The Fox:  D. H. Lawrence’s Short Novel in Mark Rider’s Film / The Fox: A Novela de D. H. Lawrence no Filme de Mark Rider

Carlos Augusto Viana da Silva

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<line> Centro Unv*rsitário Santo Agostinho </line>

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<line> www*.fsanet.com.*r/revista </line>

<line> ISSN Impresso: *806-6356 I*SN Ele*rônico: 2317-2983 </line>

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<line> *he Fox: D. H. Lawrence\s Short Novel i* M*rk Rider\s *il* </line>

<line> The Fo*: * Novela de D. H. La**ence no Film* de Mark Ride* </line>

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<line> Carl*s *ugusto Vi*na da Silva </line>

<line> Do**or em *etras e Li*guí*tica p*l* Univer*idade Federal da Bah*a </line>

<line> P*ofessor da Univ***idade Fed*ral do Ceará </line>

<line> E-ma*l: caforta*@hotmail.com </line>

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<line> *ndereço: Carlos A*gu*to Viana da Silv* </line>

<line> Editor-Ch*fe: *r. Tonny K**ley de A*en*ar </line>

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<line> Departam*n** de Língu* Inglesa, suas Lit*r*turas e </line>

<line> Ro*rigues </line>

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<line> Trad*ção - Centro de Huma*ida*es/ UFC - Av. da </line>

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<line> *rtigo recebid* em 23/03/2020. Última </line>

<line> versão </line>

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<line> **aliado pelo sist*m* Trip*e Review: De*k Review *) </line>

<line> *e*o Editor-Chefe; e b) Double *lind R*v*ew </line>

<line> (avalia**o *ega *or dois a*aliadores ** área). </line>

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<line> Rev*são: Gra*atical, No*mati*a e </line>

<line> de Form*tação </line>

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<line> C. A. *. Silva </line>

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<line> ABSTRA** </line>

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<line> This pape* has as one the m*in o*j*ctives to investiga*e *he part*cular r**ding o* the modern </line>

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<line> short nove* The Fo* (*976), </line>

<line> by the English writer *. H. Lawren*e in Mark Rydell\s film, </line>

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<line> ana*yzing *h* theme of c*mpletene*s, it* r*wri*ing </line>

<line> on screen *hrough the character*\ love </line>

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<line> affa*r, an* i*s fit i*to the parameters </line>

<line> of *he cinemat*gr**hic sys*em, wit* a new n*r*ativ* </line>

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<line> configuration cl*ser *o the social and *ultural discurs*v* *la*ms of the r*ception con*ext. *s </line>

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<line> theoretic*l </line>

<line> backgrou*d, we have taken into consider*ti*n i*eas on literature and film </line>

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<line> ad*ptati*n in *attrysse (2014) and Lefever* (1992), as wel* as s*me critic*sm on Lawrence\s </line>

<line> work in Janaki *nd Sumath* (*019), and Greiff (2001). </line>

<line> Keywords: D. *. L**re*ce. Adapt**ion. *ar*a**ve. Short n*vel. </line>

<line> Este *rtigo tem co*o *m dos pr*ncipais objetivos inves*i*a* a leitura pa*ticular da nove*a </line>

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<line> The Fox (1976), d* escritor inglês D. *. La*renc*, no filme *e Mark Ryd*ll, </line>

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<line> anal*sando o tema da busca de plenitude, sua r**scrita na tela p*r meio do relacionamento </line>

<line> *f*tivo ent*e as perso*a*e*s, seu enquadramento nos parâm*tros do s*s*ema cinematográfic*, </line>

<line> com nov* c*nfiguração narrativa, ma*s al*nhada às de*an*as discurs*vas sociai* e cultu*a*s </line>

<line> d* *ont*x*o **ceptor. *omo *u**ame*taç*o *eóri*a, lev*mos em cons*d**ação as *deias *obre </line>

<line> li**r*tura e adap*ação de Cattrysse (2014) e L*fevere (1992), bem como a crítica sobr* a obra </line>

<line> de Lawrence por Janak* e Sumathi (2019), e Greiff (2001). </line>

<line> Palav*as-cha*e: D. H. Lawrence. Adaptaç*o. Narrati*a. No*ela. </line>

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<line> A Política Externa Brasileira nos **os 30: Nazismo, Naci*nalismo e o Jogo Inte*nacio*al </line>

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<line> 1 INTRODUÇÃ* </line>

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<line> The modern short novel The Fox (*923), by D. *. Law*ence, following tradit*onal </line>

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<line> pa*terns of th* genre, has a *inea* plot *ith th* </line>

<line> definition of </line>

<line> and *pace, and delineate* </line>

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<line> ch*racters. </line>

<line> Howe*er, it is quite innova*ive in prese*ting a </line>

<line> range of *omplex themes *nd </line>

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<line> controversial d**cussions, whi*h defy belief* and social conventio*s, *nd in q*e*tioning the </line>

<line> concepts *f gender a*d sexuality as a so*rce *f **iticism on the B*itish *olitical *nd cult*ral </line>

<line> system. The narrati*e t*l*s th* story of t*e characters Nel*ie *arsh *nd Jill Banf*rd *ho sh*re </line>

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<line> an ord*na*y life together ** the regi** of Berkshire d*r*ng the Worl* War *. Th** </line>

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<line> housework, tak* c*re of animals, and farm the *and for thei* survival. The*, Henry Gr*nfel, a </line>

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<line> form*r s*ldi*r who w*s in the army i* Canad*, returns and </line>

<line> realiz*s tha* th* pla*e was </line>

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<line> long*r his gr*ndfa*h*r\s propriet*. H* is *e*come* by the new *wners and </line>

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<line> pe*iod of time. From then on, * new order i* the narr*tive is established wi** the break of *he </line>

<line> previ*us harmony observed in the relation*hip of the r*siden**. Th* plot shows the *omplex*** </line>

<line> of the*r emotio*al involvement, wh*ch hi*h*ights a *e*tr*l th*me in *a*rence\s work that is </line>

<line> the deep and w*de concept of l**e in modernity, re*nforcing, th*n, a c*assic** u*ity in his </line>

<line> v*sion of ma* (GONÇALVES, 1997, *.10*). </line>

<line> This paper aims at investi*ati*g the sh*rt novel and *ts film ada**ation T*e Fox </line>

<line> (196*), by Mar* Rydell, analyzing the way the th*me of s**f-fulfillme*t was w*i***n *h*ough </line>

<line> *h* chara*ters\ relati*nsh*p, c**structed t* fit the parameters of the new la*gu*ge *ystem. We </line>

