A tensividade na tradução intersemiótica de contos de Moreira Campos para quadrinhos

Abstract

This work is based on the tensive side of the French semiotics. Its objective is to investigate the tensiveness in the translation of Moreira Campos’ short stories to the comics, based on the sub-dimensions temporality, spatiality, tempo and tonicity, from which one verifies the occurrences of meaning effects of routine and event in the tale and in the comic. For the development of the research, it was used the theoretical apparatus of tensive semiotics (ZILBERBERG, 2004, 2006, 2011); the concept of translation (GREIMAS e COURTÉS, 2008); intersemiotic translation (PLAZA, 2010); syncretism (DUBOIS, 2004; COSERIU, 1980 e HJELMSLEV, 2009; GREIMAS e COURTÉS, 2008; BEIVIDAS, 2006, 2012; CARMO JR, 2009; TOMASI, 2012); plastic semiotics (GREIMAS, 2004; OLIVEIRA, 2004; FLOCH, 2009) and semi- symbolism (FLOCH, 2009). Regarding the methodological approach, first three short stories of Moreira Campos and their respective quadrinizations were selected: “The dwarves” (in Portuguese, “Os anões”), “The prisoner” (“O preso”) and “The delirious drop” (“A gota delirante”). Later, one analyzed the tales and, in sequence, the syncretic texts. Each pair of analysis focused on one of the sub-dimensions of the tensiveness: temporality for “The dwarves”, spatiality for “The prisoner” and tempo and tonicity for “The delirious drop”. During this process, it was observed that the difference between the language of the tale and the language of the comic favored, as for temporality, the construction of a depth graded in more and less in the short story, and a deletion of that depth in the HQ; in terms of spatiality, it was observed in both texts the presence of an emissive and remissive spatiality; as to the tonicity and the tempo, it was observed that the look, especially the way of seeing and showing, led both narratives. When comparing the texts, it was verified that “The dwarves” and “The prisoner” tended to the extension, but the quadrinization of both tended, in the plastic dimension, to the axis of the intensity. In turn, the intensity appears as regent in both texts of “The delirious drop”.