Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior
Autor(a) principal: | |
---|---|
Data de Publicação: | 2006 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/4862 |
Resumo: | In this work, it was searched for the aspects of the process of codification in literature and cinema. The analyzed corpus was composed of the book An oyster and the wind, by the native writer of Ceará Moacir C. Lopes (1982) and the homonym film, an adaptation to the cinema, directed by the motion picture director Walter Lima Júnior (1997). The proposal of this dissertation emerged from the confirmation of a practice, particularly among students, of substituting the reading of a literary work for its corresponding adaptation for the cinema. That practice, which ignores the specifics of each of the languages, solve partially aspects of the content and ignores, totally, questions on the form and the structure, reducing the relevance of the object as an artistic creation. The process of codification in a specific language is done by means of the conventionality of the artistic model in general and of the (artistic) object in particular, which is constituted by the norm, by the norm deviations, by the predictability and the esthetical information. This way, compositional procedures were analyzed in the book and in the film, by having in mind the identification of the responsible elements to the signification of each of the art models. To study the adaptation of a language to the other one, it was started from the semiotic conception of modelization of Iuri M. Lotman, according to which a system of signs organizes itself as a secondary language, as it overcomes itself the natural linguistic level (primary language), getting a peculiar structure to transmit information, what would be impossible by means of an elementary structure strictly linguistic.The element considered responsible to give structure to the artistic language and, therefore, passed to be an information messenger, in the book and in the film, was time. The analysis, in the verbal text, was based on the borderline-table problem in the artistic work (Lotman and Boris A. Uspênski), to establish the modeling value of the categories of beginning and ending and to explain the configuration of time; in the film text, it was based on the binary oppositions (V. V. Ivanov), revealed by the chromatic explored effects. The study of the semiotic mechanisms, in the light of this comparison, makes the own procedures of each type of art more evident. This work, as it approaches the problem of the codification system, in literature and in cinema, delineated some specifics of every one of the systems of signs, making explicit the time element as the main messenger of signification |
id |
PUC_SP-1_8fcc9e15227b2a0410f9d7a1346f963e |
---|---|
oai_identifier_str |
oai:repositorio.pucsp.br:handle/4862 |
network_acronym_str |
PUC_SP-1 |
network_name_str |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
repository_id_str |
|
spelling |
Motta, Leda Tenorio daMaciel, Sonia Maria Pereira2016-04-26T18:16:02Z2007-07-112006-01-16Maciel, Sonia Maria Pereira. Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior. 2006. 121 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2006.https://tede2.pucsp.br/handle/handle/4862In this work, it was searched for the aspects of the process of codification in literature and cinema. The analyzed corpus was composed of the book An oyster and the wind, by the native writer of Ceará Moacir C. Lopes (1982) and the homonym film, an adaptation to the cinema, directed by the motion picture director Walter Lima Júnior (1997). The proposal of this dissertation emerged from the confirmation of a practice, particularly among students, of substituting the reading of a literary work for its corresponding adaptation for the cinema. That practice, which ignores the specifics of each of the languages, solve partially aspects of the content and ignores, totally, questions on the form and the structure, reducing the relevance of the object as an artistic creation. The process of codification in a specific language is done by means of the conventionality of the artistic model in general and of the (artistic) object in particular, which is constituted by the norm, by the norm deviations, by the predictability and the esthetical information. This way, compositional procedures were analyzed in the book and in the film, by having in mind the identification of the responsible elements to the signification of each of the art models. To study the adaptation of a language to the other one, it was started from the semiotic conception of modelization of Iuri M. Lotman, according to which a system of signs organizes itself as a secondary language, as it overcomes itself the natural linguistic level (primary language), getting a peculiar structure to transmit information, what would be impossible by means of an elementary structure strictly linguistic.The element considered responsible to give structure to the artistic language and, therefore, passed to be an information messenger, in the book and in the film, was time. The analysis, in the verbal text, was based on the borderline-table problem in the artistic work (Lotman and Boris A. Uspênski), to establish the modeling value of the categories of beginning and ending and to explain the configuration of time; in the film text, it was based on the binary oppositions (V. V. Ivanov), revealed by the chromatic explored effects. The study