Entre a pena e a câmera: o silêncio das Capitus de Machado de Assis e Luiz Fernando Carvalho

Abstract

This Master’s research developed in the Programa de Pós-Graduação em Letras e Linguístida da UERJ (PPLIN), concentration area of Estudos Literários, discusses the process of media transposition of the novel Dom Casmurro (ASSIS, 1899) to the television miniseries Capitu (CARVALHO, 2008 ). The main objective of the research is to investigate how the character's silence - not as an indicator of fragility, submission and erasure, but as a skewed production of presence and as the character's discursive force - is transposed from Machado's text to Carvalho's canvas. For this, we propose an analysis of the migration process of scenes from the miniseries in dialogue with excerpts from the literary text based on the theoretical and critical basis of Claus Clüver's (2012) studies on Intermedialities, with emphasis on his literary perspective, that is, the media transposition, according to Irina Rajewsky (2012). In chapter 1, we bring together some associations commonly made to the figure of Capitu, in addition to observing the place that the narrator occupies; in addition, we inscribe the character's silence within Machado de Assis's literary project, as well as Luiz Fernando Carvalho's film project, emphasizing the critical role that both play in society. In chapter 2, we go deeper into the concepts inherent to media transposition, seeking to understand the space that Capitu's silence occupies in Machado's work and how it is transposed to the canvas. Finally, in chapter 3, we make a brief foray into the intricacies of memory in order to understand how this element influences the constitution of the character that Bento presents to us. Thus, we seek to demonstrate that the relationship between literary narrative and film narrative can be beneficial for both media as long as the idea of hierarchy between them is abandoned (RIBAS, 2018), considering mainly how the different media materialities (GUMBRECHT, 2010) contribute to our understanding of the place that Capitu occupies in both works. In this way, we hope to offer an alternative reading for Capitu's silence (ORLANDI, 2007), both in the book and on the screen, enrolling him in the Machado de Assis project based on reflections on the cultural formation of Brazil (SANTIAGO, 2000) in that refers to the discursive construction.