Made available in DSpace on 2016-04-26T18:12:33Z (GMT). No. of bitstreams: 1 Bruno Farias de Mello Freire.pdf: 34443456 bytes, checksum: f03750c2606d2f59d70e613a15ba5bb7 (MD5) Previous issue date: 2012-11-22 / Fundação de Amparo a Pesquisa do Estado de São Paulo / In the era of mobile communication, television is adapting. Viewers watch TV in transit on portable devices. New technologies diversify communication, providing more free and democratic practices. However, the most influential opinion makers still focus on the same platforms of yore. Some datas shows that 75% of Brazilians have on open TV their main source of information about politics (BAVA, 2010). Increasingly, TV acts body-to-body, inserting itself in daily life, promoting a dance of habits. The hypothesis of this project is that we are being choreographed by our daily contact with television, which also teaches us what an artist is and how art should be. We use the concept of social choreography (HEWITT, 2005) to argue that the values prevailing in society and choreography alter our bodily habits, inside and out television. This hypothesis is based on two themes: the understanding that there is a co-dependency between body and environment, explained by the Corpomídia s Theory (KATZ and GREINER, 2004), and that the mediations involved there go towards BARBERO s proposal (1997). In contemporary society, the profession of an artist has lost the ability to have a concrete social status (AGAMBEN, 1974/2012), making it an abstract adjective that can be applied to anyone. The object of the research is the program schedule of TV Globo, SBT and Record, and his goal, to investigate the social choreography they promote regarding the understanding of what an artist is. The second chapter makes a poetic exercise that proposes a form of relationship between art and communication. The third chapter is a pilot project for TV, a possibility of intervention and development of academic s issues inside society / Na era da comunicação móvel, a televisão está se adaptando. Telespectadores assistem tevê no trânsito, em aparelhos portáteis. As novas tecnologias diversificam a comunicação, propiciando práticas mais livres e democráticas. No entanto, os mais influentes formadores de opinião ainda se concentram nas mesmas plataformas de outrora. Dados revelam que 75% dos brasileiros têm na TV aberta sua principal fonte de informação sobre política (BAVA, 2010). Cada dia mais, a tevê atua corpo-a-corpo, inserindo-se no cotidiano, promovendo uma dança dos hábitos. A hipótese desta dissertação é a de que estamos sendo coreografados pelo nosso contato diário com a televisão, que também nos ensina o que é um artista e como a arte deveria ser. Usamos o conceito de coreografia social (HEWITT, 2005) para sustentar que os valores praticados em sociedade coreografam e alteram nossos hábitos corporais, dentro e fora da televisão. Esta hipótese fundamenta-se em dois eixos teóricos: no entendimento de que há uma co-dependência entre corpo e ambiente, conforme explica a Teoria Corpomídia (KATZ e GREINER, 2004), e de que as mediações aí implicadas vão na direção do que propõe BARBERO (1997). Na sociedade contemporânea, a profissão de artista perdeu a possibilidade de ter um estatuto social concreto (AGAMBEN, 1974/2012), tornando-se um adjetivo abstrato, que pode ser aplicado a qualquer um. O objeto da pesquisa é a grade de programação das TVs Globo, SBT e Record, e seu objetivo, o de investigar a coreografia social que elas promovem no que diz respeito ao entendimento do que é um artista. O segundo capítulo realiza um exercício poético que propõe uma forma de relacionamento entre arte e comunicação. Já o terceiro capítulo é um projeto piloto para Tv, uma possibilidade de elaboração e intervenção das questões da academia na sociedade

Because of its importance in the history of the verse novel and the history of women’s writing, Elizabeth Barrett Browning’s Aurora Leigh (1856) has overshadowed the works of other female verse novelists in Victorian studies scholarship. By focusing on non-canonical works by four understudied women poets writing in the late nineteenth century— Augusta Webster’s “Lota” (1867), Violet Fane’s Denzil Place: A Story in Verse (1875), Emily Pfeiffer’s The Rhyme of the Lady of the Rock, and How It Grew (1884), and Emily Hickey’s “Michael Villiers, Idealist” (1891)—this dissertation expands our understanding of both women’s poetry and the verse novel in the Victorian period. It demonstrates that the genre was taken up in multiple ways after Aurora Leigh by women poets who, like EBB, addressed urgent and controversial social and political issues—such as parliamentary enfranchisement, adultery, marital rape, political sovereignty and land use in the Scottish Highlands, as well as socialism and the Irish Question— through inventive and complex generic combinations. This dissertation does not outline a teleological development of genre but, rather, recovers works through case studies that offer microhistories of verse novels at particular historical moments in order to expand the canon and definition of the Victorian verse novel. / Graduate / 2020-04-25

