The main objective of this research is the comparative study between the Guimarães Rosa's work, emphasizing Sagarana (1946), in which we can find the narrative Duelo and Paulo Thiago`s movie, Sagarana: o Duelo (1973), to show the "transpositions" (Stam 2008), of fictional and compositive elements from Rosa's work. We will analyze the structure of those texts in their different aspects; the study of the relations that can be established between the literary work and the movie; the description of the characters in the movie in relation to the literary work in which they appear, as well as the multiple relations that we can perceive in the narrative. We will show that there are common and different elements between the narrative and the movie in which it is based. We will show that these differences refer to all aspects from both works and that the free adaption suggests to be one of the best ways for filmmakers to turn their movies into works with aesthetic validity independent from the text which motivated them. And in relation to Sagarana: o Duelo, the different transpositions cover up ideological meanings that will be also focused in the research. The theoretical works of Claude Bremond (1971; 1972) and Gerard Genette (1979), Marcel Martin (2007), Jacques Aumont (1995), Robert Stam (2008) e Linda Seger (2007) will be used. Some aspects will be assumed: fictionality as an aesthetic value, the constructive conscience cultivated by Guimarães Rosa and perceptible in Paulo Thiago's choices; the fiction as mediator of truth or mental and social realities built through history. We will also work with some assumptions suggested by literary criticism, such as the studies of Antonio Cândido (1964), Manuel Cavalcanti Proença (1959) and Benedito Nunes (1969).
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