Três passeios pelos bosques de Hogwarts: Os Contos de Beedle, o Bardo e a teia da metaficção
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Data
2024-03-28
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Universidade Estadual Paulista (Unesp)
Resumo
O fim da saga Harry Potter em 2007, escrita pela britânica Joanne Rowling, mais conhecida como J. K. Rowling, deixou um vazio no coração e na mente dos inúmeros leitores que acompanhavam a história do bruxinho Harry Potter publicada pela primeira vez em 1997. Um ano depois, a autora decidiu presentear os fãs com um pequeno livro azul intitulado Os Contos de Beedle, o Bardo (2008), contendo cinco contos de fadas bruxos escritos por Beedle, o Bardo, e cinco comentários correspondentes elaborados por Alvo Dumbledore, personagem da série canônica. A coletânea sem os comentários aparecera previamente em Harry Potter e as Relíquias da Morte (2007), pois um dos contos desempenhara papel relevante no desenvolvimento da trama do último volume. A obra inicia-se com uma introdução de Rowling acerca de sua natureza, e é povoada de notas de rodapé advindas da autora e de Dumbledore, além de ser uma tradução feita por Hermione Granger (outra personagem) a partir do original em runas antigas. Da mesma maneira com que mistura gêneros naturais (não-ficcionais) e artificiais (ficcionais), Rowling mescla conteúdos do universo mágico de Harry Potter e fatos de nossa realidade empírica, confundindo as barreiras entre ficção e realidade. Essa conjunção de fatores chamou nossa atenção como pesquisadores de literatura, e por isso decidimos dedicar nossa dissertação à compreensão da transposição desse spin-off literário － pois se trata de uma narrativa derivada do heterocosmo ficcional original － para a nossa realidade empírica como uma obra metaficcional. Para isso, nos propusemos a primeiro estabelecer a cultura da convergência como o contexto criador da obra, assim como discutir os conceitos envolvidos nessa criação, como a narrativa transmídia, o hipertexto e o fenômeno cult. Em seguida, situamos nosso objeto de reflexão na estética da metaficção, responsável por sua constituição e conteúdo, e, por meio da análise de trechos, identificamos as técnicas metaficcionais manipuladas pela autora. Por fim, debatemos como a junção dessas ferramentas produz o leitor-modelo da obra em questão e influi na sua relação com o universo de Harry Potter e com as narrativas de sua própria realidade. Também abordamos como a metaficção significa não o fim dos recursos realistas tradicionais ou do romance, mas uma renovação deles, atendendo às demandas e gostos conscientes e inconscientes do público-leitor. Em suma, chegamos à conclusão de que Os Contos de Beedle, o Bardo são tanto um reflexo de seu momento de criação quanto um estímulo aos consumidores do entretenimento produzido na cultura da convergência, atuando ademais em uma via de mão dupla na relação que estabelecem com seus leitores, uma vez que simultaneamente oferecem uma interpretação mais apurada da sociedade, do enredo e das personagens da saga canônica, um conhecimento mais técnico dos recursos ficcionais que os autores costumam manipular e um olhar mais suspeito para as narrativas supostamente verídicas e neutras que a História nos oferece. O leitor torna-se, assim, alguém que aproveita a leitura enquanto investiga-a, reunindo os três papéis que a metaficção lhe concede: leitor, crítico e autor
The end of the Harry Potter saga in 2007, written by the British writer Joanne Rowling, widely known as J. K. Rowling, left a hole in the hearts and heads of countless readers who had followed the life story of the wizard Harry Potter, published by the first time in 1997. A year after the end, the writer decided to present the fans with a tiny blue book entitled The Tales of Beedle the Bard (2008), comprehending five wizard fairy tales written by Beedle the Bard and five correspondent comments elaborated by Albus Dumbledore, a character from the canonical series. The collection without the comments had appeared previously in Harry Potter and the Deathly Hallows (2007) because one of the tales played a relevant role in the development of the plot in the last volume. The work starts with an introduction by Rowling concerning its nature, and it is crowded with footnotes signed by the author and by Dumbledore, besides being a translation made by Hermione Granger (another character) from the original in ancient runes. In the same way that she mixes natural (non-fictional) and artificial (fictional) genders, Rowling mix-mingles contents from the magical universe of Harry Potter and facts from our empirical reality, confounding the frontiers between fiction and reality. That conjunction of factors called our attention as literature researchers, and as a result, we decided to dedicate our dissertation to the comprehension of the transposition of that literary spin-off －since it is a derivative narrative that arises from the original fictional heterocosmo －to our empiric reality as a metafictional work. In order to fulfill our plan, we proposed to first establish the convergence culture as the creator context of the work as well as discuss the concepts involved in that creation, such as the transmedia narrative, the