Por uma estrada de tijolos amarelos e pela terra do nunca a magia acontece: engenho e arte no universo pop-up de Robert Sabuda

Abstract

Literature, as an artistic phenomenon, provides readers with the fabulation and aesthetic- literary fruition. Among the many ramifications that literary studies entail is children's and youth literature, which for many readers, enhances the power that the words fabulation and fruition can represent. Thus, from this literary field, for example, the books that interconnect the verbal code to the visual are born, resulting in a true richness and diversity of images. In addition, it is possible to perceive, in the productions potentially aimed at children and young people, especially in the more experimental ones, several plots in which the graphic-editorial project and the presentation of the narrative claim a peculiar classification, entitled object-books. On this path of literary production reside the pop-up works in which text and image are connected in a paper engineering, demanding new reading protocols related to the reader's movements (opening flaps, turning paper mechanisms and others). It is in this intrinsic relationship between textual, visual and kinetic code that the discussions to be presented in this Dissertation were built. We aimed to analyze two narratives released to the public in versions adapted to the pop- up, namely The Wizard of Oz (2014) and Peter Pan (2014), both conceived by the creative eye of Robert Sabuda. The analyses pursued, in a qualitative, descriptive and analytical methodology, the purpose of answering, among others, the following question: are these plots, now appreciated, examples of plots that promote aesthetic-literary fruition or, on the contrary, are they narratives? In which there is a predominance of the didactic-moralizing discourse, with merely pedagogical purposes? In order to answer this and other questions addressed in the study, we refer to several authors who theorize on the fields of study of literature, children's and youth literature, mainly such as Candido (2004); Hunt (2010); Calvin (2007); on the image code, the theoretical contributions of Oliveira (2008); Ramos (2020) and Linden (2014), about object and pop-up books, theoretically materialized by González (2019); Carter and Diaz (1999) and Trebbi (2014). As a conclusion of the studies carried out, we highlight, mainly, the multiplicity of textual, imagery and movement techniques that could be appreciated in the corpus of the study, and also the presence of elements that constitute such plots with the potential to promote aesthetic-literary fruition, thus moving them away from the didactic pamphlet discourse that sometimes permeates works potentially aimed at children and young people.