Littérature scientifique sur le sujet « Fabulae »

Materia dissertationis nostrae sunt fabulae et opera sriptorum Gracorum ante Euripidem, quae ad personam Medeam perinent. Implicandum fabulas cum rebus gestis nationis Minyadum, qui Argonautae putantur, signatur. Primum tamen mutatio aspectus Medeas in litteris Graecis notatur.

No Proêmio do Decameron, Boccaccio aponta que contará “cem novelas, ou fábulas, ou parábolas, ou histórias que queiramos dizer”, termos sinonímicos que reforçam a novidade do gênero “novela”. Na Genealogia deorum gentilium, porém, o poeta retoma o termo latino “fabula”, que é mais ainda especificado em quatro sentidos diferentes, cada um dos quais com a intenção de definir da melhor maneira possível o próprio trabalho de Boccaccio, isto é, as suas “fabulae”. Neste artigo o leitor encontrará uma discussão acerca dos quatro sentidos do termo, assim como algumas relações possíveis com a obra italiana do certaldense

AbstractThis article examines the philosophical implications underlying Bacon's views on historical knowledge, paying special attention to that variety of historical knowledge described by Bacon as “natural.” More specifically, this article explores the interplay of history (historia) and fable (fabula). In the sphere of thought, fabula is the equivalent to materia in nature. Both are described by Bacon as being “versatile” and “pliant.” In Bacon's system of knowledge, philosophy, as the domain of reason, starts from historiae and fabulae, once memory and the imagination have fulfilled their cognitive tasks. This means that, for Bacon, there is no such thing as a pure use of reason. He advocates a kind of reason that, precisely because it is involved with matter's inner motions (its “appetites,” in Bacon's characteristic language), is constitutively 'impure'. The article shows how the terms historia and fabula cover key semantic areas in defining Bacon's philosophy: historia may mean “history” as well as “story,” fabula “myth” as well “story.” In both cases, we can see significant oscillations from a stronger meaning (close to those of matter and nature) to a weaker one (connected to wit and imagination), as if the power of nature decreases moving from histories and myths to stories. On the other hand, there are cases in which Bacon seems to stick to a diachronic view of the meaning of fables and histories, such that the transition from myths to history, especially natural history, is described as a collective effort towards reality and enlightenment.

In Renaissance philosophy, the term fabula is often used to mean a poetic or fantastic tale that conceals the truth beneath metaphorical language. This article will focus on a rather different concept of fabula found in Gianfrancesco Pico della Mirandola’s works. To the younger Pico, the entire tradition of Greek and Latin poetry is a fabula: that is, a false and immoral narration inspired by demons. In the first part of this article, I will trace the origin of this use of fabula to the early Christian apologists. I will argue that Gianfrancesco’s intention was to build on this idea through an interpretation of ancient thought that differed from the historiographical model of prisca theologia proposed by Marsilio Ficino and Giovanni Pico. In the second part, I will show the close relationship, in Gianfrancesco’s philosophy, between fabula and imaginatio.

