Da prosa aos versos: adaptação do conto "A cartomante" para cordel e a formação de leitores
Arquivos
Data
2021-02-25
Autores
Silva, Renata Lopes da 
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
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Resumo
As discussões acadêmicas em torno das associações entre literatura e ensino, ou sobre ensino de literatura são constantes. Muitas delas demonstram tentativas de compreender o (não) lugar da literatura na escola, abordando os entraves do processo de formação de leitores e apontando possíveis caminhos para superar esses impasses. Inquietações dessa natureza são ainda mais necessárias quando contemplam a leitura de adaptações de obras clássicas. Existem diversas adaptações das obras de Machado de Assis (1839-1908). Esta pesquisa de mestrado propõe, em particular, a análise de uma adaptação para os cordéis do conto “A Cartomante” (1884), recontado e ilustrado, respectivamente, por Antonio Barreto e Valdério Costa, em 2012. A história da relação amorosa secreta entre Rita e Camilo é reapresentada aos leitores por meio dos melódicos versos da literatura de cordel e dos marcantes traços das xilogravuras. Esta investigação busca descrever e interpretar essa adaptação, a fim de delinear um quadro dos elementos artístico-literários mobilizados em seu processo de transposição e, com base nessa análise, discutir a formação de leitores na escola. Como fundamentação teórica, recorremos às reflexões sobre as singularidades da literatura e suas implicações para o ensino propostas por Italo Calvino (1990); Paulo Franchetti (2009); João Alexandre Barbosa (1996); João Adolfo Hansen (2017); Rildo Cosson (2014); Hans Robert Jauss (1994); Vera Teixeira de Aguiar (1993); Vincent Jouve (2002); Jover-Faleiros (2013); Hans Gumbrecht (2010, 2014); adotamos os conceitos de adaptação propostos por Linda Hutcheon (2013) e Gerárd Genette (2010); consideramos as especificidades históricas, temáticas e estruturais da literatura de cordel, com apoio em Bráulio Tavares (2005), Jerusa Ferreira (2019), Sebastião Batista (1982) e Paul Zumthor (1993, 1997, 2000, 2005); pensamos as particularidades das adaptações em cordel a partir dos estudos de Márcia Abreu (2004); examinamos detalhes sobre as xilogravuras, considerando Franklin Maxado (1982), Luís Camargo (1995), Antônio Costella (2006) e Luli Hata (1999) e discorremos acerca das relações entre cordel e sala de aula com os trabalhos de Hélder Pinheiro (2013, 2018) e Ana Cristina Marinho e Pinheiro (2012). A metodologia empregada corresponde à leitura comparativa entre a obra machadiana e sua adaptação, aliada ao estudo da bibliografia proposta. A análise da adaptação do conto “A Cartomante” permite a identificação de alguns procedimentos adaptativos. Dentre eles: uso de sextilhas e de redondilha maior; ciência sobre o ato de adaptar expressa pelo poeta; menções ao nome de Machado como autor erudito; supressão de trechos excessivamente descritivos; inserção de adjetivos para adequação dos versos à quantidade de sete sílabas poéticas; demarcação do cordel como elemento popular; apelo à voz e a performance durante a leitura e presença de xilogravuras em formato de cartas de tarô, que remetem ao misticismo da personagem que intitula o conto. Esses aspectos demonstram a relevância da adaptação para o debate sobre formação de leitores e, portanto, viabilizam a descrição de algumas sugestões metodológicas planejadas para respaldar o trabalho com a adaptação em uma aula de literatura.