<line> start from the point *hat, by effac*ng ambiguity in the re*r*se*tat*on of an all*ge* hom*e**tic </line>

<line> relations*i* between Marsh and Ba*ford in the book, maki*g i* m*re expl*cit *n screen, t** </line>

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<line> to establ*sh a </line>

<line> *****gue wit* new discursive claims *f </line>

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<line> production and reception contex**. As theoret**a* backgr*und, we ha*e t*ken *n** </line>

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<line> consi*e*ation i**as on film a*aptation and rewriti*g by Cattry**e </line>

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<line> some *riticism *n Law*ence\s work b* *eynon, and Gr*iff. </line>

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<line> 2 ADAPTA*ION AS A TRA*SLA*IO* P*OC*SS </line>

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<line> The process o* *r*nslating book* i**o films *as be*n a s*urce of *iscu**i*n in </line>

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<line> differ**t theo**tical and methodolo*ical pe*sp*ctives. Ad*ptations as any *ort of rewr*ting </line>

<line> have th* p*we* of i*troduci*g new *oncepts, genr**, a** mechan*sms in a certain so*ial </line>

<line> sy*tem. *s part of th*ir con*t*tu**ve tr*its, the manipulation *roc*ss arises. In or*e* to c*arif* </line>

<line> *he way it ha*pens, L**ever* *as estab*i*he* a* important differen*e between common </line>

<line> **v. *SA, Te*es*na P*, v. 1*, n. 7, art. 12, p. 23*-25*, ju*. 2020 w*w4.f***et.com.br/*evista </line>

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<line> readers and specialized ones. To him, specia*ized *eaders have an important rol* in the image </line>

<line> creation *f texts to general pub*ics, once *hey are responsib*e f** the rec*p*ion an* surviv*l of </line>

<line> Tha* con*t*uct i* often loosely ba*ed on some sele*ted p**sage* *f *he a**ual tex* o* </line>

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<line> the boo* in question (the p*ss*ges *nc*uded *n </line>

<line> a*thologies used in secondary </line>

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<line> u*ive**i*y education, for *n*tance), sup**emented by other *exts that re*rite the </line>

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<line> actual **xt in on* wa* o* anot*er, such *s p*o* </line>

<line> summar*es in literary his*ories </line>

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<line> *eferen** work*, reviews in *e*spapers, *agazines, o* journals, *om* critical </line>

<line> *rticles, *erfo*m*n*es on sta*e or screen, *nd la*t but not least, translations </line>

<line> (L*FEVERE, 1992, *.6-7). </line>

<line> *t is *een *n the abov* state*ent t*e great variety of means by which a t*x* may be </line>

<line> rewrit*en, and the power r*writi** exer*s over the liter*ry s*stem b* *ntroducing, sprea*ing </line>

<line> *nd cons**idating new *arameters, *esponsible fo* t*e displacem*nt o* t** works\ fu*ction in </line>

<line> the recep*ion system. *o, tra*sl*tio*s also assume *he c**dit*on of creators o* images *f a te*t </line>

<line> or a s*t ** texts, amplifying interpretative potenti*ls, as the a*thor has *mpha*ized: </line>

<line> In th* p*st, a* in the pre*ent, rew*it*rs cr**ted *mages of a wr*ter, a *or*, * perio*, a </line>

<line> *enre, some*im*s even a whole literature. These images existe* *i*e by side w*t* the </line>

<line> r*alities they compe*ed with, but th* imag*s *lwa** t*nded to reach mo** pe*ple </line>

<line> than t** c*rr*s*onding r*ali*i*s di*, and t*ey most c*rtain*y do so now </line>

<line> (LEFEVERE, 19*2, p.5). </line>

<line> In this sen*e, questi*ns involving *ewriting *re great*y linke* *ith the poetics *f </line>

<line> th* target lit*rary system, once *rojections *re mad* *n two ways, promoting or rejecting the </line>

<line> literary prestig* *f a ce*tai* pie*e of work. So, the images create* are of *reat relevance to the </line>

<line> spread of a lit*rar* un*ver*e, a w*iter, or a *et of writers ove* *he cu***ral sys*em. </line>

<line> This is wha* *da*tations usu*lly do as an e*d product, as Cat*rysse (2014, p.236) </line>

<line> *einforces *heir *ature and func*ioning in *he r*ception con*exts. To him, * film can be seen *s </line>

<line> an adap*ati*n to the extent that i*s sourc* ma**ri*ls form * mo*e or less over* par* of its total </line>

<line> presen**tion, and the more the *ou*ce materials are highli*hted i* a filmic *ar*ative, the more </line>

<line> *t m*y be said to be presented as an ada*tatio*. </line>

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<line> how mu*h *he *dapted text ** connected with the so*rc* </line>

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<line> Cattrysse (2014, p.*3*) has showed possible c**s *o *e found in **e adap*ation that mak* on* </line>

<line> see how c*ose it is or *s not *o the original, namely, textual, peritextual, and paratex*ua*. The </line>

<line> f*rst se* o* cues ref*rs *o the appearing of *he sour** text in the text i*s*lf, as t*e case of the </line>

<line> f*lm Atoneme*t, by Jo* Wright (2*07), upon which the n*vel *t*ne*ent (2001), by I*n </line>

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<line> *cEwan, is *ased. The author discu*ses the process of writi*g, a*d th* fi*mmaker cho*e </line>

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<line> highl*ght t*e handling of the crea*ive *rocess in the film. T*e s*cond occu*s w*en indications </line>

<line> Rev. FSA, Ter*sina, v. *7, n. 7, art. 12, p. 239-252, jul. 2020 www4.fsa*et.com.br/revis*a </line>

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<line> * Po*ítica Externa Br*si*eira nos A*os *0: Nazismo, Naci*nali**o * * Jogo Internacional </line>

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<line> of t*at an adapted te*t have been physically annexed *o t*e adapta*ion, for example, the book </line>

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<line> cover, fi*m\s titl*, cre*its, or v**ce-o*er comme*t*ry on DV*, as </line>

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<line> Mark R*d*ll, *n wh*ch is made clear s*nce the beginni*g traits of Lawrence\s book *o *iew*rs. </line>

<line> And t*e th*rd se* refers t* those cu*s *hich appear physically in separ*te* t*xts *s trailers, </line>

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<line> pressbook*, pr*s*nt*tio*s at **es* conferen*es, i*terviews etc, </line>

<line> highl*ghted as an </line>

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<line> adaptation m**e by a famo*s director; for *xam***, The Colo* Pu*ple (1986), by Steven </line>

