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André Aparecido Garcia Orlando Furioso De Lobato

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André Aparecido Garcia Orlando Furioso De Lobato ANDRÉ APARECIDO GARCIA ORLANDO FURIOSO DE LOBATO: UMA OBRA INCONCLUSA Dissertação apresentada à Faculdade de Educação da Universidade Estadual de Campinas para a obtenção do Título de mestre em Educação. Área de Concentração: Educação, Conhecimento, Linguagem e Arte. Orientadora: Profa. Dra. Norma Sandra de Almeida Ferreira Campinas 2010 iii 1 © by André Aparecido Garcia, 2010. Ficha catalográfica elaborada pela Biblioteca da Faculdade de Educação/UNICAMP Bibliotecário: Rosemary Passos – CRB-8ª/5751 Garcia, André Aparecido. G165o Orlando Furioso de Lobato: uma obra inconclusa / André Aparecido Garcia. –- Campinas, SP: [s.n.], 2010. Orientador: Norma Sandra de Almeida Ferreira. Dissertação (mestrado) – Universidade Estadual de Campinas, Faculdade de Educação. 1. Lobato, Monteiro, 1882-1948. 2. Adaptação. 3. Livros. 4. Leitura. I. Ferreira, Norma Sandra de Almeida. II. Universidade Estadual de Campinas. Faculdade de Educação. III. Título. 10-200/BFE Título em inglês: Orlando Furioso de Lobato: an inconclusive work Keywords: Lobato, Monteiro, 1882-1948; Adaptation; Books; Reading Área de concentração: Educação, Conhecimento, Linguagem e Arte Titulação: Mestre em Educação Banca examinadora: Profª. Drª. Norma Sandra de Almeida Ferreira (Orientadora) Profª. Drª. Lilian Lopes Martin da Silva Profª. Drª. Lázara Nanci De Barros Amâncio Data da defesa: 09/06/2010 Programa de pós-graduação : Educação e-mail : [email protected] UNIVERSIDADE ESTADUAL DE CAMPINAS FACULDADE DE EDUCAÇÃO DISSERTAÇÃO DE MESTRADO Título: Orlando Furioso de Lobato: uma obra inconclusa Autor: André Aparecido Garcia Orientadora: Norma Sandra de Almeida Ferreira Este exemplar corresponde à redação final da Dissertação defendida por André Aparecido Garcia e aprovada pela Comissão Julgadora. Data: 09 de junho de 2010 COMISSÃO JULGADORA: Profa. Dr. Lilian Lopes Martin da Silva Profa. Dr. Lázara Nanci De Barros Amâncio 2010 v 3 Capa do Orlando Furioso 1895 vi 4 À minha mãe Maria Garcia; à minha esposa Luciana de Paula e aos meus filhos Octávio e Maria Fernanda, pela nossa história de amor e cumplicidade, pelos meus erros e acertos em nossa trajetória. “São mínimas coisas entrançando a vida: o passo no corredor, a mão que acalma, o corpo que arde e apazigua. O sono. O sonho. Silêncios. Solidões.” (LUFT; LYA. Um brinde à vida. 1997) À minha orientadora, Profa. Dra. Norma Sandra de Almeida Ferreira, por toda a sua dedicação e pelo tanto que me ensina. O sujeito que se abre ao mundo e aos outros inaugura com seu gesto a relação dialógica em que se confirma como inquietação e curiosidade, como inconclusão em permanente movimento da História. (FREIRE, PAULO. 2008, p. 136) vii 5 AGRADECIMENTOS Neste espaço tenho a oportunidade de agradecer a todos que, direta ou indiretamente, contribuíram para a concretização deste trabalho, fazendo-me acreditar sempre que “[...] Sonhar é possível, transformar é preciso.” (SERRÃO; BALLEIRO, 1999, p. 55) À minha mãe, Maria Garcia, por estar sempre ao meu lado, apoiando-me e cuidando de mim. Você é exemplo de caráter e dignidade. Sinto-me extremamente feliz por tê-la em minha vida. Obrigada por tudo; sempre... À minha querida esposa Luciana, pelos sonhos compartilhados, por sempre acreditar em mim... Sua coragem, determinação, bondade e humildade são admiráveis. Aos meus queridos filhos Octávio e Maria Fernanda, por tornarem meus dias mais alegres, pelo carinho dedicado sempre e por toda colaboração para a realização deste estudo. À minha orientadora Profa. Dra. Norma Sandra de Almeida Ferreira, por toda sua competência, cumplicidade, respeito, profissionalismo e determinação; por sempre me atender prontamente. Acima de tudo, por acreditar na concretização deste trabalho. Aos meus familiares queridos que brilhem por intermédio das estrelas, em especial, Maria Garcia Vilalva, minha tia amada, que tornou minha infância mais feliz e iluminada; À amiga Doraci Rodrigues por sempre me ouvir e apoiar, pela amizade presente e sincera. Aos meus amigos e minhas amigas da Faculdade de Educação da Unip – Limeira e do Colégio Objetivo de Cosmópolis, pela convivência, pelo aprendizado, pelos momentos de descontração e pelas trocas de experiências. Aos meus alunos e minhas alunas dos cursos de graduação em Pedagogia, do colégio Objetivo de Cosmópolis, pela convivência agradável e pelos conhecimentos compartilhados. Aos professores e professoras com quem tive a oportunidade de conviver ao longo de minha trajetória escolar, por compartilharem comigo seus conhecimentos e valores. viii 6 Aos professores e colegas do curso de Pós-Graduação em Educação da Faculdade de Educação/Unicamp. Aos integrantes do grupo de Alfabetização, Leitura e Escrita (ALLE), especialmente, Maria das Dores Soares Maziero e Maria Lygia Cardoso Kopke Santos pela leitura da dissertação e pelo incentivo. À Profa. Dra. Lilian Lopes Martin da Silva, à Profa. Maria Rosa Rodrigues Martins Camargo, à Profa. Lázara Nanci de Barros Amâncio e à Profa Rosalia de Ângelo Scorsi, pelas valiosas contribuições apresentadas na ocasião do Exame de Qualificação. Aos funcionários da Unicamp, sobretudo, da Faculdade de Educação, pelas orientações e pelos atendimentos prestados. Enfim, obrigada a todos, de coração, por fazerem parte da minha história! Em especial, a Deus, pela vida... [...] Você verá que é mesmo assim Que a história não tem fim Continua sempre que você Responde "sim" [...] (ARANTES. Brincar de viver. 