Jogo de Espelhos em Atonement: trajetórias e implicações da metaficcionalidade no romance e no filme

• Ano de defesa: 2013
• Autor(a) principal: Lucia, Fatima Fernandes Nobre
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal da Paraíba; Brasil; Letras; Programa de Pós-Graduação em Letras; UFPB
• Palavras-chave em Português: Metaficção; Metafiction; Paródia; Adaptação; Atonement; McEwan; Parody; Adaptation; LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/tede/8256

The investigation of metafictional narratives undoubtedly plays a relevant role for the comprehension of artistic work fictionality, as it may directly interfere in the theory and criticism of fiction. The novel Atonement, by Ian McEwan, and its adaptation, by Joe Wright, are characterized by a metafictional and parodic aesthetics. Having in mind the premise that metafictional narratives tend to be resistant to film adaptation, due to the complex articulation between metafiction and enunciation, we aim to investigate how the metafictionality of Atonement is materialized in the novel and to show how the transposition of this metafictionality occurs in the process of adaptation. Besides, since in Atonement the metafictional aesthetics is implicated with an ethics, we also aim to understand how this relation is approached in both works. To do so, our theoretical support draws mainly from the studies postulated by Linda Hutcheon, Patricia Waugh, Robert Stam, and Seymour Chatman. Through a comparative and intertextual analysis, we conclude that the materialization of the novel metafictionality required expressive creativity from both the verbal and filmic authors and originated interesting aesthetic, thematic and cinematic innovation; even though the filmic text is intentionally very close to the literary text in terms of form and content. As for the debate between ethics and aesthetics, we observed that McEwan, through his character Briony, argues for an ethics of alterity to help the individual face the paradox of post-modernity. McEwan‟s ethically implicated fiction approaches the contingency, the heterogeneity and the contradictory of the post-modern era, points to a possible way out of the crisis through an ethics of alterity, but does not impose it as a paradigm.