Na presente dissertação averigua-se a percepção do lugar em Trajectórias e Clima de Orlando Mendes bem como nos poemas em O Diabo, Mundo literário e Seara nova. Se na enunciação poética se conformam redes de relações, então estamos perante uma poética da relação. Através dos temas, confrontamos sua poesia com O amanuense Belmiro Cyro dos Anjos; Mensagem Fernando Pessoa e Sangue Negro Noémia de Sousa. / This dissertation aims at showing how the perception of place manifests itself in Trajectórias e Clima, as well as in the poems O Diabo, Seara Nova and Mundo literário. If networks are established in the poetic enunciation, we are therefore in the presence of a poetics of relation. Through the themes, we compare and contrast Mendes poetry with O amanuense Belmiro - Cyro dos Anjos; Mensagem - Fernando Pessoa and Sangue Negro - Noémia de Sousa.

A presente investigação aborda temas relacionados ao grupo Fluxus no acervo do MAC-USP. Fluxus foi um coletivo artístico que atuou nos limites da arte durante as décadas de 1960 e 1970, questionando valores instituídos pelos sistemas oficiais de produção, circulação e exibição de objetos artísticos. Tendo como referência as poéticas Fluxus, as importantes realizações que constituem a sua história, dados e fatos que situam as atividades de seus integrantes na história do surgimento das novas linguagens artísticas da segunda metade do séc. XX, realizamos um amplo levantamento sucedido de documentação e análise crítica de algumas dentre as 116 obras selecionadas no acervo do MAC-USP de autoria de artistas Fluxus. / The present study deals with themes related to the Fluxus group in the MAC-USP collection. Fluxus was an artistic group that worked in the boundaries of art during the Sixties and Seventies, having questioned the values established by the official systems of art production, circulation and exhibition. Regarding Fluxus poetics, the important accomplishments that form its history, data and facts which place the activities of its artists in the history of new languages outbreak during the second part of XX century, we carry out a wide survey followed by registry and critical analyze in some of the 116 works of Fluxus artists which were selected from the MAC-USP collection.

Cette thèse propose d’examiner le dialogue entre les arts tel qu’il apparaît dans le roman Um crime delicado, de l’écrivain brésilien Sérgio Sant’Anna (1941), en le considérant comme l’un des principes fondateurs de la poétique de cet auteur. Dans ce dialogue, l’histoire de l’art trouve sa place, ainsi que la description des rapports qu’entretiennent arts et artistes avec la critique. L’étude, menée à la suite, des trois dernières œuvres de Sérgio Sant’Anna parues – O Livro de Praga : narrativas de amor e arte (2011) ; Páginas sem glória (2012)  et O homem-mulher (2014) – nous a permis d’illustrer les pratiques en usage dans Um crime delicado : l’affirmation, par la lecture critique, de sa généalogie ; l’inscription de sa conception personnelle de la littérature dans le domaine plus vaste de l’art en général ; l’écriture de l’art selon les préceptes particuliers dévoilés au cours de cette étude. Est également décrite et examinée la progression du dialogue en cours : l’écriture de l’art, qui, au départ, était le moyen par lequel l’auteur établissait sa généalogie artistique, devient en soi un procédé de création : l’ecphrasis. / This dissertation proposes to examine the dialogue between the arts as it appears in the novel Um crime delicado by the Brazilian writer Sérgio Sant’Anna (1941), in seeing it as one of the principle foundations of the author’s poetics. Within this dialogue art history has its place, as well as a description of the relation of arts and artists to criticism. An ensuing study of the three most recently published works by Sérgio Sant’Anna – O Livro de Praga: narrativas de amor e arte (2011); Páginas sem glória (2012) et O homem-mulher (2014) – allows us to illustrate the practices used in Um crime delicado: A reaffirming his genealogy through a critical reading; situating his personal concept of literature in a much vaster domain of art in general; writing about art according to specific principles revealed in the course of this study. This dissertation will also describe and examine the progress of the dialogue under way: writing on art, at the beginning the way for the author to establish his artistic genealogy, becomes of itself a process of creation: the ekphrasis.

