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The purpose of this dissertation is to investigate the teacher as represented through characters in successful American commercial drama.

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Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T09:24:52Z (GMT). No. of bitstreams: 1 Santana_EstherMarinho_M.pdf: 1164656 bytes, checksum: 9d5b6222693152234eb1dcde8e765daa (MD5) Previous issue date: 2014 / Resumo: Considerado um dos títulos mais controversos e enigmáticos do teatro moderno norte-americano, Tiny Alice (1964-5) traz a jornada do lay brother Julian do início de seu envolvimento com Miss Alice, uma benfeitora que doará milhões para a Igreja Católica, até sua morte, um sacrifício à divindade Alice. Escrutinando as configurações da linguagem verbal e dos elementos simbólicos da peça, o presente trabalho propõe como motivos centrais da obra a demonstração da limitação da palavra para pavimentar a metafísica e a exposição da artificialidade irreversível das crenças religiosas. A despeito do tratamento questionador conferido ao verbo, retratado, pois, como ambíguo, ineficiente e falseador, Tiny Alice não o desacredita e nem tampouco o invalida como mecanismo de representação ou avaliação. Ao contrário, termina por afirmar seu poder elucidador. Em via análoga, embora sugira a impossibilidade da transcendência final dos microcosmos, permite que Julian, impulsionado pela verborragia, chegue ao macrocosmo. A investigação analisa também as personagens e suas motivações e movimentos para além do âmbito da palavra, segundo intertextualidades com sujeitos e circunstâncias de outras obras do cânone albeeano, tais como The Zoo Story (1959-60), Who¿s Afraid of Virginia Woolf? (1962), Box / Quotations From Chairman Mao Tse-Tung (1968) e The Man Who Had Three Arms (1983). Por fim, confere importância fundamental ao monólogo final de Julian, não raro compreendido pela crítica como ilógico e absurdo. Conquanto repleto de autorreferencialidades instáveis, menções a eventos de temporalidades díspares, interlocutores distintos e empréstimos literários diversos, tal discurso é compreendido pelo estudo como plenamente coerente, revelador e eficiente na transmissão da argumentação geral da peça, e, ainda, na celebração do ofício literário / Abstract: Reputed as one of the most controversial and enigmatic works in modern North American theatre, Tiny Alice (1964-5) comprises lay brother Julian¿s journey from the beginning of his involvement with Miss Alice, a benefactor who will donate millions to the Catholic Church, to his death as a sacrifice to the divinity Alice. By examining both linguistic and symbolic configurations of the play, this study identifies as its central motives the demonstration of verbal language¿s restrictiveness to command metaphysics, and the exposure of religious beliefs¿ irrevocable artificiality. Notwithstanding the critical treatment consecrated to the linguistic system, depicted as ambiguous, inefficient and delusory, Tiny Alice neither discredits nor invalidates it as a mechanism for analysis and representation. In fact, the play affirms the clarifying power of verbal language. Similarly, although postulating the impossibility of transcendence in microcosms, it allows Julian to reach the macrocosm propelled by verbosity. This investigation also examines the characters and their motivations and actions outside the linguistic domain, according to intertextualities between the play and other titles from the albeean canon, such as The Zoo Story (1959-60), Who¿s Afraid of Virginia Woolf? (1962), Box / Quotations From Chairman Mao Tse-Tung (1968) and The Man Who Had Three Arms (1983). Finally, it dedicates utmost importance to Julian¿s final monologue, frequently labeled as ilogical and absurd by critics. Replete with unstable self-reference, mentions of events based on dissimilar temporalities, different interlocutors and several literary borrowings, the final speech is nevertheless considered by the study as entirely coherent, revealing and efficient in showing the overall significance of the play, as well as in celebrating literary craft / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.<p><p>Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation. <p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished