Banca de QUALIFICAÇÃO: ADILMA NUNES ROCHA

Uma banca de QUALIFICAÇÃO de DOUTORADO foi cadastrada pelo programa.
STUDENT : ADILMA NUNES ROCHA
DATE: 30/05/2023
TIME: 14:00
LOCAL: videoconferencia
TITLE:

FROM TAMING OF THE SHREW TO TAMEDS SHREWS: THE WOMAN BETWEEN SILENCES AND BECOMING-WOMEN   FROM LITERATURE TO TELENOVELA

KEY WORDS:

 

KEYWORDS: Literature. Telenovela. Cultural and intersemiotic translation. 
Anonymous/Popular. Women

PAGES: 137
BIG AREA: Lingüística, Letras e Artes
AREA: Letras
SUBÁREA: Teoria Literária
SUMMARY:

 Many are the existence. Discuss how the woman were represented in a classic literary work that reflects tradition, evaluating the extent to which the recreations of this work, through translations in other arts/media, here the telenovela, may or may not subvert crystallized models to provoke the questioning of imposed norms to women in society, it becomes our greatest intent.

Is in the perspective of cultural and intersemiotic translation that the starting question for our research arose: to what extent does cultural translation occur through the intersemiotic bias of the female social subject of the English literary work Shakespeare's The Taming Shrew for the Brazilian telenovela O Cravo e a Rosa (2000), observing the conceptual operators tradition, becoming/becoming and be-bein?

The thematic question of the intersemiotic and cultural translation of the woman subject is based here on the perspective of otherness, becoming and silencing, moving away from the duality angel woman X demon woman, so dear to canonical classical literature and recurrent in most analyzes of the play Shakespearean The tamed shrew, to contribute to diversity in the telenovela. Such multimedia textuality and, many time, transmedia, in an intersemiotic process of mise in abime (Gide/ Dallenbach) leads to the realization that, beyond the written word, the life in its varied possibilities is staged and unveiled, framing diversities of existences of the anonymous/popular as protagonist subjects of experiences previously made unfeasible in the Eurocentric productions of the Platonic model. And the telenovela starts to be thought of not as a simple marketing product for entertainment (Adorno) and alienation through hyper-realistic simulacra (Baudrillard), but as a space for questioning that provokes transformations (Martin-Barbero) and as the bearer of a new sensorium (Benjamin), where the different ways of living are laid bare, through different ways of expressing.

Guided by a transdisciplinary theoretical-methodological approach possible in the theoretical field of Cultural Studies, we point to the displacement of the centrality of the classic literary text, bearer of a high culture life model, to also make visible other textualities conductives of the representations of varied life experiences of the female subject, protagonist of several performances of existence. It is in understanding the transformation of social and textual contexts and radiographing the images of women that representations in the arts/media often reduce/reduce or make invisible/invisible that female anonymity can be dismantled. 

And the telenovela becomes one of the spaces of expression/identities, in which the woman, a category traditionally represented as subalternized and/or made invisible by the macho and patriarchal culture, starts to be deconstructed in a staging that has changed in different times and spaces.

e {font-family:"Cambria Math"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-536859905 -1073732485 9 0 511 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:""; margin-top:0cm; margin-right:.5pt; margin-bottom:.15pt; margin-left:.5pt; text-align:justify; text-indent:-.5pt; line-height:149%; mso-pagination:widow-orphan; font-size:12.0pt; mso-bidi-font-size:11.0pt; font-family:"Times New Roman",serif; mso-fareast-font-family:"Times New Roman"; color:black;}pre {mso-style-priority:99; mso-style-link:"Pré-formatação HTML Char"; margin:0cm; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Courier New"; mso-fareast-font-family:"Times New Roman";}span.Pr-formataoHTMLChar {mso-style-name:"Pré-formatação HTML Char"; mso-style-priority:99; mso-style-unhide:no; mso-style-locked:yes; mso-style-link:"Pré-formatação HTML"; font-family:"Courier New"; mso-ascii-font-family:"Courier New"; mso-fareast-font-family:"Times New Roman"; mso-hansi-font-family:"Courier New"; mso-bidi-font-family:"Courier New";}span.y2iqfc {mso-style-name:y2iqfc; mso-style-unhide:no;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-size:10.0pt; mso-ansi-font-size:10.0pt; mso-bidi-font-size:10.0pt; font-family:"Calibri",sans-serif; mso-ascii-font-family:Calibri; mso-fareast-font-family:Calibri; mso-hansi-font-family:Calibri; mso-font-kerning:0pt; mso-ligatures:none;}div.WordSection1 {page:WordSection1;}

COMMITTEE MEMBERS:
Externo à Instituição - LEONARDO BÉRENGER ALVES CARNEIRO - PUC - RJ
Presidente - 1476232 - MARLENE HOLZHAUSEN
Interna - ***.408.315-** - NOELIA BORGES DE ARAUJO - UFBA