of the semiotic mechanisms, in the light of this comparison, makes the own procedures of each type of art more evident. This work, as it approaches the problem of the codification system, in literature and in cinema, delineated some specifics of every one of the systems of signs, making explicit the time element as the main messenger of significationNeste trabalho, buscou-se explicitar aspectos do processo de codificação na literatura e no cinema. O corpus analisado foi composto pelo livro A ostra e o vento do escritor cearense Moacir C. Lopes (1982) e o filme homônimo, uma adaptação para o cinema, sob a direção do cineasta Walter Lima Júnior (1997). A proposta desta dissertação surgiu da constatação de uma prática, particularmente entre estudantes, de se substituir a leitura de uma obra literária pela sua correspondente adaptação fílmica. Essa prática, que ignora especificidades de cada linguagem, resolve parcialmente aspectos do conteúdo e ignora, totalmente, questões formais e estruturais, rebaixando a relevância do objeto enquanto criação artística. O processo de codificação em uma dada linguagem faz-se por meio do grau de convencionalidade do modelo artístico em geral e do objeto (artístico) em particular, que se constitui pela norma, pelos desvios da norma, pelo grau de previsibilidade e de informação estética. Assim foram analisados, tanto no livro quanto no filme, procedimentos composicionais utilizados, tendo em vista a identificação dos elementos responsáveis pela significação de cada um dos modelos de arte. Para o estudo da adaptação de uma linguagem à outra, partiu-se do conceito semiótico de modelização de Iuri M. Lotman, segundo o qual um sistema de signos organiza-se como linguagem secundária, ao sobreporse ao nível lingüístico natural (linguagem primária), adquirindo estruturalidade própria para a transmissão da informação, o que seria impossível com os meios de uma estrutura elementar propriamente lingüística. O elemento considerado responsável pela estruturação da linguagem artística e, portanto, portador de informação, tanto no livro quanto no filme, foi o tempo. A análise, no texto verbal, baseou-se no problema do quadro-fronteira na obra artística (Lotman e Boris A. Uspênski), para estabelecer o valor modelizante das categorias de princípio e de fim e explicar a configuração do tempo; no texto fílmico, baseouse nas oposições binárias (V. V. Ivanov), reveladas pelos efeitos cromáticos explorados. O estudo dos mecanismos semióticos, à luz da comparação, torna mais evidentes os procedimentos próprios para cada tipo de arte. Este trabalho, ao abordar a problemática do sistema de codificação, na literatura e no cinema, delineou especificidades de cada um dos sistemas de signos, ressaltando o elemento tempo como o principal portador de significaçãoFundação Educacional de Ituiutabaapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/13681/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Comunicação e SemióticaPUC-SPBRComunicaçãoCinemaLiteraturaCodificaçãoAdaptaçãoSemióticaModelizaçãoLima Junior, Walter [1938-] - A ostra e o vento (Filme) - Crítica e interpretaçãoEspaco e tempo no cinemaCinemaLiteratureCodificationAdaptationSemioticModelingCNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAOUma abordagem do tempo em A ostra e o vento de Walter Lima Júniorinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTCOS - Sonia Maria P Maciel.pdf.txtCOS - Sonia Maria P Maciel.pdf.txtExtracted texttext/plain200397https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/3/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf.txted01aec22edcafc721f35c445f4c7975MD53ORIGINALCOS - Sonia Maria P Maciel.pdfapplication/pdf444052https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/1/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf92619906ebd1afc42b3941814b0c22e7MD51THUMBNAILCOS - Sonia Maria P Maciel.pdf.jpgCOS - Sonia Maria P Maciel.pdf.jpgGenerated Thumbnailimage/jpeg3470https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/2/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf.jpg30358ac5b24e1fb95e9f108037fd73e8MD52handle/48622022-04-28 19:11:00.968oai:repositorio.pucsp.br:handle/4862Biblioteca Digital de Teses e Dissertaçõeshttps://sapientia.pucsp.br/https://sapientia.pucsp.br/oai/requestbngkatende@pucsp.br||rapassi@pucsp.bropendoar:2022-04-28T22:11Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP)false |
dc.title.por.fl_str_mv |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
title |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
spellingShingle |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior Maciel, Sonia Maria Pereira Cinema Literatura Codificação Adaptação Semiótica Modelização Lima Junior, Walter [1938-] - A ostra e o vento (Filme) - Crítica e interpretação Espaco e tempo no cinema Cinema Literature Codification Adaptation Semiotic Modeling CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
title_short |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
title_full |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
title_fullStr |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
title_full_unstemmed |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
title_sort |
Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior |
author |
Maciel, Sonia Maria Pereira |
author_facet |
Maciel, Sonia Maria Pereira |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Motta, Leda Tenorio da |
dc.contributor.author.fl_str_mv |
Maciel, Sonia Maria Pereira |
