Esta dissertação, As formas dramáticas do cômico e do trágico em La Celestina, analisa quatro personagens da obra Tragicomedia de Calisto y Melibea ou La Celestina atribuida a Fernando de Rojas. A análise apresenta, a partir de leituras críticas e teóricas, elementos de comicidade e de tragicidade na trajetória das personagens Calisto, Centurio, Celestina e Melibea. O texto é composto de introdução, três capítulos e as considerações finais. Na Introdução, apresentamos um breve histórico das principais críticas instituídas à obra, principalmente, no que diz respeito ao seu gênero literário. No primeiro capítulo, procuramos apontar algumas das diversas formas de comicidade que propiciam o riso no comportamento das personagens Calisto e Centurio; no segundo, apresentamos os elementos pertencentes às teorias do trágico, em seu sentido clássico e moderno, que estão presentes ou se relacionam às ações de Melibea; no terceiro e último capítulo, do mesmo modo, indicamos os possíveis elementos trágicos no comportamento de Celestina. E por fim, as Considerações finais, nas quais, após análise, entendemos que as personagens masculinas, Calisto e Centurio, desempenham uma função cômica na obra, ao passo que as duas femininas, Celestina e Melibea, são responsáveis por grande parte dos aspectos trágicos da referida obra. / This dissertation examines four characters of the work Tragicomedia de Calisto y Melibea or La Celestina attributed to Fernando de Rojas. The analysis shows, from critical and theoretical readings, elements of comicality and tragic in the path of the characters Calisto, Centurio, Celestina and Melibea. The text consists of an introduction, three chapters and final considerations. In the Introduction, a brief history of the main comments attributed to the work is presented, primarily related to its literary genre. In the first chapter, we point out some of the various forms of humor which provide laughter in the behavior of the characters Calisto and Centurio; in the second chapter, we present the elements belonging to the theories of tragedy in its classical and modern sense, which are present or are related to the actions of Melibea; similarly, in the third and final chapter, we indicated the possible tragic elements in the behavior of Celestina. And finally, the closing comments, in which, after the analysis, we believe the male characters, Calisto and Centurio, play a comic role in the piece, while the two women, Celestina and Melibea, are responsible for most of the tragic aspects of the work.

The blurred lines between the domains of art, education and art education create tensions that impact how art educators negotiate their identities (Baxter, Ortega López, Serig & Sullivan, 2008) within themselves and through a myriad of complex relationships with society and the natural world. I reflect upon the profound transformations of my theoretical and methodological framework of pedagogy emerging from my academic, artistic and professional experiences, particularly my exposure to twentieth century philosophy, post-modernism, critical pedagogy, democratic education, feminist theory and queer studies, each through the lens of social justice. I draw from the ideas of thinkers—Goodman, Lorde, Deleuze, Freire and Zolla, amongst many—who, in one way or another, embraced an integrative dialectic of difference rather than fearing or rejecting conflict, opposites and contradictions. In the twenty-first century, this exploration of the interspace has resulted in arts-based theoretical and methodological approaches to inquiry (Rolling, 2013) such as studio art as research practice (Sullivan, 2004), a/r/tography (Springgay, Irwin & Kind, 2005), and productive ambiguity (Shipe, 2015). This thesis is an arts-based autoethnography, intended to embody the dual nature of the identities and practices of artists/teachers through the creation of an artistic product. Carolyn Ellis and Arthur P. Bochner pointed to the three axes of autoethnography: the self (auto), culture (ethno) and the research process (graphy); modes of autoethnography fall along different places within these continua (Ellis & Bochner, 2000). While I place the strongest focus on my experience and culture, I also stress the relevance and rigor of the research process. Drawing inspiration from the amazing work of Nick Sousanis and Rachel Branham, I include extensive notes and references at the end of the thesis. The prologue is formatted as an illustrated novel—a blueprint for a full graphic novel version of this thesis. The rest of the manuscript is a literary autoethnography, by which I assume the identity of an autobiographical writer foremost.

In a critical analysis of several independantly produced South African comics of the 1980s and early 1990s, close analysis of the comics leads to an assessment of the artists'intentions and purposes. Discussion of the artists' sources focuses on definitions of different types of comics. What is defined as a comic is usually what has been produced under that definition, and these comics are positioned somewhere between the popular and fine art contexts. As the artists are amateurs, the mechanical structure of comics is exposed through their skill in manipulating, and their initial ignorance of, many comic conventions. By comparison to one another, and to the standard format of commercial comics, some explanation of how a comic works can be reached. The element of closure, bridging the gaps between frames, is unique to comics, and is the most important consideration. Comic artists work with the intangible, creating from static elements an illusion of motion. If the artist deals primarily with what is on the page rather than what is not, the comic remains static. Questions of quality are reliant on the skill with which closure is implemented. The art students who produced these comics are of a generation for whom popular culture is the dominant culture, and they create for an audience of peers. Their cultural milieu is more visual than verbal, and often more media oriented than that of their teachers. They must integrate a fine art training and understanding into the preset rules of a commercial medium. Confronted with the problem of a separation of languages, they evolve a new dialect. Through comparative and critical analyses I will show how this dialect differs from the language of conventional comics, attempting in particular to explain how the mechanics of the cornie medium can limit or expand its communicative potential.

