Everton Alexandre Carneiro Anunciação, Alana de Oliveira Freitas El Fahl, Flávia Aninger de Barros

LITERATURA E TELENOVELA

Introduction

Literatura e telenovela. Descubra as relações intertextuais e intermidiáticas entre literatura e telenovela, explorando a adaptação de "Uma vida roubada" para "Mulheres de Areia" e o tema do duplo.

Abstract

Uma história pode ganhar dimensões diferentes e novos sentidos quando reescrita dentro de um novo contexto. Partindo dessa constatação, o presente trabalho tem como objetivo discutir as relações intertextuais e intermidiáticas encontradas entre o romance Uma vida roubada (1949), de Karel Josef Beneš, e a telenovela Mulheres de Areia (1993), da Ivani Ribeiro, principalmente no que concerne ao tema do duplo e seus desdobramentos, que são o fio condutor das duas narrativas. Inicialmente, propõe-se uma reflexão acerca da adaptação e da recorrência dessa temática, seguida de breve análise da relação entre a teledramaturgia brasileira e a literatura, a fim de contextualizar as análises posteriores. Utilizou-se o método de pesquisa bibliográfica e fundamentos teóricos da Literatura Comparada, buscando compreender os efeitos das semelhanças e diferenças na relação entre os textos. Como referencial teórico, utilizou-se as contribuições de Kaës (2011), Ranks (1939) e Freud (2015), para discutir o duplo e o complexo fraterno; Meyer (1996), Ricco e Vannucci (2017), Rodrigues (2018), para refletir sobre o gênero telenovela, sua influência cultural no Brasil e seus modos de produção; e Hutcheon (2009), Müller (2009) e Bourdieu (1997), para fundamentar as questões de adaptação envolvidas na relação entre literatura e telenovela.

Review

The paper "LITERATURA E TELENOVELA" proposes an engaging examination of intertextual and intermedial relationships, specifically focusing on the novel *Uma vida roubada* (1949) by Karel Josef Beneš and the Brazilian telenovela *Mulheres de Areia* (1993) by Ivani Ribeiro. The central objective is to discuss how a story gains new dimensions when adapted into a different context, with particular emphasis on the theme of the 'double' and its various permutations as the guiding thread in both narratives. The initial sections wisely aim to contextualize this discussion by reflecting on adaptation practices and the historical interplay between Brazilian teledramaturgy and literature, providing a necessary foundation for the subsequent analyses. Methodologically, the study employs bibliographic research, grounded firmly in the principles of Comparative Literature, which is an entirely appropriate approach for exploring the stated objective of understanding similarities and differences between distinct texts and media. The theoretical framework appears robust and comprehensive, drawing on several key scholars across relevant disciplines. For discussing the 'double' and the fraternal complex, the authors rely on seminal works by Kaës (2011), Ranks (1939), and Freud (2015), ensuring a deep psychoanalytic perspective. Reflections on the telenovela genre, its cultural influence in Brazil, and production modes are informed by Meyer (1996), Ricco and Vannucci (2017), and Rodrigues (2018). Finally, the intricate issues of adaptation between literature and telenovela are theoretically underpinned by Hutcheon (2009), Müller (2009), and Bourdieu (1997), demonstrating a sophisticated understanding of media transformation and cultural capital. This study presents several compelling strengths and promises significant contributions to the fields of Comparative Literature, Media Studies, and Cultural Studies. The unique juxtaposition of a Czech novel and a Brazilian telenovela, both revolving around the timeless theme of the 'double,' offers a fertile ground for exploring how universal narratives are recontextualized and re-signified across different cultural and media landscapes. By meticulously detailing its theoretical apparatus and clearly outlining its comparative approach, the work establishes a solid foundation for insightful analysis into the effects of intermedial adaptation and the enduring power of specific thematic structures. The paper is poised to enrich our understanding of narrative flexibility, the cultural resonance of the telenovela genre in Brazil, and the complex interplay between literary source material and its televisual reimagining.

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