The academic discussions about associations between literature and teaching, or about teaching literature are constant. Many of them demonstrate attempts to understand the (non) place of literature in school, approaching the obstacles in the process of readers formation and pointing out possible ways to overcome these impasses. Such concerns are even more necessary when contemplating reading adaptations of classical works. There are several adaptations of the works of Machado de Assis (1839-1908). This master's degree research proposes, in particular, the analysis of an adaptation of the short story “A Cartomante” (1884) to cordel literature – “sting literature” –, recounted and illustrated, respectively, by Antonio Barreto and Valdério Costa, in 2012. The story of the secret love relationship between Rita and Camilo are presented to readers through the melodic verses of cordel literature and the striking lines of woodcuts. This investigation seeks to describe and interpret this adaptation, in order to outline a picture of the artistic-literary elements mobilized in its transposition processes and, based on this analysis, discuss the readers formation at school. As a theoretical framework, we resort to reflections about the singularities of literature and its implications for teaching proposed by Italo Calvino (1990); Paulo Franchetti (2009); João Alexandre Barbosa (1996); João Adolfo Hansen (2017); Rildo Cosson (2014); Hans Robert Jauss (1994); Vera Teixeira de Aguiar (1993); Vincent Jouve (2002); Jover-Faleiros (2013) and Hans Gumbrecht (2010, 2014); we adopted the concepts of adaptation proposed by Linda Hutcheon (2013) and Gerárd Genette (2010); we consider the historical, thematic and structural specificities of cordel literature, with support from Bráulio Tavares (2005), Jerusa Ferreira (2019), Sebastião Batista (1982) and Paul Zumthor (1993, 1997, 2000, 2005); we think the particularities of string adaptations, according to the studies by Márcia Abreu (2004); we examine details about woodcuts, considering Franklin Maxado (1982), Luís Camargo (1995), Antônio Costella (2006) and Luli Hata (1999) and discuss the relationship between cordel and the classroom, with the works of José Hélder Pinheiro (2013, 2018) and Ana Cristina Marinho and Pinheiro (2012). The methodology used corresponds to the comparative reading between Machado's work and its adaptation, combined with the study of the proposed bibliography. The analysis of the adaptation of the short story “A Cartomante” allows the identification of some procedures. Among them: use of six-verse stanzas (mostly heptassyllables); comprehension about the act of adapting expressed by the poet; mentions of Machado's name as an erudite author; suppression of excessively descriptive passages; insertion of adjectives to adapt the verses to the number of seven poetic syllables; demarcation of the cordel as a popular element; appeal to voice and performance during the reading and the presence of woodcuts in the form of tarot cards, which refer to the mysticism of the character who entitles the tale. These aspects demonstrate the relevance of adaptation for the debate on the formation of readers and, therefore, make it possible to describe some methodological suggestions planned to support the work with adaptation in a literature class.
The academic discussions about associations between literature and teaching, or about teaching literature are constant. Many of them demonstrate attempts to understand the (non) place of literature in school, approaching the obstacles in the process of readers formation and pointing out possible ways to overcome these impasses. Such concerns are even more necessary when contemplating reading adaptations of classical works. There are several adaptations of the works of Machado de Assis (1839-1908). This master's degree research proposes, in particular, the analysis of an adaptation of the short story “A Cartomante” (1884) to cordel literature – “sting literature” –, recounted and illustrated, respectively, by Antonio Barreto and Valdério Costa, in 2012. The story of the secret love relationship between Rita and Camilo are presented to readers through the melodic verses of cordel literature and the striking lines of woodcuts. This investigation seeks to describe and interpret this adaptation, in order to outline a picture of the artistic-literary elements mobilized in its transposition processes and, based on this analysis, discuss the readers formation at school. As a theoretical framework, we resort to reflections about the singularities of literature and its implications for teaching proposed by Italo Calvino (1990); Paulo Franchetti (2009); João Alexandre Barbosa (1996); João Adolfo Hansen (2017); Rildo Cosson (2014); Hans Robert Jauss (1994); Vera Teixeira de Aguiar (1993); Vincent Jouve (2002); Jover-Faleiros (2013) and Hans Gumbrecht (2010, 2014); we adopted the concepts of adaptation proposed by Linda Hutcheon (2013) and Gerárd Genette (2010); we consider the historical, thematic and structural specificities of cordel literature, with support from Bráulio Tavares (2005), Jerusa Ferreira (2019), Sebastião Batista (1982) and Paul Zumthor (1993, 1997, 2000, 2005); we think the particularities of string adaptations, according to the studies by Márcia Abreu (2004); we examine details about woodcuts, considering Franklin Maxado (1982), Luís Camargo (1995), Antônio Costella (2006) and Luli Hata (1999) and discuss the relationship between cordel and the classroom, with the works of José Hélder Pinheiro (2013, 2018) and Ana Cristina Marinho and Pinheiro (2012). The methodology used corresponds to the comparative reading between Machado's work and its adaptation, combined with the study of the proposed bibliography. The analysis of the adaptation of the short story “A Cartomante” allows the identification of some procedures. Among them: use of six-verse stanzas (mostly heptassyllables); comprehension about the act of adapting expressed by the poet; mentions of Machado's name as an erudite author; suppression of excessively descriptive passages; insertion of adjectives to adapt the verses to the number of seven poetic syllables; demarcation of the cordel as a popular element; appeal to voice and performance during the reading and the presence of woodcuts in the form of tarot cards, which refer to the mysticism of the character who entitles the tale. These aspects demonstrate the relevance of adaptation for the debate on the formation of readers and, therefore, make it possible to describe some methodological suggestions planned to support the work with adaptation in a literature class.