<line> S*ielber*, adapted fr*m th* hom*ny*ous boo* by Al*ce Walker. </line>

<line> As we can *bserve, independent *n diffe*ences *r similitudes toward* the source </line>

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<line> text, in the recept*on of film </line>

<line> *daptations, and th*ir recogniti*n </line>

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<line> cinem**ographic syst*m, viewers may receive im*ges from </line>

<line> va**ous *iterary *niverses </line>

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<line> p*od*ced in d*fferen* literary systems an* historical con*exts o* s**ee*. So, t*ese p**ductions </line>

<line> consol*dat* *ew possibilities of readings, which a*e greatly affected *y both filmm*kers\ </line>

<line> inter*retative pot*n*ials and t*e dia**gue es*a*lishe* with the social structu*e* o* *** cult*ral </line>

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<line> system. These as*umptio*s w*ll </line>

<line> be of great impor*ance *o *he following discussion* on *he </line>

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<line> Fox, by *.H. L**ren*e, and its adaptation to t*e cin*m*. </line>

<line> 3 THE FOX AND D. H. LAWREN*E\S LIT*RARY *NIVERSE </line>

<line> Law*e*ce ** know* as o*e of the most creative modern writers i* Engl*sh for </line>

<line> produc*ng lit*rary texts, whi** en*ompassed seve*al genres, and a r*nge of complex themes </line>

<line> that d*fied **nservative values of Englan* a* the *eginn*ng of the twentieth cent*ry. His ver* </line>

<line> particular way of w**ting and vi*ion on the literary writer claimed th*t the process of creation </line>

<line> s*ould be affected by the i*dividual perceptions *f conv*ntional aspe*t* o* **e so*ial *aily </line>

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<line> lif*, such as language, religion, family, </line>

<line> politics etc, </line>

<line> to *ho* how complex and </line>

<line> mutabl* </line>

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<line> re*ationships are. </line>

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<line> A remarkable **ait in t** **t*or\s wr*t*ng i* the traditio**l narrati*e struc*ure use* in </line>

<line> *is works. Unlik* other modern texts that *how mo*e e*perimental and i*pressio*i*tic </line>

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<line> ch*racteristics, </line>

<line> a* observed in the works of his contempo*arie* Engl*sh wri*ers, </line>

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<line> ch*ice of co*st*ucting his narrativ*s with a more linear devel*pme**, showing mor* rea*isti* </line>

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<line> si*u*t*ons. *u*, at the same ti*e, Lawrence al** bring* inn**ation to his *exts </line>

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<line> depth of t*e discu*sions *aised by the presence of con*r**ersial th*mes. </line>

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<line> Th*s the cas* of th* s*ort novel The Fox, which was wr*tt** *etween is </line>

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<line> 19*9, revised and publis*e* in 1923. M*rked by *n obje*t**e s*yle at fi*st sigh*, it unfolds in * </line>

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<line> quit* **raight *resentation </line>

<line> of sit*ations a*d themes. Howeve*, it als* c**ates a </line>

<line> particula* </line>

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<line> Rev. FS*, T*resina PI, v. 17, n. 7, *rt. 12, p. 2*9-252, jun. 2*20 </line>

<line> www4.fsanet.com.*r/revista </line>

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<line> C. A. V. Silva </line>

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<line> narr*tive pace with subtleties i* its </line>

<line> developmen* in whic* </line>

<line> the rea*er i* constantly de*ied t* </line>

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<line> u*derstan* ambivalent points an* m*tivati*ns fo* so*e narrative move*ents, as the nature o* </line>

<line> the ma*n charac*er*\ relationship, Banford *nd March. </line>

<line> *t the *e*inning o* the na*rat*ve, the girls are descri*e* by *heir surn*mes. T*e </line>

<line> read*r has the piece of informa*io* that they go* t*e far*, with th* pu*pos* of taking it as a </line>

<line> sou*ce for survival, bu* there is also a* indication that *his previous p*a* was not complet*ly </line>

<line> successf*l. Th*n, the delin*atio* *f each character starts, a*d the reade* begin* *o vis*alize </line>

<line> traits a*d definition o* their personalities and social r*les in that plac*. By describing Benford, </line>

<line> the narrator affirms: </line>

<line> T** two **rls were usually known *y t**ir su*names, Banford and March. They had </line>

<line> taken the farm together, intending t* wo*k *t al* by themselves []. *n*ortunate*y, </line>

<line> Banford w*s a small, thin, delicate thing w*th spe*t*c*es. She, howe*er, *as the </line>

<line> principal, fo* March had li**le or no m*n*y. Banford\s *athe*, *ho was a tradesman </line>

<line> in *s*ington, gave his daughter *he s*art, for her health\s sake, an* beca*se he lo*ed </line>

<line> her, a*d because it did not look as if she would marry. March was more robust. She </line>

<line> *ad learned carpent*y and jo*ne*y at th* e**ni*g cl*sses in Islington. She would be </line>

<line> As we can see above, trai*s of *a*h c*arac**r\s *ehavior, and o* thei* *isual </line>

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<line> a*pearanc* sh*w the r*ader a new way of living *n **ich the traditio*al f*mily struc*ure to </line>

<line> towards social con*en*io*s of the time has been qu*stioned. T*e text puts *mphasis on two </line>

<line> independent wom*n who *anage *hei* own business **thout th* int*rference of th*ir parents </line>

<line> or br*thers, as it us*ally ha*pened in **at contex*, once they are not mar*ied, a*th*u*h bef*re </line>

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<line> *ying, Banford\s gra*dparen* </line>

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<line> acti*iti*s in the house a*d in </line>

<line> is sh*we* an unbalance in *heir </line>

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<line> rela*ionship, for e*c* of the girls pl*ys a stereotype of d*minat*on: Banford repr*sents power </line>

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<line> ov*r Mar** for her fin*ncia* con*ition*; and March r*pre*ent* in a way </line>

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<line> domination t*r*ugh *er p**sica* ab*lit*es for hand*ing *ith ca**entry, *nd pragmati* attit*des. </line>

<line> I* i* *oticed, therefor*, **e of t*e first am**guities in *he development of t*e </line>

<line> narr*ti*e, *oncern*n* *he presen*ation of i*novative t*emes. These characters are pl*ced in * </line>

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<line> context o* *solat*on, *ighting for surviv*l in t*at </line>

<line> li*ited place, wi*ho*t any external </line>

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<line> int*rference, but, at th* *ame time, </line>

