Made available in DSpace on 2016-04-28T19:59:03Z (GMT). No. of bitstreams: 1 ROSEMERI.pdf: 426545 bytes, checksum: bcfe78856f96e1dbf112848591c203d2 (MD5) Previous issue date: 2007-05-09 / Secretaria da Educação do Estado de São Paulo / This dissertation intends to interpret the doubt, from the classic conception to the modern one, starting from their structural function in DOM CASMURRO narrative. The aesthetic elements, that interact in its architecture, are the metaphor and the irony, procedures that help to build the tragic error of the character-narrator Bentinho and his existencial vision in the intrigue od stubbornness. The theoretical grounding departs from the Poetics of Aristotle and extends to the modern theoreticians: Schopenhauer (1966), Kierkegaar (2005), Bergson (1983), Paz (2005) , et al. The research object is the evidence of the error caused by the doubt on the poetic effect in the romance´s architecture. The tragic error, affects ironically the whole through the optics of the narrator-author Casmurro, preparing the modern vision of Machado de Assis romance. The first chapter entitled The construction of the tragic error presents Aristotle s classic conception proceeded by the modern conception of different authors, making the correlation of the metaphor and irony with Casmurro doubt construction. The second chapter, under the title Tradition x Modernity , treats the concept of Greek tragedy and the tragic element and its function in breaking the values of the past. The third chapter entitled The double function of the tragic error treats the Aristotelian catharsis and its aesthetic effect given the tragicalness of life. In the final considerations, we refer about the effects generated by the cathartic tragicalness process through the metaphor on the dissimulation of the look of Casmurro, due to the construction of the tragic error in the architecture of the romance DOM CASMURRO of Machado de Assis / Esta dissertação se propõe a interpretar a dúvida, desde a concepção clássica à moderna, a partir de sua função estrutural na narrativa DOM CASMURRO. Os elementos estéticos, que interagem na sua arquitetura, são a metáfora e a ironia, procedimentos que ajudam a construir o erro trágico do narrador-personagem Bentinho e sua visão existencial na intriga da casmurrice. A fundamentação teórica parte da Poética de Aristóteles e se estende aos teóricos modernos: Schopenhauer (1966), Kierkegaard (2005), Bérgson (1983), Todorov (1969), Paz (2005) e outros. O objeto de pesquisa é a evidência do erro causado pela dúvida sob o efeito poético na arquitetura do romance .O erro trágico, ironicamente, afeta toda a narrativa pela ótica do autor- narrador Casmurro, preparando a visão moderna do romance machadiano. O primeiro capítulo intitulado A construção do erro trágico apresenta a concepção clássica de Aristóteles seguida pela concepção moderna de vários autores, fazendo a correlação da metáfora e da ironia com a construção dúvida de Casmurro. O segundo capítulo, sob o título Tradição x Modernidade , trata do conceito de tragédia grega e do elemento trágico e sua função na ruptura de valores do passado. O terceiro capítulo intitulado A dupla função do erro trágico trata da catarse aristotélica e seu efeito estético dado à tragicidade do viver. Nas considerações finais, discorremos sobre os efeitos gerados pelo processo catártico da tragicidade por meio da metáfora da dissimulação do olhar de Casmurro, em decorrência da construção do erro trágico na arquitetura do romance DOM CASMURRO de Machado de Assis

O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imagina) no palco, os aspectos poéticos, lírico-musicais da peça, sua característica dramático-épica e os temas e idéias que permeiam o plano de conteúdo da obra. A análise foi feita em grande parte contrapondo Gota dágua com a obra que pretende recriar: a Medeia de Eurípides. Os diversos elementos manipulados no trabalho ora se complementam, ora se chocam, criando uma mescla significativa e de apreciação controversa, sobre a qual artistas e pesquisadores têm se debruçado no questionamento da produção teatral brasileira. Tais elementos são a absorção do popular e do erudito, da identificação catártica e do distanciamento crítico, da experiência totalizante do mito e daquela que é comum, socialmente demarcada por delineamentos temporais e espaciais, dentre outros exemplos. / This paper goes into the production process of the poetic lines which give life to Chico Buarque and Paulo Pontes´s play Gota dágua, published and performed in 1975. It aims to understand how they are put together to compose its drama structure as well as the effects they cause on the reader and audience. Since the play is deeply engaged in the cultural and political scenario of the 1970s, this analysis also seeks to examine the connections between its esthetics and the cultural projects or any other points of influence that may have motivated its form. The study involves the plays sounds listened to (or imagined) on stage such as the play´s poetic, musical-lyric aspects, its epic-drama characteristics and many of the themes and ideas that constitute the works content. The analysis frequently contrasts Gota dágua and the play it intends to recreate: Medea by Euripides. The various elements dealt with in Gota dágua are sometimes complementary, sometimes clashing, accounting for a meaningful mix and giving rise to controversial appraisal upon which researchers and artists have given a lot of thought when pondering about the Brazilian contemporary drama experience. Such contrasts bring together the resource to the popular and the scholarly, the use of cathartic identification and critical distance, the mythical and the anonymous ordinary human trajectory, among other examples.

