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PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (Doi

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (Doi PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC/SP Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (dois momentos para reflexão) MESTRADO EM LITERATURA E CRÍTICA LITERÁRIA São Paulo 2020 Ariane Fregotte O CONTO DE FADAS NA TRADIÇÃO E NO CONTEMPORÂNEO (dois momentos para reflexão) Dissertação apresentada à Banca examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de Mestre em Literatura e Crítica Literária sob a orientação da Prof.ª Dr.ª Vera Bastazin. São Paulo 2020 BANCA EXAMINADORA Presidente e Orientadora: _________________________________________ 1° Examinadora Prof.ª Dr.ª_________________________________________ 2° Examinador Prof. Dr.____________________________________________ DEDICATÓRIA Dedico esta Dissertação aos meus queridos avós, que participaram de minha vida contando-me histórias e presenteando-me com livros de contos de fadas. Aos meus amados pais que sempre leram histórias para mim, fazendo a minha infância feliz e amparando-me para realizar meus sonhos e voar alto. Ao meu irmão por toda ajuda tecnológica para realizar esta pesquisa. AGRADECIMENTOS Agradeço a Prof.ª Dr.ª Vera Bastazin por ter me orientado e dedicado tanto tempo de estudo para minha formação durante todo esse percurso. Aos professores que participaram da Banca do Exame de Qualificação, Prof.ª Dr.ª Maria José Gordo Palo por suas orientações e interesse no desenvolvimento de minha pesquisa e Prof. Dr. Gerson Tenório dos Santos por suas sugestões e atenção a mim dedicadas. À PUC-SP pela oportunidade da realização desta pesquisa. Aos meus pais pelo incentivo e dedicação incondicional durante toda minha pesquisa. À minha amiga Giulia Catarina Florenzano por ter me apoiado a realizar esta pesquisa. FREGOTTE, Ariane. O conto de fadas, na tradição e no contemporâneo (dois momentos para reflexão). Dissertação de Mestrado. Programa de Estudos Pós-Graduados em Literatura e Crítica Literária. Pontifícia Universidade Católica de São Paulo. SP, Brasil, 2020. 110p. RESUMO Esta pesquisa aborda as raízes históricas do conto tradicional a partir das versões de Cinderela, de Perrault (1697) e dos irmãos Grimm (1812-1815), selecionadas para uma análise comparativa à da recriação de Paula Pimenta, na obra Cinderela Pop (2015). Nossa proposta tem por objetivo mais amplo identificar as variações que o conto Cinderela sofreu quando se coloca lado a lado as versões de Perrault e dos irmãos Grimm, e a de Paula Pimenta. Ainda como objetivo, propomos contextualizar a literatura tradicional, assim como analisar as diferenças e semelhanças entre as três versões selecionadas, destacando a influência das novas mídias na versão contemporânea de Paula Pimenta. Para tanto, orientamo-nos pela seguinte problematização: é possível afirmar que as duas versões tradicionais do conto Cinderela e sua recriação em forma de novela juvenil na contemporaneidade estejam associadas às modificações da estrutura escrita do conto de fadas ocorridas através dos tempos? Para responder à questão, levantamos como hipótese, que a realidade da literatura de tradição oral e o surgimento da escrita ajudam, de alguma forma, na compreensão, ampliação e até adensamento da leitura interpretativa do conto. A fundamentação teórica da pesquisa baseia-se em apontamentos de Italo Calvino (1999), Teresa Colomer (2017), Nelly Novaes Coelho (1991), Bruno Bettelheim (1980), Vladimir Propp (1983), Fernando Segolin (2006), Samira de Mesquita (2006) e Walter Benjamin (2012). Entre outras considerações, esta pesquisa nos aponta que as variações desde a tradição oral, evidenciam momentos históricos que compõem um cenário de fundo das transformações dos contos, em especial, Cinderela, uma das narrativas mais destacadas, dentre os contos infantis. Palavras-chave: Contos de fadas ontem e hoje; Cinderela, Charles Perrault; irmãos Grimm; Paula Pimenta. FREGOTTE, Ariane. The fairy tale, in tradition and in the contemporary (two moments for reflection). Master’s Dissertation. Post-Graduate Program of Literature and Literary Criticism. Pontifícia Universidade Católica de São Paulo, PUC/SP. SP, Brazil, 2020. 