Cor(ação) do cavaleiro: em busca de Angelica e Dulcineia pelos diferentes cronotopos de Orlando furioso e Dom Quixote de La Mancha
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Data
2022-01-25
Autores
Simião, Sara Gabriela
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Universidade Estadual Paulista (Unesp)
Resumo
Este trabalho analisa o Orlando furioso (1532), de Ludovico Ariosto, e o Dom Quixote de La Mancha (1605/15), de Miguel de Cervantes, por meio da comparação e do conceito de cronotopo. Graças a estes é possível notar o diálogo que há entre elas. A princípio, um dos pontos que mais chama a atenção é a questão da busca. Quase sempre há uma personagem procurando por algo: uma pessoa, um lugar, um cavalo, ou mesmo aventura e glória. Entretanto, há duas personagens que melhor representam essa aspiração incessante: Angelica, na obra italiana, e Dulcineia, no caso da espanhola. Orlando passa a maior parte da história buscando a sua amada, e é por causa dela que se torna furioso (louco). Além disto, há outros movimentos que são provocados, direta ou indiretamente, por Angelica. E Dom Quixote também se desloca na obra por causa da sua dama. É por ela que busca aventuras, com o intuito de se tornar famoso e digno dos seus favores, de acordo com o código do amor cortês. Uma vez que quase sempre as personagens estão se deslocando na história, elas vão atravessando diferentes cronotopos, como palácios, cova e, até mesmo, a Lua, cada qual com as suas particularidades. Tendo em vista estas questões, a presente tese demonstra a importância dessas duas figuras femininas, Angelica e Dulcineia, pois ambas funcionam como motores, que movimentam a história, fazendo com que os protagonistas masculinos enfrentem os mais diferentes tipos de aventuras, nos mais diversos e maravilhosos cronotopos, que refletem os seus estados de espírito. Como base teórica, esta pesquisa retoma, entre outros, os estudos de Mikhail Bakhtin (2010 e 2011) e seus críticos, estudiosos de Ariosto, como Sergio Zatti (2011), Mario Santoro (1989), e Italo Calvino (2010), e cervantistas, como Maria Augusta da Costa Vieira (1995 e 2015), Gonzalo Díaz Migoyo (2001), e José Manuel Lucía Megías (1990).
This work analyzes Orlando Furioso (1532) by Ludovico Ariosto and Don Quixote (1605/15) by Miguel de Cervantes, through comparison and the chronotope concept. Thanks to these, it is possible to notice the dialogue that exists between them. At first, one of the points that most draws attention is the question of search. There is almost always a character looking for something: a person, a place, a horse or even adventure and glory. However, there are two characters that best represent this incessant aspiration: Angelica, in the Italian work, and Dulcinea, in the Spanish one. Orlando spends most of the story looking for his beloved and it is because of her that he becomes furioso (crazy). In addition, there are other movements that are caused, directly or indirectly, by Angelica. And Don Quixote also moves in the work because of his lady. It is for her that he seeks adventures, in order to become famous and worthy of her favors, in accordance with the code of courtly love. Since the characters are almost always moving in the story, they go through different chronotopes, such as palaces, burrow and even the Moon, each with its own peculiarities. In view of these issues, this thesis demonstrates the importance of these two female figures, Angelica and Dulcinea, as both work as engines that move the story, making the male protagonists face the most different types of adventures, in the most diverse and wonderful chronotopes, which reflect their moods. As a theoretical basis, this research revisits, among others, the studies of Mikhail Bakhtin (2010 and 2011) and his critics, Ariosto’s scholars, such as Sergio Zatti (2011), Mario Santoro (1989) and Italo Calvino (2010), and cervantists, such as Maria Augusta da Costa Vieira (1995 and 2015), Gonzalo Díaz Migoyo (2001) and José Manuel Lucía Megías (1990).
This work analyzes Orlando Furioso (1532) by Ludovico Ariosto and Don Quixote (1605/15) by Miguel de Cervantes, through comparison and the chronotope concept. Thanks to these, it is possible to notice the dialogue that exists between them. At first, one of the points that most draws attention is the question of search. There is almost always a character looking for something: a person, a place, a horse or even adventure and glory. However, there are two characters that best represent this incessant aspiration: Angelica, in the Italian work, and Dulcinea, in the Spanish one. Orlando spends most of the story looking for his beloved and it is because of her that he becomes furioso (crazy). In addition, there are other movements that are caused, directly or indirectly, by Angelica. And Don Quixote also moves in the work because of his lady. It is for her that he seeks adventures, in order to become famous and worthy of her favors, in accordance with the code of courtly love. Since the characters are almost always moving in the story, they go through different chronotopes, such as palaces, burrow and even the Moon, each with its own peculiarities. In view of these issues, this thesis demonstrates the importance of these two female figures, Angelica and Dulcinea, as both work as engines that move the story, making the male protagonists face the most different types of adventures, in the most diverse and wonderful chronotopes, which reflect their moods. As a theoretical basis, this research revisits, among others, the studies of Mikhail Bakhtin (2010 and 2011) and his critics, Ariosto’s scholars, such as Sergio Zatti (2011), Mario Santoro (1989) and Italo Calvino (2010), and cervantists, such as Maria Augusta da Costa Vieira (1995 and 2015), Gonzalo Díaz Migoyo (2001) and José Manuel Lucía Megías (1990).
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Literatura comparada, Loucura na literatura, Literatura - Crítica e interpretação, Bakhtin na literatura