<line> this gives *o them </line>

<line> an *xtrao*dinary po*er of </line>

<line> choice and </line>

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<line> *utonomy in the w** they lead thei* own l*v**. Yet, *v*n **th t*is s***e of freedom towa*ds </line>

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<line> social conventions, i* *an also be obser*ed that in </line>

<line> the*r relatio*ship ma*ks of a </line>

<line> patri*rchal </line>

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<line> familiar structur* remain for ea** character playing a sp*cific gender role, includ*ng t** male </line>

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<line> Re*. FSA, Teresina, v. 17, n. 7, a*t. 12, p. 239-252, jul. 2020 </line>

<line> www*.fsanet.com.br/re*ist* </line>

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<line> A Polít*ca Externa Bras*l**ra nos Anos 3*: Nazismo, Nacionalism* e o Jogo Internacional </line>

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<line> figure suggested by Ma*c*\s description, s*owed as "she lo**e* al*ost l**e some graceful, </line>

<line> loose-*al*nced young man" (LAWRENCE, 19*6, p.3) . </line>

<line> B*nford, in tur*, as a tra*e*man\s man daughter in Islingto*, ha* his help to th*s </line>

<line> b*g*nning of t*e new life in t** farm, b**a*se besides be*ng beloved by him, her fath*r *lso </line>

<line> *ad rea**zed that she would not be inclin*d to *arria*e. Thi* fact r**e*ls an important aspect </line>

<line> of the writer\s d*s*ussion in *he nar*a*ive that *s *he charac*er\s indepen*ence on ma*riage. </line>

<line> As t*e story unfolds with t*e de****ation of *haracters\ so*ial *ol*s, some hints on </line>

<line> the way *ealit* *s perceived by them starts be*ng made clear to the reade*. *hereas *anford </line>

</par>

<par>

<line> **e*s *onformed wit* the dyna*ics of * s*mp*e </line>

<line> *ife, keep**g worried about *et*ing thin*s </line>

</par>

<par>

<line> around, as going to the villa*e to *uy foo*, f*r e*ample, March, in an*t*er </line>

<line> perspec*ive, </line>

</par>

<par>

<line> seen as **e one wi*h unsati***ed tendencie* w**t ma**s he* vulnerable to tr*ns*end the limi*s </line>

<line> of that isola*ed world. </line>

<line> So, opposite viewp**nts of t*e*r at*it*des towards life are showed, b*inging tension to </line>

<line> the relations*i*, as the nar*ator asser*s: </line>

</par>

<par>

<line> Although the* were usuall* *he best of </line>

<line> frien*s, because Banfor*, th*ugh n*rvous </line>

</par>

<par>

<line> and delicate, was a warm, </line>

<line> g*n*rous soul, and March, though so odd and ab*ent in </line>

</par>

<par>

<line> *erself, had a st*a**e magnanimity, *et, </line>

<line> *n the l**g *olitude, t*ey were a*t to </line>

</par>

<par>

<line> become * little **rit*b*e with one ano*her, *ir*d of one another (LAW**NCE, 1976, </line>

<line> The dis*repancy between *heir percept*ons on l*fe *rings the se*se of *ncompleteness </line>

<line> t*at *ay be associated to the conce*t of int*gral man, and to the possibility of reaching ou* </line>

<line> to*ar*s the sources of vitality discussed by Lawr*nce in his n*vels, as ** states: </line>

<line> The whole is greate*t t*an the part. And *h*refo*e, I, *ho am man a*ive, am g*eater </line>

<line> than my *o*l, or spiri*, *r bod*, or mind, or c*nsciousne*s, *r anyt*ing *lse that is </line>

<line> merel* a part of me. * am a man and a*ive. * am a man, and alive. I am a man alive, </line>

</par>

<par>

<line> and as lon* as c*n, I intend to go on being man alive (LAWRENCE ap*d I </line>

<line> ABRAMS, *9*4, p. 2148). </line>

<line> F*l*owing La*rence\s princ*ples, relat**nships m*s* be ta*en as a way of m*king the </line>

<line> indi*idual re*ch down into the mindless ce*ters of his person*lit* th*ough the exploratio* as </line>

<line> an at*em*t t* fu*fill one\s own self. It brings t* T*e F*x the ide* of instinct or natural *ner*y </line>

<line> wi*h *exual connot*ti*n. </line>

<line> In Marc*\s case, t** search f*r *he unknown d*splays energy toward* * sense of </line>

<line> rea*hing out new va*ues an* exp*riences as a result of her u*c*nscio*s ne*d for fulfillm*nt. </line>

<line> T*o important e*ents i* *he n*r***ive t*igg*r *omet*ing as a sort of pla*es of c*nsciousness, </line>

<line> Rev. FSA, Teresina PI, v. 17, n. 7, art. 12, *. 239-2*2, j*n. 2020 www4.fsan*t.com.br/*evista </line>

</par>

</page>

<page>

<par>

</par>

<par>

<line> what greatly aff*cts th* character, leading her to new insights: t*e encounter with the fox and </line>

<line> Since the beginn*ng, the presence of the fox is disturbing, bringing in*tability to th* </line>

<line> place *or b*ing d**cr*bed ** the one r*sponsibl* for chaos, as the narrator says: "Since the war </line>

<line> the fox was dem*n. He carried o** the h*ns under the no*es of March and Benford" </line>

<line> (LAWRENCE, 1*76, p.4). </line>

<line> T**s situatio* make* March **act a*d attempt to hunt th* animal. Then, o*e evening </line>

<line> at the end of August, s** *as standing **th her gun under her arms, an* h*ir pus*ed under </line>

<line> *er *ap when she saw the anima*: </line>

<line> She lowered her eyes, and suddenly *aw the fox. *e was **oking up at her. H*s chin </line>

<line> was pressed down, and his ey*s were look*ng up. They met her ey*s. And she knew </line>

</par>

<par>

<line> he*. Sh* *as spellbound - *he knew he knew her. So h* looke* into *er eye*, </line>

</par>

<par>

<line> her soul failed her. H* k*ew her, he was not daunt*d (LAWRENCE, 1976, p.7). </line>

</par>

<par>

<line> As we can per*ei*e, the fox bri*gs a new *orce with a suggesti*n o* *ominatio* ov*r </line>

<line> March, for *e face* her, exerting a certain fas*i*at*on ove* th* character. </line>

<line> A*other situation t**t sh*w* evidence o* thi* new force is *hen Henry arrives. He i* </line>

<line> the *oung guy grea*ly des*r*bed by his youth and st*eng*h, who also makes her feel affec*ed </line>

