Harry Potter entre o espelho literário e o cinematográfico

• Autor(a) principal: Rinaldi, Júlia Pacheco
• Data de Publicação: 2017
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: http://dspace.mackenzie.br/handle/10899/25494
• topic: Harry Potter; tradução intersemiótica; literatura infanto-juvenil; cinema; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::CINEMA::INTERPRETACAO CINEMATOGRAFICA; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURAS ESTRANGEIRAS MODERNAS; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURAS CLASSICAS; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LINGUAS ESTRANGEIRAS MODERNAS

This development work focused on the research areas Language, Literature and Society: speech communication, religious discourse, pedagogical discourse, political discourse; has as its object of study the literary and cinematographic work Harry Potter and the Order of the Phoenix, the fifth volume of the narrative initialized by the British author J. K. Rowling from the 1990s and adapted for the cinema from the 2000s. To the research, it was selected a piece from the literary work, this specifically in the fifth volume of the series, entitled Harry Potter and the Order of the Phoenix, where the young Harry Potter has fight against your main enemy inside your own body. This passage makes it possible to understand that the character goes through an identity crisis: Harry Potter received when baby some magical powers from his enemy when he tried to kill him, and he suddenly lives with a mixture of good feelings (love, friendship, courage) and bad feelings (anger, fear, insecurity) that oscillates fast, and he believes that Voldemort, somehow, exerts control over them. Harry Potter believes he is leaning toward evil, as well as with your enemy, but knows he must fight to defeat Voldemort and the Death Eaters and restore peace in the wizarding world. In this way, it will be addressed also this point in the film (entitled by the same name) trying to understand how the essence of the literary fragment was transposed into the visual language, using as the main theoretical basis, the translation Intersemiotic by Julio Plaza.