Aproximações e distanciamentos em A hora dos ruminantes, José J. Veiga e A revolução dos bichos, George Orwell

Abstract

In this paper, the relations of approximations and distances are investigated in A hora dos Ruminantes, by José J. Veiga and A revolution dos bichos, by George Orwell, based on the concepts of allegory, in the views of Flávio Kothe, Carlos Ceia and Walter Benjamim considering the romantic and filmic systems, passing through fantastic literature. We also use theorists such as: Tzvetan Todorov, Roland Barthes, Júlio Plaza, Lawrence Venuti, among others. In this way, the research contributes to the critical fortune about these two authors, since, despite being from such different realities and having produced their texts from specific motivations, they dialogue, both from the thematic point of view and in their worldviews or even and, mainly, in writing, as compositional warp. This comparative study between the two texts, rich in allegories, will allow a reflection on the tensions and changes that the western world has been experiencing since the 1940s to the current world situation. Our attention turns to the allegorical construction of the characters from the second chapter on, where the simultaneous occurrence of the fantastic and the allegory occurs, categories that normally exclude each other. In this way, we will see the interfaces between forms of language of the works mentioned above. Languages and interfaces cinematographic adaptations we will demonstrate, in an analysis of the means, the action of the communication vehicle. Not only focused on a specific audience, but also omnipresent, we will see this kind of -televisions¿ as possible Orwellian hyperboles with regard to the capacity of an audience's ideological formation. And in the third chapter, fantastic literature will give us, through the subtlety of its writing, a reality that provokes analytical and reflective self-knowledge where through the "stranger" we can discover its dimension and through the poetic reverie we come to understand how far the mind can create, dream and seek the hope that man, despite causing so many catastrophes, continues in search of his lost humanity that characterizes faith in humanity itself. The adopted methodology will give centrality to the intersemiotic that, starting from the universe of signs, it will be possible to understand the magnitude of the various forms of manifestation of these signs, within the narrative. Through this analysis, we hope to achieve results that can elucidate hypotheses that are only plausible in the sphere of artistic-literary language; hypotheses that bring to light, in relation to the lived life, the most diverse meanings of the created, felt life