L’élégie connaît une vogue manifeste à l’aube de notre modernité, au sein de ce qu’il est convenu d’appeler le préromantisme et le romantisme. Mais cet engouement ne va pas sans susciter de profondes interrogations sur la dimension générique de l’élégie. En effet, depuis son acclimatation en français, l’élégie ne peut plus être définie par le seul critère formel, devenu douteux. En outre, dès l’âge classique, deux dangers minent le genre : sa variété thématique qui gêne sa définition et une évolution sclérosante qui le fige en clichés. Émerge donc le souci de rédimer un certain babélisme de l’élégie et d’en refonder le pouvoir expressif par le recours à la notion plus souple d’ « élégiaque ». La modernité de l’élégie s’adosse à cet héritage problématique et réclame une perspective d’étude résolument historique : la vitalité de l’élégie au seuil du XIXe siècle s’autorise d’une nouvelle saisie du genre, qui promeut l’élégiaque au rang de critère premier, ramenant peu à peu l’étiquette d’élégie à la portion congrue. L’œuvre de Millevoye permet de dater ce point de bascule, qui ouvre la voie à l’élégie romantique, attachée à la notion naissante de « lyrisme » et magnifiée par Lamartine sous les auspices de la méditation. Mais en refondant l’élégie sur l’expressivité élégiaque, la modernité romantique l’a soumise aux aléas des sollicitations du sujet par l’histoire, qui le déstabilisent. D’où un déplacement de l’écriture élégiaque durant la seconde moitié du XIXe siècle, dans le repliement intimiste, le dédoublement parodique et humoristique, ou encore la polyphonie, manifestations diverses d’une remise en cause de la source subjective de la plainte élégiaque. Quand revient à la surface du champ littéraire l’élégie revendiquée comme telle, à l’occasion du traumatisme de la Seconde Guerre mondiale, c’est pour cristalliser en un genre labile les doutes, les deuils et les sourires d’un lyrisme incertain de son propre chant comme de l’existence du sujet qui le hante plus qu’il ne le chante. / The elegy was fashionable at the dawn of modernity, during the periods which are known as Pre-Romanticism and Romanticism. But this infatuation with elegy was not without raising deep questioning on its generic dimension. Indeed since the French had appropriated the genre, the elegy can no longer be just defined by a formal criterion which has become disputable. Furthermore, as early as the classical period, two dangers have been subverting the genre: its wide range of themes which is an obstacle to our grasping its quintessence and an evolution at a standstill condemning it to stereotyped perceptions. And from this came the worry to amend the confusion existing around the elegy as well as the urge to revivify its expressive power around the more flexible notion of "elegiac". The modernity of the elegy relies on this problematic heritage and requires a study in historical perspective: the vitality of the elegy at the beginning of the XIXth century allowed itself to provide a new interpretation of its genre that promoted the elegiac as a decisive criterion. Millevoye’s works enables us to date this turning point which paved the way to the romantic elegy linked to the rising notion of "lyricism" and glorified by Lamartine under the auspices of meditation. But while revivifying the elegy on elegiac expressiveness, romantic modernity compelled with the subject having to respond to historical vagaries that were eventually unsettling. Hence a shifting away from elegiac writing during the second half of the XIXth century into intimist withdrawal, parodic splitting or polyphony, all of them being various utterances of a questioning of the elegiac complaint’s subjective source. When the elegy as such resurfaced the literary scene owing to the trauma of the Second World War, it featured a shifting genre to crystallize the doubts, mournings and smiles of a lyricism as uncertain of its own song as the very existence of a subject that haunted its lines more than he inhabited them.

