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Maria Clara Pivato Biajoli Orgulho E Preconceito No 1 UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM MARIA CLARA PIVATO BIAJOLI ORGULHO E PRECONCEITO NO SÉCULO XXI: A AUSTENMANIA E A FANTASIA DO FINAL FELIZ CAMPINAS, 2017 2 MARIA CLARA PIVATO BIAJOLI ORGULHO E PRECONCEITO NO SÉCULO XXI: A AUSTENMANIA E A FANTASIA DO FINAL FELIZ Tese de doutorado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Doutora em Teoria e História Literária, na área de Teoria e Crítica Literária. Orientador: Prof. Dr. Fabio Akcelrud Durão Este exemplar corresponde à versão final da Tese defendida pela aluna Maria Clara Pivato Biajoli e orientada pelo Prof. Dr. Fabio Akcelrud Durão. CAMPINAS, 2017 3 4 BANCA EXAMINADORA: Fabio Akcelrud Durão Antonio Alcir Bernárdez Pécora Cristina Meneguello Leandro Pasini Rita Terezinha Schmidt Jefferson Cano Charles Albuquerque Ponte Luana Saturnino Tvardovskas IEL/UNICAMP 2017 Ata da defesa com as respectivas assinaturas dos membros encontra-se no processo de vida acadêmica do aluno. 5 Agradecimentos Se devo agradecer a todas as pessoas que participaram do processo de escrever esta tese, fica a dúvida de quando realmente começou esse processo. Se na graduação ou no mestrado em História, nos quais aprendi o que era fazer uma pesquisa acadêmica, devo registrar meu carinho especial a todos os meus amigos e professores do IFCH/UNICAMP. Se na graduação em Letras, quando decidi atravessar a rua rumo à literatura, digo o mesmo para aqueles que me acompanharam no IEL/UNICAMP. Ou, se de fato o processo começou quando eu entrei no doutorado, devo então primeiro agradecer ao meu orientador Dr. Fabio A. Durão por ter se arriscado a me aceitar com um projeto que trazia um tema um pouco inusitado, digamos assim, e agradeço também a ele e ao seu grupo de orientandos pela leitura cuidadosa dos meus primeiros rascunhos e pelas opiniões e sugestões que me ajudaram muito. Preciso agradecer também aos amigos da Universidade McGill, no Canadá, que me receberam de braços abertos no Burney Centre para o meu doutorado sanduíche, em especial Jennifer Mueller e Megan Taylor, e o prof. Peter Sabor. Tanto o período que passei lá quanto a possibilidade de me dedicar exclusivamente a esta tese foi essencial para o seu desenvolvimento, e por isso devo agradecer ao CNPq e à CAPES pelas bolsas de pesquisa concedidas, sem as quais com certeza este trabalho não seria o que é. Fora da universidade, preciso agradecer ao meu marido Diego Porto Nieto, não só pelo apoio e paciência de aguentar meu estresse e mau humor, mas pela ideia original. Foi ele que, um dia, ao me ver rindo de alguma coisa em uma continuação de Austen, disse: ―mas por que você não estuda isso?‖. Realmente, por que não? Agradeço a meus pais também, José Roberto e Elisabete, pelo apoio incondicional enquanto eu tentava descobrir o que queria fazer da vida, e ao meu irmão André pela solidariedade de quem passou pelo mesmo processo. Por fim, o que somos nós sem amigos? Ana Claudia Chaves, Carol Meloto e Juliana Bulgarelli, pela amizade constante e reconfortante, mesmo estando, em um certo momento, cada uma em um país diferente. Maya Gasperini, Livia Carvalho, Luciana Pacheco e Mariana Ahnelli, pela torcida. O pessoal da História: JP Ferreira e Carol Gual, Luiz Estevam Fernandes e Aline Carvalho, Luis Kalil e Jacquelini, Felipe Vieira, Tadeu Dias e Andreia Nicioli – sempre juntos rindo muito de tudo, já que não tem outro jeito. 6 Resumo O presente trabalho apresenta uma reflexão a respeito da popularidade atual da escritora inglesa Jane Austen (1775-1817) a partir de uma análise de continuações e variações modernas de seu romance mais famoso, Orgulho e Preconceito (1813), produzidas por fãs da autora. Essas obras, chamadas de fan fiction, apresentam uma forte tendência de focar somente no relacionamento amoroso entre a heroína, Elizabeth Bennet, e o herói, Mr. Darcy, colocando em segundo plano outros temas presentes no romance de Austen mais críticos à sua sociedade da virada do século XVIII para o XIX. Em especial, o desconforto da autora em relação ao papel limitado da mulher naquela época é ignorado com a retomada do sentimentalismo pela fan fiction, que constrói e reproduz uma imagem de que os romances de Austen não passavam de histórias de amor inocentes cujo objetivo principal era o final feliz representado pelo casamento das heroínas. Essas continuações e variações, portanto, constituem um importante registro da recepção atual da obra de Austen e a forma como ela é ressignificada a partir de fantasias e valores contemporâneos. 