110p. ABSTRACT This research deals with the historical roots of the traditional tales, based on the versions of Cinderella, Perrault (1697) and the brothers Grimm (1812-1815), selected for a comparative analysis with the recreation of Paula Pimenta, in the work Cinderela Pop (2015). Our proposal has a broader objective to identify the variations that the Cinderella tale suffered when placed side by side versions of Perrault and the Brothers Grimm, and Paula Pimenta. Still as an objective, we propose to contextualize the traditional literature, as well as to analyze the differences and similarities between the three selected versions, highlighting the influence of new media in the contemporary version of Paula Pimenta. Therefore, we are guided by the following problematization: is it possible to affirm that the two traditional versions of the short story Cinderella and its recreation in the form of a youth novel in contemporary times are associated with the changes in the written structure of fairy tales that have occurred through the ages? To answer the question, we raised the hypothesis that the reality of oral tradition literature and the emergence of writing helps, in some way, in the understanding, expansion and even densification of the interpretative reading of the tale. The theoretical basis of the work is based on indicators by Italo Calvino (1999), Teresa Colomer (2017), Nelly Novaes Coelho (1991), Bruno Bettelheim (1980), Vladimir Propp (1983), Fernando Segolin (2006), Samira de Mesquita (2006) and Walter Benjamin (2012). Among other considerations, this research points out that the variations since the oral tradition, evidence historical moments that compose a background scenario of the tales transformations, in particular, Cinderella, one of the most outstanding expressions among the children's stories. Keywords: Fairy tales yesterday and today; Cinderella; Charles Perrault; brothers Grimm; Paula Pimenta. LISTA DE ILUSTRAÇÕES Figura 1: Foto de Charles Perrault. Fonte: britannica.com/biography/Charles- Perrault..............................................................................................................36 Figura 2: Foto de Jacob e Wilhelm. Fonte: britannica.com/biography/Brothers- Grimm................................................................................................................38 Figura 3: Foto de Paula Pimenta. Fonte: hojeemdia.com.br/mais/baseado-em- livro-de-escritora-mineira-cinderela-pop-ser%C3%A1-lan%C3%A7ado-no-dia- 28-1.693034/paula-pimenta-7.1417086.............................................................39 Figura 4: Foto do livro Contos de fadas. Fonte: zahar.com.br/livro/contos-de- fadas-edicao-comentada-e-ilustrada-0..............................................................41 Figura 5: Foto do livro Contos dos Irmãos Grimm. Fonte: livrosclassicos.com.br /contos-dos-irmaos-grimm-capa-comum/..........................................................44 Figura 6: Foto do livro Cinderela Pop. Fonte: bondfaro.com.br/livros--cinderela- pop--paula-pimenta-8501103586.html...............................................................51 SUMÁRIO INTRODUÇÃO...................................................................................................10 CAPÍTULO I: A tradição oral do conto de fadas e suas transformações na escrita contemporânea....................................................................................16 1.1. Contos: da tradição oral à escrita................................................................16 1.2. Estrutura literária do conto de fadas............................................................20 1.3. Contos populares e Literatura Infantil..........................................................29 1.4. A narrativa no conto e na versão contemporânea.......................................32 CAPÍTULO II: Análise dos contos e da novela juvenil...................................36 2.1. Os contos e a novela juvenil........................................................................36 2.1.1. Charles Perrault (1628-1703)...................................................................36 2.1.2. Jacob Grimm (1785-1863) e Wilhelm Grimm (1786-1859).......................38 2.1.3. Paula Pimenta (1975)...............................................................................39 2.2. Duas versões do conto Cinderela................................................................41 2.3. A versão Cinderela Pop...............................................................................51 CAPÍTULO III: Aproximações entre as narrativas..........................................61 3.1. Comparação entre as versões de Charles Perrault, dos irmãos Grimm e de Paula Pimenta....................................................................................................61 3.2. As marcas da contemporaneidade em Cinderela Pop................................63 CONSIDERAÇÕES FINAIS...............................................................................75 REFERÊNCIAS.................................................................................................77 ANEXOS............................................................................................................80 A. I: Cinderela ou Sapatinho de Vidro................................................................80 A. II: A Gata Borralheira.....................................................................................82
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