This dissertation explores the relevance of recent studies of Aristotle’s comic theory to the central dramatists of early modern England, Ben Jonson and William Shakespeare. Applications of the Poetics to Renaissance English drama tend to treat Aristotle’s theory historically, as a set of concepts mediated to England by continental redactions. But these often conflated the Poetics’ focus on literary form with the Renaissance’s predominant interest in literature’s rhetorical effect, reducing Aristotle’s genuinely speculative theory to a series of often pedantic literary prescriptions. Recent scholarship has both undone these misinterpretations and developed the comic theory latent in the Poetics. Ironically, these studies make Jonson’s and Shakespeare’s comedy look much more Aristotelian than do Renaissance ones. So rather than taking the Poetics simply as a possible source for each dramatist, I read it primarily as a literary theory that, when reinvigorated by modern scholarship, can explain structures and effects arrived at practically by these dramatists. Three recent hypotheses are especially pertinent to Jonson and Shakespeare: that comic hoaxes aim to expose comic error, which is for Aristotle a deviation from the mean of virtue; that “righteous indignation” is the comic emotion equivalent to the “pity and fear” of tragedy; and that catharsis is a clarification, rather than purgation, of reason and emotion. In light of these, I offer detailed readings of four plays that demonstrate these authors’ comic range: from Jonson’s satirical Every Man Out of His Humour to the almost farcical Epicoene, and from Shakespeare’s romantic Much Ado About Nothing to the tragicomic Measure for Measure. These plays demonstrate a variety of ways in which catharsis, the end of drama, results directly from the comic hoax and involves both the audience’s and characters’ experience of indignation and their comprehension of its relationship to the emotions of envy and pity. In each case, Aristotle’s incisive but flexible theoretical framework enables an explanation of the emotional pain present in the these “comedies of affliction” and reveals remarkable similarities between dramatists usually described as direct opposites.