7 Abstract This research presents a reflection on the current popularity of English author Jane Austen (1775-1817) through an analysis of modern sequels and variations, written by fans, of her most famous novel, Pride and Prejudice (1813). These works, called fan fiction, have a strong tendency to focus only on the romantic relationship between the heroine, Elizabeth Bennet, and the hero, Mr. Darcy, relegating to a secondary place other themes found in this novel that are critical to the society of the turn of the eighteenth to the nineteenth century. Primarily, the author‘s discomfort regarding the limited role allowed to women in her time is ignored with the comeback of sentimentalism carried out by fan fiction, which builds and reproduces the image that Austen‘s novels were only naïve love stories whose main purpose was the happy ending represented by the heroine‘s wedding. These sequels and variations, therefore, are important records of the current reception of Austen‘s work and the way it gains new meanings through contemporary fantasies and values. 8 Lista de Figuras Fig. 1 – Imagem do túmulo de Jane Austen na Catedral de Winchester. http://news.bbc.co.uk/local/hampshire/hi/people_and_places/history/newsid_8622000/86 22369.stm Acessado em 01/03/16. Fig. 2 – Placa de Bronze em homenagem à Jane Austen na Catedral de Winchester. http://austenonly.com/2012/07/18/jane-austens-memorials-in-winchester-cathedral/ Acessado em 02/03/16. Fig. 3 – Vitrais em homenagem à Jane Austen na Catedral de Winchester. http://www.ancestraltrails.ca/walker%20for%20web-o/p1936.htm Acessado em 02/03/16. Fig. 4 – Possível retrato de Jane Austen feito por Cassandra Austen, ca. 1810. Lápis e aquarela. National Portrait Gallery. Disponível em: http://www.jasna.org/info/pictures.html Acessado em 20/12/2016. Fig. 5 – Aquarela de John Andrews baseada no retrato de Cassandra, 1869. Jane Austen Memorial Trust. Disponível em: http://www.jasna.org/info/pictures.html Acessado em 20/12/2016. Fig. 6 – Gravura/litografia de Lizars para Memoir of Jane Austen, 1870. Disponível em: http://www.jasna.org/info/pictures.html Acessado em 20/12/2016. Fig. 7 – Gravura/litografia para Portrait Gallery of Eminent Men and Women of Europe and America, 1873. https://austenblog.files.wordpress.com/2010/05/blue_wr.jpg Acessado em 20/12/2016. Fig. 8 – Possível retrato de Jane Austen, conhecido como ―Rice Portrait‖. Ozias Humphry, óleo em tela, ca.1972-73. Coleção Privada. Disponível em: http://www.jasna.org/info/pictures.html Acessado em 20/12/2016. Fig. 9 – Aquarela de Jane Austen por Cassandra Austen, 1805. Coleção Privada. Disponível em: http://www.jasna.org/info/pictures.html Acessado em 20/12/2016. Fig. 10 – Capa do livro What Jane Austen Ate and Charles Dickens Knew, de Daniel Pool, 1993. Retirado de: http://www.amazon.com/What-Austen-Charles-Dickens- Nineteenth-Century/dp/B0027NHYMA/ref=sr_1_4?ie=UTF8&qid=1459199255&sr=8- 4&keywords=jane+ate+dickens+knew Acessado em 28/03/16. Fig. 11 – Ilustração do local onde ficava a casa em que Jane Austen nasceu. Desenho de Ellen Hill para o livro de Constace Hill Jane Austen: Her Homes and Her Friends (1902). Retirado de Johnson, C. 2012, p.72. 9 Fig. 12 – Foto da placa localizada em Chawton Cottage (Jane Austen‘s House Museum) em homenagem ao Tenente Philip John Carpenter, morto durante a Segunda Guerra Mundial, cujo pai foi responsável pela compra da casa e respectiva doação para a Jane Austen Society em 1947. http://quillcards.com/blog/jane-austen-at-home-in-print-part-2- chawton-england/ Acessado em 20/04/16. Fig. 13 – Representação de Austen como uma mulher moderna de sucesso na revista Entertainment Weekly, 1995. Disponível em: https://en.wikipedia.org/wiki/File:Jane_Austen_Hollywood_Parody.jpg Acessado em 25/04/2016. Fig. 14 – Ilustração de Elizabeth Bennet por Isabel Bishop para uma edição de Pride and Prejudice de 1976, p.199, com a legenda: ―The examination of all the letters which Jane had written to her‖. https://austenprose.com/2008/07/17/janeausten-illustrators-isabel- bishop/ Acessado em 03/05/2016. Fig. 15 – Projeto da nova nota de dez libras anunciada pelo Banco Central da Inglaterra para 2017. http://www.bankofengland.co.uk/banknotes/Pages/characters/austen.aspx Acessado em 04/05/2016. Fig. 16 – Cena final da adaptação para mangá: King, Stacy e Tse, Po. Manga Classics: Pride and Prejudice. Canada: UDON and Morpheus, 2014, p.368. Fig. 17 – Sequência final da adaptação Pride and Prejudice, Dir.: Simon Langton, 1995, episódio 6, de 00:47:55 a 00:48:22. Fig. 18 – Cena da carruagem na adaptação para mangá: King, Stacy e Tse, Po. Manga Classics: Pride and Prejudice. Canada: UDON and Morpheus, 2014, p. 366. Fig. 19 – Cartaz de divulgação do filme Pride and Prejudice de 1940. Retirado de Auerbach, E. 2004, p.279. Fig. 20 – Elenco da adaptação Pride and Prejudice, BBC, 1995. À esquerda, Mr. Darcy (Colin Firth) e Elizabeth Bennet (Jennifer Ehle) [http://www.dfiles.me/pride-and- prejudice-1995-wallpaper.html acessado em 20/12/2016]; à direita, Mr. Bingley (Crispin Bonham-Carter) e Jane Bennet (Susannah Harker) [http://www.earningourstripes.org/pride-and-prejudice-episodes/episode-4/ acessado em 20/12/2016].
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