Orientador: Isabella Tardin Cardoso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: A relevância da obra "Fábulas" (Fabulae), atribuída a um certo Higino, tende a ser cada vez mais reconhecida nos estudos mitográficos, embora estudiosos divirjam quanto ao valor da obra em si, considerada desde uma mera e medíocre tradução de um único compêndio grego, hoje perdido, até o mais importante manual de mitologia legado pela Antiguidade greco-romana. Esta pesquisa, que tem como corpus as fábulas I a CXXV (os quatorze primeiros ciclos mitológicos e a fábula Odisséia) não tem por pretensão qualificar a obra naqueles termos: o intuito é, antes, observar seu texto (com destaque a características relacionadas a sua língua, estilo e gênero), investigando, inclusive, a relevância de tais aspectos para o estudo mais geral dos mitos ali referidos (entre eles, inclusive, mitos para os quais hoje Higino é a única fonte antiga). Para tanto, o texto do primeiro ciclo mitológico (Fab. I a VI) é cotejado com a narrativa que Ovídio faz dos mesmos mitos (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Analisa-se, em seguida, a fabula CXXV. Odisséia e suas relações com a obra homônima de Homero. A partir da tradução do corpus anotada para a língua portuguesa (inédita, ao que saibamos, no Brasil), elencamos aspectos do estilo "objetivo" que caracteriza a obra Fabulae como um compêndio mitológico
Abstract: The relevance of the work Fabulae, assigned to a certain Hyginus, tends to be more and more recognized in the mythographical studies, although scholars mostly disagree about the value of the work itself. The text is considered either as a simple and poor translation from one single Greek compendium, today lost, or as the most important mythological manual left by the Greco-Roman Antiquity. This study, whose corpus is composed by the fabulae I to CXXV (i.e. the first 14 mythological cycles and the fabula Odisseia), does not have the intention to qualify the Fabulae in those terms. The intention is, above all, to observe the text (by focusing its language and style), as well as to investigate the importance of such aspects to the general study of the myths there presented (including those myths to which Hyginus is the only ancient source). Therefore, the text of the first mythological cycle (Fab. I to VI) is compared to Ovidian's narrative of the same myths (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Then, Fabula CXXV. Odisseia and its relations to Homer's homonymous epic are appreciates. Finaly selected aspects of the "objective" style that characterizes Hyginus's work as a mythological companion, that were identified during the translation to Brazilian Portuguese, are appreciated
Mestrado
Linguistica
Mestre em Linguística

The Atellan Farces of ancient Italy, also known as the Atellanae Fabulae, were short plays characterized by masked stock types in outlandish and humorous situations. The humor was low, bawdy, crude, and all done in commentary on the rough country life outside of Rome proper. Centuries later in Renaissance Italy, Commedia dell’Arte reaches the peak of its success in the sixteenth century. Commedia, likewise, features fixed characters in mask who gallivant around stages throughout Europe, amusing audiences with their exaggerated attributes and stories. Both genres are remarkably similar in style and execution, and yet many modern scholars believe the two are unconnected. Through the examination of literary and visual sources on the plays and a brief look into Structuralism, I seek to prove that Commedia Dell’Arte is indeed a byproduct of the Atellan Farces not only through their obvious similarities, but also through the lens of Structural Anthropology.

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This thesis aims at investigating the fictionalization of death in four contemporary Portuguese novels : Aparição, by Vergílio Ferreira; Lourenço é nome de jogral, by Fernanda Botelho; O triunfo da morte, by Augusto Abelaira; and As intermitências da morte de José Saramago. These novels were analyzed according to the concept of death proposed by the philosophical studies of Martin Heiddeger, Jean-Paul Sartre, Edgar Morin, Georges Bataille, Jean Baudrillard and Maurice Blanchot among others, as well as mythic, iconographic and historical aspects of the representation of death according to the studies of Phillipe Ariès and Johan Huizinga. Some theories of Narratology were also used in order to understand the complex relation and representation of death in Literature.
O presente estudo investiga a ficcionalização da morte em quatro romances da literatura portuguesa contemporânea. São essas obras Aparição de Vergílio Ferreira, Lourenço é nome de jogral de Fernanda Botelho, O triunfo da morte de Augusto Abelaira e As intermitências da morte de José Saramago. Para o estudo e análise dessas obras desenvolveu-se pesquisa em torno do conceito de morte estabelecido pela filosofia contemporânea, através das teorias de Martin Heiddeger, Jean-Paul Sartre, Edgar Morin, Georges Bataille, Jean Baudrillard, Maurice Blanchot entre outros; assim como aspectos míticos, iconográficos e históricos da representação da morte a partir dos estudos de Phillipe Ariès e Johan Huizinga. Associamos a esse material filosófico e histórico conhecimentos da narratologia que nos permitiram entender a complexa relação e representação da morte no âmbito da literatura.