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-07-12T14:47:45Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Fabrício_Garcia_Marcon_Dissertação.pdf: 3014250 bytes, checksum: d1b603f7f308c65d459fb340ce696db4 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-12T19:21:26Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Fabrício_Garcia_Marcon_Dissertação.pdf: 3014250 bytes, checksum: d1b603f7f308c65d459fb340ce696db4 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-07-12T19:22:58Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Fabrício_Garcia_Marcon_Dissertação.pdf: 3014250 bytes, checksum: d1b603f7f308c65d459fb340ce696db4 (MD5) / Made available in DSpace on 2017-07-12T19:23:08Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Fabrício_Garcia_Marcon_Dissertação.pdf: 3014250 bytes, checksum: d1b603f7f308c65d459fb340ce696db4 (MD5) Previous issue date: 2016-03-23 / A presente pesquisa, vinculada à linha de pesquisa Processos de Criação e Poéticas do Cotidiano, do Programa de Pós-Graduação em Artes Visuais da Universidade Federal de Pelotas, versa sobre o processo de criação que tece considerações acerca do desenvolvimento e apresentação de vídeos e fotografias que revelam, singularmente, o deslocamento pelas cidades de Pelotas e região. Os trabalhos evidenciam a percepção e o imaginário dos espaços da cidade, assim como investiga e dá a ver as possibilidades de compartilhamento das criações realizadas. Assim, desenvolve-se o tema da criação de cartografias poéticas realizadas a partir da observação da cidade de Pelotas, através do deslocamento urbano, tomando como fundamentações teóricas movimentos artísticos em que os deslocamentos e as vivências com a cidade representam um mote, como o Dadaísmo, o Surrealismo e a Internacional Situacionista, bem como as produções artísticas que utilizam sistemas de apresentação e circulação da obra, nas redes digitais de comunicação e por meios diversos, tais como as dos artistas Hélio Fervenza, Eduarda Gonçalves, Tiffany Trenda, George Brecht, Ralph Rumney, Paulo Bruscky, Daniel Belasco e Thorsten Knaub. / This study linked to the search line Creation Process and Poetics of Everyday of the Postgraduate Master's Program in Visual Arts at the Universidade Federal de Pelotas, deals with the process of creation that makes considerations about the development and presentation of videos and photos, that uniquely reveal the displacement by the city of Pelotas and region. The works show the perception and the imagination of city spaces, as well as investigates and shows the possibilities of sharing made creations. It Develops the theme of creating poetic cartography made from observation of Pelotas through my shift, taking as foundations theoretical and artistic movements in which the displacements and the experiences with the city is a theme, such as Dadaism, Surrealism and International Situacionist, as well as the artistic productions that use presentation systems and work flow in digital communication networks and by various means, such as the artists Hélio Fervenza, Eduarda Gonçalves, Tiffany Trenda, George Brecht, Ralph Rumney, Paulo Bruscky, Daniel Belasco and Thorsten Knaub.

