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L'étranger E a Transposição Midiática Killing an Arab

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L'étranger E a Transposição Midiática Killing an Arab Http://online.unisc.br/seer/index.php/signo ISSN on-line: 1982-2014 Doi: 10.17058/signo.v43i76.10676 Recebido em 02 de Setembro de 2016 Aceito em 15 de Março de 2018 Autor para contato: [email protected] L’étranger e a transposição midiática Killing an Arab L'étranger and the mediatic transposition Killing an Arab Victória Elizabeth dos Santos Ana Luiza Ramazzina Ghirardi Universidade Federal de São Paulo – UNIFESP – São Paulo – Brasil Resumo: O presente artigo tem como objetivo analisar como ocorre a transposição midiática do romance L’étranger (1942) de Albert Camus para a música Killing an Arab (1978) da banda inglesa The Cure. A partir de trechos selecionados do romance e da letra da música, foi possível fazer diferenciações pelo contexto histórico de produção das duas obras, analisá-las segundo conceitos de intertextualidade de Koch (2012) e Marcuschi (2008). Para definições de transmodalização e intermidialidade foram utilizados Gaudreault (2008), Clüver (2007), Rajewski (2012) e Genette (2006). Foi feita também uma análise direta dos trechos das obras, estabelecendo suas semelhanças e diferenças a partir da leitura dos conceitos estudados por Silva (2013). Palavras-chave: Intermidialidade. Transmodalização. Intertextualidade. Albert Camus. The Cure. Abstract: The article aims at analyzing mediact transposition of Albert Camus’ novel L’étranger (1942) into the song Killing an Arab (1978) by the British band The Cure. Excerpts from the song and the novel were discussed having as historical background the context for the production of both works and as theoretical framework the studies on intertextuality by Koch (2012) and Marcuschi (2008). Gaudreault (2008), Clüver (2007), Rajewski (2012) and Genette (2006) were the basis for the discussions on transmodalization and intermediality. Silva (2013) was the reference for the direct analysis and contrast of the excerpts.. Keywords: Intermediality. Transmodalization. Intertextuality. Albert Camus. The Cure. A matéria publicada nesse periódico é licenciada sob forma de uma Signo. Santa Cruz do Sul, v. 43, n.76, p. 33-45 , jan./abril 2018. Licença Creative Commons – Atribuição 4.0 Internacional http://creativecommons.org/licenses/by/4.0/ 34 Santos , V. E dos; Ghirardi , A. L. R. 1 Introdução seu conteúdo, mas também da sua forma. À ordem lógica da oração e à coerência estrutural e cronológica dos textos clássicos, O presente artigo apresenta o cotejo de dois correspondem uma sintaxe e uma estética textuais mais livres, empenhadas na gêneros distintos: o fragmento de um romance valorização da subjetividade do narrador e de francês e a letra de uma música britânica. Ambos são seus personagens, empenhadas em “reproduzir com a máxima fidelidade a considerados tipos relativamente estáveis de experiência psíquica” (ROSENFELD, 1976, p. 84). enunciados, pois se encontram em esferas da língua que lhes são adequadas. Segundo Bakhtin (1997, p. A observação de Rosenfeld (1976), pode ser 1), “Qualquer enunciado considerado isoladamente é, ilustrada pela passagem de L’étranger , em que o claro, individual, mas cada esfera de utilização da protagonista do romance descreve suas atividades língua elabora seus tipos relativamente estáveis de diárias: enunciados, sendo isso que denominamos gêneros J’ai pris l’autobus à 2 heures. Il faisait très chaud. J’ai mangé au restaurant, chez do discurso ”. Considerados isoladamente, ambos os Céleste, comme d’habitude. Ils avaient tous textos podem ser ditos individuais, únicos. Contudo, beaucoup de peine pour moi et Céleste m’a dit « On n’a qu’une mère. » Quand je suis parti, quando se postula a existência de uma relação entre ils m’ont accompagné à la porte. J’étais un peu étourdi parce qu’il a fallu que je monte duas produções textuais, mesmo que pertençam a chez Emmanuel pour lui emprunter une diferentes gêneros, é possível realizar um trabalho de cravate noire et un brassard. Il a perdu son oncle, il y a quelques mois (CAMUS, 2015, p. categorização, o que permite estabelecer 10) 1. semelhanças e diferenças entre ambas. No trecho acima, o ponto de vista priorizado é Os dois trabalhos artísticos estudados, o do próprio narrador, Meursault, personagem L’étranger (1942), de Albert Camus e Killing an Arab principal de sua história; é possível acompanhar suas (1978), de Robert Smith apresentam dinâmicas atividades diárias através de suas próprias palavras e diferentes de recepção e funcionamento; as experiências, o que caracteriza o romance como diferenças que apresentam podem ser classificadas estruturado a partir de uma perspectiva subjetiva. Não em categorias variadas, que serão analisadas ao apenas Meursault, como também outras personagens longo desse artigo. que aparecem no trecho, expressam sentimentos relacionados ao luto, uma vez que a mãe do 2 Variações estruturais sobre o mesmo tema protagonista havia morrido, segundo a cronologia narrativa, somente