2008.) ix 7 RESUMO O trabalho que aqui se apresenta tem como objetivo principal ou intenção primeira apresentar a obra Orlando Furioso de Xavier da Cunha, editada pela Companhia Editora Nacional de Lisboa no ano de 1895, arquivada no Centro de Documentação Alexandre Eulálio (CEDAE)/Unicamp, buscando compreender não só a trajetória desta edição, como também os aspectos tipográficos e textuais que a configuram. Ainda tem como objetivo investigar os vestígios deixados por Monteiro Lobato, de forma manuscrita, nesta edição de Orlando Furioso, colocando como questões: quais são as intervenções editoriais e textuais que Lobato lança mão com um possível desejo de publicá-la com um livro clássico infantil? Que representação de leitor infantil parece orientar tais intervenções? Que representação do gosto de leitor infantil parece orientar a visão de Lobato como editor nessas intervenções. Essa pesquisa se enquadra no conjunto de trabalhos do grupo de pesquisa Alfabetização, Leitura e Escrita (ALLE) no que diz respeito à investigação dos procedimentos postos e praticados pelo polo da produção, tendo em vista a representação que autores e editores constroem a respeito do público, a qual se destina as obras publicadas, na perspectiva metodológica fornecida pela História Cultural. Palavras-Chave: Adaptação. Orlando Furioso. Monteiro Lobato. Leitura. Livro. x 8 ABSTRACT The main aim of this material or its first intention is to present the work of Orlando Furioso de Xavier da Cunha, printed by Companhia Editora Nacional de Lisboa, in the year of 1895, filed in Centro de Documentação Alexandre Eulálio (CEDAE)/Unicamp, trying to understand not only the several steps of this printing, but also the textual and typographic aspects which set it up. It still has as aim to investigate remains left by Monteiro Lobato in a manuscript way in this publishing of Orlando Furioso, asking the following questions: what are the publishing and textual interventions used by Lobato as a possible wish to publish it as a childish classic book? What sort of direction is taken by Monteiro Lobato, concerning the expectation of his readers? This research is fitted in the set of works from “grupo de pesquisa, Alfabetização, Leitura e Escrita (ALLE) about the investigation of the proceedings taken and practiced by the production pole_, considering the representation that authors and publishers build about the public, to which the work is directed in the methodological perspective supplied by the Cultural History. Keywords: Adaptation. Orlando Furioso. Monteiro Lobato. Reading. Book. xi 9 SUMÁRIO 1- Considerações Iniciais 12 PARTE I: Apresentação de Ariosto 18 2 – A Itália na Renascença 19 2.1 - Ferrara: corte de Boiardo e de Ariosto 24 2.2 - Ariosto: vida e obra 27 2.3 - A criação do Orlando Furioso 31 2.5.4 - Orlando Furioso: edições realizadas após a morte de Ariosto 36 2.5 - Difusão do Orlando Furioso 39 2.5.1- França 40 2.5.2 - Inglaterra 41 2.5.3 – Espanha 42 2.5.4 – Portugal 50 2.5.5 – Brasil 57 PARTE II: A obra Orlando Furioso de Xavier da Cunha encontrada no CEDAE 3- A trajetória do Orlando Furioso 62 3.1- Das gavetas e dos armários para as mãos do arquivista 63 3.2- O encontro com o Orlando Furioso: eu e o livro 66 4 - A Capa da obra Orlando Furioso 74 4.1- A tipologia das letras 81 5- A editoração da página de rosto do Orlando Furioso 83 5.1- A casa editorial Corazzi e Justino Guedes 86 5.2- O ilustrador: Gustave Doré 89 5.3- O tradutor: Xavier da Cunha 91 5.4- gênero: Romance Cavaleiresco 92 Parte III: Orlando Furioso: seu processo adaptativo 6 - Monteiro Lobato: as adaptações para crianças 96 6.1- Uma proposta de criação de Lobato na obra Orlando Furioso 99 6.2- A organização do trabalho 101 6.3- A transcrição da página de cinco do Orlando Furioso 104 6.4- Procedimento textual: encurtamento 107 xii 10 6.4.1- Supressão de parágrafos 108 6.4.2- Supressão de orações, expressões e palavras 111 6.5 - Procedimento textual: remodelação 113 6.5.1- Substituição e atualização da linguagem 113 6.5.2- Acréscimos: operação de reescrita com coerência 118 6.5.3- Invenção e Conservação 120 6.6- Procedimentos tipográficos 122 6.7- Ilustração: escolha e encurtamento 124 7- Considerações finais 133 Referências Bibliográficas 136 Anexo I 142 Anexo II xiii 11 1 Considerações Iniciais De tudo, ficaram três coisas: a certeza de que ele estava sempre começando, a certeza de que era preciso continuar e a certeza de que seria interrompido antes de terminar. Fazer da interrupção um caminho novo. Fazer da queda um passo de dança, do medo uma escada, do sono uma ponte, da procura um encontro.
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