Made available in DSpace on 2015-03-03T11:52:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-30Bitstream added on 2015-03-03T12:06:36Z : No. of bitstreams: 1 000806166.pdf: 1244960 bytes, checksum: 5c69fea2a091a14d202e96d7c24e7479 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação tem como objetivo analisar a ficção policial inglesa entre o período do fim do século XIX e início do século XX, em sua historicidade, levando em consideração a importância dos conceitos de representação e verossimilhança para o gênero romance, além de evidentemente, considerar os elementos específicos da ficção policial, como as noções de enigma e investigação, que formam as bases da literatura policial. Sendo assim, retornamos à origem do gênero policial, buscando suas raízes, até que este se desenvolva na forma do romance que conhecemos nos dias atuais. Todas as modificações ocorridas na estrutura da narrativa policial podem ser entendidas como um reflexo das próprias mudanças sociais e culturais que ocorriam neste importante período de transição histórica, visto que a estrutura da narrativa era modificada de acordo com as exigências do público leitor, que buscava sempre ser representada em tal narrativa. O simples fato de a estrutura da narrativa policial poder ser alterada sem perder seus elementos característicos, explica como este gênero não apenas foi capaz de se manter popular até os dias atuais, como também deixam claro como foi possível o surgimento de uma grande quantidade de subgêneros, que acabam por se enquadrar dentro do grande termo ficção criminal. Para realizar tal estudo, foram selecionadas três obras de Sir Arthur Conan Doyle, criador do famoso detetive Sherlock Holmes e três obras de Agatha Christie, sendo que estas tem como protagonista seu mais famoso personagem, o detetive belga Hercule Poirot. As obras selecionadas demonstram justamente a adaptação não apenas da estrutura da trama, mas também do personagem principal, o detetive, às mais diversas situações a que é apresentado. O papel do narrador também se mostra fundamental neste estudo, justamente por ser sua figura que guia os leitores pela narrativa, e que se compromete a conceder todas as... / This dissertation aims to analyse the detective story between the end of the nineteenth-century and the beginning of the twentieth-century, in its historicity, taking into consideration the importance of the concepts of representation and verisimilitude for the novel genre, besides evidently take into consideration the specific elements of the detective story, like the notions of riddle and detection, that make the base of the crime fiction. Thus, we return to the origin of the detective story, searching for its roots until that it develops into the form of the detective story we know today. All the modification that happened in the structure of the detective story can be understand as a reflex of the social and cultural modifications that happened in this important time of historical transition, seeing that the structure of the narrative was modified according to the demands of the reading public, that aimed to always be represented in such narratives. The mere fact that the structure of the detective novel can be altered without losing its most characteristic elements explain how this genre was not only able to keep its popularity until today, as it also makes it clear how it was possible for a big quantity of subgenres to rise and be framed into the umbrella term 'crime fiction'. To fulfill such study, three works by Sir Arthur Conan Doyle, the creator of the famous detective Sherlock Holmes, were selected, such as three works from Agatha Christie, which are protagonised by her most famous character, the Belgian detective Hercule Poirot. The selected works show precisely the adaptation not only of the structure of the plot, but also the adaptation of the main character, the detective, to the most diverse situations that he is presented to. The role of the narrator also proves itself to be crucial in this study, justly because it is its figure that guides the readers through the narrative and that...

