<document>
<page>
<par>
<line>
Centro Unv*rsitário Santo Agostinho
</line>
</par><par>
<line>
www*.fsanet.com.*r/revista
</line>
<line>
Rev. FSA, Tere*i*a, *. *7, n. 7, art. 12, p. 239-252, *u*. 20*0
</line>
<line>
ISSN Impresso: *806-6356 I*SN Ele*rônico: 2317-2983
</line>
<line>
http://dx.doi.org/10.12819/20*0.17.7.12
</line>
</par><par>
<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>
</par><par>
<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>
</par><par>
<line>
*ndereço: Carlos A*gu*to Viana da Silv*
</line>
<line>
Editor-Ch*fe: *r. Tonny K**ley de A*en*ar
</line>
</par><par>
<line>
Departam*n** de Língu* Inglesa, suas Lit*r*turas e
</line>
<line>
Ro*rigues
</line>
</par><par>
<line>
Trad*ção - Centro de Huma*ida*es/ UFC - Av. da
</line>
</par><par>
<line>
Un*ver*id*de, 26*3, 6002018*, Fo*t*leza/Ce, Br*sil.
</line>
<line>
*rtigo recebid* em 23/03/2020. Última
</line>
<line>
versão
</line>
</par><par>
<line>
rece*ida em 08/04/2020. *p*o*a*o e* 09/04/*020.
</line>
</par><par>
<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>
</par><par>
</page><line>
Rev*são: Gra*atical, No*mati*a e
</line>
<line>
de Form*tação
</line>
</par><page>
<par>
<line>
C. A. *. Silva
</line>
<line>
*40
</line>
</par><par>
<line>
ABSTRA**
</line>
</par><par>
<line>
This pape* has as one the m*in o*j*ctives to investiga*e *he part*cular r**ding o* the modern
</line>
</par><par>
<line>
short nove* The Fo* (*976),
</line>
<line>
by the English writer *. H. Lawren*e in Mark Rydell\s film,
</line>
</par><par>
<line>
ana*yzing *h* theme of c*mpletene*s, it* r*wri*ing
</line>
<line>
on screen *hrough the character*\ love
</line>
</par><par>
<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>
</par><par>
<line>
configuration cl*ser *o the social and *ultural discurs*v* *la*ms of the r*ception con*ext. *s
</line>
</par><par>
<line>
theoretic*l
</line>
<line>
backgrou*d, we have taken into consider*ti*n i*eas on literature and film
</line>
</par><par>
<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>
RE*UMO
</line>
<line>
Este *rtigo tem co*o *m dos pr*ncipais objetivos inves*i*a* a leitura pa*ticular da nove*a
</line>
</par><par>
<line>
**d*r**
</line>
<line>
The Fox (1976), d* escritor inglês D. *. La*renc*, no filme *e Mark Ryd*ll,
</line>
</par><par>
<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>
</par><par>
</page><line>
Re*. F*A, Ter*sina, v. 17, n. 7, art. 12, p. 239-2**, jul. *020
</line>
<line>
www4.fs*net.com.br/rev*sta
</line>
</par><page>
<par>
<line>
A Política Externa Brasileira nos **os 30: Nazismo, Naci*nalismo e o Jogo Inte*nacio*al
</line>
<line>
241
</line>
</par><par>
<line>
1 INTRODUÇÃ*
</line>
</par><par>
<line>
The modern short novel The Fox (*923), by D. *. Law*ence, following tradit*onal
</line>
</par><par>
<line>
pa*terns of th* genre, has a *inea* plot *ith th*
</line>
<line>
definition of
</line>
<line>
time
</line>
<line>
and *pace, and delineate*
</line>
</par><par>
<line>
ch*racters.
