Banca de DEFESA: JOSÉ AILSON LEMOS DE SOUZA

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
DISCENTE : JOSÉ AILSON LEMOS DE SOUZA
DATA : 22/02/2019
HORA: 09:00
LOCAL: SALA DE DEFESAS PPG-LETRAS
TÍTULO:

E.M. Forster in the Cinema: Sexuality and Gender Issues in James Ivory's Films 

PALAVRAS-CHAVES:

Adaptation. Cinema. E. M. Foster. Literature. Merchant Ivory.

PÁGINAS: 188
GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Letras
SUBÁREA: Literatura Comparada
RESUMO:

This dissertation is a study of the adaptations of E. M. Forster’s novels A Room with a View (1908) and Maurice (1913) into the films of the same name, directed by James Ivory. Our assumption is that the films offer an alternative to the visual pleasure structured in mainstream cinema by a relation that places a male look dominating and objectifying female forms (MULVEY, 1983). Such alternative appears in the form of rearranging gender positions in that structure, and in images that stimulate a homoerotic imaginary or that center on homosexual experiences and thus provide a more complex and diverse dynamic for the gaze and pleasure provided by cinema. The discussion emphasizes the critique of oppression within the novels and the strategies of adaptation. Therefore, we contextualize the novels as well as a criticism that problematize questions of gender and sexuality in the works by Sedgwick (1990), Rubin (1984) and Butler (1990). The films’ specificities are presented through different perspectives from British criticism such as that in Higson (2003, 2006, 2011), Monk (2001, 2011) and Dyer (2002). We survey some concepts and ideas from adaptation studies from texts by Bazin (2000), Cruz (2014), Elliot (2004, 2017), Hutcheon (2013), Leitch (2008), Schober (2013) and Stam (2000), among others, highlighting the adaptations’ context and intertextuality relations that exceed the literary sources. The analysis of A Room with a View and its adaptation centers on the treatment of gender representation, on images that subvert male domination logic by resisting it, and on setting a point of view that articulates a more diverse visual pleasure than that which privileges a male heterosexual desire. The study of Maurice and its adaptation focuses on different scenes of homosexuality recognition. The scene of recognition suggests a mediation of class alterity and it has the effect of disrupting patriarchal power structures. We investigate Ivory’s strategies to adapt the different scenes and the use of texts that trigger homosexual images. Our conclusion is that Ivory’s adaptations select and develop scenes of subversion that, set in the past, criticize power relations of gender and sexuality and, as a result, diversify contemporary visual culture by means of a more democratic distribution of discourses and representations of human experience.

MEMBROS DA BANCA:
Interno - 287790 - DECIO TORRES CRUZ
Interno - 287788 - NOELIA BORGES DE ARAUJO
Interno - 398.683.207-63 - SILVIA MARIA GUERRA ANASTACIO - UFBA
Externo à Instituição - CLAUDIO CLEDSON NOVAES - UEFS
Externo à Instituição - CARLOS AUGUSTO VIANA DA SILVA - UFC