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This thesis aims at investigating the fictionalization of death in four contemporary Portuguese novels : Apari??o, by Verg?lio Ferreira; Louren?o ? nome de jogral, by Fernanda Botelho; O triunfo da morte, by Augusto Abelaira; and As intermit?ncias da morte de Jos? Saramago. These novels were analyzed according to the concept of death proposed by the philosophical studies of Martin Heiddeger, Jean-Paul Sartre, Edgar Morin, Georges Bataille, Jean Baudrillard and Maurice Blanchot among others, as well as mythic, iconographic and historical aspects of the representation of death according to the studies of Phillipe Ari?s and Johan Huizinga. Some theories of Narratology were also used in order to understand the complex relation and representation of death in Literature.
O presente estudo investiga a ficcionaliza??o da morte em quatro romances da literatura portuguesa contempor?nea. S?o essas obras Apari??o de Verg?lio Ferreira, Louren?o ? nome de jogral de Fernanda Botelho, O triunfo da morte de Augusto Abelaira e As intermit?ncias da morte de Jos? Saramago. Para o estudo e an?lise dessas obras desenvolveu-se pesquisa em torno do conceito de morte estabelecido pela filosofia contempor?nea, atrav?s das teorias de Martin Heiddeger, Jean-Paul Sartre, Edgar Morin, Georges Bataille, Jean Baudrillard, Maurice Blanchot entre outros; assim como aspectos m?ticos, iconogr?ficos e hist?ricos da representa??o da morte a partir dos estudos de Phillipe Ari?s e Johan Huizinga. Associamos a esse material filos?fico e hist?rico conhecimentos da narratologia que nos permitiram entender a complexa rela??o e representa??o da morte no ?mbito da literatura.

