Textualidades do contemporâneo em Manhã cinzenta, de Olney São Paulo e Ser tão cinzento, de Henrique Dantas
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2018-08-08
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Universidad Finis Terrae
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0719-997X
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Diferentes são os modos como os textos se configuram e se relacionam uns com os outros, através de movimentos pertencentes a conceitos, de dialogismo/polifonia, de Bakhtin (1ª ed. 1929; 1997), de intertextualidade, de Julia Kristeva (1974), e pelas conexões intermidiáticas, estudadas por Irina Rajewsky (2012) e Clüver (2006). Nesse sentido, pretendemos analisar o conto “Manhã cinzenta”, escrito em 1966, que compõe o livro A antevéspera e O canto do sol(1ª ed. 1969; 2016) e o filme homônimo (1969), ambos deOlney São Paulo, juntamente com o documentário Ser tão cinzento (2011), de Henrique Dantas, buscando observar as conexões entre a palavra literária e a imagem cinematográfica; e, a partir desses conceitos, o trânsito/transe entre elas. Relacionamos à noção de contemporâneo de Agamben (2009), e a percepção do tempo fraturado e circular, cujo movimento de adesão e distanciamento, permite observar as continuidades e retomadas do jogo do poder, reforçadas pelas relações intertextuais/intermidiáticas dos textosanalisados
When relating to one another, texts shape themselves differently through movements pertaining to concepts such as Mikhail Bakhtin’s dialogism and polyphony (1st ed. 1929; 1997), Julia Kristeva’s intertextuality (1974), and the intermedia connections studied by Irina Rajewsky (2012) and Claus Clüver (2006). Under this light, this article analyzes Olney São Paulo’s short story “Manhã Cinzenta” (“Gray Morning”), written in 1966 and featured in the book A antevéspera e O canto do sol(1st ed. 1969; 2016), and his homonymous movie (1969), together with Henrique Dantas’s documentary Ser tão cinzento(2011). The aim was to observe the connections between the literary word and the cinematic image and, grounded on these concepts, the transit/trance between them. This article relates Giorgio Agamben’s notion of the contemporary (2009) and the perception of time as fractured and circular, with movements of adhesion and distance that enable the detection of the power game’s continuities and resumptions. The latter are reinforced by the intertextual/intermedia relations among the selected texts
When relating to one another, texts shape themselves differently through movements pertaining to concepts such as Mikhail Bakhtin’s dialogism and polyphony (1st ed. 1929; 1997), Julia Kristeva’s intertextuality (1974), and the intermedia connections studied by Irina Rajewsky (2012) and Claus Clüver (2006). Under this light, this article analyzes Olney São Paulo’s short story “Manhã Cinzenta” (“Gray Morning”), written in 1966 and featured in the book A antevéspera e O canto do sol(1st ed. 1969; 2016), and his homonymous movie (1969), together with Henrique Dantas’s documentary Ser tão cinzento(2011). The aim was to observe the connections between the literary word and the cinematic image and, grounded on these concepts, the transit/trance between them. This article relates Giorgio Agamben’s notion of the contemporary (2009) and the perception of time as fractured and circular, with movements of adhesion and distance that enable the detection of the power game’s continuities and resumptions. The latter are reinforced by the intertextual/intermedia relations among the selected texts
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Brasil
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Atribución-NoComercial-CompartirIgual 3.0 Chile (CC BY-NC-SA 3.0 CL)