Enigma e delírio cartesiano na adaptação cinematográfica de Catatau, de Paulo Leminski: ExIsto, de Cao Guimarães

• Ano de defesa: 2014
• Autor(a) principal: Mendes, Maria Cristina
• Orientador(a): Guimarães, Denise Azevedo Duarte
• Banca de defesa: Mikosz, José Eliézer, Fukushima, Maria Cristina, Salomé, Josélia Schwanka, Fischer, Sandra
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Tuiuti do Parana
• Programa de Pós-Graduação: Doutorado em Comunicação e Linguagens
• Departamento: Comunicação e Linguagens
• País: Brasil
• Palavras-chave em Português: Comunicação; Adaptação; Cinematográfica; Arte; ExIsto; Catatau
• Palavras-chave em Inglês: Comunication; Film adaptation; Art; ExIt
• Área do conhecimento CNPq: CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Resumo em Inglês: The book Catatau (Paulo Leminski, 1975) and the film ExIt (Cao Guimarães, 2010) are the observables of the thesis in which I investigate the possible existence of a "soul" that appears in film adaptation. Given the premise that intersemiotic processes enables to investigate world transformations, I deal with the problem of transmutations of the “soul” in the book and the film. What sort of dialog is established between reading the book and the film fruition? Since the film is quite silent and the book is prolix, what kind of exchange of senses would potentialize the riddles of the deconstruction of Cartesian logic? In the first chapter, I appeal to Andre Bazin’s concept of “soul” to investigate translation and traffic of signs: intersemiosis to Décio Pignatari, transluciferation to Haroldo de Campos, and transmutation to Julio Plaza; adopt the analogy with Earth geological layers to demonstrate exchanges of the senses according to Gilles Deleuze and Felix Guattari; show the importance of mimesis in the survival of the senses based on Plato and Aristotle, punctuating the impossibility of fidelity in translational processes in consonance with Linda Hutcheon, Julie Sanders and Brian McFarlane. In the second chapter, I point out distinctions between renaissance and baroque styles based on Ernst Gombrich, Richard Wollheim and Heinrich Wölfflin; with the contribuition of Denise Azevedo Duarte Guimarães and Ernesto de Melo e Castro I investigate the presence of a "neobaroque brazilian dutch" style in filmic images; abstraction and geometry are treated according to Ernst Chipp and Jacques Aumond, emphasizing developments of cubism; regarding to brazilian modernism, I start with the Week of Modern Art (1922) to reach the Concrete Movement and Tropicalism, fundamental to the leminskian poetic production. In the third chapter, I identify Leminski’s paideuma, in which I include biographies and translations that he drafted; I investigate the relationship of the poet with the movies through testimonials and poems; and, to conclude, I nominate some events that cooperated to the valorization of Leminski’s work after his death. I dedicate the fourth chapter to Catatau, the encrypted novel that deals with the fictional coming of Descartes to Brazil in the period of dutch colonization in Pernambuco; also approach the critical fortune of the novel, the relationship between erudite and popular culture, as well as raise questions about the relationship between René Descartes and William of Ockham and their fictionalizations. I foccus the fifth chapter in the comparisson of ExIt with other artworks from Cao Guimarães; address the concept of “soul” from Edgar Morin, emphasize the dialog with history of art and weave analysis with bases in Jean Baudrillard and Jorge Glusberg; the temporal suspension identified by Consuelo Lins is accompainned by contributions of José Carlos Avelar, Osmar Gonçalves and André Brazil; I return to concepts of Mircea Eliade, Michel Maffesoli and Deleuze and Guattari to intensify the relationship between myth and contemporary aesthetics. In the sixth chapter, I analyse ExIt according to the concepts of time-image created by Deleuze and chronotope by Mikhail Bakhtin; identify correlations and substantial changes between the propagated hermeticism of Catatau and the poetic of ExIt. The enigmatic aspect of the film is shown and the singularities in the ways of demonstrating the loss of reason potencialize this kind of excess of senses that caracterize the “soul” of the book and the film.
• Link de acesso: http://tede.utp.br:8080/jspui/handle/tede/1523

The book Catatau (Paulo Leminski, 1975) and the film ExIt (Cao Guimarães, 2010) are the observables of the thesis in which I investigate the possible existence of a "soul" that appears in film adaptation. Given the premise that intersemiotic processes enables to investigate world transformations, I deal with the problem of transmutations of the “soul” in the book and the film. What sort of dialog is established between reading the book and the film fruition? Since the film is quite silent and the book is prolix, what kind of exchange of senses would potentialize the riddles of the deconstruction of Cartesian logic? In the first chapter, I appeal to Andre Bazin’s concept of “soul” to investigate translation and traffic of signs: intersemiosis to Décio Pignatari, transluciferation to Haroldo de Campos, and transmutation to Julio Plaza; adopt the analogy with Earth geological layers to demonstrate exchanges of the senses according to Gilles Deleuze and Felix Guattari; show the importance of mimesis in the survival of the senses based on Plato and Aristotle, punctuating the impossibility of fidelity in translational processes in consonance with Linda Hutcheon, Julie Sanders and Brian McFarlane. In the second chapter, I point out distinctions between renaissance and baroque styles based on Ernst Gombrich, Richard Wollheim and Heinrich Wölfflin; with the contribuition of Denise Azevedo Duarte Guimarães and Ernesto de Melo e Castro I investigate the presence of a "neobaroque brazilian dutch" style in filmic images; abstraction and geometry are treated according to Ernst Chipp and Jacques Aumond, emphasizing developments of cubism; regarding to brazilian modernism, I start with the Week of Modern Art (1922) to reach the Concrete Movement and Tropicalism, fundamental to the leminskian poetic production. In the third chapter, I identify Leminski’s paideuma, in which I include biographies and translations that he drafted; I investigate the relationship of the poet with the movies through testimonials and poems; and, to conclude, I nominate some events that cooperated to the valorization of Leminski’s work after his death. I dedicate the fourth chapter to Catatau, the encrypted novel that deals with the fictional coming of Descartes to Brazil in the period of dutch colonization in Pernambuco; also approach the critical fortune of the novel, the relationship between erudite and popular culture, as well as raise questions about the relationship between René Descartes and William of Ockham and their fictionalizations. I foccus the fifth chapter in the comparisson of ExIt with other artworks from Cao Guimarães; address the concept of “soul” from Edgar Morin, emphasize the dialog with history of art and weave analysis with bases in Jean Baudrillard and Jorge Glusberg; the temporal suspension identified by Consuelo Lins is accompainned by contributions of José Carlos Avelar, Osmar Gonçalves and André Brazil; I return to concepts of Mircea Eliade, Michel Maffesoli and Deleuze and Guattari to intensify the relationship between myth and contemporary aesthetics. In the sixth chapter, I analyse ExIt according to the concepts of time-image created by Deleuze and chronotope by Mikhail Bakhtin; identify correlations and substantial changes between the propagated hermeticism of Catatau and the poetic of ExIt. The enigmatic aspect of the film is shown and the singularities in the ways of demonstrating the loss of reason potencialize this kind of excess of senses that caracterize the “soul” of the book and the film.