The so-called “Fabulae” written by Odo of Cheriton (1180/90-1246/47) owe their traditional title to Hervieux’s edition published in 1896, still used as a reference. This work aims at providing the reader with a new edition based on an accurate philological inquiry into the text and its manuscripts. If the literary features of Odo’s fables have, indeed, been studied, especially in regard to their innovative elements, such as their christianized morals and the relationship of the tales to preaching, the collection has not been studied from a philological point of view. Before this research there was no clarity in regard to the total number of tales, which varied in previous editions between 60 and 117, nor to the determination and inner divisions of the corpus; moreover, all previous editions are based on only one manuscript or little more. As a matter of fact, Hervieux basically published a codex optimus that he only occasionally emended – but did not declare where he operated basing the correction on other manuscripts and where he did so ope ingenii – which is Cambridge, Corpus Christi College, 441; other editions are the ones done by Voigt (1878), Oesterley (1868 and 1871) and Perry (1952). Voigt is the only one to study the relationship between codices, although only between a small portion of them (11); Oesterley uses only one manuscript in both his editions (although the two are different between one another) and Perry only publishes a selection of the tales present in Hervieux, adding an apparatus which informs the reader on variantes available in the already existing studies, but not conducting a new research himself. Other issues of Odo’s status queastionis are the absence of a comprehensive study of his works, all unpublished apart from 65 of his “Sermones dominicales” (Paris, 1520) and the tales themselves, the lack of a census and, concerning the fables, of a systematic analysis of the whole collection. This situation prevents from making extensive comparisons and evaluations of the author’s usus scribendi, which is why the first purpose of this dissertation was a general introduction that could account for the main literary features shared by the whole collection. Starting from a short contextualization of Odo’s biography and his other works, we looked into the prologue of the tales, that heavily references the Sacred Scriptures and relies on the allegorical method proper to exegesis, which is strongly stressed, even more so than the usage of Aesopical tales in the collection, although as important. Secondly, the title itself has been questioned: even if the collection is usually called “Fabulae”, the manuscripts never offer this lectio, which is instead Hervieux’s arbitrary choice. In the prologue, Odo talks of his work not as fabulae, but instead as a tractatus parabolicus: if one is to give the collection a proper title, then, the latter one must be used, although there is no evidence of a specific rubric redacted by Odo to be used as a title. One of the new discoveries made in this research is then the refusal of the title currently used and the clarification of another ambiguity derived by Hervieux’s edition. As a matter of fact, the French scholar not only arbitrary called the tales “Fabulae”, but also decide to publish some excerpta from Odo’s sermons under the title “Parabulae”. He did so by isolating these extracts from ms. Paris, Bibliothèque nationale de France, lat. 16506, thus creating a significant confusion in subsequent research trying to address the two texts: even nowadays it is quite hard to understand if a catalog is, for example, talking about the tale collection or the sermons. During this research, it was discovered that some extracts on fables topics from the sermons actually circulated throughout the Middle Ages, as nine manuscripts who hold them included them into bigger exempla collections; nonetheless, these exceerpta never constituted an independent work, and the only tale collection produced by Odo is the one that should more properly be called tractatus parabolicus. Moreover, the introduction includes a short analysis of the main literary features of the text, with a particular attention given to the mixing up of the fable and exemplum genres in Odo’s work, as he used for every one of his stories the allegorical method proper to biblical exegesis. The aim of such an introduction is to be a first step into a deeper and more complex analysis of Odo’s works as a whole, an accomplishment that, however, will inevitably need wider studies dedicated also to the other books he wrote in order to be completed. In regard to the tale collection, particularly developed is its social and religious critique, which Odo wanted to express in his allegory-rich and heavily christianized morals. This critique is addressed especially against ecclesiastical hierarchies – not the Church itself, but its people – but not only those; it is against all who abuse their subjects when in a position to exercise power over others. Odo thus condemns not only bishops, ministers and prelates who only worry about earthly matters and fall short of their responsibilities, indulging in vices instead, but also rich masters and rulers who vex their subjects. However, Odo’s attack does not spare the humbles too, who are criticized when they try to improve their social standing and thus forget their place, or who are more generally guilty, as anyone, of the seven deadly sins, of lack in faith or of conducting themselves not virtuously enough. It can be easily noticed, then, that Odo had a strong drive towards contributing to reforming his contemporary society, whose morals felt in need of a deep renovation. Lastly, the introduction addresses shortly the success of Odo’s collection, which was translated into vernacular three times (into Gaelic, Chwedlau Odo, into Old-French, Les Parables Maystre Oe de Cyrintime, into old Spanish, Libro de los gatos); apart from these works, it must also be mentioned that Odo probably influenced Nicole Bozon, John of Sheppey and maybe, Clemente Sánchez, Stephan of Bourbon and the Speculum laicorum as well. After the analysis