As histórias de Sherlock Holmes cativam inúmeros leitores desde que o primeiro romance foi publicado em 1887 pelo autor escocês Sir Arthur Conan Doyle. As aventuras vividas pelo grande detetive Sherlock Holmes e seu companheiro Dr. John Watson têm sido adaptadas para outras mídias desde 1890, e épocas diferentes apresentam diferentes interpretações das personagens. Duas das mais recentes adaptações televisivas, Sherlock (2010 –), da BBC, e Elementary (2012 –), da CBS, se passam na contemporaneidade, inspirando uma reconfiguração das personagens, principalmente a de John Watson, considerando o fato de que ele não é mais o principal narrador das histórias na mídia audiovisual – o narrador fílmico é quem cumpre esse papel –, abrindo novas possibilidades para os papéis da personagem. Tais possibilidades motivam esta dissertação, que propõe um estudo da caracterização da personagem literária nos romances Um estudo em vermelho (1887) e O cão dos Baskerville (1902), para então considerar sua nova caracterização nas duas séries televisivas mencionadas acima. O trabalho, portanto, está dividido em quatro capítulos. O primeiro apresenta uma introdução ao autor e a relação com sua própria obra, além de um panorama histórico das adaptações fílmicas e televisivas, enfatizando as caracterizações de Watson nelas. O segundo apresenta as teorias que alicerçam a análise, particularmente a narratologia literária de Mieke Bal (2009), a narratologia fílmica de Peter Verstraten (2009), e as considerações de Jason Mittell (2015) acerca da personagem televisiva. Os capítulos três e quatro trazem as análises dos romances e séries de televisão respectivamente, focando nas (re)configurações da personagem Watson. Ao final deste trabalho, esperamos ter contribuído para um aprofundamento e diversificação dos estudos de personagem a partir de referenciais narratológicos, linha de estudos pouco desenvolvida, especialmente no Brasil. Da mesma forma, pretendemos demonstrar como adaptações televisivas exploram e amplificam o papel de personagens-narradoras, dando a elas e a outras personagens mais autonomia na obra audiovisual. / The Sherlock Holmes stories have captivated innumerous readers since the first novel was published in 1887 by Scottish author Sir Arthur Conan Doyle. The adventures lived by the Great Detective Sherlock Holmes and his companion Dr. John Watson have been adapted to other media from as early as 1890, and different times present different portrayals of the characters. Two of the latest television adaptations, BBC’s Sherlock (2010 –) and CBS’s Elementary (2012 –), are set in contemporary times, inspiring a reconfiguration of the characters, especially John Watson, considering the fact that he is not the main narrator of the stories in the audiovisual medium – the filmic narrator fulfills that function –, opening new possibilities for the character’s roles. These possibilities motivate this thesis, and we propose a study of the characterization of the literary character in the novels A Study in Scarlet (1887) and The Hound of the Baskervilles (1902), so that we can consider the new Watson’s characterization in the two television series aforementioned. Therefore, the thesis is divided into four chapters. The first presents an introduction to the author and his relation to his own work, along with a historical overview of film and television adaptations, emphasizing Watson’s characterization. The second presents the theoretical framework of the analyses, particularly the literary narratology as proposed by Mieke Bal (2009), film narratology as proposed by Peter Verstraten (2009), and Jason Mittell’s (2015) considerations about television characters. Chapters three and four are dedicated to the analyses of the novels and television series respectively, focusing on Watson’s (re)configurations. By the end of this work, we hope to have contributed to the further development and diversification of character studies with the use of narratological references, an undeveloped line of studies, especially in Brazil. In addition, we hope to demonstrate how television adaptations explore and amplify the role of character-narrators, giving them and other characters more autonomy in the audiovisual work.