<line> by *ew *mpulses. *et us see: </line>

<line> The *oung man - or you*h, f*r he *ould not be *or* t*an tw*nty - now advanced </line>

<line> and stood in *he *nne* door*a*. March a*ready under *he influe*ce of his *t*ange, </line>

<line> soft, m**ulated voice, s*ared at him spellbo*nd (LAWRENC*, 197*, *.12). </line>

<line> But to March he was the f*x. Whethe* *t was the t*r*st*ng forw*r* of h*s head, or </line>

<line> the gli*ten of fine whitish hairs on the ruddy c*eek-*ones, or the bright, keen ***s, </line>

</par>

<par>

<line> and she could </line>

</par>

<par>

<line> othe*w*se (LAWRENCE, 1976, p.13-14). </line>

</par>

<par>

<line> Thes* passages ab*ve ar* imp*rtant, not only because th*y anti*ipat* the comi*g </line>

<line> disc*ssion on th* con**ctio*s betwe*n *he *n*mal an* the b*y, but *lso to introduce one of **e </line>

<line> most *m*ortant aspec*s of Lawr*nce\s themes *o readers, o* rather, the sense of vital f*rces. In </line>

<line> *his *ense, the *ox may *e s*en as a sym*ol of masculine *nergy that catches th* char*cter\s </line>

<line> a*tention, and mak*s her aware of something p*imeval ** her. T*e ex*loration of this **ergy </line>

<line> gets an ultimate point whe* March *r*ams of the animal in that **y she had met t*e guy: </line>

<line> That night March dreamed vividly. She d*eamed she h**rd a singing ou*si** which </line>

<line> she could n*t understand, a *i*gi*g t**t r*amed *oun* the *ouse, in *he fi**ds, and in </line>

</par>

<par>

<line> t*e *ar*ness. It moved h*r s* tha* she felt she m*st weep. She went out, </line>

</par>

<par>

<line> su*denly she kn*w it wa* the fox sing*n*. He was v*ry yellow and brig*t, *ike corn. </line>

</par>

<par>

</par>

<par>

<line> Rev. FSA, Teresi*a, v. 17, n. 7, art. 12, p. 239-*52, jul. 2020 ww*4.fsane*.com.br/revi**a </line>

</par>

</page>

<page>

<par>

<line> A Política Externa Brasi*eira *os An*s 30: Na*ismo, *acionalismo e o Jog* I*ternacional </line>

</par>

<par>

<line> she wante* to *ouch him. She s*ret*h*d ou* *er han*, but suddenly he bit her wrist, </line>

<line> and *t the same ins*ant, as *h* d*ew back, the fox, t*rni** ro*nd to bound away, </line>

<line> whisked his brus* across her face, a*d it seemed this **ush wa* on fire, for i* se*red </line>

</par>

<par>

<line> and burned *er mo*th with * great pain. She aw*ke *ith the pain of *t, and </line>

</par>

<par>

<line> tr*mbling a* if she wer* real** sea*ed (LAWRENCE, 197*, p.22-23). </line>

</par>

<par>

<line> From the* *n, March, who *s the most restive of the two gi*ls, sta*ts *ovin* to a </line>

<line> new dir*cti*n towards he* own life. Sin*e the beginning, th* analogy *o the n*tu**l fox is </line>

<line> establis*ed **roug* the vivid desc**ption of natu*e and of the animal in h*s vita* state. </line>

<line> By *iscussing t*e role of n*ture in La*rence\s work, *anak* an* Suma*hi (2019, </line>

<line> *.61) h**e po*n*ed *ut that th* aut*or has used it *xquisitely in his novels by the intermix*ng </line>

<line> of *ecund earth and love sick mind*. For ***m, "His treatme*t of nature is simple and direct, </line>

<line> mingled with an aura of sensu*usness [] His l*vers *ell t*a* na*ure reechoes t*eir physic*l </line>

<line> and m**tal vi*ratio*" (JANA*I AND SUMATHI, 2019, p.61). </line>

</par>

<par>

<line> may be ob**rved the above case of *arch\* dream of th* fo*. The in </line>

</par>

<par>

<line> vividness in it* description, *nd i*s pow*r bursts on the rea*e*s\ consciousness that *or Ma*ch </line>

</par>

<par>

<line> "the fox re*resents an es**pe from </line>

<line> her present deaden**g </line>

<line> li*e, an escape *onc*ived in </line>

</par>

<par>

<line> i*creasingl* sexual terms", a* r*inforc*s E*gel (1973, p.106). </line>

<line> T*is n*rr*t*ve *trategy ma*es clear i*te*est*ng phi*os*p*ical principles discussed by </line>

<line> Lawren*e i* *is w*r*s, as he reacts aga*nst the ne*lect of *he modern man to the preservation </line>

<line> of one\s own *elf. In order to so, th* author formulate* a kind of th*o*y to *e* the terms for th* </line>

<line> *ndi*id*al p*yche in which *ach *ndivid**l has a "d**k *elf", an "active consciousness", </line>

<line> which exists independe**ly, and is pr*or to *he ordi*ary mental con*ciousnes*. </line>

<line> By *xpl**ning thi* theory, J**obson affirms that nothing m*tters but the heal*h of the </line>

<line> psyche: </line>

<line> When t*e ps*c*e is heal*hy, the dark self, which is the tr** s*urce o* the p**sions, </line>

</par>

<par>

<line> of respons* ** th* outsid* wo*ld, has *rimacy and pow*r ove* </line>

</par>

<par>

<line> menta* consciousnes*, whi** sho*l* pro*erly do more than transmute the "cr*ati*e </line>

<line> f*ux" *f life i**o **a* Lawrence called *he "shorthand" of i*e**, *b*t*action*, </line>

<line> princi*les, ideals (JACOBSO*, 1973, p.137). </line>

<line> It i* th*n observed that the main problem *aised is the disturb*nce in the relat*o*sh*p </line>

</par>

<par>

<line> of forces wi*hin </line>

<line> the individua*, and the ment*l cons*iousness **th its ideas an* i*eals. *his </line>

</par>

<par>

<line> *reaks the t**p*rtite aspec* of integra*ity *n *hi*h reason, b**y and em*tion sho*ld *ake their </line>

<line> own *lace in t*e pr*ces*, being so *he source of unbalance th*t may inter*ere in the cre*ti*e </line>

<line> life, a*d in the search *f comp*etene*s. </line>

<line> S*, al*hough *he Fox is * *ext with *n apparentl* simple plot and linear n*rr*tive </line>

<line> str*cture, *e have *een *hat it als* bri*gs lots of r*pre*enta*i*e el*m**ts *f Law*e**e\s </line>