of the main literary features of the collection, the research proceeded with the production of a new, updated census of the manuscripts transmitting the Tractatus parabolicus. Seventy-one codices have been found, in comparison to Hervieux’s twenty-five and to other ten that had already been identified by previous bibliography (see Dicke-Grubmüller 1987 and Welter 1927). Thanks to this recensio we were also able to investigate the definition itself of Odo’s corpus, a topic made quite complex by the constitutive mobility of the fable genre in the Middle Ages. As a matter of fact, it is quite common for the author and text identity to be easily and almost immediately lost in this genre, also due to the easy addition or elimination of some of the apologues due to different motivations, that vary also from manuscript to manuscript. Since tales were often included into bigger collections that took on from various sources, it is extremely difficult to determine the original corpus. Moreover, in Odo’s case the matter is even more complicated due to a sometimes ambiguous internal division of tales, once again partially depending on Hervieux’s choices, partially on the tradition itself. As a matter of fact, Hervieux chose to number the tales not progressively, but by sometimes adding letters onto numbers, especially when he thought that two consequent tales revolved around the same topic. One then finds, for example, tales 56, 56a, 56b, 56c, which Hervieux separated in his edition but which should instead considered as only one fable; conversely, tales 1, 1a, 1b, 1c, 1d e 1e are on one hand independent ones (1, 1a, 1c, 1e), on the other the result of corruptions of the tradition (1b, 1d). At the same time, manuscripts sometimes don’t distinguish clearly between Odo’s tales, fusing some together or dividing others in peculiar ways, so a degree of uncertainty is to be found not only in the history of studies, but also in the tradition itself. Another accomplishment of this dissertation is thus precisely giving a new, clearer definition of the corpus, not only in regard to its internal divisions, based upon the manuscript tradition, but also to their number and the identification of spurious fables, such as 76, 1b and 1d. Starting from the new recensio, the dissertation then proceed onto the philological and textual analysis of the collection, with the hope of tracing a stemma codicum. We thus selected thirty-six manuscripts according to their antiquity, place of origin (with a predilection for England) and portion of the text transmitted, into which some loci critici that cover around one-third of the work were identified. Unfortunately, though, manuscripts present a lot of different variantes, but not of stemmatical importance: they are often lectiones adiaphorae and/or small differences in the order of words, alteration of conjunctions, verbal tenses and so on. It was then not possible to trace a proper stemma, but we still tried to account for the different features of the tradition. Five different orders in the transmission of the collection were found, which seem to present themselves also when studying the text of the loci critici. Apart from one (δ, linked to order D and to one manuscript of the order A), it is improper to talk about families, but it is only possible to group the non fragmentary codices – we intend with the expression “fragmentary codices” all those manuscripts that only transmit a maximum of ten tales, generally dispersed within the codex itself, which usually collects materials from different sources – based upon quite uniform geographical areas. That is to say that there seem to be a link between almost all German manuscripts and one Italian one (Wo, order B), between the bohemian and eastern-European codices (order C), between some English manuscripts and two French ones (order E), whereas the majority of the English codices (plus two German, one Austrian, one bohemian and two French) share order A. The five orders that can be identified in most of the tradition seem to have also a textual foundation, although only δ features proper errors. Once the philological inquiry, conducted on a wide portion of the textual witnesses, was completed, the impossibility of a stemma made necessary to conduct the edition based on different criteria. We have thus relied first of all on the most ancient manuscripts, dating back to the 13th century; in order to balance the fact that all of them, apart from C1, do not transmit tales 61-75, we have chosen to add to this number two German codices (B5 Ba), considering that the German group is the only one to hold this portion of the text as well, and another English manuscript, Du, in order to better represent the tradition. The critical edition thus follows a conservative approach, that mostly relies to C1, quite close to the author, but corrects its mistakes by integrating its testimony first of all with B2 C2 L4 O2 V, the most ancient manuscripts, and then B5 Ba Du, as already stated. For the portion of the text collated for the loci all the thirty-six manuscripts used in the collection itself were also included. The critical apparatus thus concerns nine codices for the whole text, thirty-six for the loci. Lastly, the edition also provides the first Italian translation of Odo’s fables and a small paragraph that, tale by tale, reminds the reader of the witnesses of the text and of other retellings available in a selection of other medieval Latin fabulists, apart from references to the principal repertoires of the genre. To sum up, this dissertation had as its purpose not only trying to account for the main literary features of the Odo’s fables collection, even if, of course, in a limited way, but also studying this work from a philological and textual point of view. We thus tried to offer a wide as possible exam of the tradition, although very complex, proposing then a new critical edition of the text that tries to overcome Hervieux’s, so as to give the reader the tools needed to approach a text as solid ad possible. We wish that, in the future, similar endeavors will be conducted for all of Odo’s works.

