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Disslhsj.Pdf UNIVERSIDADE FEDERAL DE SÃO CARLOS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DE LITERATURA TRANSCRIANDO HAMLET: UMA LEITURA POLÍTICA DA PEÇA DE SHAKESPEARE E DO FILME DE ZEFFIRELLI Luiz Horácio dos Santos Júnior Orientadora: Profa. Dra. Carla Alexandra Ferreira São Carlos – SP Fevereiro 2017 UNIVERSIDADE FEDERAL DE SÃO CARLOS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DE LITERATURA TRANSCRIANDO HAMLET: UMA LEITURA POLÍTICA DA PEÇA DE SHAKESPEARE E DO FILME DE ZEFFIRELLI Luiz Horácio dos Santos Júnior Dissertação apresentada ao Programa de Pós- Graduação em Estudos de Literatura (PPGLIT) da Universidade Federal de São Carlos (UFSCar), atendendo à linha Literatura, Linguagens e Meios. Orientadora: Profa. Dra. Carla Alexandra Ferreira São Carlos – SP AGRADECIMENTOS Agradeço primeiramente a Deus por suas bênçãos e onipresença em minha vida, na dos meus amigos e na de minha família. À Universidade Federal de São Carlos pela minha formação acadêmica, bem como pelas oportunidades oferecidas como estágios e cursos de extensão que me possibilitaram chegar à pós-graduação com êxito. Ao Programa de Pós Graduação em Estudos de Literatura da UFSCar, por todo o suporte que me foi dado durante a minha caminhada. À CAPES, pela concessão da bolsa de estudos que me permitiu realizar a pesquisa. À minha orientadora, Profa. Dra. Carla Alexandra Ferreira, por todo o ensinamento a mim transmitido sobre leitura política, Jameson e vida por meio de suas aulas excelentes e conversas produtivas. Agradeço por sua confiança e parceria durante o meu mestrado e, sobretudo, por ser um exemplo de pessoa e profissional a ser seguido. Aos professores que contribuíram imensamente para a minha formação acadêmica, especialmente: a Profa. Dra. Raquel Terezinha pelo seu apoio incondicional ao meu sucesso como cidadão e profissional; a Profa. Dra. Josette Maria Alves de Souza Monzani, por me conduzir nos estudos de cinema em diálogo com a literatura e o Prof. Dr. Anderson Gomes por suas contribuições à minha pesquisa. Além disso, gostaria de fazer um agradecimento especial aos doutores participantes da minha qualificação e defesa pelas suas contribuições construtivas feitas nas leituras e confecção dessa dissertação de mestrado. À Profa. Dra. Cleide Rapucci por ter me ensinado os primeiros passos da pesquisa científica como minha orientadora de I.C e por dividir comigo sua paixão pela literatura inglesa. Ao meu porto seguro e minha base, minha família, que mesmo em tempos de dificuldades financeiras sempre me incentivou a continuar os estudos e me tornar professor e mestre. À minha mãe Bernadete, empregada doméstica, que sempre me apoiou em todas as minhas decisões e que tanto lutou pela minha vida. Ao meu pai Luiz, mecânico, pelo seu companheirismo e por ter me ensinado que é somente por meio dos estudos e do trabalho que se consegue um futuro melhor. Aos meus irmãos Alison e Rodrigo pelo companheirismo, amor e brigas que tanto enriquecem o nosso relacionamento. E ao Jorge pelo companheirismo nas horas boas e difíceis, pelas conversas dialéticas antes de dormir, pelas oportunidades que me proporcionaram crescer como pessoa, pelo amor e pela amizade. Enfim, por estar sempre presente na minha vida e no meu coração. Ao querido Dionísio cujas aulas particulares e conversas me ajudaram a retomar a minha vida acadêmica e a entender a importância do “enegrecimento” e da visibilidade na academia. Aos meus amigos de faculdade que conheci na UNESP de Assis e que se tornaram presentes em muitos momentos da minha vida: Aline, Fabiano, Jaqueline, Luana, Luciana Bomfim, Luciana Mainardi, Matheus, Renata e Patrícia. Obrigado pelo apoio incondicional e amizade verdadeira. Aos meus amigos de trabalho, Ádria, Cláudia, Gabriel, Giovana, Guilherme, Márcia, Mariana Ruiz, Mariana Almeida e Karina pelo incentivo, pelas conversas, pelas caronas, pelas cantorias, pelos ensinamentos e, sobretudo, pela amizade que se estendeu do ambiente profissional para a vida. Aos meus amigos da turma de Pós Graduação do PPGLIT de 2015, em especial o Leandro e a Maria, pelos momentos em que pudemos compartilhar a vida e a nossa paixão pela literatura. Aos meus oftalmologistas Hélio de Abreu e Dorival Gualtierri a quem devo minha vida. Agradeço o cuidado que tiveram comigo e com minha família desde o momento do diagnóstico do retinoblastoma na minha infância até o acompanhamento durante minha adolescência e vida adulta. Um obrigado especial para todos os profissionais do Hospital Infantil Boldrini em Campinas que são, sem dúvida, anjos da guarda sem asas. Aos alunos que tive nas escolas onde lecionei, por terem me tornado o profissional que sou hoje por meio das nossas trocas de experiência de vida e de conhecimentos. E por fim, gostaria de agradecer aos colegas do grupo de pesquisa “Diálogos Literários” pelos nossos encontros regados a muita discussão produtiva que engradeceu a minha pesquisa e o meu estudo. Obrigado pelas conversas, indicações de bibliografias e momentos de descontração que foram fundamentais para o meu amadurecimento como pesquisador crítico. RESUMO: Esta dissertação almeja a análise da peça Hamlet - príncipe da Dinamarca (1603) de William Shakespeare em diálogo com sua transcriação Hamlet (1990) de Franco Zeffirelli no intuito de verificar como o diretor italiano conversa em seu filme com o texto do bardo inglês, sobretudo, no que diz respeito ao tratamento dado as linhas fundantes (imagens) da peça: a corrupção, a loucura (fingida ou verdadeira) versus a sapiência, o incesto, e o complexo de Édipo. Partindo do pressuposto de que para Haroldo de Campos (1994) transcriar é nutrir-se do texto original desmistificando a ideologia da fidelidade e abolindo a superioridade da fonte a fim de valorizar a tradução e a cultura receptora, esta pesquisa faz uma leitura política da peça de Shakespeare e do filme de Zeffirelli no intuito de ir além do conteúdo manifesto (composto pelo enredo e tentativas de harmonização das contradições nelas contidas), avançando para a compreensão das obras permeadas por fatores históricos, sociais e ideológicos de suas produções. Afinal de contas, as transformações feitas no texto original em função da necessidade de se adequar o filme ao gosto de uma audiência em um outro momento sócio- histórico, no caso, a década de 1990, representam “forças modeladoras no sentido de expandir ou reduzir a obra” (DINIZ, 2003, p.97). O método de interpretação é o da leitura política da peça e do filme nos três níveis/horizontes de leitura apresentados por Fredric Jameson em O Inconsciente Político (1992). Palavras-chave: Hamlet, Shakespeare, Zeffirelli, Fredric Jameson, leitura política, Haroldo de Campos, transcriação. ABSTRACT: This dissertation aims to analyze William Shakespeare’s play Hamlet – prince of Denmark (1603) in dialogue with its filmic transcreation, Franco Zeffirelli’s Hamlet (1990) in order to verify the treatment given to the play’s theme: corruption, madness (real or fake) versus wisdom, incest, and Oedpus complex. On the assumption that for Haroldo de Campos (1994) tanscreating means not only to be loyal to the original text, but it also means to be free to create, which desmystifies the ideology of fidelity and abolishes the superiority of the source text to value the translation and the receiving culture, this research has a political reading of both play and film to go beyond the text surface through a better comprehension based on the historical, social and ideological factors of their productions. After all, the transformations made in the original text to suit the film to the 90’ s audience in another social and historical moment represent “forces that expand or reduce the work” (DINIZ, 2003, p.97). The interpretation method is the political reading in the three reading levels/horizons presented by Fredric Jameson in The Political Unconscious (1992). Key-words: Hamlet, Shakespeare, Zeffirelli, Fredric Jameson, political reading, Haroldo de Campos, transcreation. Sumário Introdução ................................................................................................................ 1 1. Da peça ao filme............................................................................................. 3 1.1) Shakespeare: a poética do bardo...................................................................... 3 1.2) Zeffirelli: a poética do cineasta....................................................................... 12 1.3) Transcriando o bardo: pressupostos teóricos/metodológicos....................... 24 2. Lendo Hamlet – príncipe da Dinamarca (1603): possíveis interpretações 32 2.1) A tragédia da vingança.................................................................................... 32 2.2) A tragédia da loucura....................................................................................... 41 2.3) A tragédia da busca pelo poder....................................................................... 54 3. Lendo Hamlet (1990): possíveis interpretações.......................................... 72 3.1) O drama da vingança e da aventura............................................................. 72 3.2) O drama medieval............................................................................................ 87 3.3) O drama por trás do drama.............................................................................. 96 3.3.1) Mudanças na Base....................................................................................... 96 3.3.2) Mudanças na Superestrutura ....................................................................... 101
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