When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot.

Se peut-il que l'auteur s'efface en partie de son texte ? Se peut-il que sa discrétion soit délibérée, et au point de déléguer des pouvoirs auctoriaux à son destinataire ? Peut-il prendre les devants sur l'opération critique qui voudrait le "tuer" ? Et comment réagir face à une telle production ? Le lecteur n'en deviendrait-il pas autre ? L'objet de cette thèse sera de montrer qu'une littérature "moindre-auctoriale" est possible. Mieux ; qu'elle existe. / Is it possible that the author clears himself from his text ? is it possible that his discretion is delibarate, and to the point of delegating auctorial powers to his recipient ? Can he take the lead on the critical operation that would "kill" him ? And how to respond to such production ? Wouldn't the reader become another one ? The goal of this thesis will be show that a "lesser-auctorial" litterature is possible. Better ; that it exists.

O foco dessa dissertação é o estudo do narrador de uma importante fase da obra em prosa de Samuel Beckett. O período escolhido inicia-se com as novelas Premier Amour (1970), Lexpulsé, Le calmant e La fin (1955), primeiros textos em francês do autor, e encerra-se com a obra Textes pour rien (1955), o que abrange a produção em prosa de Beckett entre 1945 e 1950. A importância deste período está no surgimento e desdobramento do narrador em primeira pessoa tipicamente beckettiano, caracterizado por seu discurso instável, movido a impasses e questionamentos sobre a própria história narrada. O trabalho acompanha a trajetória deste narrador, discutindo também seu importante papel na ruptura com os moldes do realismo formal na narrativa do século XX. / This dissertation studies the narrator in Samuel Beckett s prose, particularly focusing on a critical phase in the authors literary production covering the years of 1945 to 1950. The chosen period begins with the novellas Premier Amour (1970), Lexpulsé, Le calmant and La fin (1955) Becketts first narratives written in French and closes with the work Textes pour rien (1955). The importance of this phase lies in the creation and development of Becketts characteristic first person narrator, whose unstable discourse is fraught with impasses, questioning the very story being narrated. The dissertation follows this narrators journey to discuss the key role it played in breaking with formal realism patterns of the twentieth centurys narrative.

Estudo da crise do narrador onisciente nos romances Malone meurt (1951), de Samuel Beckett, e A hora da estrela (1977), de Clarice Lispector. Atravessados pela memória textual de seus autores implícitos, os narradores-escritores Malone e Rodrigo S. M. fracassam ao criar histórias aos moldes do realismo formal. Malgrado seus esforços para estabelecer uma distância segura em relação à matéria narrada, acabam por replicar nela não apenas a si próprios, mas sobretudo motivos, episódios e até mesmo falas de personagens de obras anteriores. Paradoxalmente, a busca por firmarem-se como senhores absolutos do processo ficcional apenas sublinha o quanto são objetos desse processo. / A study about the crisis of the omniscient third-person narrator in the novels Malone meurt (1951), from Samuel Beckett, and A hora da estrela (1977), from Clarice Lispector. Laced by textual memory of their implied authors, the narrators-writers Malone and Rodrigo S. M. fail to tell stories according to the formal realism molds. Despite their efforts to create a safe distance between them and the narratives, they end up not only mirroring themselves in it but mainly mirroring several subjects, episodes, and even phrases from previous work. Paradoxically, their search to be the absolute subject of the creation process only emphasizes how they are objects of this process.