Unresolved painful emotional experiences such as bereavement, trauma and disturbances in core relationships, are common presenting problems for clients of psychodrama or psychotherapy more generally. Emotional pain is experienced as a shattering of the sense of self and disconnection from others and, when unresolved, produces avoidant responses which inhibit the healing process. There is agreement across therapeutic modalities that exposure to emotional experience can increase the efficacy of therapeutic interventions. Moreno proposes that the activation of spontaneity is the primary curative factor in psychodrama and that healing occurs when the protagonist (client) engages with his or her wider social system and develops greater flexibility in response to that system. An extensive case-report literature describes the application of the psychodrama method in healing unresolved painful emotional experiences, but there is limited empirical research to verify the efficacy of the method or to identify the processes that are linked to therapeutic change. The purpose of this current research was to construct a model of protagonist change processes that could extend psychodrama theory, inform practitioners’ therapeutic decisions and contribute to understanding the common factors in therapeutic change. Four studies investigated protagonist processes linked to in-session resolution of painful emotional experiences. Significant therapeutic events were analysed using recordings and transcripts of psychodrama enactments, protagonist and director recall interviews and a range of process and outcome measures. A preliminary study (3 cases) identified four themes that were associated with helpful therapeutic events: enactment, the working alliance with the director and with group members, emotional release or relief and social atom repair. The second study (7 cases) used Comprehensive Process Analysis (CPA) to construct a model of protagonists’ processes linked to in-session resolution. This model was then validated across four more cases in Study 3. Five meta-processes were identified: (i) a readiness to engage in the psychodrama process; (ii) re-experiencing and insight; (iii) activating resourcefulness; (iv) social atom repair with emotional release and (v) integration. Social atom repair with emotional release involved deeply experiencing a wished-for interpersonal experience accompanied by a free flowing release of previously restricted emotion and was most clearly linked to protagonists’ reports of reaching resolution and to post session improvements in interpersonal relationships and sense of self. Acceptance of self in the moment increased protagonists’ capacity to generate new responses within each meta-process and, in resolved cases, there was evidence of spontaneity developing over time. The fourth study tested Greenberg’s allowing and accepting painful emotional experience model as an alternative explanation of protagonist change. The findings of this study suggested that while the process of allowing emotional pain was present in resolved cases, Greenberg’s model was not sufficient to explain the processes that lead to in-session resolution. The protagonist’s readiness to engage and activation of resourcefulness appear to facilitate the transition from problem identification to emotional release. Furthermore, experiencing a reparative relationship was found to be central to the healing process. This research verifies that there can be in-session resolution of painful emotional experience during psychodrama and protagonists’ reports suggest that in-session resolution can heal the damage to the sense of self and the interpersonal disconnection that are associated with unresolved emotional pain. A model of protagonist change processes has been constructed that challenges the view of psychodrama as a primarily cathartic therapy, by locating the therapeutic experience of emotional release within the development of new role relationships. The five meta-processes which are described within the model suggest broad change principles which can assist practitioners to make sense of events as they unfold and guide their clinical decision making in the moment. Each meta-process was linked to specific post-session changes, so that the model can inform the development of therapeutic plans for individual clients and can aid communication for practitioners when a psychodrama intervention is used for a specific therapeutic purpose within a comprehensive program of therapy.

O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imagina) no palco, os aspectos poéticos, lírico-musicais da peça, sua característica dramático-épica e os temas e idéias que permeiam o plano de conteúdo da obra. A análise foi feita em grande parte contrapondo Gota dágua com a obra que pretende recriar: a Medeia de Eurípides. Os diversos elementos manipulados no trabalho ora se complementam, ora se chocam, criando uma mescla significativa e de apreciação controversa, sobre a qual artistas e pesquisadores têm se debruçado no questionamento da produção teatral brasileira. Tais elementos são a absorção do popular e do erudito, da identificação catártica e do distanciamento crítico, da experiência totalizante do mito e daquela que é comum, socialmente demarcada por delineamentos temporais e espaciais, dentre outros exemplos. / This paper goes into the production process of the poetic lines which give life to Chico Buarque and Paulo Pontes´s play Gota dágua, published and performed in 1975. It aims to understand how they are put together to compose its drama structure as well as the effects they cause on the reader and audience. Since the play is deeply engaged in the cultural and political scenario of the 1970s, this analysis also seeks to examine the connections between its esthetics and the cultural projects or any other points of influence that may have motivated its form. The study involves the plays sounds listened to (or imagined) on stage such as the play´s poetic, musical-lyric aspects, its epic-drama characteristics and many of the themes and ideas that constitute the works content. The analysis frequently contrasts Gota dágua and the play it intends to recreate: Medea by Euripides. The various elements dealt with in Gota dágua are sometimes complementary, sometimes clashing, accounting for a meaningful mix and giving rise to controversial appraisal upon which researchers and artists have given a lot of thought when pondering about the Brazilian contemporary drama experience. Such contrasts bring together the resource to the popular and the scholarly, the use of cathartic identification and critical distance, the mythical and the anonymous ordinary human trajectory, among other examples.