Orientador: Odil José de Oliveira Filho / Banca: Nelyse Aparecida Melro Salzedas / Banca: Clarice Zamonaro Cortez / Banca: Rubens Pereira dos Santos / Banca: Rosane Gazolla Alves Feitosa / Resumo: Considerando a perspectiva homológica que envolve as diferentes representações artísticas em Poética dos Cinco Sentidos - La Dame à La Licorne (1979), visamos tratar no presente estudo das correspondências interartísticas no processo de produção do texto O Ouvido, de José Saramago. A Livraria Bertrand (Lisboa) solicitou a contribuição de seis autores portugueses para que realizassem uma leitura de La Dame à la Licorne (séc. XV), série de seis tapeçarias francesas encontrada no século XIX no castelo de Boussac, e exposta no Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) desde 1882. Os painéis, reproduzidos junto aos textos do volume, sugerem representar a alegoria dos sentidos humanos, e cada autor solicitado abordou, de forma particular, uma das peças. Assim, consecutivamente, Maria Velho da Costa escreveu sobre a visão em A Vista; José Saramago, a audição em O Ouvido; Augusto Abelaira o olfato em O Olfacto; Nuno Bragança o paladar em O Gosto; Ana Hatherly o tato em O Tacto; e, por sua vez, Isabel da Nóbrega, em A sexta, tratou sobre À Mon Seul Désir, título dado à tapeçaria que realiza o fechamento da série e ilustra a capa do livro. Diante desse contexto, passamos a investigar inicialmente a origem das questões interartísticas nas poéticas da Antiguidade Clássica, bem como o contiuum desses pressupostos teóricos nas reflexões e gêneros artísticos na Idade Média, na Idade Moderna e na Contemporaneidade. Em seguida, delineamos como a herança da tradição especulativa em torno da fraternidade entre as artes incide na arte decorativa da tapeçaria, e, posteriormente, refletimos sobre a tessitura poética dos painéis... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Taking into consideration the homological perspective that involves the different artistic representations in Poética dos Cinco Sentidos / La Dame à La Licorne (1979), in this study we aim to deal with the interartistic correspondences in the text production process O Ouvido, by José Saramago. The Livraria Bertrand (Lisboa) requested the contribution of six Portuguese writers to perform a reading of La Dame à la Licorne (Sec. XV), a series of six French tapestries found in Boussac castle in the nineteenth century, and exposed in Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) since 1882. The panels, reproduced along with the texts of the volume, suggest to represent the allegory of human senses, and each author invited approached, in his particularly way, one of the tapestries. Thus, consecutively, Maria Velho da Costa wrote about the sight in A Vista; José Saramago, the hearing in O Ouvido; Augusto Abelaira, the smell in O Olfacto; Nuno Bragança, the taste in O Gosto; Ana Hatherly, the touch in O Tacto; and Isabel da Nóbrega, in A sexta, wrote about À Mon Seul Désir, title given to the tapestry that ends the series and illustrates the cover of the book. In this context, we started by investigating the origin of interartistic matters in poetry of Classical Antiquity, as well as the continuum of these theoretical purposes in the reflection and artistic genres in Middle Age, Modern Age and Contemporaneity. Then, we outlined how the heritage of speculative tradition around fraternity among arts falls on tapestry decorative art. Later, we pondered over the poetical tessitura of La Dame à La Licorne's panels... (Complete abstract click electronic access below) / Doutor

Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiaires. / This thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books.

O efeito de teatralidade causado na mente do leitor pela narrativa das três encenações burlescas da segunda parte do Quixote A Dulcineia encantada, A condessa Trifaldi e A viagem de Clavilenho deu origem a este trabalho. A esses episódios correspondem os capítulos XXXIV-XLI, quando dom Quixote e Sancho passam uma temporada como hóspedes dos duques e, sem saber, são transformados em atores cômicos, para a diversão dos anfitriões e seus convidados. De acordo com a perspectiva crítica de Anthony Close e de Maria Augusta da Costa Vieira, a análise, sob a visão do cômico e racional, partiu de dois pressupostos. Primeiro, o de que o Quixote é uma obra de entretenimento cuja concepção deriva do clima artístico de seu tempo, e o de que Cervantes, paralelamente ao escritor de novelas, foi um dramaturgo apaixonado pelo teatro. Propôs-se então que as três tramas estão organizadas como um todo, com começo, meio e fim, sob as diretrizes da formação de três jornadas de uma ação dramática, constituindo uma unidade episódica. Daí se infere que os três episódios se incorporam à narrativa sob a forma da comédia, de modo diferente de tantos outros que permeiam a obra: eles apresentam uma estrutura complexa, possível de ser identificada com a da comédia. O