Luchino Visconti e os signos proustianos: a trilogia alemã à luz de Em busca do tempo perdido

• Ano de defesa: 2019
• Autor(a) principal: Taam, Flavio Eduardo Magalhães
• Orientador(a): Motta, Leda Tenorio da
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Pontifícia Universidade Católica de São Paulo
• Programa de Pós-Graduação: Programa de Estudos Pós-Graduados em Comunicação e Semiótica
• Departamento: Faculdade de Filosofia, Comunicação, Letras e Artes
• País: Brasil
• Palavras-chave em Português: Proust, Marcel [1871-1922] - Em busca do tempo perdido - Crítica e interpretação; Visconti, Luchino [1906-1976]; Cinema e literatura
• Palavras-chave em Inglês: Proust, Marcel [1871-1922] - Em busca do tempo perdido - Criticism and interpretation; Visconti, Luchino [1906-1976]; Motion-pictures and literature
• Área do conhecimento CNPq: CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO
• Link de acesso: https://tede2.pucsp.br/handle/handle/22409

This research aims to approximate the literature of Marcel Proust and the cinema of Luchino Visconti through the point of view of Gilles Deleuze in his Proust and the signs. Our corpus is delimited by Proust's novel À la recherche du temps perdu (In Search of Lost Time, 1913-1927) by Proust and Visconti’s German trilogy, composed of the feature films La caduta degli dei (The Damned, 1969), Morte a Venezia (Death in Venice, 1971); and Ludwig (1973), suggesting a reading of the viscontian work from the perspective of the proustian sign universes pointed by Deleuze. If Proust and the signs is a work that deals with literature, our hypothesis is that his writings on Proust work beyond literature, presenting itself as a treatise on sign relations beyond the domains of literature itself, thus our suggestion of using it as a reading tool for Visconti’s cinematographic work, approaching cinema and literature not by subject or theme, but by regimes of sense. It is in this aspect that this research, of bibliographical nature, differs from much of the existing studies on the relations between Proust and Visconti, which are mainly based on the thematic approach