I detta arbete undersökts det huruvida ergodiska texter kan ge ett bättre stöd för att minnas en fabula av en text gentemot en traditionell text. Med två versioner av en text, en ergodisk och en traditionell, har deltagare fått ge ett återgivande av den version de tog del av. För att analysera deltagarnas återgivanden gjordes en lista av hållpunkter baserade på berättelsens fabula. Utifrån resultaten kom det fram att den ergodiska versionen var lättare att ta till sig, men på grund av det låga deltagarantalet ger detta inte ett representativt resultat. Vidare studier skulle kunna ge mer representativa resultat.

Orientador: Maria Betania Amoroso
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Instigada pela recorrente aproximação entre a obra ficcional de Italo Calvino e a fábula, bem como pelo vasto domínio crítico então criado, rico em significações, mas também classificatório e não-orgânico, esta pesquisa traçou o objetivo de recolocar o problema da fábula no período inicial da trajetória de Calvino (1945-1956) em meio às suas centenas de ensaios, cartas, prefácios e introduções, principalmente àqueles pertencentes aos volumes de seus textos não-ficcionais Saggi 1945-1985 e Lettere 1940-1985. O intuito era apreender uma continuidade de possibilidades semânticas da fábula, delineadas pelas disposições políticas, estéticas e lingüísticas do exercício teórico-crítico de Calvino ao longo de uma década, sem permanecer, no entanto, distante de sua ficção, notadamente dos dois livros desse período fundamentais ao problema da pesquisa: A trilha dos ninhos de aranha e Fábulas italianas. Assim, três significações de fábula foram aqui construídas, relacionando-a ao diálogo do escritor com a crítica e a validação de um estilo literário, à busca por um modelo narrativo adequado às necessidades do protagonista em um mundo em guerra e às preocupações com a fisionomia moral do papel do escritor na modernidade
Abstract: Stimulated by the frequent relation between Italo Calvino¿s fictional texts and the fable, as well as by the meaningful but also classificatory and non-organic critical field then created, this research intended to replace the fable issue into the initial period of Calvino¿s trajectory (1945-1956), in the middle of his hundreds of essays, letters, prefaces and introductions, mainly of those non-fictional texts from his books Saggi 1945-1985 and Lettere 1940-1985. The intention was to understand a continuity of semantic possibilities for the fable, demarcated by political, aesthetical and linguistic dispositions of Calvino¿s theoretical-critical practice through a decade, not keeping, however, the distance from his fiction, specially his two essential books from this period to the research: The path to the nest of spiders and Italian fables. Thus three significations for the fable were built here, relating it to the dialogue between the writer and the critics about the validation of a literary style, to the search for a narrative model adequate to the needs of the protagonist in a world on war and to the concerns about a moral configuration for the role of the writer in modernity
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária

Dissertação (Mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão
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Leitura das fábulas de Millôr a partir de dois eixos: tradição e ruptura. Tal leitura aborda a ambivalência que o fabulário de Millôr entretém com a tradição clássica ao parodiá-la, apontando as formas como essa ambivalência é textualizada em Millôr. Para tanto, o trabalho tem por base as teorias da fábula, da paródia e do satírico.

În studiul de față ne vom referi la experiența de emigrant a românilor din Est reflectată în romanul „Clownul din lemn de gutui” de Radu Jorgensen și în piesele de teatru „Avant de mourir” de Val Butnaru, „În container” de Constantin Cheianu și „Oameni ai nimănui” de Dumitru Crudu. Textele se bazează pe fapte reale și constituie o radiografiere a celor mai dramatice crize cu care se confruntă emigrantul azi convertite în ficțiune. Autorii nu urmăresc să-și impresioneze cititorii cu strategii discursive sau didascalii deosebite. Ei încearcă să-i atragă și să-i sensibilizeze prin fabulă și mesaj. Impresia de autenticitate în textele menționate este sporită de multitudinea detaliilor și de marcanta tensiune a mărturisirii.

