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Master's Dissertation
DOI
10.11606/D.8.2010.tde-09032010-102922
Document
Author
Full name
José Roberto Araújo de Godoy
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2010
Supervisor
Committee
Zular, Roberto (President)
Bischof, Betina
Gonçalves, Aguinaldo José
Title in Portuguese
Dois cães como objeto: elementos surrealistas em João Cabral de Melo Neto. Aproximações com o cinema
Keywords in Portuguese
O cão sem plumas
João Cabral de Melo Neto
Literatura Comparada.
Luis Buñuel
Surrealismo
Abstract in Portuguese
Esta dissertação analisa a presença de elementos surrealistas na obra do poeta João Cabral de Melo Neto (1920 1999), na primeira década de sua produção poética o período que vai de sua estréia literária, em 1942, com Pedra do sono, a 1950, ano de lançamento de O cão sem plumas. Nesse livro-poema, produzido em sua longa temporada afastado do país, nos deteremos com maior acuidade, estabelecendo relações com procedimentos do cinema surrealista, em especial as conexões entre montagem e metáfora e a utilização do símile como modo de composição do poeta. Além da análise de marcas textuais que delimitam o itinerário temático das relações entre João Cabral, expressões surrealistas e a criação cinematográfica. Além disso, perpassará nosso percurso o diálogo do poeta, ainda no Recife, com dois personagens fundamentais na sua formação intelectual: Willy Lewin e Joaquim Cardozo. Interlocutores cuja influência pode ser percebida no conjunto de sua produção poética.
Title in English
Two dogs as an object: surrealistic elements in João Cabral de Melo Neto. Approaches to the cinema
Keywords in English
O cão sem plumas
Comparative literature
João Cabral de Melo Neto
Luis Buñuel
Surrealism
Abstract in English
This dissertation examines the presence of surrealistic elements in the poetic work of the poet João Cabral de Melo Neto (1920 1999), from his literary debut with Pedra do sono, in 1942, until O cão sem plumas (1950). This work, written by the poet during his long sojourn abroad, it will be the main object of this study, the corpus where well describe the relation between the surrealistic procedure, mainly its filmic aspect, and procedures operated by the poet, like the relation between montage and metaphor, and the use of simile as a way of composition by the poet. It will help us to point textual marks that makes possible a kind of thematic itinerary of the relation among João Cabral, surrealistic expression and film creation. At last, well recompose the poets dialogue with two characters from his Recifes background: Willy Lewin and Joaquim Cardozo. Detailing the way them influences will be noted in the body of his work.
 
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Publishing Date
2010-03-09
 
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