Universidade De São Paulo Faculdade De Filosofia, Letras E Ciências Humanas

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Universidade De São Paulo Faculdade De Filosofia, Letras E Ciências Humanas UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DAVINA MARQUES ENTRE LITERATURA, CINEMA E FILOSOFIA: MIGUILIM NAS TELAS Versão Corrigida São Paulo 2013 DAVINA MARQUES ENTRE LITERATURA, CINEMA E FILOSOFIA: MIGUILIM NAS TELAS Versão Corrigida Tese apresentada ao Programa de Pós- Graduação em Estudos Comparados de Literaturas de Língua Portuguesa, do Departamento de Letras Clássicas e Vernáculas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do título de Doutor em Letras. Área de Concentração: Estudos Comparados de Literaturas de Língua Portuguesa. Orientadora: Profa. Dra. Aparecida de Fátima Bueno. De acordo: São Paulo 2013 2 Dedicatória Para Anna e Álvaro sempre 3 Agradecimentos Grata – a vocês, sempre presentes – pelo apoio, carinho e colo de minha família – meus pais e minhas irmãs pelo afeto da sobrinha e dos sobrinhos pela parceria de meu marido pelos momentos de trocas sensíveis com minhas amigas e meus amigos pelos meus mestres e parceiros de estudo da UNICAMP, da USP e... ao Maurício, pela oportunidade à Fátima, pela acolhida e pelo cuidado à Ana Luísa, pelo DVD de Mutum ao Ron, pelos livros à Fabiana, ao Sílvio, ao Antonio Carlos e ao Benjamin, pela leitura ao Wenceslao, à Alik, à Susana, à Ana e à Maria Zilda, por estarem comigo neste momento à Capes e ao DLCV, pela bolsa aos meus alunos e alunas, pelo contínuo movimento – a vocês, sempre presentes – Obrigada! 4 Resumo Esta pesquisa teve como objetivo analisar a literatura e o cinema a partir da filosofia contemporânea. Foram objetos deste estudo a literatura, aqui representada por João Guimarães Rosa, e o cinema inspirado por uma de suas obras. Analisou-se “Campo Geral”, novela publicada pela primeira vez em Corpo de Baile (1956) em relação a Mutum (2007), de Sandra Kogut, o filme mais recente de inspiração rosiana até a organização do projeto de pesquisa que deu origem a esta tese. Para a análise do corpus da pesquisa, emprestamos alguns conceitos da filosofia, especialmente de Gilles Deleuze, um autor que se dedicou ao cinema e à literatura em seus escritos individuais e na parceria com Félix Guattari. Fazendo um recorte da literatura e do cinema à luz dos conceitos filosóficos selecionados, reafirmamos as potências contemporâneas da arte rosiana. Ao trabalharmos conceitos em um plano transversal coerente com o pensamento deleuziano, também estabelecemos critérios para uma análise comparatista entre literatura e cinema, explorando principalmente o conceito de fabulação. Palavras-chave: literatura, cinema, filosofia contemporânea, fabulação. 5 Abstract We have compared literature and cinema according to contemporary philosophy. The objects of research were “Campo Geral”, written by João Guimarães Rosa (a novel first published in 1956), and the film inspired by this writing, Mutum (2007), by Sandra Kogut – the most recent film based on Rosa’s literature at the time of the proposal of this study. In order to analyse the corpus, we have selected philosophical concepts by the French philosopher Gilles Deleuze, an author who has written both on literature and cinema, with or without his writing partner, Félix Guattari. As we focused on the text and the film in the perspective of the previously chosen concepts, we have reassured the contemporary potential of Rosa’s writings. While working the concepts in a transversal plane, coherently with the deleuzian thought, we have also established criteria for comparative studies between literature and cinema, especially through the concept of fabulation. Keywords: literature, cinema, contemporary philosophy, fabulation. 6 Lista de Figuras Figura 1: Cone invertido de Bergson ........................................................................................ 46 Figura 2: Presente cindido ........................................................................................................ 47 Figura 3: Esquema de Bergson da lembrança em circuitos ...................................................... 52 7 Lista de Fotogramas Fotograma 1: ............................................................................................................................. 84 Fotograma 2 e Fotograma 3: ..................................................................................................... 85 Fotograma 4: ............................................................................................................................. 98 Fotograma 5: ............................................................................................................................. 98 Fotograma 6: ............................................................................................................................. 99 Fotograma 7: ............................................................................................................................. 99 Fotograma 8 e Fotograma 9: ................................................................................................... 100 Fotograma 10: ......................................................................................................................... 100 Fotograma 11: ......................................................................................................................... 101 Fotograma 12; Fotograma 13; Fotograma 14; Fotograma 15: ............................................... 102 Fotograma 16; Fotograma 17; Fotograma 18; Fotograma 19: ............................................... 102 Fotograma 20; Fotograma 21; Fotograma 22: ........................................................................ 103 Fotograma 23 e Fotograma 24: ........................................................................................... 104 Fotograma 25; Fotograma 26; Fotograma 27; Fotograma 28: ............................................... 105 Fotograma 29: ......................................................................................................................... 105 Fotograma 30: Fotograma 31; Fotograma 32; Fotograma 33: ............................................... 106 Fotograma 34; Fotograma 35; Fotograma 36; Fotograma 37; Fotograma 38: ....................... 107 Fotograma 39: ......................................................................................................................... 108 Fotograma 40: ......................................................................................................................... 108 Fotograma 41; Fotograma 42; Fotograma 43; Fotograma 44: ............................................... 109 Fotograma 45; Fotograma 46; Fotograma 47: ........................................................................ 110 Fotograma 48 e Fotograma 49: ............................................................................................... 110 Fotograma 50: ......................................................................................................................... 111 Fotograma 51: ......................................................................................................................... 138 Fotograma 52: ......................................................................................................................... 139 Fotograma 53: ......................................................................................................................... 142 Fotograma 54 e Fotograma 55: ............................................................................................... 142 Fotograma 56; Fotograma 57; Fotograma 58; Fotograma 59: ............................................... 150 Fotograma 60; Fotograma 61; Fotograma 62: ........................................................................ 183 Fotograma 63: ......................................................................................................................... 184 Fotograma 64: ......................................................................................................................... 185 Fotograma 65; Fotograma 66; Fotograma 67; Fotograma 68: ............................................... 185 Fotograma 69; Fotograma 70: ................................................................................................ 186 Fotograma 71: ......................................................................................................................... 186 Fotograma 72 e Fotograma 73: ............................................................................................... 187 Fotograma 74: ......................................................................................................................... 187 Fotograma 75: ......................................................................................................................... 188 8 Sumário Lista de Figuras 6 Lista de Fotogramas 7 Introdução 9 Capítulo 01. Arte e Filosofia Traçar, inventar, criar 12 1.a. Plano de Imanência e Plano de Composição 16 1.b. Rizoma 22 1.c. Ritornelo 26 1.d. Fabulação 32 1.e. Tempo 44 1.f. Imagem-movimento e Imagem-tempo 48 Capítulo 02. Adaptação e Criação Miguilim e Thiago em fabulação 54 2.a. Sobre “Campo Geral” e João Guimarães Rosa 54 2.b. Sobre Mutum e Sandra Kogut 62 2.c. Adaptação e Criação 66 2.c.1. Entre estudos da adaptação 66 2.c.2. A perspectiva da criação em diferença 76 2.d. Um Plano de Composição – um sertão em ritornelo 81 Capítulo 03. Composições I Fabulação Literária e Fabulação Fílmica 112 3.a. Fabulação Literária – um recorte 112 3.a.1. Devir-outro 114 3.a.2.
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