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

Made available in DSpace on 2016-04-28T18:23:08Z (GMT). No. of bitstreams: 1 Felipe Augusto de Souza Santos.pdf: 1601405 bytes, checksum: 5aceb79107bef912ae3c37583b50be9c (MD5) Previous issue date: 2015-09-04 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This research aims to investigate issues of theatrical aesthetics and the process of creation of Samuel Beckett, from a study on aspects of his work as a playwright and director of his own plays. First it will be made an approach about the relationship between text and scene in Beckett s work, that is, we will make a survey of the major aesthetic and structural features of plays such as Waiting for Godot, Endgame, Happy days and Footfalls, in order to problematize some of major issues involving the dramaturgy of Beckett, and also a study of the trajectory of Beckett from playwright to director. Later, we will make an analysis of the dramaturgical text of Krapp s last tape, using concepts from the writings of Mikhail Bakhtin and the Circle, such as dialogism, polyphony and chronotope, and also a reflection on the various performances of Krapp s last tape directed by Beckett. For this, we will use an unpublished translation of Krapp s last tape held by the researcher and published in this work as well as Beckett s directing notebook, with notes of the staging process of his version of Krapp s last tape performed at the Schiller-Theater in Berlin in 1969, and the changes undergone by the dramatic text. The results suggest the importance of the staging process performed by Beckett on some of his major plays, particularly Krapp s last tape, as a revising and defining element of his dramaturgy / Esta pesquisa tem como objetivo investigar questões ligadas à estética teatral e ao processo de criação de Samuel Beckett, a partir de um estudo relativo a aspectos de seu trabalho como dramaturgo e encenador de suas próprias peças. Primeiramente será realizada uma abordagem acerca da relação entre texto e cena na obra de Beckett, ou seja, faremos um levantamento das principais características estéticas e estruturais de peças como Esperando Godot, Fim de partida, Dias felizes e Passos, no intuito de problematizarmos algumas das principais questões envolvendo a dramaturgia de Beckett, e também um estudo acerca da trajetória de Beckett de dramaturgo a encenador. Posteriormente, faremos uma análise do texto dramatúrgico de A última gravação de Krapp, utilizando conceitos provenientes dos escritos de Mikhail Bakhtin e do Círculo, tais como dialogismo, polifonia e cronotopo, e também uma reflexão sobre as diversas encenações de A última gravação de Krapp dirigidas por Beckett. Para tanto, serão utilizados uma tradução inédita de A última gravação de Krapp realizada pelo pesquisador e publicada neste trabalho, bem como o caderno de direção de Beckett, contendo as anotações do processo de encenação de sua montagem de A última gravação de Krapp no Schiller-Theater de Berlim, em 1969, e as alterações sofridas pelo texto dramatúrgico. Os resultados obtidos apontam para a importância do processo de encenação realizado por Beckett em relação a algumas de suas principais peças, em especial A última gravação de Krapp, como elemento revisor e definidor de sua dramaturgia

Ângulos de uma caminhada lenta: exercícios de contenção, reiteração e saturação na obra de Bruce Nauman parte da discussão de um conjunto de trabalhos do artista norte-americano com o intuito de compreender a estrutura, os elementos constitutivos e os procedimentos característicos de sua produção. A obra de Bruce Nauman mantém uma projeção pública há mais de quatro décadas e contempla meios e materiais variados - das primeiras moldagens às recentes instalações sonoras, o artista passa pela performance, vídeo, fotografia, desenho, gravura e intervenção em escala urbana - e mobiliza, a despeito de sua natureza multifacetada, um conjunto recorrente de questões, algumas das quais em franco diálogo com a tradição da escultura. Além de interrogar a persistência de uma espécie de inteligência escultórica na obra, esta tese propõe examinar o modo peculiar com que Nauman lança mão de alguns procedimentos disseminados nas obras de artistas da sua geração, sobretudo o uso da repetição em chave distinta dos processos de seriação em voga na década de 1960. Nos trabalhos de Nauman, os procedimentos de reiteração, redução, contenção e permutação de poucos elementos tendem a promover experiências de saturação e de extenuação, e, nesse sentido, aproximam-se de certos aspectos da obra de Samuel Beckett; duas linguagens artísticas diferentes que, todavia, mantêm pontos de convergência temática e formal / Angles of a slow walk: exercises in restraint, reiteration and saturation in the work of Bruce Nauman has as its starting point a discussion of a representative array from among the artist\'s production that seeks to obtain a greater understanding of the structure, constitutive elements and specific procedures found in his work. Nauman\'s production has sustained its popular prominence for more than four decades, and spanned an impressively wide spectrum of means and materials - from the early castings and moldings to the recent sound installations, through performance, video, photography, drawing, engraving, print and urban scale interventions - which summons, in spite of its multifarious nature, a persistent, recurring set of questions, some of which engage the sculptural tradition in an open and challenging dialogue. In addition to assessing the endurance of this type of sculptural intelligence in the artist\'s production, the thesis aims at examining the idiosyncratic way in which Nauman employs certain artistic procedures common to the works of artists of his generation, in particular his use of repetition in a fashion quite distinct from the serial processes en vogue in the 1960s; furthermore, the thesis attempts to uncover a number of formal convergences between Nauman\'s procedures in a significant assortment of pieces, and Samuel Beckett\'s body of work, with an emphasis on the exhaustive recombination of minimal elements as well as the use of repetition, suppression and restraint as fundamental mechanisms to promote a saturation of experience.

