Made available in DSpace on 2014-12-02T11:16:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-09-27Bitstream added on 2014-12-02T11:21:19Z : No. of bitstreams: 1 000738930.pdf: 808052 bytes, checksum: 6e15b2b2fe9dc1fcc89676bc9d150bfb (MD5) / A restrição de movimentos é uma das características mais marcantes das rubricas de Beckett. Confinados em cadeiras, vasos, enterrados, não podendo sentar-se, com dificuldades de andar ou de se mover, seus personagens exigem do ator um contato constante com o desconforto, portanto, para um contato concreto com o próprio corpo. Veremos por quais meios a terminologia criada pelo autor ao analisar a obra dos pintores Abraham van Velde e Gerardus van Velde, que estabelece uma polaridade fundamental entre um “olho/carrasco” e uma “coisa/vítima” ao tratar da impossibilidade da representação pictórica, serve como instrumental teórico para uma compreensão de seu projeto teatral. Para tanto, aplicaremos este modelo para investigar sua dramaturgia e sua experiência como diretor teatral, focando-nos nas singularidades do trabalho do ator / The restriction of movement is a major characteristic in Beckett’s indications to the actors. Confined in chairs, urns, or buried, not being able to sit, to walk or to move, Beckett’s characters require from the actor a constant contact with discomfort, thus, with his own body. We’ll see by wich means his terminology conceived to analyse the paintings of Abraham and Gerardus van Velde, that states a major duality between a “eye/executioner” and a “thing/victim” revealing the impossibility of pictoric representation, could be considered a valid theoretic apparatus to understand his theater. Thereunto, we will apply this model to analyse his dramaturgy and experience as a theater director, focusing in singularities of the actor’s work

Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Inglesa / Our objective is to visualize how Beckett show us the ideas explained before in “Murphy” and how he configured them and gave them form through the story and the characters. In order to do so, we will support our analysis with the concepts presented by the theory of chaos and the ideas developed by Jacques Derrida in his theory of Deconstruction. All this in order to understand the phenomena of contradiction presented as the central element in the novel. We also will see how the symbolism present in the novel is used as a way to reinforce and clarify this phenomenon and finally we will be able to see how we can identify our human condition through this novel.

Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T13:58:20Z (GMT). No. of bitstreams: 1 Salmistraro_Renan_M.pdf: 708758 bytes, checksum: 70105929fb47a6129b578e18b85a13d9 (MD5) Previous issue date: 2012 / Resumo: Malone meurt joga com a tradição realista do romance. Esse jogo reflete na criação do enredo, dos personagens e do estilo da narrativa e reflete como Beckett interpreta o que comumente é encarado como a realidade / Abstract: Malone meurt is a joke of the realistic narrative. The novel's structure - the characters, the events, and the style of the narrative - is an example of how Beckett interprets what is considered as the real world / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

In this thesis Vicente Huidobro's French "Fragment d'Altazor" (1930) and Spanish Altazor (1931) are compared with Samuel Beckett's English Imagination Dead Imagine (19B5) and French "Imagination morte imaginez" (1967) in terms of the concepts of musical and architectural scale which are common to all of these texts. While the Huidobro works maintain a primarily musical notion of scale, the Beckett texts employ a chiefly architectural one. In Huidobro, the vestigial presence of the diatonic scale in the seven Canto divisions of Altazor together with the chromatic structuring of Canto IV with its dodecaphonic repetition of "No hay tiempo que perder," foreshadow the fully realized tonic scale of the nightingale passage's (IV 193-9) emblematic acrosticism. In Beckett, scale involves measurement with respect to a radix or basic, conventional unit and is used in the precise description of the rotunda, the two figures within, and the flux of light and heat. The Beckettian scale is undercut, however, by the replacement of radices with retrograde and inverted variants. A semiotic approach has been used in the discussion of these texts since it not only foregrounds the importance of pattern as meaningful in itself, but also allows for comparison of two works according to the functioning of their meaning-systems, while permitting analysis at the local, medial, and global levels of the texts. However, in contrast to the theory of a semiotician like Michael Riffaterre, the view taken in this- thesis is that form is an extension of content. Thus the figure/ ground relationship is discussed both in terms of the scales studied and of its value as a theoretical device. Imagination Dead Imaoine/"Imaoination morte imaginez" subverts rational cross-reference by injecting multiple instabilities into the figure/ground relation. By creating a figure, the rotunda, against the backdrop of "anywhere" ("ailleurs") and then removing the figure, the Beckett text effects a realization of "Nulle part." Huidobro's texts, in contrast, employ alternation (e.g., in the tonic-chromatic-tonic scales) to arrive at a non-referential purity of language ("La pura palabra y nada mcis" --III 145). As different as these two texts are in terms of, for instance, genre, length, and diegetical features, they are similar in their refusal, commonly articulated in their use of the multidimensional patterns of scale, to delimit any one particular meaning. / Arts, Faculty of / English, Department of / Graduate

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Ce mémoire s’intéresse au silence dans le théâtre postdramatique, et ce, à partir de la dramaturgie de Samuel Beckett, que nous nommerons « dramaturgie du silence ». Notre recherche vise à analyser les manières avec lesquelles Beckett a donné naissance à une nouvelle forme dramaturgique en mettant à profit les formes d’un héritage dans le théâtre postdramatique, au travers des œuvres de certains auteurs tels que Nathalie Sarraute, Marguerite Duras et Franz Xaver Kroetz. Pour ce faire, nous analyserons deux pièces de théâtre beckettiennes, soit En attendant Godot et Fin de partie. Nous relèverons alors les stratégies et les effets du silence qui est privilégié pour ensuite chercher des pistes de réponses à nos questions de recherche au travers de certaines œuvres de nos trois autres auteurs précédemment identifiés. Les hypothèses issues de cette phase de travail ont alors été analysées et comparées, afin que l’héritage beckettien en ressorte. Le présent mémoire retrace donc ce processus et met en évidence les stratégies de cette dramaturgie du silence, dans l’intention de démontrer que Samuel Beckett est le précurseur d’un renouvellement dramaturgique basé sur le silence.

La première partie de ce document est constitué de la pièce de théâtre Hiver. Cette pièce relate l’histoire de Felipe, Musina et Gilles, trois sans-abri qui vivent ensemble l’espace de quelques jours. Felipe a été recueilli par Musina après que sa mère biologique l’ait abandonné au cours d’une tempête de neige, alors qu’il était allé se réchauffer dans les toilettes d’un restaurant. Depuis ce temps, Felipe et Musina sont devenus très proches. Musina aime Felipe à la fois comme un frère, comme un ami et comme un fils. Quant au petit, il est amoureux de Musina. Gilles se greffe à eux pendant trois jours. C’est alors qu’il sera confronté à son lourd passé. La pièce se termine tragiquement par le suicide de Felipe et de Musina et l’arrestation de Gilles. La seconde partie du document comprend l’essai. Il porte sur la figure du sans-abri dans Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver, notre pièce de théâtre. On y dissèque ce type de personnage pour en comprendre les fonctions, les particularités et la symbolique. Cette seconde partie est elle-même divisée en deux chapitres. Le premier retrace les caractéristiques des personnages de Fragment de théâtre I et de L’opéra de quat’sous et tente de préciser si l’on peut les qualifier de sans-abri. Quant au deuxième chapitre, il identifie les points de convergences et de divergences entre Fragment de théâtre I de Samuel Beckett, L’opéra de quat’sous de Bertolt Brecht et Hiver.

Although Samuel Beckett's plays indicate his abiding interest in the complex functioning of memory, little has been written on the topic. The aim of this study, therefore, is to examine the wide-ranging, specific approaches towards recall and forgetting that he reflects in his drama. Because conversational strategies are grounded in cognitive processes, the interplay between memory and discourse will also be probed. The thesis foregrounds Beckett's profound distrust of memory functioning, as well as his conviction that `yesterday' has dangerous power to `deform'. Through his own perception and his psychological study of dysfunctional, decaying and trauma-charged memories, he is able to apply a comprehensive knowledge-base to the creation of his time-damaged characters. In the scrutiny of their autobiographical memories, the reconstructive and imaginative components become apparent. These are mainly shown to alienate characters from one another, so that Beckett's claim that memory can remedy suffering becomes questionable. The investigation is informed by a variety of critical disciplines, as well as insights derived from the Proust Monograph. Beckett's investigation of the psychology of the 1930s is evaluated, in addition to current medical and psychological research into gerontology, amnesia, dementia, and the repressed or obsessive memories of the neurotic. Conway's work on the characteristic features of autobiographical memory illuminates relevant Beckett plays. An appraisal of discourse studies focuses on language and power, phatic communication and the multiple speech acts that reflect the functioning of normal and dysfunctional memory. Reference to the work of Lacan and Derrida enhances discussion of the inadequacy of language. To give due attention to the theatrical component of Beckett's drama, enactment, performance criticism and audience reception of his plays are discussed. / English Studies / D.Litt. et Phil.

Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.