From camellias to mandacaru: A Dama das camélias em cordel

A Dama das camélias em cordel

Abstract

This work starts from reading the transpositions of the novel La Dame aux camélias (1981b), by Dumas fils: homonymous drama (1981b) by Dumas fils; namesake movie by Mauro Bolognini (1981); movie Camille, by George Cukor (1936); the cordel novel A Dama das camélias em cordel, by Evaristo Geraldo (2010); and the opera Violetta (La Traviatta) (1981), by Verdi / Piave / Duprez, and presents the comparative analysis of the cordel novel prioritizing its hypotexts - drama and movie Camille - and the novel by Dumas fils, considering the definition of transposition or dramatic transformation for the narrative. This comparative analysis is supported by Comparative Literature, Genette's theory of transtextuality (1982), Bakhtin’s dialogue (1992, 1997), intertextuality according to Samoyault (2008), the genealogy of cordel according to Abreu (2004, 2005, 2006), from theater according to Ryngaert (1995), among others. The work is divided into three parts: presentation of the production context of Dumas Fils; descriptions of the transposition of Duma’s plot to the cordel novel model; comparative analysis of the heroine of the cordel novel, the Dumas Fils novel, the drama and the movie Camille. From this comparative analysis, we found that the transposition of the work of Dumas fils to the Literature of Cordel - starting from the reading of the drama and the movie Camille - presents a specific materiality of popular poets from Brazil and, in particular from the Northeast from the country. Thus, it is possible to affirm that we have in Geraldo’s hypertext the representation of Brazilian culture, art and literature through the transposition of the theme and the use of the compositional structure and vocabulary typical of the cordel novel.