Lorsque l´architecture se déterritorialise de son milieu d´origine pour être conçue et éprouvée « en » littérature, son statut ontologique dominant et traditionnel se voit inévitablement altéré. Cette altération procède de la nature représentative de son art d´accueil, qui, comme le dit Etienne Souriau, présente un dédoublement formel en une forme primaire, celle du représentant (le langage littéraire); et une forme secondaire, celle du représenté (en l’occurrence ici l’architecture). Ceci fait que l´écrivain se voit inévitablement confronté à des conditions de conception de l´architecture différentes de celles de l´architecte. Nous proposons dans cette recherche une méthode d´observation analytique de ce que nous appelons les quatre plans de conception de l´architecture déterritorialisée dans le texte littéraire, et que nous appliquerons à deux récits: Le Dépeupleur de Samuel Beckett et Le Terrier de Franz Kafka. Les deux premiers détaillent la manière dont l´architecture se trouve organisée dans la diégèse de l’œuvre littéraire, ce sont: 1) le plan de conception de l’Objet architectural et (2) le plan de conception de l´Expérience que les personnages en font. Les deux autres détaillent la manière dont l´architecture se trouve modulée, amplifiée, déformée voire orientée par le langage artistique; ce sont: 3) le plan de conception de la Narration de l´Objet et de l´Expérience, ainsi que 4) le plan de conception de leur Textualisation. De l´articulation singulier par l´écrivain de ces quatre plans de conception découlera pour le lecteur une expérience esthétique et cognitive inédite de l´architecture que nous tentons d’évaluer dans ce travail. / When architecture deterritorializes itself from its domain of origin to be conceived and experienced “in” literature, its dominant and traditional ontological status is unavoidably altered. The cause of this alteration has to do with the representative nature of its host art, which, according to Etienne Souriau, presents a formal split into a primary form, the one representing (the literary language); and a secondary form, that of the represented (in this case the architecture). This situation causes the writer to be inevitably confronted by different conditions of conception of architecture than those taken into account by the architect. In this research we propose a method of analytical observation based on four levels of conception of the deterritorialized architectures within the literary text. We are going to apply this method to two short stories: Le Dépeupleur by Samuel Beckett, and Le Terrier (Der Bau) by Franz Kafka. The first two levels of conception detail the way architecture is organized within the diegesis of the literary work, and they are: 1) the level of conception of the architectural Object, and 2) the level of conception of the Experience the characters make of it. The two other levels detail the way architecture is modulated, amplified, deformed and oriented by the artistic language, and they are: 3) the level of conception of the Narration of the Object and the Experience, and 4) the level of conception of their Textualization. The very singular assembly of these four levels conceived by the writer will lead the reader to have an unprecedented aesthetic and cognitive experience of architecture that we attempt to evaluate in this research.

Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 231-252.

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