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            <title xml:lang="en">The box inside the box</title>
            <title xml:lang="pt">A caixa dentro da caixa</title>
            <title xml:lang="en" type="sub">the chronotopic dimension of the cycle of violence against women in Bom Dia, Verônica</title>
            <title xml:lang="pt" type="sub">marcas cronotópicas do ciclo da violência contra a mulher em “Bom Dia, Verônica”</title>
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                <title xml:lang="en">The box inside the box</title>
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                <title xml:lang="pt" type="sub">marcas cronotópicas do ciclo da violência contra a mulher em “Bom Dia, Verônica”</title>
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                <term xml:lang="en">Chronotope</term>
                <term xml:lang="en">Crime novel</term>
                <term xml:lang="en">Adaptation</term>
                <term xml:lang="en">Serial narrative</term>
                <term xml:lang="pt">Narrativa seriada</term>
                <term xml:lang="pt">Adaptação</term>
                <term xml:lang="pt">Romance policial</term>
                <term xml:lang="pt">Cronotopo</term>
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              <p>Literary texts and audiovisual products are different ways of representing narratives of the world. The differences inthe resources used to create texts and audiovisuals are also due to the way in which each product is inserted into the media market.These aspects are marked in/by language, which is made up of cultural elements situated in a specific time and space. In order to explainthe creative strategies of each medium, taking into account the space-time dimension, this article analyzes elements that illustrate thechronotopic dimension of the cycle of violence against women in the book Bom dia, Verônica (2022) written by Ilana Casoy and RaphaelMontes, and in the series of the same name directed by José Henrique Fonseca (2020). We explored verbal and non-verbal elementscharacteristic of Janete's condition in excerpts from thebook and the series to exemplify how the cycle of violence affects the constructionof the character in each medium, guided by the Film Analysis of Francis Vanoye and Goliot-Lété (2009), Marcel Martin (2013) and DavidBordwell (2008). To understand the space-time dimensions that mark the materiality of the literary text and the audiovisual product, weused Mikhail Bakhtin's (2018) definition of chronotope and the debates developed by Olga Pampa Arán (2009), Irene Machado (2010) and Yuri Santos (2023). We observed how, in their respective aesthetic finishes, the different statements analyzed reflect and refract in theirdiscursive constitution socio-historical-culturally shared values and meanings about domestic violence against women.</p>
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              <p>Os textos literários e os produtos audiovisuais constituem formas distintas para representar as narrativas do mundo. Asdiferenças dos recursos usados para a construção do texto e do audiovisual se dão também pela forma como cada produto se insere nomercado midiático. Esses aspectos são marcados na/pela linguagem, sendo esta constituída por elementos culturais, situados em umtempo e um espaço específicos. Para explicitar as estratégias de criação de cada meio levando em consideração a dimensão espaço-temporal, este artigo analisa elementos ilustrativos da dimensão cronotópica do ciclo da violência contra a mulher no livro Bom dia,Verônica (2022) escrito por Ilana Casoy e Raphael Montes, e da série homônima dirigida por José Henrique Fonseca (2020). Explora-seelementos verbaise não verbais característicos da condição da personagem Janeteem excertos do livro e da série para exemplificar comoo ciclo da violência afeta a construção da personagem em cada meio, orientados pela Análise Fílmica de Francis Vanoye e Goliot-Lété(2009), Marcel Martin (2013) e David Bordwell (2008). Para compreensão das dimensões espaço-temporais que marcam asmaterialidades do texto literário e do produto audiovisual, parte-se da definição de cronotopo de Mikhail Bakhtin (2018) e dos debatesdesenvolvidos por Olga Pampa Arán (2009), Irene Machado (2010) e Yuri Santos (2023). Observa-se como, nos seus respectivosacabamentos estéticos, os diferentes enunciados analisados refletem e refratam em sua constituição discursiva valores e sentidospartilhados sócio-histórico-culturalmente acerca da violência doméstica contra a mulher.</p>
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