<line> R*v. FSA, Tere**na *I, v. 17, n. 7, art. 12, p. 239-25*, j*n. 2020 ww**.fsane*.com.br/**vista </line>

</par>

</page>

<page>

<par>

<line> C. A. V. Silva </line>

</par>

<par>

<line> c*mplex lite*ary univer*e, as demonstrat*d el**where through the analysis of the no*el **dy </line>

</par>

<par>

<line> Chatterley\s *over (S*LVA, 2017). *ust </line>

<line> like thi* novel, The Fox also "oppose*, </line>

</par>

<par>

<line> th* social and po*itical system, *ut als* to the destabilizat*on of a w*o*e pa*adigm of the </line>

<line> modern rati*nal *ivil*zation" (S*LVA, 2*17, p.*8), wha* have certainly r*presented a gr*at </line>

</par>

<par>

<line> ch*llenge to dir*c*ors *ho intend to t*an*late it into scr*en, as M**k **dell </line>

</par>

<par>

<line> 4 TH* FOX ON SCREEN </line>

</par>

<par>

<line> The f*lm ad*ptat*on of The Fox at the end o* 1960\* starts a cinematic out*urst of </line>

<line> Lawrence\* w*rks and was *ele*sed cl*se t*gether a*d during a *enaissance perio* for the </line>

</par>

<par>

<line> writer in the cin*mato*raphic system. In *he years following t*is producti*n, </line>

</par>

<par>

<line> impo*tant app*ared: W*men in Love in *969, by K*n Russel*, and The Virgin and *he Gy*sy </line>

<line> in 1*70, by Christophe* Milles. </line>

<line> To unde**tand the rewritin* of these works on scree* and f*nct*ons taken in the </line>

<line> cinematographic system, one should take into acco*nt the m*jor chan*e *n critical status and </line>

<line> re*ut*tion th*t affec*ed Law*e*ce duri** the 1950\s thr*ugh the re-*p*raisal a*d revival of hi* </line>

</par>

<par>

<line> main themes. This pheno**no* </line>

<line> br*ught about a sh**t in the social *ttitud* </line>

</par>

<par>

<line> *riter\s work, and a change i* bot* the p*b*icat*o* pr*ctice, and attit*de amongst critics and </line>

</par>

<par>

<line> As an at*empt t* jus*ify the shift i* criti*s\ posit*on w*ich s*arted a </line>

</par>

<par>

<line> renaiss*nc* in Lawre*ce\s </line>

<line> lite*ary pr*duc*ion, Beynon (1*97, p.*4) </line>

<line> has *r*sented some </line>

</par>

<par>

<line> reasons to explain *hy Lawrence\s ideas se*med *ore serious an* acceptable </line>

</par>

<par>

<line> cen*ur* readers than they use* to be at the moment t*e texts were publi*h*d. For him: </line>

<line> Also, *es*ern society b* th*t time had dev*l*pe* mor* p**mi*sive st*ndar*s </line>

<line> regarding sexual behaviour *o L*wrence\s w*it*ngs about sex no lon*** s**med a* </line>

<line> s*ocking*y "l*centi*us" as *hey had to ear**er *ea**rs. [] *oncurrent wi*h and </line>

<line> *or* impor*ant than all the writ*ngs about *awrence then w*s the large-scale </line>

<line> r*printin* of h*s ow* works in England and America (BEYNON, 19*7, p.54). </line>

<line> This statement shows the ne* posi*i*n taken by th* writer *nd his *orks, *nd provide* </line>

<line> *n overview of the soci*l and historic*l circum*tances in which the *ilm adaptation of The Fox </line>

<line> was *eleased, *e*n* the first A*eri*an pr*duction bas*d upon Law*e*ce\s texts. </line>

</par>

<par>

<line> This new *ocial and his*orica* context of </line>

<line> prod*ction </line>

</par>

<par>

<line> contribut*s to the setting *p of its *ew narra*i** configuration, showing p*rticular traits in the </line>

<line> r*writi*g o* Lawrence\s literary universe. The film tells the same stor* o* the book w*th t*o </line>

</par>

<par>

<line> gi*ls liv*n* to*ether i* a farm, working and tryin* </line>

<line> right in t*eir d*ily *out*ne. </line>

</par>

<par>

<line> www4.fsanet.com.br/*evista </line>

</par>

</page>

<page>

<par>

<line> A Pol*tica Ext*r** Brasi*eira *os Anos 30: Nazismo, N*cion**ismo e o J*** Internacio*al </line>

</par>

<par>

<line> *nd of the winter, for*er soldier who was in the a*my in Canada a </line>

<line> retur*s *nd </line>

</par>

<par>

<line> realizes that the plac* was </line>

<line> no longer hi* </line>

<line> gran*fat*er\s pro*riety, and that i* belongs to the </line>

</par>

<par>

<line> girls. Once h* *a* n*w*ere else to g*, the w***n all*w him to s*ay with *hem in *xcha*ge fo* </line>

<line> As a way of connecting ima**s of a natural setting wit* *hose from the book, and of </line>

</par>

<par>

<line> anticipating Lawrence\s relevant *h*mes </line>

<line> *o spectators, at the beginning, *he </line>

<line> filmic na*rati*e </line>

</par>

<par>

<line> show* th* *andsca*e of an is*lat*d fa*m in rural C*na*a in the winter **riod, with the ho*se </line>

</par>

<par>

<line> and lots of snow. The place is de*icted in a* apparent </line>

<line> chaotic situ*tion *n ***ch characters </line>

</par>

<par>

<line> stru*gle to su*port the*selves by *ai*ing chic*ens a*d dealing with h*avier works. </line>

<line> Although it *epict* the sam* st*ry*ine of *he bo*k, one c*n also see import*nt shifts t* </line>

<line> t*e way the filmic nar**tive focuses on character construct**n, an* their sear*h f** self- </line>

</par>

<par>

<line> fulfill*ent. For </line>

<line> **ample, the ambiguity in the *r**entation *f the girl*\ relations*i* in the </line>

</par>

<par>

<line> book is effaced what makes it exp*icit to spectators This f*ct be*omes rel***nt to *nderstand </line>

</par>

<par>

<line> the functioning o* the fi*m adaptation in the new social </line>

<line> conte*t, because rather than </line>

</par>

<par>

<line> dee* *nto Lawrence\s compl*x discussi*n, i* tends to become more superficial. </line>

<line> A pie*e ** evidenc* of that *c**rs a* the very be*inni*g when characters are still b*ing </line>

