Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan
Autor(a) principal: | |
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Data de Publicação: | 2020 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da UFPB |
Texto Completo: | https://repositorio.ufpb.br/jspui/handle/123456789/20267 |
Resumo: | As a transcultural and transhistorical phenomenon (SÁ, 2010) prone to changes in a given time and space, the Gothic has remained in the arts for almost nine hundred years, from its emergence in architecture to contemporary audiovisual forms. In this context, this thesis has as main objective to discuss reflexes of the Gothic in the Anglo-American television series Penny dreadful, whose major plot comes from literary characters of the English tradition. Penny dreadful is an example of television adaptation that pulls away itself from the model of fidelity to the source text, as it has long been attributed to the quality of the adaptation (STAM, 2006), materializing in TV serial fiction a contemporary trend in audiovisual productions which portray the human side of the monstrous characters (ROAS, 2012), (LLOBERA, 2015), understood as a metaphor for the “monsters” that each one can have within him. This way, we chose as a specific category the character Dorian Gray, from the novel The picture of Dorian Gray, by the writer, poet, playwright and Irish critic Oscar Wilde. In the television series, Dorian Gray is characterized as monstrous (JEHA, 2007) and transgressor (BOTTING, 1996) and his actions frame him as an outsider, as stated by Howard Becker (2008), in his study on the sociology of deviation. In addition, when analyzing the character Dorian Gray and the connection to the space he lives, we see the presence of self-reflexivity, which attributes several other meanings to his characterization, closely linked to pictorial art and symbols like the mirror. We understand Penny dreadful as a bricolage (LEVI-STRAUSS, 1971), (DE CERTEAU, 1994) of the 19th century classic Gothic narratives like Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde, quotes from poems from English Romanticism and Victorian era horror serials, the penny dreadfuls, which name the title of the TV series. To discuss the narrative on television and TV serial fiction, we use studies by Jost (2007, 2012), Esquenazi (2002) and Machado (2007) and to cinematographic studies, works by Bordwell (2013), Bordwell and Thompson (2015) and Martin (2005), with a special focus on mise-en-scène. |
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Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John LoganGóticoPenny dreadfulAutorreflexividadeDorian GrayAdaptaçãoGothicAdaptationSelf-reflexivityCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASAs a transcultural and transhistorical phenomenon (SÁ, 2010) prone to changes in a given time and space, the Gothic has remained in the arts for almost nine hundred years, from its emergence in architecture to contemporary audiovisual forms. In this context, this thesis has as main objective to discuss reflexes of the Gothic in the Anglo-American television series Penny dreadful, whose major plot comes from literary characters of the English tradition. Penny dreadful is an example of television adaptation that pulls away itself from the model of fidelity to the source text, as it has long been attributed to the quality of the adaptation (STAM, 2006), materializing in TV serial fiction a contemporary trend in audiovisual productions which portray the human side of the monstrous characters (ROAS, 2012), (LLOBERA, 2015), understood as a metaphor for the “monsters” that each one can have within him. This way, we chose as a specific category the character Dorian Gray, from the novel The picture of Dorian Gray, by the writer, poet, playwright and Irish critic Oscar Wilde. In the television series, Dorian Gray is characterized as monstrous (JEHA, 2007) and transgressor (BOTTING, 1996) and his actions frame him as an outsider, as stated by Howard Becker (2008), in his study on the sociology of deviation. In addition, when analyzing the character Dorian Gray and the connection to the space he lives, we see the presence of self-reflexivity, which attributes several other meanings to his characterization, closely linked to pictorial art and symbols like the mirror. We understand Penny dreadful as a bricolage (LEVI-STRAUSS, 1971), (DE CERTEAU, 1994) of the 19th century classic Gothic narratives like Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde, quotes from poems from English Romanticism and Victorian era horror serials, the penny dreadfuls, which name the title of the TV series. To discuss the narrative on television and TV serial fiction, we use studies by Jost (2007, 2012), Esquenazi (2002) and Machado (2007) and to cinematographic studies, works by Bordwell (2013), Bordwell and Thompson (2015) and Martin (2005), with a special focus on mise-en-scène.NenhumaComo um fenômeno transcultural e trans-histórico (SÁ, 2010) propenso a mudanças em determinado tempo e espaço, o gótico tem permanecido nas artes há quase novecentos anos, desde seu surgimento na arquitetura até formas audiovisuais da contemporaneidade. Nesse contexto, essa tese tem por objetivo principal discutir reflexos do gótico no seriado de televisão anglo-americano Penny dreadful, cuja trama maior advém de personagens literários da tradição inglesa. Penny dreadful é um exemplo de adaptação televisiva que se desvincula do modelo de fidelidade ao texto fonte, como fora por muito tempo atribuído à qualidade da adaptação (STAM, 2006), materializando na ficção seriada uma tendência contemporânea nas produções audiovisuais que retratam o lado humano dos personagens monstruosos (ROAS, 2012), (LLOBERA, 2015), compreendidos como uma metáfora dos “monstros” que cada indivíduo pode ter dentro de si. Assim, escolhemos como categoria específica o personagem Dorian Gray, do romance O retrato de Dorian Gray, do escritor, poeta, dramaturgo e crítico irlandês Oscar Wilde. No seriado televisivo, Dorian Gray é caracterizado como monstruoso (JEHA, 2007) e transgressor (BOTTING, 1996) e suas ações o enquadram como um outsider, como afirma Howard Becker (2008), no seu