Vaya Con Dios, Kemosabe: o espaço multilíngue de faroestes americanos de 1945 a 1976

Autores

DOI:

https://doi.org/10.5007/2175-7968.2020v40n2p282

Palavras-chave:

Faroestes, Hollywood, Multilinguismo, Guerra Fria, Revisionismo

Resumo

Considerando-se que o espaço mítico do Faroeste ajudou a dar forma ao modo como os norte-americanos veem a si mesmos, e também ao modo como o mundo os têm visto, a caracterização da interação entre o nativo americano, o hispânico e o anglófono é merecedora de um exame mais minucioso. Para que se obtivesse um corpus com diacronia substancial, todos os faroestes no National Registry of Films produzidos entre o fim da Segunda Guerra Mundial e o bicentenário americano (1945-1976), ou seja, o ápice cultural do gênero, foram analisados considerando-se a presença de língua estrangeira e de interpretação, as relações entre inglês e poder social, e mudanças no decorrer do tempo. A análise demonstrou que, apesar de o inglês ser universalmente a língua do poder, e de o status social dos personagens poder ser medido por sua fluência, houve presença significativa de língua estrangeira, principalmente de espanhol (em 63% dos filmes), com alguma forma de interpretação ocorrendo em metade dos filmes. Questões de identidade cultural se mostraram associadas com o multilinguismo e, apesar de nenhum padrão diacrônico ter sido encontrado na distribuição de língua estrangeira, o protagonismo de hispânicos e de nativos americanos cresceu com o tempo. Determinou-se um espectro de abordagens narrativas/cinemáticas da língua estrangeira que poderia ser útil para futuras pesquisas sobre a apresentação de estrangeiros e de sua língua nas artes dramáticas.

Biografia do Autor

William Hanes, Pesquisador Autônomo, Niterói, Rio de Janeiro,

PhD em Estudos de Tradução, Universidade Federal de Santa Catarina 2016.

Referências

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Publicado

2020-05-19