As histórias de Sherlock Holmes cativam inúmeros leitores desde que o primeiro romance foi publicado em 1887 pelo autor escocês Sir Arthur Conan Doyle. As aventuras vividas pelo grande detetive Sherlock Holmes e seu companheiro Dr. John Watson têm sido adaptadas para outras mídias desde 1890, e épocas diferentes apresentam diferentes interpretações das personagens. Duas das mais recentes adaptações televisivas, Sherlock (2010 –), da BBC, e Elementary (2012 –), da CBS, se passam na contemporaneidade, inspirando uma reconfiguração das personagens, principalmente a de John Watson, considerando o fato de que ele não é mais o principal narrador das histórias na mídia audiovisual – o narrador fílmico é quem cumpre esse papel –, abrindo novas possibilidades para os papéis da personagem. Tais possibilidades motivam esta dissertação, que propõe um estudo da caracterização da personagem literária nos romances Um estudo em vermelho (1887) e O cão dos Baskerville (1902), para então considerar sua nova caracterização nas duas séries televisivas mencionadas acima. O trabalho, portanto, está dividido em quatro capítulos. O primeiro apresenta uma introdução ao autor e a relação com sua própria obra, além de um panorama histórico das adaptações fílmicas e televisivas, enfatizando as caracterizações de Watson nelas. O segundo apresenta as teorias que alicerçam a análise, particularmente a narratologia literária de Mieke Bal (2009), a narratologia fílmica de Peter Verstraten (2009), e as considerações de Jason Mittell (2015) acerca da personagem televisiva. Os capítulos três e quatro trazem as análises dos romances e séries de televisão respectivamente, focando nas (re)configurações da personagem Watson. Ao final deste trabalho, esperamos ter contribuído para um aprofundamento e diversificação dos estudos de personagem a partir de referenciais narratológicos, linha de estudos pouco desenvolvida, especialmente no Brasil. Da mesma forma, pretendemos demonstrar como adaptações televisivas exploram e amplificam o papel de personagens-narradoras, dando a elas e a outras personagens mais autonomia na obra audiovisual. / The Sherlock Holmes stories have captivated innumerous readers since the first novel was published in 1887 by Scottish author Sir Arthur Conan Doyle. The adventures lived by the Great Detective Sherlock Holmes and his companion Dr. John Watson have been adapted to other media from as early as 1890, and different times present different portrayals of the characters. Two of the latest television adaptations, BBC’s Sherlock (2010 –) and CBS’s Elementary (2012 –), are set in contemporary times, inspiring a reconfiguration of the characters, especially John Watson, considering the fact that he is not the main narrator of the stories in the audiovisual medium – the filmic narrator fulfills that function –, opening new possibilities for the character’s roles. These possibilities motivate this thesis, and we propose a study of the characterization of the literary character in the novels A Study in Scarlet (1887) and The Hound of the Baskervilles (1902), so that we can consider the new Watson’s characterization in the two television series aforementioned. Therefore, the thesis is divided into four chapters. The first presents an introduction to the author and his relation to his own work, along with a historical overview of film and television adaptations, emphasizing Watson’s characterization. The second presents the theoretical framework of the analyses, particularly the literary narratology as proposed by Mieke Bal (2009), film narratology as proposed by Peter Verstraten (2009), and Jason Mittell’s (2015) considerations about television characters. Chapters three and four are dedicated to the analyses of the novels and television series respectively, focusing on Watson’s (re)configurations. By the end of this work, we hope to have contributed to the further development and diversification of character studies with the use of narratological references, an undeveloped line of studies, especially in Brazil. In addition, we hope to demonstrate how television adaptations explore and amplify the role of character-narrators, giving them and other characters more autonomy in the audiovisual work.

