Oblique and anthropophagic gypsy eyes

the cross-cultural poetics in Capitu

Abstract

Starting from the modernist formulation of cultural anthropophagy (Andrade, 1990) and the sensitive dialogue between the general arts (Clüver, 1997), we make considerations about the poetic interarts operating in the microsserie Capitu (2008), by Luiz Fernando Carvalho, with a view to autophatic processes of transconstruction (Amorim, 2018), establishing close relationships with the novel Dom Casmurro (1899), by Machado de Assis. The aim is to show, by critical examination, the way in which the aesthetic elements signal the contemporaneity of the television work, as well as the appropriation of stylistic resources through the “autophagic” relationship of aspects of Brazilian and foreign culture. In this intention, we analyze the fabric of the construction of the image in frames that justify the continuity of the machadian making, with required theoretical discussions that are made, sometimes in justification of the analysis, sometimes in celebration of a complex thought involving the layers of (re)reading the novel, provocative beginning of the artistic and creative imaginary of the scrutinized production. We arrange the structure of the article so that analysis and theorization are engendered as in a unit that observes, in the comparative critical format, the dialogity of the arts among themselves, without ignoring the memory, history and micro-influences that affect and transform the self and modes of being in the world, this is because we understand the choices that permeate the process and construction of meaning of “new art” constituted from where they step on the feet of the creator, the point where its culture ends. Indeed, the notion of transconstruction underpins the reflections that take Capitu as a fruitful case of contemporary expansion of literature, that is, a hybrid, plural and cross-cultural adaptation.