<line> pres*nt** on *creen. *ill Banford (Sandy Dannis) is s*owed massa**ng *llen Mar*h\s back </line>

<line> (Ann Hey*ood). Th*n, s*e goes ups*a*rs, enters *e* r*om and undr*sses herself, standing **ill </line>

</par>

<par>

<line> *n front </line>

<line> of the mirror. She </line>

<line> *oo*s at hersel*, *u*ns t** l*ght o*f an* start* m*sturbating. </line>

</par>

<par>

<line> Immediate*y after, the *wo o* t*em are see* layi*g on their be* as a coupl*, and the came*a </line>

<line> m*ves towards the window as if *t were in **arch of someth*n* outside. </line>

</par>

<par>

<line> By showing the *ature of **e </line>

<line> bond between </line>

<line> B*nford and March as a homosexual </line>

</par>

<par>

<line> rel*tionship *n scre**, the movi* also ad*ress*s ** the theme of sexu*lity *rom *he b*ok, but </line>

<line> not in *h* s*me perspective. Whe*eas in **e *ook it is only part of a broader discussion on the </line>

<line> sen*e of explor*tio* of one\s own self, *n *he f**m, i* b*comes *ne of the central argument* for </line>

<line> the narrative constructio*. As a co*sequence, *h* *i*mi* n*r*ative gains a more eroti* *ppe*l </line>

<line> Anot*er example *hat rei*force* this new direc*ion in the filmic narrati*e perspe*tive i* </line>

<line> the way the charac*er Paul Grenf*l (Keir *u*lea) is *ons***cted on screen. *nlike his </line>

</par>

<par>

<line> de*cription i* the book in which sou*ces </line>

<line> of vi*ality ar* greatly marked, in *he film he is </line>

</par>

<par>

<line> longer th* you*g </line>

<line> guy with no m*re th*n twenty, i*st*nc*iv* and aloof, but, instead, he </line>

</par>

<par>

<line> r*presen*ed as a matu*e, more ex*erienced ma*, who also fee*s spellbound by March, a* he is </line>

</par>

<par>

<line> rati*nalize fee*ings, and sets *educt*on pl*ns. He devot** </line>

<line> her at*entions, </line>

</par>

<par>

<line> propose* ma**iage to *er, what a*ouses Jil*'s resentment an* *ealousy. So, as in the b**k, the </line>

<line> Rev. FSA, Teresina PI, v. 17, n. 7, ar*. 12, p. 2*9-252, ju*. 2020 www*.fsanet.*om.**/revis*a </line>

</par>

</page>

<page>

<par>

<line> C. A. V. Silva </line>

</par>

<par>

<line> c*ar*ct**\s representation to s*ec*ators al*o establ*shes a cle*r analogy *ith the fox, although </line>

<line> some differences may *e observ**. Henry Grenfel, who *s n*med Paul Gr*nfel in t*e film, </line>

<line> p*obab*y as an analogy t* Pau*, *hara*ter *ro* the f**st adaptation based u**n Lawrence\s </line>

<line> work in the *inema The *ocki** Hors* Winner ** 194*, by Anthony Pelissier, show* *imself </line>

<line> off more f*r hi* int*lli*ence and slyness than for his youth a*d spontane**y, as the shor* novel </line>

<line> Although t*is s*ift of perspective *r*ught to the narrativ*, *y pu*ting **phasi* on both </line>

<line> *h*sical and intellectual cha**cte*\s traits, then moving away from that ** th* bo*k that </line>

<line> *ocus*s *or* *n the phys*ca* one, *t also *ak*s an inter*s*ing di*logu* with Lawrence\* *ork </line>

<line> in the *eception s*stem. First*y, it recovers *he cine*atographic me*or* of a *haracter from a </line>

<line> previo*s film adapt**ion, consolida***g images of the lite*ary univ*rse to spectat**s, and </line>

</par>

<par>

<line> seco*d*y, *t *einfor*e* an impo*t*nt the*e of t*is universe that i* man´* </line>

<line> *nbala*ce for </line>

</par>

<par>

<line> exc*ss of reason over instinct, as J*naki and Sumathi have su*ma*ized Lawrence\s idea*: "He </line>

<line> wants ** crea** an awareness *o live in h*rmo*y with n*ture and util*ze t*e res**r*es for th* </line>

<line> sat*sfac*ion of basic ne*ds without harming the natur*l wo*ld" (20*9, p.65). </line>

<line> By *iscussing The F*x as a movi* which *weeps asid* conventio**l c*n*epts *f what can </line>

<line> *r *an n*t be a*ticulat*d *n film, *rei*f (2001, p.23) asserts that *t can be a*alyzed as </line>

<line> somethin* new to the *a*ameters of indus**y. Fo* him, </line>

<line> *he heavy-ha*ded*ess in *he film, finally e*en to Rydell himself, result par*ly from </line>

</par>

<par>

<line> his attemp* to turn The Fox </line>

<line> into an erotic show-and-tell of sort*, a gra*hic </line>

</par>

<par>

<line> dem*nstration of *ev*ral sexual options *vaila*le to humankind. The on-s**een </line>

<line> c*talog includes *eterosexuali*y (*enry an* Dullea) in the barn), *esb*anism </line>

<line> (Heywood and *ennis i* bed or in the snow), and masturbation (*eywood and he* </line>

<line> **throom mi*ror) (*REIFF, 2001, p.*2). </line>

<line> As we can see, the fil* e**anded s*me the**tic poss*bilities *rom t** lit*rary text, </line>

<line> *xp**ring subtexts, and mak*ng ex*licit ambiguities an* situati*ns rega*ded *roblematic at the </line>

<line> mo**nt *t was published. </line>

</par>

<par>

<line> This cinematic strategy highlights the challen*es adapt Lawre*ce\s short novels to to </line>

</par>

<par>

<line> t*e cinema, an* the possibilit*es t*ey *ffer as a sta*ting point for cinematographic </line>

<line> transformati*ns. It boils down to the fact that the **nre may give th* *ppo**un*ty for a *alance </line>

<line> between t*o d*ffic**t e*tremes for *ilmmake**: on on* han*, t*e* hav* to *verex*en* t*e </line>

<line> univ*rse in order to fit it into the cine*atographic *anguag*, and, on the ot*er, to cond*nse </line>

<line> aspects of the texts. </line>

</par>

<par>

<line> Rev. F*A, T*resina, v. 17, n. 7, a*t. 12, *. 239-*5*, ju*. *020 </line>

<line> www4.*sa*et.com.br/r*vista </line>

</par>

</page>

<page>

<par>

<line> A *olítica *xterna Brasi*eira nos *nos 30: Na*i*mo, Nacionali*mo e o Jogo Inter*acion** </line>

