De Macunaíma a Macunaíma: relações dialógicas e semióticas nas obras de Mário de Andrade e Joaquim Pedro de Andrade

Abstract

The aim of this work is to analyze the intersemiotic relationship between literature and cinema through a reading of the novels Macunaíma (1928), by Mario de Andrade and Macunaíma (1969), by Joaquim Pedro de Andrade. Therefore, we use the contributions of Comparative Literature to establish an intertextual dialogism and demonstrate that a esthetic objects are formed by a tangle of various texts that can be a starting point for other semiotic systems. We also found support in Peirce's semiotics to analyze the process of transmutation or intersemiotic translation of Macunaíma literary work for the cinema and on the authors that share the theory of Charles Sanders Peirce. The concepts of comparative literature and intersemiotic translation relate to the concept of Dialogism postulated by Mikhail Bakhtin, and it is necessary to introduce it in this research, since its semantics promotes a sense of intertextual and dialogical character in the works of art. In addition, we also present the historical moments, Modernism and the New Cinema, and the relationship between them in the representations of Macunaíma character in order to conduct a comparative study of the two works and relate it to the contexts in which they operate. After completing the theoretical and critical readings, and going through the analysis of the study, we understand the role of the literary references in the film study and how the intersemiotic translation of Macunaíma (1928) was made for the film. The result of this research, based on the contributions of the General Theory of Signs, Comparative Literature, Dialogism, points to the understanding of inter semiotic reading that seeks to identify the plurality of meanings that the text is able to bring out. Thus, we conclude that Joaquim Pedro de Andrade managed to build an autonomous work without limitting the spirit of the original text by Mário de Andrade because we could understand the cinematographic art as a re-creation of the literary discourses that were appropriated and whose identification is required for the construction of meaning in which the reader / viewer also take part.