enredo da Dulcineia encantada configura o ponto de união entre a prosa e a ação dramática, constituindo a primeira jornada. Os outros dois, formando a segunda e terceira jornadas, se associam ao primeiro unidos pelo mesmo tema, o da necessidade de o cavaleiro ajudar as damas em dificuldades. Ao mesmo tempo, os três episódios integram o desenvolvimento narrativo. Essa estratégia poética, que se assemelha ao que se chama teatro dentro do teatro, provoca o desdobramento da estrutura da composição, enfatizando o tema da imitação do mundo da cavalaria andante. A análise, sempre relacionando texto e contexto, focaliza na prosa os elementos estruturantes do teatro, não só as marcas dramáticas formais, mas também os fatores que transmitem a espetacularidade das encenações. O caminho percorrido para atingir o objetivo, sob o aspecto da composição poética, é o de primeiro comparar os episódios selecionados com a obra dramática cervantina para depois relacioná-los com as preceptivas poéticas e retóricas que circulavam na Espanha naquele final de século, principalmente a Philosophia Antigua Poética de Alonso López Pinciano, e Arte nuevo de hacer comedias de Lope de Vega. Ademais, para a compreensão dos aspectos socioculturais da narrativa, a pesquisa se apoia nos preceitos e códigos de conduta da sociedade de corte à época dos Áustrias, com ênfase em El Cortesano de Lluís del Milà, bem como nos estudos, crônicas e relatos históricos sobre as festas, públicas e palacianas. Nesse sentido, este trabalho demonstra a coerência da leitura dos três episódios como uma unidade episódica com começo, meio e fim, estruturados sob a forma de uma comédia singular, o que apresenta, dentro do cenário artístico-cultural daquelas primeiras décadas do século XVII, um outro experimento cervantino de uma nova maneira de contar histórias. / The effect of theatricality caused in the readers mind by the narrative of the three burlesque performances of the second part of Don Quixote The enchanted Dulcinea, The countess Trifaldi and The journey of Clavileño gave rise to this work. These episodes correspond to chapters XXXIV-XLI, when Don Quixote and Sancho spend a season as guests of the dukes. Without knowing, for the amusement of the hosts and their invitees, the knight and squire are transformed into comic actors. According to the critical perspective of Anthony Close and Maria Augusta da Costa Vieira, the analysis, grounded on the comic and rational view, was established on two assumptions. First, that Don Quixote is a work of entertainment whose conception derives from the artistic climate of its time, and that Cervantes, parallel to the novel writer, was a playwright in love with theatre. In that light it was proposed that the three plots are arranged as a whole, with a beginning, middle and end, under the guidelines of the formation of three journeys of a dramatic action, constituting a single episodic unit. Hence it is inferred the three episodes incorporate the narrative in the form of comedy, differently from many others that permeate the work: they present a complex structure, possible to be identified with that of comedy. The enchanted Dulcineas plot configures the union point between the prose and the dramatic action, constituting the first journey. The other two, forming the second and third journeys, associate to the first by theme, the knights need to help the ladies in distress. At the same time, the three episodes integrate organically the narrative development. This poetic strategy, which resembles to the called theatre within the theatre, provokes the unfolding of the composition structure, emphasizing the theme of imitation of the knight errantry world. Thus, the analysis focuses on prose, always relating text and context, the structuring elements of the theatre, not only the dramatic formal marks, but also the factors that convey the spectacularity of the stagings. The path taken to achieve the objective, under the aspect of poetic composition, is to compare the selected episodes with Cervantes dramatic work to subsequently relate them with the poetic and rhetorical precepts circulating in Spain in the late XVIth century, mainly the Philosophia Antigua Poética of Alonso López Pinciano, and Arte Nuevo de Hacer Comedias of Lope de Vega. Furthermore, to understand the socio-cultural aspects of the narrative, the research is founded on principles and codes of society conduct from the court during the Habsburg period, with emphasis on El Cortesano de Lluís del Milà, as well as in the studies, chronicles and historical accounts about the public parties and palatial. In this sense, this work demonstrates be coherent to read the three episodes as a single episodic unit with a beginning, middle and an ending; structured in the form of a singular comedy, which features, within the artistic-cultural scenario of those first decades of the XVIIth century, another cervantine experiment of a new way of telling stories.