Kinoda üç növ səs var: nitq (səslənən sözlər); küy və musiqi. Kinoda səs istifadə edilmədən öncə səssiz kino böyük uğur qazanmışdı. Səssiz filmlər çəkməyə vərdiş edən rejissorlar kinoya səs gəldikdən sonra nitqdən, sözdən istifadə etməkdən çəkinirdilər. Onlar düşünürdülər ki, səs kinoya gəldikdən sonra kino lent üzərinə yazılmış teatra çevriləcək. Onlar həm də inanırdılar ki, səssiz təsvirlər, jest və mimikalar hər hansı bir fikri çatdırmaqda daha güclü təsirə malikdir. Bu səbəbdən kinoda səsin olması, burada fikirlərin nitq halında izah edilməsi kinonun əsas özəlliyinin itməsinə səbəb ola bilərdi. Amma bütün bunlar üçün narahat olan rejissorlar nəzərə almıdılar ki, insanın fikirlərini izah etməkdə yardımcı olan mürəkkəb fikirləri səssiz şəkildə vermək mümkün deyil. Azərbaycan kinosuna nəzər salsaq, görərik ki, Üzeyir Hacıbəylinin “Arşın mal alan” operettası əsasında eyniadlı səssiz film çəkilib. Filmdə musiqi, ariya ifaçıları sussa da, film orijinal əsərin fabulasını təqdim edə bildi. Səssiz filmin dramaturji sturukturu tez sonladığı üçün ssenaridə təsvir vahid süjet xətti üzərindən davam edirdi. Bu zaman mətn də kadrarxası olaraq təqdim edilməli idi. Konkret dramaturji sturukturları olan ədəbi əsərlə ekranlaşdırılanda birbaşa ədəbi əsərin özü ssenarini əvəzləyir. Ədəbi əsərlərin mətnindən həm vizual süjet xətti yaratmaq, həm də kadrarxası yazılardan istifadə edilirdi. Azərbaycan kinematoqrafiyasında səssiz filmlərin sonuncusu “İsmət” filmidir. Rejissor M.Mikayılov əsəri 1930-cu illərdə ekranlaşdırıb. Film həmin illərdə Azərbaycan qadınının həyat yolunu yüksək ruhda, həyəcanla, həm də fərəh hissi ilə danışırdı. Ona görə bu film təkcə sənət əsəri kimi yox, həm də bir həyati fakt kimi yüksək önəm daşıyır. Azərbaycan kinosunda elmi-kütləvi, bədii və digər növ və janrlarda olan filmlərin səssiz şəkildə ekranlaşdırılması 1936-cı ilədək reallaşırdı. Kinoda aktyorların susması, səssiz mühit və normal ünsiyyətin qarşısına çəkilən sədd, jestləri, mimikanın inkişafına, hadisənin obrazlı şəkildə ifadə olunmasına geniş imkan yaratdı. Azərbaycan kinematoqrafiyasının səssiz dövrünün kinolarından biri də C.Cabbarlının “Sevil” pyesi əsasında çəkilən filmdir. Ssenaridə cəmiyyəti təmsil edən, onun qanuna uyğunluqlarının daşıyıcısı olan və bunu tələbə edən, hər kəsi müstəntiq kimi dindirən Gülüş obrazı ön plandadır. Elə bütün bunların təsviri zamanı kadrarxası mətndəki yazılardan geniş istifadə olunur. İlk dəfə səssiz halda, 1929-cu ildə lentə alınan filmdə bir o qədər də diqqət çəkməyən səhnələr pyesdəki kimi ilkin hissədə saxlanılıb. İyirmi üç bədii oyun və yüzdən çox sənədli, elmi kütləvi kino ssenarinin reallaşdığı kinodramaturgiyanın səssiz dövrü 1936-cı ildə başa çatdı. Kinodramaturgiyanın inkişafında əhəmiyyətli rolu olan səssizlik canlı ünsiyyətə əngəl olsa da, jest və mimianın hadisələrin mahiyyətinə birbaşa xidmətinə imkan yaratdı. İstisna hallarda, bir sıra kinoteatrlarda canlı musiqinin müşayiətindən istifadə olunsa da, daha çox sakit halda davam edən bu mərhələdə qaranlıq zalda əyləşən tamaşaçı filmdə baş verən hadisələr ilə tək başına qalırdı. Bu qarşıdurma barədə fikirlərini ifadə edən M.Baxtin deyirdi ki, “Sakitlikdə demək olar heçnə səslənmir, sükunətdə isə danışan yoxdur. Ancaq insanlar arasında da sükut mümkündür. Amma burda sükut və sakitlik mühüm şərtdir”. İ.Musabəyovun “Neft və milyonlar səltənətində” povesti, Üzeyir Hacıbəylinin “Arşın mal alan” operettası, Mirzə Fətəli Axundovun “Sərgüzəşti mərdi-xəsis” (“Hacı Qara”) komediyası, Cəfər Cabbarlının “Sevil” və “Almaz” pyesləri ekranlaşdırılaraq kinodramaturgiyamızın səssiz dövrünü yaratdı. Elə bu kinodramaturgiya da incəsənətin plastik imkanlarında məharətlə istifadə edərək həyat hadisələrinin toplusunu obrazlı şəkildə ifadə edə bildi. Bir-biri ilə əlaqəsi olmayan süjet xəttinin fabula hesabına mövcud olması isə səssiz kino dönəminin özünəməxsus qaydalarla formalaşmasına şərait yaratdı. Açar sözlər: Kinoda üç növ səs, səssiz kino.