hypertext, and the cult phenomenon. Following, we situated our object of reflection in the metafiction aesthetic, responsible for its constitution and content, and, by the analysis of some excerpts we identified the metafictional techniques manipulated by the author. Finally, we debated how the junction of those tools produces the model-reader of the mentioned work and influences their relationship with Harry Potter’s universe and with the narratives from their reality. We also approached how metafiction does not mean the end of the traditional realistic resources or of the novel itself but a renewal of both of them, supplying the demands and conscious and unconscious tastes of the reading public. In a nutshell, we concluded that The Tales of Beedle the Bard are both a reflex of their moment of creation and a stimulus to the consumers of the entertainment produced within the convergence culture, acting in addition in a two-way street in the relationship they establish with the readers, once they simultaneously offer a more accurate interpretation of the society, plot, and characters belonging to the canonical saga, a more technical knowledge concerning the fictional resources normally manipulated by fiction authors, and a more suspicious looking to the supposedly truthful and neutral narratives that History offers us. Thus, the reader becomes someone who enjoys the reading while investigating it, reuniting the three roles metafiction grants them: reader, critic, and author
The end of the Harry Potter saga in 2007, written by the British writer Joanne Rowling, widely known as J. K. Rowling, left a hole in the hearts and heads of countless readers who had followed the life story of the wizard Harry Potter, published by the first time in 1997. A year after the end, the writer decided to present the fans with a tiny blue book entitled The Tales of Beedle the Bard (2008), comprehending five wizard fairy tales written by Beedle the Bard and five correspondent comments elaborated by Albus Dumbledore, a character from the canonical series. The collection without the comments had appeared previously in Harry Potter and the Deathly Hallows (2007) because one of the tales played a relevant role in the development of the plot in the last volume. The work starts with an introduction by Rowling concerning its nature, and it is crowded with footnotes signed by the author and by Dumbledore, besides being a translation made by Hermione Granger (another character) from the original in ancient runes. In the same way that she mixes natural (non-fictional) and artificial (fictional) genders, Rowling mix-mingles contents from the magical universe of Harry Potter and facts from our empirical reality, confounding the frontiers between fiction and reality. That conjunction of factors called our attention as literature researchers, and as a result, we decided to dedicate our dissertation to the comprehension of the transposition of that literary spin-off －since it is a derivative narrative that arises from the original fictional heterocosmo －to our empiric reality as a metafictional work. In order to fulfill our plan, we proposed to first establish the convergence culture as the creator context of the work as well as discuss the concepts involved in that creation, such as the transmedia narrative, the hypertext, and the cult phenomenon. Following, we situated our object of reflection in the metafiction aesthetic, responsible for its constitution and content, and, by the analysis of some excerpts we identified the metafictional techniques manipulated by the author. Finally, we debated how the junction of those tools produces the model-reader of the mentioned work and influences their relationship with Harry Potter’s universe and with the narratives from their reality. We also approached how metafiction does not mean the end of the traditional realistic resources or of the novel itself but a renewal of both of them, supplying the demands and conscious and unconscious tastes of the reading public. In a nutshell, we concluded that The Tales of Beedle the Bard are both a reflex of their moment of creation and a stimulus to the consumers of the entertainment produced within the convergence culture, acting in addition in a two-way street in the relationship they establish with the readers, once they simultaneously offer a more accurate interpretation of the society, plot, and characters belonging to the canonical saga, a more technical knowledge concerning the fictional resources normally manipulated by fiction authors, and a more suspicious looking to the supposedly truthful and neutral narratives that History offers us. Thus, the reader becomes someone who enjoys the reading while investigating it, reuniting the three roles metafiction grants them: reader, critic, and author
Descrição
Palavras-chave
J. K. Rowling, Harry Potter, Os Contos de Beedle, o Bardo, Spin-off, Metaficção, The Tales of Beedle, The Bard, Metafictin
Como citar
NOGUEIRA, Lígia de Medeiros. Três passeios pelos bosques de Hogwarts: Os Contos de Beedle, o Bardo e a teia da metaficção. 2024. 106 f. Dissertação (Mestrado) - Curso de Estudos Literários, Universidade Estadual Paulista (Unesp), Faculdade de Ciências e Letras, Araraquara, 2024.