Bruno Santos Melo, Beatriz Araújo Costa

'MORTE E VIDA SEVERINA' EM QUADRINHOS

Introduction

'morte e vida severina' em quadrinhos. Analise duas adaptações em quadrinhos de "Morte e Vida Severina" de João Cabral de Melo Neto. Explore como HQs democratizam clássicos e combinam texto e arte.

Abstract

No âmbito da Indústria Cultural e da cultura de massas, os processos que envolvem a adaptação de clássicos literários se configuram como uma importante forma de disseminação e democratização ao acesso da dita Literatura com “L” maiúsculo, conforme aponta Márcia Abreu (2006). Nesse sentido, o presente artigo tem como objetivo central analisar duas adaptações quadrinísticas da obra poética “Morte e Vida Severina”, de João Cabral de Melo Neto. Percebemos, no decorrer da análise, que a primeira HQ, de Miguel Falcão (2009), constrói um enredo muito próximo da obra de João Cabral, com transcrições do texto escrito e ilustrações em preto e branco, com um forte apelo gráfico voltado sobretudo à construção simbólica da Morte Severina. A segunda, de Odyr Bernardi (2024), é um pouco mais livre do poema no âmbito textual e agrega ilustrações coloridas, que se aproximam da pintura através da técnica de aquarela, trazendo um contexto que ressignifica a tradicional morte Severina: a pandemia do COVID-19. Ambas, a partir das linguagens dos quadrinhos, emancipam a palavra escrita e constroem sentidos mediante a mescla entre texto verbal e visual, promovendo narrativas sensíveis e que partilham entre si aspectos fundamentais da obra adaptada: o caminhar do sertanejo retirante.

Review

This article offers a timely and pertinent analysis of literary adaptation, specifically focusing on the translation of João Cabral de Melo Neto's classic "Morte e Vida Severina" into the comic book medium. By framing its discussion within the broader context of the Cultural Industry and mass culture, the study effectively highlights how such adaptations contribute to the dissemination and democratization of canonical literature, aligning with contemporary discussions on literary accessibility and engagement. The stated objective to critically examine two distinct quadrinistic versions of this pivotal Brazilian poem is clear, promising a valuable comparative insight into the interpretive potential of comics. The core of the article lies in its comparative analysis of Miguel Falcão's (2009) and Odyr Bernardi's (2024) adaptations. The abstract provides a strong preview of this comparison, indicating that Falcão's version maintains a close textual fidelity and a symbolic, stark aesthetic (black and white, focusing on the "Severina Death"), while Bernardi's takes more textual liberties, employs a richer, painterly aesthetic (watercolor, color), and significantly recontextualizes the core theme through the lens of the COVID-19 pandemic. This differentiation promises a nuanced exploration of how artistic choices, textual fidelity, and contemporary relevance shape the adaptation process, demonstrating the versatility of the comic form in both preserving and reinterpreting literary heritage. Overall, the article appears to make a significant contribution to the fields of literary studies, adaptation studies, and comic studies. By arguing that both adaptations, through their unique blend of verbal and visual language, emancipate the written word and construct new meanings, the study underscores the power of comics to convey complex narratives and emotional depth while maintaining core thematic elements, such as the journey of the *sertanejo retirante*. The theoretical grounding in Márcia Abreu's (2006) work further strengthens the scholarly framework. This research seems poised to provide valuable insights into how classics can be revitalized and made relevant to new audiences through intermedial transformations.

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