, also called Oneiros, Morpheus, etc., ruler of the Dreaming, and their complex relations with humanity and other beings, including his siblings Destiny, Death, Destruction, Desire, Despair and Delirium; modern gods and those who have been forgotten; their mortal and immortal lovers; Lucifer and his demons; and even the angels. In the periphery of such a mosaic plot, perverting the classic epic elements, remnants of the drama of a “missing” hero, unfinished and absurd, unable to remain equal to himself, and who insists in to inhabit different borders: islands between reality and the Dreaming; soft regions where time becomes malleable (local of translations between the familiar and the foreign), and his own kingdom, which is a metaphorical border between life and death. Such arrangements allow the discussion of the signic operating environment proposed by Lotman, the semiosphere, and its mobile/translation borders, a key concept to understanding the trends of permanence and change of the cultural texts Finally, Dream, occasional actor, the personification of the dream itself, questions, over the stories, the objective notions of identity, truth and immutability, as well as we may question, similarly, the principle of identity in self-centered and self-referencing cultures based on binary logic and mainly closed systems that tend to generate several ways of exclusion, through the idea of truth and tolerance, unlike the Sandman’s realm environments, linked to Derrida's discussion of the idea of hospitality. Keywords. Sandman, superheros, culture, identity, epic, comics. 14 15 LISTA DE FIGURAS Figura 1 Ilustração de pintura pré-colombiana. Reprodução de Scott McCloud, Desvendando os Quadrinhos, p. 10. Figura 2 Ilustração de tapeçaria francesa. Reprodução de Scott McCloud, Desvendando os Quadrinhos, p. 12-13. Figura 3 Ilustração de mural egípcio. Reprodução de Scott McCloud, Desvendando os Quadrinhos, p. 14. Figura 4 Ilustração medieval de martírio de santos. Reprodução de Scott McCloud, Desvendando os Quadrinhos, p. 16. Figura 5 Capa de primeira revista do Superman, de 1939, com arte de Joe Shuster. Figura 6 Ilustração dos Vingadores, de Alex Ross. Pôster. Figura 7 Ilustrações de Gibbons para a primeira página da série Watchmen. Figura 8 Ilustração de Frank Miller em Batman: The Dark Knight Returns, capítulo 1. Figura 9 Capa de The Amazing Spider-Man #1, 1963. Figura 10 Primeira página de X-Men #2, 1963. Figura 11 Combate entre Tempestade e Ciclope, em The Uncanny X-Men #201, 1986, arte de Rick Leonardi e Whilce Portacio. Figura 12 Homem-Aranha nas Guerras Secretas #8, 1984. Figura 13 Diagrama de Scott McCloud, Desvendando os Quadrinhos, p. 48. Figura 14 Diagrama de Scott McCloud, Desvendando os Quadrinhos, p. 52-53. Figura 15 Galactus na primeira edição de Silver Surfer, de 1968. Arte de John Buscema
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