estudo sobre a sociologia do desvio. Além disso, ao analisarmos o personagem Dorian Gray e a conexão com o espaço em que ele vive, verificamos a presença da autorreflexividade, que atribui diversos outros sentidos à sua caracterização, intimamente ligada à arte pictórica e a símbolos como o espelho. Compreendemos Penny dreadful como uma bricolagem (LEVI-STRAUSS, 1971), (DE CERTEAU, 1994) de narrativas góticas clássicas do século XIX como Frankenstein, Drácula, O médico e o monstro, citações de poemas do Romantismo inglês e folhetins de terror da Era Vitoriana, os penny dreadfuls, que dão nome à série. Para discorrermos acerca da narrativa na televisão e a ficção seriada, utilizamos estudos de Jost (2007, 2012), Esquenazi (2002) e Machado (2007) e dos estudos cinematográficos, trabalhos de Bordwell (2013), Bordwell e Thompson (2015) e Martin (2005) com foco especial na mise-en-scène.Universidade Federal da ParaíbaBrasilLetrasPrograma de Pós-Graduação em LetrasUFPBMagalhães, Luiz Antonio Mousinhohttp://lattes.cnpq.br/0046517404942505Fernandes, Auricélio Soares2021-06-30T18:58:49Z2020-10-212021-06-30T18:58:49Z2020-04-29info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesishttps://repositorio.ufpb.br/jspui/handle/123456789/20267porinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2022-08-10T11:45:58Zoai:repositorio.ufpb.br:123456789/20267Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2022-08-10T11:45:58Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
title |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
spellingShingle |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan Fernandes, Auricélio Soares Gótico Penny dreadful Autorreflexividade Dorian Gray Adaptação Gothic Adaptation Self-reflexivity CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
title_full |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
title_fullStr |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
title_full_unstemmed |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
title_sort |
Espelhos e retratos de Dorian Gray na série televisiva Penny dreadful: configurações do gótico na construção do personagem de Oscar Wilde e de John Logan |
author |
Fernandes, Auricélio Soares |
author_facet |
Fernandes, Auricélio Soares |
author_role |
author |
dc.contributor.none.fl_str_mv |
Magalhães, Luiz Antonio Mousinho http://lattes.cnpq.br/0046517404942505 |
dc.contributor.author.fl_str_mv |
Fernandes, Auricélio Soares |
dc.subject.por.fl_str_mv |
Gótico Penny dreadful Autorreflexividade Dorian Gray Adaptação Gothic Adaptation Self-reflexivity CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
topic |
Gótico Penny dreadful Autorreflexividade Dorian Gray Adaptação Gothic Adaptation Self-reflexivity CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
As a transcultural and transhistorical phenomenon (SÁ, 2010) prone to changes in a given time and space, the Gothic has remained in the arts for almost nine hundred years, from its emergence in architecture to contemporary audiovisual forms. In this context, this thesis has as main objective to discuss reflexes of the Gothic in the Anglo-American television series Penny dreadful, whose major plot comes from literary characters of the English tradition. Penny dreadful is an example of television adaptation that pulls away itself from the model of fidelity to the source text, as it has long been attributed to the quality of the adaptation (STAM, 2006), materializing in TV serial fiction a contemporary trend in audiovisual productions which portray the human side of the monstrous characters (ROAS, 2012), (LLOBERA, 2015), understood as a metaphor for the “monsters” that each one can have within him. This way, we chose as a specific category the character Dorian Gray, from the novel The picture of Dorian Gray, by the writer, poet, playwright and Irish critic Oscar Wilde. In the television series, Dorian Gray is characterized as monstrous (JEHA, 2007) and transgressor (BOTTING, 1996) and his actions frame him as an outsider, as stated by Howard Becker (2008), in his study on the sociology of deviation. In addition, when analyzing the character Dorian Gray and the connection to the space he lives, we see the presence of self-reflexivity, which attributes several other meanings to his characterization, closely linked to pictorial art and symbols like the mirror. We understand Penny dreadful as a bricolage (LEVI-STRAUSS, 1971), (DE CERTEAU, 1994) of the 19th century classic Gothic narratives like Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde, quotes from poems from English Romanticism and Victorian era horror serials, the penny dreadfuls, which name the title of the TV series. To discuss the narrative on television and TV serial fiction, we use studies by Jost (2007, 2012), Esquenazi (2002) and Machado (2007) and to cinematographic studies, works by Bordwell (2013), Bordwell and Thompson (2015) and Martin (2005), with a special focus on mise-en-scène. |
publishDate |
2020 |
dc.date.none.fl_str_mv |
2020-10-21 2020-04-29 2021-06-30T18:58:49Z 2021-06-30T18:58:49Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
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publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufpb.br/jspui/handle/123456789/20267 |
url |
https://repositorio.ufpb.br/jspui/handle/123456789/20267 |
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por |
language |
por |
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info:eu-repo/semantics/openAccess |
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openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
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reponame:Biblioteca Digital de Teses e Dissertações da UFPB instname:Universidade Federal da Paraíba (UFPB) instacron:UFPB |
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Universidade Federal da Paraíba (UFPB) |
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UFPB |
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UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
repository.mail.fl_str_mv |
diretoria@ufpb.br|| diretoria@ufpb.br |
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1801842975187140608 |