VENEZA PASSEIA PELO NORDESTE: RELAÇÕES DE INTERTEXTUALIDADE EM O MERCADOR DE VENEZA, O AUTO DA COMPADECIDA, E Ó PAÍ, Ó

Abstract

The objective of this research is to identify the dialogic relationships set between the play The Merchant of Venice, written by William Shakespeare, and the films O Auto da Compadecida, directed by Guel Arraes, and Ó Paí, Ó, directed by Monique Gardenberg. As theoretical contribution, the scholars Mikhail Bakhtin (2010) and José Luiz Fiorin (2006) contribute to the understanding of dialogism and Gérard Genette (1997) and Tiphaine Samoyault (2008), discuss transtextuality, which is the categorization of the relationships a text can have with another, making this study focused on intertextuality and its practices. To perform the analysis, the artistic productions cut-offs were selected and compared in order to identify the types of intertextuality shown according to Genette's (1997) and Samoyault's (2008) categorizations and how the theme of prejudice and racial discrimination as well as legal issues concerning a contract creation are represented in the works. As results, the analyses verified that The Merchant of Venice, O Auto da Compadecida and Ó Paí, Ó express dialogues between themselves and present the themes through a cultural filter. The intertextuality practices discussed by Genette and Samoyault, though, are not enough to describe the type of intertextual relationship that the works present. Overall, the conclusion discusses a possibility for another intertextuality practice beyond Genette's and Samoyault's categorizations that would present a better description to characterize the relationship between the works. Keywords: Intertextuality, The Merchant of Venice, O Auto da Compadecida, Ó Paí, Ó