</line>
<line>
Howe*er, it is quite innova*ive in prese*ting a
</line>
<line>
range of *omplex themes *nd
</line>
</par><par>
<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>
</par><par>
<line>
an ord*na*y life together ** the regi** of Berkshire d*r*ng the Worl* War *. Th**
</line>
<line>
do
</line>
</par><par>
<line>
housework, tak* c*re of animals, and farm the *and for thei* survival. The*, Henry Gr*nfel, a
</line>
</par><par>
<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>
<line>
no
</line>
</par><par>
<line>
long*r his gr*ndfa*h*r\s propriet*. H* is *e*come* by the new *wners and
</line>
<line>
*tays th*re for
</line>
<line>
a
</line>
</par><par>
<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>
</par><par>
<line>
m o*i * s i m pl i f y t * e *ue s t i on
</line>
<line>
to establ*sh a
</line>
<line>
*****gue wit* new discursive claims *f
</line>
<line>
t he
</line>
</par><par>
<line>
production and reception contex**. As theoret**a* backgr*und, we ha*e t*ken *n**
</line>
</par><par>
<line>
consi*e*ation i**as on film a*aptation and rewriti*g by Cattry**e
</line>
<line>
a*d *efe*ere, as well as
</line>
</par><par>
<line>
some *riticism *n Law*ence\s work b* *eynon, and Gr*iff.
</line>
</par><par>
<line>
2 ADAPTA*ION AS A TRA*SLA*IO* P*OC*SS
</line>
</par><par>
<line>
The process o* *r*nslating book* i**o films *as be*n a s*urce of *iscu**i*n in
</line>
</par><par>
</page><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>
</par><page>
<par>
<line>
C. A. V. *ilv*
</line>
<line>
242
</line>
</par><par>
<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>
thes* te*t*, a* he as*erts:
</line>
<line>
Tha* con*t*uct i* often loosely ba*ed on some sele*ted p**sage* *f *he a**ual tex* o*
</line>
</par><par>
<line>
the boo* in question (the p*ss*ges *nc*uded *n
</line>
<line>
a*thologies used in secondary
</line>
<line>
or
</line>
</par><par>
<line>
u*ive**i*y education, for *n*tance), sup**emented by other *exts that re*rite the
</line>
</par><par>
<line>
actual **xt in on* wa* o* anot*er, such *s p*o*
</line>
<line>
summar*es in literary his*ories
</line>
<line>
o*
</line>
</par><par>
<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>
</par><par>
<line>
In
</line>
<line>
o*d*r to s**
</line>
<line>
how mu*h *he *dapted text ** connected with the so*rc*
</line>
<line>
text,
</line>
</par><par>
<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>
</par><par>
<line>
*cEwan, is *ased. The author discu*ses the process of writi*g, a*d th* fi*mmaker cho*e
</line>
<line>
to
</line>
</par><par>
</page><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>
</par><page>
<par>
<line>
* Po*ítica Externa Br*si*eira nos A*os *0: Nazismo, Naci*nali**o * * Jogo Internacional
</line>
<line>
243
</line>
</par><par>
<line>
of t*at an adapted te*t have been physically annexed *o t*e adapta*ion, for example, the book
</line>
</par><par>
<line>
cover, fi*m\s titl*, cre*its, or v**ce-o*er comme*t*ry on DV*, as
</line>
<line>
*he m*vie The Fox, *y
</line>
</par><par>
<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>
</par><par>
<line>
post*rs,
</line>
<line>
pressbook*, pr*s*nt*tio*s at **es* conferen*es, i*terviews etc,
</line>
<line>
highl*ghted as an
</line>
</par><par>
<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>
</par><par>
<line>
text, in the recept*on of film
</line>
<line>
*daptations, and th*ir recogniti*n
</line>
<line>
as *uch *ith*n the
</line>
</par><par>
<line>
cinem**ographic syst*m, viewers may receive im*ges from
</line>
<line>
va**ous *iterary *niverses
</line>
</par><par>
<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>
</par><par>
<line>
system. These as*umptio*s w*ll
</line>
<line>
be of great impor*ance *o *he following discussion* on *he
</line>
</par><par>
<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>
</par><par>
<line>
lif*, such as language, religion, family,
</line>
<line>
politics etc,
</line>
<line>
to *ho* how complex and
</line>
<line>
mutabl*
</line>
</par><par>
<line>
re*ationships are.
