Alice no país das maravilhas: da obra literária ao cinema : tradução e transcriação

Abstract

From the conception of Aventuras de Alice no subterrâneo to the best-known translations of Alice no país das maravilhas, we read a story told briefly in a boat, on a picnic afternoon, becoming the writing of what would become a canon of literature. The aim of this paper is to carry out an interpretative analysis of the translations of Alice no país das maravilhas by Ana Maria Machado (1999) and Rosaura Eichenberg (1998) and the transcreation of the work into film, with reference to the first production by Cecil Hepworth (1903) and the latest by Tim Burton (2010). By entering into the symbolic play of words, we will address general concepts of literature and the language of the underground, using genetic criticism based on the contributions of Cecília Almeida Salles (2008), since Aventuras de Alice no subterrâneo is a manuscript by Carroll; fantasy as writing and the relationship between the fantastic and fantasy in the work according to Tzvetan Todorov (1981); comparative literature between the translations of Alice, namely: Ana Maria Machado's translation (1999) and Rosaura Eichenberg's translation (1998), based on the contributions of Edwin Gentzler (2009) and Anthony Pym (2017); as well as the analysis of each work, literary and filmic, exploring the theories of both and respecting the particularities of each, dwelling on the contributions of Maria Aparecida Rodrigues (2019), Linda Catarina Gualda (2010) and Thaís Flores Nogueira Diniz (1999). This is how we directed our research in search of the translation and transcreation of Alice no país das maravilhas, from Lewis Carroll's manuscripts to film works, engendering verbal images in literature and imagetic signs in cinema, As aventuras de Alice no subterrâneo and allowing/being in the fantasy of Wonderland