As histórias de Sherlock Holmes cativam inúmeros leitores desde que o primeiro romance foi publicado em 1887 pelo autor escocês Sir Arthur Conan Doyle. As aventuras vividas pelo grande detetive Sherlock Holmes e seu companheiro Dr. John Watson têm sido adaptadas para outras mídias desde 1890, e épocas diferentes apresentam diferentes interpretações das personagens. Duas das mais recentes adaptações televisivas, Sherlock (2010 –), da BBC, e Elementary (2012 –), da CBS, se passam na contemporaneidade, inspirando uma reconfiguração das personagens, principalmente a de John Watson, considerando o fato de que ele não é mais o principal narrador das histórias na mídia audiovisual – o narrador fílmico é quem cumpre esse papel –, abrindo novas possibilidades para os papéis da personagem. Tais possibilidades motivam esta dissertação, que propõe um estudo da caracterização da personagem literária nos romances Um estudo em vermelho (1887) e O cão dos Baskerville (1902), para então considerar sua nova caracterização nas duas séries televisivas mencionadas acima. O trabalho, portanto, está dividido em quatro capítulos. O primeiro apresenta uma introdução ao autor e a relação com sua própria obra, além de um panorama histórico das adaptações fílmicas e televisivas, enfatizando as caracterizações de Watson nelas. O segundo apresenta as teorias que alicerçam a análise, particularmente a narratologia literária de Mieke Bal (2009), a narratologia fílmica de Peter Verstraten (2009), e as considerações de Jason Mittell (2015) acerca da personagem televisiva. Os capítulos três e quatro trazem as análises dos romances e séries de televisão respectivamente, focando nas (re)configurações da personagem Watson. Ao final deste trabalho, esperamos ter contribuído para um aprofundamento e diversificação dos estudos de personagem a partir de referenciais narratológicos, linha de estudos pouco desenvolvida, especialmente no Brasil. Da mesma forma, pretendemos demonstrar como adaptações televisivas exploram e amplificam o papel de personagens-narradoras, dando a elas e a outras personagens mais autonomia na obra audiovisual. / The Sherlock Holmes stories have captivated innumerous readers since the first novel was published in 1887 by Scottish author Sir Arthur Conan Doyle. The adventures lived by the Great Detective Sherlock Holmes and his companion Dr. John Watson have been adapted to other media from as early as 1890, and different times present different portrayals of the characters. Two of the latest television adaptations, BBC’s Sherlock (2010 –) and CBS’s Elementary (2012 –), are set in contemporary times, inspiring a reconfiguration of the characters, especially John Watson, considering the fact that he is not the main narrator of the stories in the audiovisual medium – the filmic narrator fulfills that function –, opening new possibilities for the character’s roles. These possibilities motivate this thesis, and we propose a study of the characterization of the literary character in the novels A Study in Scarlet (1887) and The Hound of the Baskervilles (1902), so that we can consider the new Watson’s characterization in the two television series aforementioned. Therefore, the thesis is divided into four chapters. The first presents an introduction to the author and his relation to his own work, along with a historical overview of film and television adaptations, emphasizing Watson’s characterization. The second presents the theoretical framework of the analyses, particularly the literary narratology as proposed by Mieke Bal (2009), film narratology as proposed by Peter Verstraten (2009), and Jason Mittell’s (2015) considerations about television characters. Chapters three and four are dedicated to the analyses of the novels and television series respectively, focusing on Watson’s (re)configurations. By the end of this work, we hope to have contributed to the further development and diversification of character studies with the use of narratological references, an undeveloped line of studies, especially in Brazil. In addition, we hope to demonstrate how television adaptations explore and amplify the role of character-narrators, giving them and other characters more autonomy in the audiovisual work.