</line>
</par><par>
<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>
</par><par>
<line>
ch*racteristics,
</line>
<line>
a* observed in the works of his contempo*arie* Engl*sh wri*ers,
</line>
<line>
*e made the
</line>
</par><par>
<line>
ch*ice of co*st*ucting his narrativ*s with a more linear devel*pme**, showing mor* rea*isti*
</line>
</par><par>
<line>
si*u*t*ons. *u*, at the same ti*e, Lawrence al** bring* inn**ation to his *exts
</line>
<line>
thro*gh the
</line>
</par><par>
<line>
depth of t*e discu*sions *aised by the presence of con*r**ersial th*mes.
</line>
</par><par>
<line>
Th*s the cas* of th* s*ort novel The Fox, which was wr*tt** *etween is
</line>
<line>
1917 and
</line>
</par><par>
<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>
</par><par>
<line>
quit* **raight *resentation
</line>
<line>
of sit*ations a*d themes. Howeve*, it als* c**ates a
</line>
<line>
particula*
</line>
</par><par>
</page><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>
</par><page>
<par>
<line>
C. A. V. Silva
</line>
<line>
244
</line>
</par><par>
<line>
narr*tive pace with subtleties i* its
</line>
<line>
developmen* in whic*
</line>
<line>
the rea*er i* constantly de*ied t*
</line>
</par><par>
<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>
th*ngs did not turn out well.
</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>
the *an ab*ut the plac* (LAW*EN*E, *976, p.1).
</line>
<line>
As we can see above, trai*s of *a*h c*arac**r\s *ehavior, and o* thei* *isual
</line>
</par><par>
<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>
</par><par>
<line>
*ying, Banford\s gra*dparen*
</line>
<line>
*ad li*ed with **em for some time. *ow*ver, *es*ite t*eir
</line>
</par><par>
<line>
*har*ng of
</line>
<line>
acti*iti*s in the house a*d in
</line>
<line>
*he farm, it
</line>
<line>
is sh*we* an unbalance in *heir
</line>
</par><par>
<line>
rela*ionship, for e*c* of the girls pl*ys a stereotype of d*minat*on: Banford repr*sents power
</line>
</par><par>
<line>
and domi**tion
</line>
<line>
ov*r Mar** for her fin*ncia* con*ition*; and March r*pre*ent* in a way
</line>
</par><par>
<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>
</par><par>
<line>
context o* *solat*on, *ighting for surviv*l in t*at
</line>
<line>
li*ited place, wi*ho*t any external
</line>
</par><par>
<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>
</par><par>
<line>
*utonomy in the w** they lead thei* own l*v**. Yet, *v*n **th t*is s***e of freedom towa*ds
</line>
</par><par>
<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>
</par><par>
<line>
familiar structur* remain for ea** character playing a sp*cific gender role, includ*ng t** male
</line>
</par><par>
</page><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>
</par><page>
<par>
<line>
A Polít*ca Externa Bras*l**ra nos Anos 3*: Nazismo, Nacionalism* e o Jogo Internacional
</line>
<line>
245
</line>
</par><par>
<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>
<line>
is
</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>
p .5 ) .
</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>
</page><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>
<par>
<line>
*. A. V. S*lv*
</line>
<line>
246
</line>
</par><par>
<line>
what greatly aff*cts th* character, leading her to new insights: t*e encounter with the fox and
</line>
<line>
Hen*y\s ar**val in the farm.
</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>
<line>
and
</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>
th*t can *ever be said: but *h* bo* was to
</line>
<line>
her the fox,
</line>
<line>
and she could
</line>
<line>
not see him
</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>
<line>
and
</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>
<line>
She went nea*e* to him, b*t he ran aw*y and ceas*d sin**ng. H* se*med *e**,
</line>
<line>
and
</line>
</par><par>
</page><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>
<par>
<line>
A Política Externa Brasi*eira *os An*s 30: Na*ismo, *acionalismo e o Jog* I*ternacional
</line>
<line>
**7
</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>
<line>
**y
</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>
This *s wha*
</line>
<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>
the *rue c*nter
</line>
<line>
of respons* ** th* outsid* wo*ld, has *rimacy and pow*r ove*
</line>
<line>
*he
</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>
</page><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>
<par>
<line>
C. A. V. Silva
</line>
<line>
248
</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>
<line>
*o* onl y t o
</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>
<line>
di d i n 1967.
</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>
<line>
*wo othe*
</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>
<line>
tow*rds the
</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>
<line>
ac**em*cs.
