GENDER INEQUALITY IN EFFI BRIEST ROMAN BY THEODOR FONTANE

Mediante uma leitura de Effi Briest, de Theodor Fontane, o ensaio discute a possibilidade do hibridismo romanesco num estado de evidência mínima. Pressupondo que a afirmação do romance no século XVIII e suas crises no XX expuseram um número considerável de formas narrativas heterogêneas, lê-se por oposição o modelo realista histórico, entre esses dois momentos, como uma espécie de assentamento normativo que admite, entretanto, o sentido de uma antinorma para um gênero ele próprio não normativo. Assim, argumenta-se que Effi Briest, no desenvolvimento pleno da literatura realista, expõe, tanto no plano formal como no conteudístico, um controle exemplar do irrompimento monstruoso associado ao hibridismo e à heterogeneidade, para adquirir uma dimensão crítica nesse território do médio que, em parte, circunscreve o romance oitocentista em tempos de epopeia burguesa. ---DOI: http://dx.doi.org/10.22409/gragoata.2018n47a1145

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THE PHENOMENON OF DISRUPTED COMMUNICATION IN THE NOVEL “EFFI BRIEST” BY THEODOR FONTANE AND IN THE FILM ADAPTATION BY RAINER WERNER FASSBINDER: SPEECH AND GESTURE

Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies ◽

10.18522/2415-8852-2021-3-49-72 ◽

2021 ◽

Vol 6 (3) ◽

pp. 49-72

Author(s):

Александра Владимировна Елисеева

Keyword(s):

Comparative Analysis ◽

Literary Text ◽

Film Adaptation ◽

Film Adaptations ◽

Close Reading ◽

Theodor Fontane ◽

The Novel ◽

Hierarchical Relationship ◽

The Subject ◽

Effi Briest

The subject of this article’s comparative intermedial analysis is the phenomenon of disrupted communication in the novel by the German writer Theodor Fontane “Effi Briest” (1895) and in the film adaptation of this work by Rainer Werner Fassbinder “Fontane Effi Briest” (1974). The article consists of five parts: 1) introduction; 2) analysis of dialogues in Fontane’s novel; 3) description of the means of creating the effect of disrupted communication in Fassbinder’s film; 4) comparative analysis of some fragments of two works by the method of close reading; 5) conclusions. Methodologically, the research is based on the achievements of the theory of communication, carpalistics, comparative and intermedial approaches to the study of film adaptations. The main point of the article is that the effect of disrupted communication, which is observed in numerous dialogues of Fontane’s novel, is also created by visual means in Fassbinder’s film, among which a significant place is occupied by a gesture. The gesture of turning away deserves special attention: the characters of the film turn away from each other, turn their backs to the interlocutor and the viewer, turn to their reflection. The unconventionality and intensity of such gestures accentuate the problematic nature of communication between the characters. This structure, peripheral in Fontane’s work, becomes central in the film of Fassbinder, grasping the viewers’ attention. In this regard, the article adds to a traditional discussion about the hierarchical relationship between a literary text and its film adaptation.

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