Les écritures et représentations surréalistes offrent, à partir de 1919, des visions nouvelles de la réalité, tributaires d’un ressenti original. S’éloignant de l’académisme et de l’imitation, celles-ci explorent l’inconscient, ouvert par le champ psychanalytique freudien, afin de tenter de cerner les pensées cachées. Le résultat des expérimentations et des jeux sémantiques des surréalistes laisse ainsi entrevoir des représentations absurdes où objets et définitions ne coïncident plus. C’est à partir de cette dissociation entre l’idée de la chose et de sa représentation que naissent certaines dimensions comiques et tragiques, réelles ou irréelles. Le surréalisme transcende et transgresse alternativement les normes communément admises par la société. Grâce à cette subversion, apparaissent des images novatrices. La poésie surréaliste cherche à dévoiler une réalité intérieure créée par l’imagination et une réalité extérieure formée par la pensée consciente. Un déséquilibre surgit alors et des indices sémiotiques nous laissent découvrir la vraie nature de chaque représentation. Tantôt burlesque, tantôt sublimée, la représentation de la vie et de la mort, prend une signification encore méconnue du grand public. En entrant dans le labyrinthe de l’analyse psychanalytique, les surréalistes ont créé une voie et se sont affranchis des courants artistiques précédents. / Starting 1919, the surrealistic writings and representations offer new visions of reality, dependent from an original perception. Moving away from academism and imitation, they explore the unconscious, open by a psychanalytic Freudian field in order to express hidden thoughts of their consciousness. The result of their experimentations and of their semantic games allow leeway for absurd representations where objects and their definitions do not coincide anymore. It is from this dissociation between the idea of the object and its representation that comic and tragic dimensions are born, from the real and the unreal. Surrealism transcends and transgresses alternatively the norms commonly adopted by society. It is from this subversion that new images appear. Surrealistic poetry reveals an interior reality that is created by the imagination and by an exterior reality shaped by unconscious thoughts. Thus an imbalance arises and semiotic hints allow one to discover the real nature of each representation. Sometimes burlesque sometimes sublime, the representation of life and death takes on a significance still unknown by the grand public. By entering the maze of the psychanalytic analysis, the surrealists created a pathway and emancipated themselves from previous artistic movements.

My dissertation explores the ways in which writers and artists from Spain and Latin America create works of art in which the environment plays a central role. My purpose is to reflect the variety of perspectives and modes of expression that the ongoing environmental crisis generates in these artists. I propose a more concrete approach to the concept of ecopoetics, one that is not limited to literary works but is also concerned with a more ample spectrum of cultural imagination and reflection, as well as on how artists can impact their communities through their work. I formulate a more precise notion of the concept of ecopoetics, one which is based on the particular genre or art form creators use to express themselves. This approach combines both the traditional notion of poetics as the variety of elections made by an author in terms of subject, composition, style, etc.; and the perception of a new type of sensibility that centers on the relationships between human beings and the environment. I argue that this concept of ecopoetics, as it is integrally related to the choices made by artists in terms of genre, mediums used, vision of the world and modes of expression, allows me to explore the diversity of viewpoints and artistic possibilities produced in the Luso-Hispanic area. The broad area I chose to work in also allows me to explore the connections among these texts and works of art in order to look for shared images and motives that all show a growing awareness of the ecological crisis. This kind of analysis is integrated with social, cultural, racial and gender perspectives. My research also explores how the ethical commitment to the environment assumes a variety of perspectives. That is the reason I include works from poetry, narrative, comics, documentary, installations and sculptures. I center my analysis on authors such as Jaime Quezada (Chile), Jorge Riechmann and José María Merino (both from Spain), Julio Ramón Ribeyro (Peru) and Rubem Fonseca (Brazil). I also work with comic artists Miguelanxo Prado and Francesc Capdevila (Max) from Spain, as well as Mexican comic artists Jis and Trino and Edgar Clément. I analyze the documentary Waste Land (2010), by Lucy Walker, which follows the work of Vik Muniz in Jardim Gramacho, the biggest dump in the world; and the Cuban artist Héctor Gallo, who builds his sculptures and installations in a marginal neighborhood in Havana.

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京都大学 / 新制・課程博士 / 博士(人間健康科学) / 甲第24143号 / 人健博第106号 / 新制||人健||7(附属図書館) / 京都大学大学院医学研究科人間健康科学系専攻 / (主査)教授 十一 元三, 教授 澤本 伸克, 教授 村井 俊哉 / 学位規則第4条第1項該当 / Doctor of Human Health Sciences / Kyoto University / DFAM

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