</line>
</par><par>
<line>
As an at*empt t* jus*ify the shift i* criti*s\ posit*on w*ich s*arted a
</line>
<line>
proc*ss *f
</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>
<line>
t o m i d 20t h
</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>
<line>
*nd *e*ep*ion **
</line>
<line>
t** film
</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>
to s*t thi**s
</line>
<line>
right in t*eir d*ily *out*ne.
</line>
</par><par>
</page><line>
Rev. FSA, Tere*ina, v. 17, n. 7, art. 12, p. 23*-2*2, jul. 2020
</line>
<line>
www4.fsanet.com.br/*evista
</line>
</par><page>
<par>
<line>
A Pol*tica Ext*r** Brasi*eira *os Anos 30: Nazismo, N*cion**ismo e o J*** Internacio*al
</line>
<line>
2*9
</line>
</par><par>
<line>
Then, at the
</line>
<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>
h*lpi*g wi*h the work.
</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>
<line>
*oing
</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>
on sc*een.
</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>
<line>
no
</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>
<line>
is
</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>
also able t*
</line>
<line>
rati*nalize fee*ings, and sets *educt*on pl*ns. He devot**
</line>
<line>
her at*entions,
</line>
<line>
an*
</line>
</par><par>
</page><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>
<par>
<line>
C. A. V. Silva
</line>
<line>
25*
</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>
**in*or***.
</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>
<line>
t he
</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>
</page><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>
<par>
<line>
A *olítica *xterna Brasi*eira nos *nos 30: Na*i*mo, Nacionali*mo e o Jogo Inter*acion**
</line>
<line>
251
</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>
<line>
t he
</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>
<line>
L. (ed.). D.
</line>
<line>
H.
</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>
107, 1997.
</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>
201*.
</line>
<line>
Availa*l* from: <http://ijellh.com/OJS/*ndex.php/OJS/a*tic**/v*ew/6782/568*>
</line>
</par><par>
<line>
Acc*ss on: Mar. 17, 20**.
</line>
</par><par>
<line>
JACO*S*N, D. H. Lawrence and **d*r* Soci*ty. In: HAMALIAN, L.(ed.). *.
</line>
<line>
H.
</line>
</par><par>
<line>
Lawr*nce: a collect*on o* critici*m. McGra*-Hill Book C*mpany, 1*73.
</line>
</par><par>
</page><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>
</document><par>
<line>
C. A. V. Silva
</line>
<line>
25*
</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>
SIL*A, C.
</line>
<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>
21, *020.
</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>
<line>
v.1*, n. 7, art. 12, p. *39-252, jul. 202*.
</line>
</par><par>
<line>
Contribuição dos Autores
</line>
<line>
C. *. V. Silva
</line>
</par><par>
<line>
1) *on*epção e plane*amento.
</line>
<line>
X
</line>
</par><par>
<line>
2) anál*se e interpretação dos dados.
</line>
<line>
X
</line>
</par><par>
<line>
3) elaboração do ra*cunho ou na revisão crític* do conteúdo.
</line>
<line>
X
</line>
</par><par>
<line>
4) participa*ão na aprovação da versão *inal do manusc*i*o.
</line>
<line>
X
</line>
</par><par>
</page><line>
Rev. FSA, Te*e**na, v. 17, n. 7, art. 12, p. 239-25*, jul. 2020
</line>
<line>
*ww4.fsanet.com.br/*e*ist*
</line>
</par>Enlaces refback
- No hay ningún enlace refback.
Este obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional.
Atribuição (BY): Os licenciados têm o direito de copiar, distribuir, exibir e executar a obra e fazer trabalhos derivados dela, conquanto que deem créditos devidos ao autor ou licenciador, na maneira especificada por estes.
Não Comercial (NC): Os licenciados podem copiar, distribuir, exibir e executar a obra e fazer trabalhos derivados dela, desde que sejam para fins não-comerciais
Sem Derivações (ND): Os licenciados podem copiar, distribuir, exibir e executar apenas cópias exatas da obra, não podendo criar derivações da mesma.
ISSN 1806-6356 (Impresso) e 2317-2983 (Eletrônico)