contributor_str_mv |
Motta, Leda Tenorio da |
dc.subject.por.fl_str_mv |
Cinema Literatura Codificação Adaptação Semiótica Modelização Lima Junior, Walter [1938-] - A ostra e o vento (Filme) - Crítica e interpretação Espaco e tempo no cinema |
topic |
Cinema Literatura Codificação Adaptação Semiótica Modelização Lima Junior, Walter [1938-] - A ostra e o vento (Filme) - Crítica e interpretação Espaco e tempo no cinema Cinema Literature Codification Adaptation Semiotic Modeling CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
dc.subject.eng.fl_str_mv |
Cinema Literature Codification Adaptation Semiotic Modeling |
dc.subject.cnpq.fl_str_mv |
CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO |
description |
In this work, it was searched for the aspects of the process of codification in literature and cinema. The analyzed corpus was composed of the book An oyster and the wind, by the native writer of Ceará Moacir C. Lopes (1982) and the homonym film, an adaptation to the cinema, directed by the motion picture director Walter Lima Júnior (1997). The proposal of this dissertation emerged from the confirmation of a practice, particularly among students, of substituting the reading of a literary work for its corresponding adaptation for the cinema. That practice, which ignores the specifics of each of the languages, solve partially aspects of the content and ignores, totally, questions on the form and the structure, reducing the relevance of the object as an artistic creation. The process of codification in a specific language is done by means of the conventionality of the artistic model in general and of the (artistic) object in particular, which is constituted by the norm, by the norm deviations, by the predictability and the esthetical information. This way, compositional procedures were analyzed in the book and in the film, by having in mind the identification of the responsible elements to the signification of each of the art models. To study the adaptation of a language to the other one, it was started from the semiotic conception of modelization of Iuri M. Lotman, according to which a system of signs organizes itself as a secondary language, as it overcomes itself the natural linguistic level (primary language), getting a peculiar structure to transmit information, what would be impossible by means of an elementary structure strictly linguistic.The element considered responsible to give structure to the artistic language and, therefore, passed to be an information messenger, in the book and in the film, was time. The analysis, in the verbal text, was based on the borderline-table problem in the artistic work (Lotman and Boris A. Uspênski), to establish the modeling value of the categories of beginning and ending and to explain the configuration of time; in the film text, it was based on the binary oppositions (V. V. Ivanov), revealed by the chromatic explored effects. The study of the semiotic mechanisms, in the light of this comparison, makes the own procedures of each type of art more evident. This work, as it approaches the problem of the codification system, in literature and in cinema, delineated some specifics of every one of the systems of signs, making explicit the time element as the main messenger of signification |
publishDate |
2006 |
dc.date.issued.fl_str_mv |
2006-01-16 |
dc.date.available.fl_str_mv |
2007-07-11 |
dc.date.accessioned.fl_str_mv |
2016-04-26T18:16:02Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Maciel, Sonia Maria Pereira. Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior. 2006. 121 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2006. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/4862 |
identifier_str_mv |
Maciel, Sonia Maria Pereira. Uma abordagem do tempo em A ostra e o vento de Walter Lima Júnior. 2006. 121 f. Dissertação (Mestrado em Comunicação) - Pontifícia Universidade Católica de São Paulo, São Paulo, 2006. |
url |
https://tede2.pucsp.br/handle/handle/4862 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.publisher.program.fl_str_mv |
Programa de Estudos Pós-Graduados em Comunicação e Semiótica |
dc.publisher.initials.fl_str_mv |
PUC-SP |
dc.publisher.country.fl_str_mv |
BR |
dc.publisher.department.fl_str_mv |
Comunicação |
publisher.none.fl_str_mv |
Pontifícia Universidade Católica de São Paulo |
dc.source.none.fl_str_mv |
reponame:Biblioteca Digital de Teses e Dissertações da PUC_SP instname:Pontifícia Universidade Católica de São Paulo (PUC-SP) instacron:PUC_SP |
instname_str |
Pontifícia Universidade Católica de São Paulo (PUC-SP) |
instacron_str |
PUC_SP |
institution |
PUC_SP |
reponame_str |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
collection |
Biblioteca Digital de Teses e Dissertações da PUC_SP |
bitstream.url.fl_str_mv |
https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/3/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf.txt https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/1/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf https://repositorio.pucsp.br/xmlui/bitstream/handle/4862/2/COS%20-%20Sonia%20Maria%20P%20Maciel.pdf.jpg |
bitstream.checksum.fl_str_mv |
ed01aec22edcafc721f35c445f4c7975 92619906ebd1afc42b3941814b0c22e7 30358ac5b24e1fb95e9f108037fd73e8 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da PUC_SP - Pontifícia Universidade Católica de São Paulo (PUC-SP) |
repository.mail.fl_str_mv |
bngkatende@pucsp.br||rapassi@pucsp.br |
_version_ |
1809277844498415616 |