Relações intermidiáticas entre o romance The Hobbit de J.R.R. Tolkien e a canção Misty Mountain Hop de Led Zeppelin
Data
2021-02-26
Autores
Santos, Victória Elizabeth dos 
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
A presente dissertação tem como objetivo analisar, através das propostas de (inter)midialidade
desenvolvidas por Elleström (2017), as relações existentes entre The Hobbit (1937), de J.R.R.
Tolkien, romance pertencente à vertente literária fantasia, e Misty Mountain Hop (1971), canção
de rock da banda britânica Led Zeppelin. Os objetos de estudo, tomados nesta pesquisa como
produtos de mídia, são analisados em uma sequência que apresenta primeiramente os contextos
de criação de ambos, bem como algumas das possíveis retomadas estéticas e artísticas adotadas
por seus criadores (referidos neste trabalho como “mente do produtor”). As etapas adotadas
para realização da pesquisa se dividem em três partes principais, além das considerações iniciais
e finais. Primeiramente são apresentados, de maneira mais geral, alguns dos principais
pressupostos envolvendo a teoria da intermidialidade e seus desdobramentos quando em
confronto com a intertextualidade estudada pela Linguística Textual, bem como questões
terminológicas envolvendo mídia e intermidialidade. Para tanto, utilizam-se as teorias de
Rajewsky (2012, 2020), Elleström (2017), Wolf (2015) e Clüver (2006, 2011). No primeiro
capítulo, prioriza-se a exposição de elementos relacionados a The Hobbit, através dos estudos
realizados por, Gonçalves (2007), Anderson; Tolkien (2002) e Carpenter (2010), com o intuito
de evidenciar formas estéticas e contextuais. Wolf (2015) é o teórico eleito para expor a ideia
de musicalização na literatura no campo da intermidialidade, fenômeno este presente em The
Hobbit e tematizado também na proposta de Elleström (2017). Buscam-se apresentar no
segundo capítulo aspectos relacionados à Misty Mountain Hop, a partir da exposição do
contexto histórico, com as mudanças tecnológicas e de produção em larga escala de aparatos
de gravação e reprodução sonora no século XX, apontados em Paixão (2013). Friedlander
(2002) e Mugiatti (1973) fornecem detalhes a respeito da criação e desenvolvimento do rock
enquanto gênero musical fortemente atrelado às novas tecnologias e às novas formas de
organização social, sobretudo por parte dos jovens de São Francisco e de algumas cidades
europeias. Por fim, realiza-se no terceiro capítulo a análise comparativa de elementos midiáticos
e intermidiáticos presentes em The Hobbit e Misty Mountain Hop tendo por base o trabalho de
Elleström (2017). Conceitos encerrados no modelo de comunicação centralizado na mídia, tais
quais os aspectos modais em mídias específicas, são ativados como forma de comparar e
diferenciar os dois produtos de mídia a partir de sua dimensão estrutural. Finalmente os
conceitos de representação e transmidiação são evidenciados para que se apontem outras formas
possíveis de transferência entre mídias e produtos de mídia distintos.
This research aims to highlight, based on Elleström’s (2017) theory on (inter)mediality , the possible relations between J.R.R. Tolkien’s The Hobbit (1937), a novel in the fantasy literature, and Misty Mountain Hop (1971), a rock song by the British band Led Zeppelin. The objects of study, taken in this research as media products, are analyzed in the following order: first, the context for the creation of both works is presented, as well as some of the possible aesthetic and artistic recoveries, adopted by the creators (referred to in this work as “producer’s mind”). The argument is then divided in three main parts, plus the introduction and conclusion. The introduction presents some of the main assumptions on the theory of intermidiality and its consequences and compares them to intertextuality studies in Text Linguistics; terminological issues involving media and intermidiality are also discussed, with Rajewsky (2012, 2020), Elleström (2017), Wolf (2020), Clüver (2006, 2011) functioning as main theoretical references. The first chapter discusses aspects of The Hobbit based on studies carried out by Gonçalves (2007), Anderson; Tolkien (2002) and Carpenter (2010), when the intention is to highlight aesthetic and contextual priorities. Wolf’s work (2015) on intermediality is used to discuss the musicalization of fiction, a phenomenon present in The Hobbit and which is also described by Elleström (2017). The second chapter discusses aspects of Misty Mountain Hop; it offers an overview of the historical context, marked by technological changes and large-scale production of recording and sound reproduction apparatus, as pointed out in Paixão (2013). Friedlander (2002) and Mugiatti (1973) provide details on the creation and development of rock as a musical genre strongly linked to new technologies and new social forms, especially those involving young people in San Francisco and some European cities. The third chapter uses Elleström’s (2017) work to analyse and compare media and intermidiatic elements present in The Hobbit and Misty Mountain Hop. Concepts belonging to the medium-centered model of communication, such as the modal aspects in specific media are used as a tool to compare and differentiate, at their strctutural level, the two media products. Finally, concepts of representation and transmediation are presented to point at other possible forms of transference between different media and media products.
This research aims to highlight, based on Elleström’s (2017) theory on (inter)mediality , the possible relations between J.R.R. Tolkien’s The Hobbit (1937), a novel in the fantasy literature, and Misty Mountain Hop (1971), a rock song by the British band Led Zeppelin. The objects of study, taken in this research as media products, are analyzed in the following order: first, the context for the creation of both works is presented, as well as some of the possible aesthetic and artistic recoveries, adopted by the creators (referred to in this work as “producer’s mind”). The argument is then divided in three main parts, plus the introduction and conclusion. The introduction presents some of the main assumptions on the theory of intermidiality and its consequences and compares them to intertextuality studies in Text Linguistics; terminological issues involving media and intermidiality are also discussed, with Rajewsky (2012, 2020), Elleström (2017), Wolf (2020), Clüver (2006, 2011) functioning as main theoretical references. The first chapter discusses aspects of The Hobbit based on studies carried out by Gonçalves (2007), Anderson; Tolkien (2002) and Carpenter (2010), when the intention is to highlight aesthetic and contextual priorities. Wolf’s work (2015) on intermediality is used to discuss the musicalization of fiction, a phenomenon present in The Hobbit and which is also described by Elleström (2017). The second chapter discusses aspects of Misty Mountain Hop; it offers an overview of the historical context, marked by technological changes and large-scale production of recording and sound reproduction apparatus, as pointed out in Paixão (2013). Friedlander (2002) and Mugiatti (1973) provide details on the creation and development of rock as a musical genre strongly linked to new technologies and new social forms, especially those involving young people in San Francisco and some European cities. The third chapter uses Elleström’s (2017) work to analyse and compare media and intermidiatic elements present in The Hobbit and Misty Mountain Hop. Concepts belonging to the medium-centered model of communication, such as the modal aspects in specific media are used as a tool to compare and differentiate, at their strctutural level, the two media products. Finally, concepts of representation and transmediation are presented to point at other possible forms of transference between different media and media products.