This project asserts that much of the cultural anxiety found in Gothic-infused late-Victorian fiction derives from literary revelations of the nested spaces, shifting identities, and spontaneous connections inherent to the late-Victorian metropolis. The three literary texts studied here – The Hound of the Baskervilles by Arthur Conan Doyle, Raffles: The Amateur Cracksman by E.W. Hornung, and The Thirty-Nine Steps by John Buchan – all depict London as fundamentally suitable for those who seek to evade the disciplinary gaze and to pursue menacing schemes of criminality and invasion. Doyle’s text illustrates the interconnectedness of the spaces within London as well as the passable threshold between London and the English countryside; both the villain Stapleton and the hero Sherlock Holmes use these connections to attack and defend, respectively, the city and its inhabitants. Hornung’s stories depict the machinations employed by the gentleman-thief Raffles as he alters his identity and his codes of behaviour in order to free himself to pursue criminal ends and thus as he challenges cultural barriers. Buchan’s text, building on the others, explores the dissolution of cultural boundaries and identities incumbent upon the spontaneous connections made between those who attack English culture and those, like Richard Hannay, who defend it. There emerges in these texts a vision of London (and by extension Great Britain) as a swirling vortex of motion, an unknowable labyrinth perpetually threatened by menacing agents from without and within. I have employed Victor Turner’s theories of liminality and communitas to describe how criminal agents, and their equally menacing “good-guy” pursuers, separate themselves from structured society in order to move freely and to gain access to the contested thresholds they seek to infiltrate. I also invoke theories of the Gothic, surveillance, and travel, as well as Jeffrey Cohen’s monster theory, to characterize the anxiety embedded in such invasions. / The transformation of contested space : Baker Street, Grimpen Mire and the battle for thresholds in The hound of the Baskervilles -- Hornung's code-switching monster : threatening ambiguity and liminoid mobility in Raffles, the amateur cracksman -- Towards a more inclusive Britishness : Richard Hannay's transformative connections and evolving identity in The thrity-nine steps. / Department of English

This study examines changes over time in 40 different Sherlock Holmes films and 39 television series and movies spanning from 1900 to 2017. Quantitative observations were mixed with a qualitative examination. Perceptions of law enforcement became more positive over time, the types of crime did not vary, and representation of race and gender improved over time with incrementally positive changes in the representation of queer, mentally ill, and physically handicapped individuals. The exact nature of these trends is discussed. Additionally, the trends of different decades are explored and compared. Sherlock Holmes is mostly used as a vehicle for storytelling rather than for the salacious crimes that he solves, making the identification of perceptions of crime in different decades difficult. The reasons for why different Sherlock Holmes projects were created in different eras and for different purposes are discussed.

This dissertation examines how the trait of intelligence is portrayed in novels of twentieth-century Britain, and how this portrayal grapples with the quantitative revolution in the conception of intelligence, brought on by the invention of IQ testing in the 1900s. I trace the construction of characters’ intelligence across different genres, starting with Arthur Conan Doyle’s Sherlock Holmes stories, through the modernist Bildungsromane of Henry James, James Joyce, and Virginia Woolf, to Iris Murdoch’s realism, and finally to Lee Child’s late twentieth- century serial thrillers featuring Jack Reacher. I posit that the IQ model of intelligence as abstracted, quantified, and statistically measurable is profoundly at odds with the novelistic investment in the unique individual subject. This project traces the narratological strategies of characterization through which intelligence—or cleverness, or smartness, or brightness—are conveyed to the reader. Novels, generally speaking, do not provide the IQ scores of their characters; and though we might occasionally encounter an explicit narratorial characterization of some fictional being or other as “remarkably clever,” most often we must rely on perceptions of behavior, speech, and thought in order to assess characters’ intelligence, much as we do in real life. As the psychometric paradigm gained prominence in the psychological circles in the United States, England, and Europe, and as more people were exposed—and subjected—to intelligence testing, its values and assumptions gained more cultural traction. Attributes like mathematical facility, logical and systemic thinking, or a large vocabulary, are likely to yield a high score on an IQ test, as well as a favorable judgment in an informal, casual assessment, such as that of a date or a new acquaintance at a party. This dissertation, therefore, explores how this permeation of the psychometric paradigm into general culture affect the novelistic construction of smartness. Ultimately, I argue that against the IQ model, the novels I am reading construct a conception of intelligence as a coherent set of cognitive abilities, remarkably consistent across genres, which overlaps, yet reconfigures, the priorities and epistemological frameworks of psychometrics. This model centers on the notion of observation, i.e., a mix of sensory susceptibility to impressions and the cognitive skill of taking notice of the world and of other people. It is both anchored to the body by connoting a sensory experience, and divorced from it in conveying a more purely cognitive process, one of directing attention and processing information, thus renegotiating psychometric assumptions regarding embodiment and sensory experience—as well as the relationship between the individual’s intelligence, the world, and the minds of others.