algumas horas antes, o que L’étranger é um romance, escrito por Albert resulta em compadecimento dessas personagens Camus e publicado na França em 1942; já Killing an com o narrador. Para concluir o trecho, insere-se uma Arab é uma canção, escrita por Robert Smith e ideia cultural a respeito dos ritos funerários. Ao sair lançada na Inglaterra em 1978. A segunda obra do restaurante de Céleste para ir até a casa de estabelece, entretanto, um diálogo com a primeira Emmanuel em busca de roupas específicas, admite- ainda que 36 anos separem os momentos de se que há um protocolo a ser seguido em relação às produção de um trabalho e de outro, e que os vestimentas a serem utilizadas em velórios e gêneros respectivos sejam diversos. enterros; mesmo que isso seja evidenciado de forma Considerando que a obra de Camus é um sutil, fica evidente que, à época da narrativa, homens romance, pode-se dizer a respeito da estrutura desse gênero: É característica do romance contemporâneo a 1 assimilação à sua própria estrutura da “Peguei o ônibus às duas horas. Fazia muito calor. Como de costume, almocei no restaurante do Céleste. Estavam todos relatividade da perspectiva, da consciência, com muita pena de mim e Céleste disse-me: ‘Mãe, só tem uma.’ do espaço e do tempo. Tais questionamentos, Quando saí, acompanharam-me até a porta. Estava um pouco tão frequentes na atualidade, são levantados atordoado porque foi preciso ir à casa de Emmanuel para lhe nessas narrativas, não somente através do pedir emprestadas uma braçadeira e uma gravata preta. Ele perdeu o tio há alguns meses”. (CAMUS, 2013, p. 13) Signo [ISSN 1982-2014]. Santa Cruz do Sul, v. 43, n. 76, p. 33-45 , jan./abril 2018. http://online.unisc.br/seer/index.php/signo L’étranger e a transposição midiática 35 em geral usam braçadeira e gravata preta nessas Em Killing an Arab , não se pode afirmar nem o situações. nome do personagem narrador nem mesmo sua Feitas essas considerações, pode-se afirmar identidade. Contudo, é possível notar a presença de que o narrador constrói suas ações a partir do seu um narrador incluso na própria história atuando como próprio ponto de vista, característica apontada por seu principal agente: Rosenfeld como sendo particular dos romances I’m standing on a beach With a gun in my hand contemporâneos. Staring at the sky Killing an Arab apresenta uma estrutura, em Staring at the sand (The Cure -Killing an Arab) 4. versos, típica do gênero canção e propõe, também, uma visada subjetiva. Também se faz relevante indicar que uma das No que diz respeito ao narrador, é possível principais mudanças estruturais entre as duas identificar uma marca de pessoalidade em ambas as produções se refere à língua em que foram escritas. obras, próprias de textos caracterizados pela Camus, escritor argelino de nascimento, tinha como presença de um narrador homodiegético 2. Contudo, um de seus idiomas o francês. Sobre a formação de ao recorrer a Genette (1972), é possível propor Camus, pode-se observar que o autor: também a existência de um outro tipo de narrador, Era pied-noir , pé preto, argelino. Conviveu com o colonialismo francês e cresceu em um que define melhor o personagem Meursault, o país castigado pelo subdesenvolvimento. Formou-se em filosofia na Universidade de autodiegético, aquele que não somente participa da Argel. Conseguiu penetrar no círculo de história contada, como também é seu personagem intelectuais franceses nas décadas de 1940 e 50. principal. Como dito acima, a narração de L’étranger é Já Robert Smith, compositor de Killing an Arab , realizada por Meursault, personagem principal da membro da banda The Cure , nasceu em Blackpool, história. O excerto a seguir se refere a uma das cidade da Inglaterra, cuja língua oficial é o inglês. Fica situações iniciais do romance em que o personagem portanto evidente que há uma diferença significativa vai ao asilo em que ocorrerá o velório de sua mãe. Na no código linguístico-cultural de suas produções que passagem, fica evidente mais uma vez a leva cada autor a decisões diferentes em suas pessoalidade a partir da qual a narrativa é construída, criações a partir da materialidade de cada idioma. com o uso abundante de pronomes na primeira pessoa, além da sequenciação de acontecimentos 3 Duas mídias, dois contextos históricos voltados para a vida do próprio narrador: “L’asile de vieillards est à Marengo, à quatre- Trinta e seis anos separam a publicação do vingts kilomètres d’Alger. Je prendrai l’autobus romance de Camus e a música de The Cure. Três à 2 heures et j’arriverai dans l’après-midi. Ainsi, je pourrai veiller et je rentrerai demain décadas de intervalo remetem o olhar para mudanças soir. J’ai demandé deux jours de congé à mon patron et il ne pouvait pas me les refuser avec significativas no contexto histórico que permeava as 3 une excuse pareille”. (CAMUS, 2015, p. 9) produções culturais e artísticas das respectivas épocas. 2 De acordo com o modelo proposto por Genette, Stam/Burgoyne/Flitterman-Lewis distinguem dois tipos de No caso de L’étranger , por exemplo, o mundo, narrador.
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