</par>

<par>

<line> 5 FINAL *EMARKS </line>

</par>

<par>

<line> *s we have observed through*u* o*r discu*sion, by ad*pting the short nov** Th* Fox, </line>

<line> by *. H. L*w*ence to the cinem* in *he con**xts o* th* 1960´s, M*rk Rydell, al*hou** taking </line>

<line> relevant a*pects from th* lite*ary **iverse of th* book, exp*n*ed *ts unive*se *o *uit the </line>

<line> *eceptio* contex*. The *ase of t*e explicitness of the ambiguity s*owe* in the shor* nove* on </line>

</par>

<par>

<line> *h* repres*n*at*on of *n </line>

<line> alle*ed homoerotic relationship between Ellen Marsh and Jill </line>

</par>

<par>

<line> Ba*f*rd, for *xample, m*y be taken as *f great r*levance to understand the new **rrativ* </line>

</par>

<par>

<line> constr*ct on scree*. **t* this mo*e sexual app*aling *omponent depi*ted to </line>

<line> spe*tators, </line>

</par>

<par>

<line> film, unlik* the book t*a* discusses sexuality in a *eeper sens* as a s*urce of vitality, in which </line>

<line> *nsti*ct b*co*es a vital energy for the search of self-ful*illment, **mp*ifies a fundamen*al </line>

<line> que*tion raise* by Law*e*ce in the book, his cr*tici*m on the e*cess *f mo*ern man\s </line>

<line> ratio**liz*ti*n of *ody in*tinc*s. </line>

<line> D*spi*e the *ew narrative configu**tion, the film makes an *ntere*ting *ialogue wi** </line>

<line> Lawrenc*\s li*e**ry un*verse, by g*v*n* *mphas*s to s**e of *ts r*levant themes, by </line>

</par>

<par>

<line> *onnectin* with th* s*cial </line>

<line> an* cul*ural asp*c*s of the rece**ion conte*t, *nd *ith *he new </line>

</par>

<par>

<line> discursive claims and *e* pe*ce*tions *y critic*. </line>

<line> REF*RENCES </line>

<line> BEYNON, R. T*e \Lawren*e Reviva*\. In: BEYNON, R. (ed.). *. H. Law*en*e: The </line>

<line> Rainbow and *omen in Love. Cambr**ge: I*on Books, 1997, p. 54. </line>

</par>

<par>

<line> ENGEL, M. The *on**nuit* of Lawrence\s short novel*. In: H**ALIAN, </line>

</par>

<par>

<line> Lawre*ce: a collection o* criticism. McG*aw-Hill Boo* Compa*y, 1973. </line>

</par>

<par>

<line> **TTRYSSE, P. *escriptive Ada*tat*on Studie*: Epi**emo**gical </line>

<line> and Methodo*ogical </line>

</par>

<par>

<line> *ssu*s. Antwer*en-Alp*d*n: Garan*, ***4. </line>

</par>

<par>

<line> GONÇALVES, L. B. *. H. Lawren*e, um c*a*sicist*. *evist* de Letra*, v. 19, n.1/2, p.105- </line>

<line> GREIFF, L. K. D. H. Lawrence: *ifty ye*rs o* fi**. U*A: Southern Illinoi* U*iversity </line>

<line> Press, 2001. </line>

<line> JANAKI, S.; SUMATHI, S. "Representation of Nature in D. H. L*wren*e\* T*e Rainb**." </line>

</par>

<par>

<line> I*ternati*na* Jo*r*a* of English </line>

<line> *anguage Literature in Humanities, v7, n.2, p.57-65, </line>

</par>

<par>

<line> Availa*l* from: <http://ijellh.com/OJS/*ndex.php/OJS/a*tic**/v*ew/6782/568*> </line>

</par>

<par>

</par>

<par>

<line> JACO*S*N, D. H. Lawrence and **d*r* Soci*ty. In: HAMALIAN, L.(ed.). *. </line>

</par>

<par>

<line> Lawr*nce: a collect*on o* critici*m. McGra*-Hill Book C*mpany, 1*73. </line>

</par>

<par>

<line> Rev. FS*, Teresina PI, v. 17, n. 7, art. 12, p. 239-2*2, jun. *020 www4.fsan*t.**m.br/re*ista </line>

</par>

</page>

<page>

<par>

<line> C. A. V. Silva </line>

</par>

<par>

<line> LEFEVERE, A. Tr*nslation, Rewriting, and </line>

<line> T*e Ma*ipulation of Lit*rar* Fa*e. </line>

</par>

<par>

<line> London *nd New York: Rout*edge, 1992. </line>

</par>

<par>

<line> *AW*ENC*, D. H. The Fox. *ew *or*: The Viking Press, 1976. </line>

<line> L*WRE*CE, D. W*y the No*e* Matters. In: ABRAMS, M. (ed.). The N*rton Ant*ol*gy </line>

<line> of *n*lish Literatur*. Canada: No*ton &Company, 19*4. </line>

</par>

<par>

<line> A. V. "Lady Chatterle*: rewriting D. H. L *wrence\s nov*l on scr*en." Acta </line>

</par>

<par>

<line> Scientia*um: Lang*age a*d Cultur*, v.3*, n.1, p.5*-61, 2017. Avail***e from: < </line>

<line> http://p*riodi*os.uem.b*/ojs/index.p*p/ActaSciLangCult/i*sue/v*ew/12**>. Access on: *ar. </line>

<line> THE FOX. Direction: Ma*k Ry*el. Canada, *9*7.DVD (1*0 mi*), s*n., c*lor, In*. </line>

</par>

<par>

<line> Como Referencia* e*te Artigo, conform* ABNT: </line>

<line> S*LVA, C. A. V. The Fox: D. H. Lawren*e\s S*ort Novel *n Mark *ider\s F*lm. Rev. FSA, T*resina, </line>

</par>

<par>

<line> Contribuição dos Autores </line>

<line> C. *. V. Silva </line>

</par>

<par>

<line> 1) *on*epção e plane*amento. </line>

</par>

<par>

<line> 2) anál*se e interpretação dos dados. </line>

</par>

<par>

<line> 3) elaboração do ra*cunho ou na revisão crític* do conteúdo. </line>

</par>

<par>

<line> 4) participa*ão na aprovação da versão *inal do manusc*i*o. </line>

</par>

<par>

<line> *ww4.fsanet.com.br/*e*ist* </line>

</par>

</page>

</document>

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