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La confrontation du théâtre et de la liturgie est un lieu commun de la pensée. Il est un motif rhétorique récurrent chez les pères de l’Église pour définir a contrario et par surenchère le bon ethos du chrétien à l’Église. Ce tour de pensée ecclésiastique, typique de la synthèse augustinienne de la rhétorique antique et du christianisme, n’est pas seulement un héritage livresque au XVIIe siècle. Il est particulièrement pertinent à la vue des enjeux auxquels est confrontée l’Église catholique : elle doit répondre aux accusations protestantes, qui traitaient la messe de farce ; le théâtre renouvelé de l’antique se rétablit grâce au soutien du pouvoir, se sédentarise et devient un divertissement régulier. Cette banalité nouvelle fait de la Comédie, aux yeux des augustiniens, le lieu d’une « représentation vive » et continuelle des passions du monde, particulièrement de l’amour et de l’honneur : le théâtre apparaît comme une liturgie inversée. Là où les pratiques de piété sont censées amoindrir les passions et nourrir la foi, le théâtre excite les passions et étouffe l’esprit de prière. La querelle de la moralité au théâtre montre non seulement une concurrence morale, mais aussi psychique et affective. Les deux représentations prétendent susciter la présence d’esprit et « toucher » le cœur, voire lui « imprimer des mouvements ». La messe est qualifiée de « représentation vive du sacrifice de la croix », pendant laquelle le fidèle doit se remémorer vivement le sacrifice christique et sa signification grâce à une lecture allégorique, et se l’appliquer à lui-même. Par la considération et l’accomplissement de cérémonies, par la vocalisation des psaumes, le fidèle est invité à produire des « actes » du cœur pour s’unir à Jésus-Christ. Ce rapport au texte comme trace à suivre, et ce rapport au corps et à la voix comme media pour s’auto-exciter, expliquent pourquoi les comédiens professionnels sont condamnés par les dévots : ils excitent en eux les passions contraires à l’Esprit saint, ils rappellent des sentiments qu’un pénitent ne pourrait pas se remémorer sans « horreur ». La « représentation » est alors conçue comme un effort de remémoration.Le rétablissement du théâtre à l’antique nécessitait un discours pour en éclairer les visées et en légitimer l’existence dans une société chrétienne et monarchique. Traduire la mimesis aristotélicienne par « représentation » plutôt que par « imitation » rendait le théâtre beaucoup plus proche de la liturgie et lui ajoutait les connotations de vue, de présence et de mémoire. Le débat entre plaire et instruire est un débat entre théâtre-divertissement et théâtre-cérémonie. Incomber au théâtre la fonction d’instruire, c’était le rapprocher d’une prédication et de la messe, car instruire, signifiait instruire chrétiennement. L’échec de sanctification du théâtre des années 1640 fit conclure à une incompatibilité du théâtre avec la folie et la modestie chrétienne, mais la possibilité d’une instruction civique par le théâtre émerge à la fin du siècle. Le théâtre participe de la construction d’une morale laïque. / The confrontation between liturgy and theater is a topos of the discourses which reveal deeply-rooted issues of representation in the seventeenth century. This commonplace had been a recurrent rhetorical device in the patristic sermons, where it emphasized the differences between Christianity and paganism. It is vigorously reactivated in seventeenth-century France as the Catholic Church faces its Calvinist critics, who accuse mass of being a comedy. Profane theater becomes a regular and professional kind of entertainment in the city and at the court, thanks to the protection of the royal power. This is why it is seen by Augustinians as a recurrent “lively representation” of the values of the world, such as love and honor, which are contradictory to the celestial Christian spirit. Treatises against Comedy written by Christian zealots reveal not only a moral, but also an emotional and psychological competition between liturgical practices and theater. Both “representations” try to force the presence of the mind and to touch, or even to print, the heart. The mass is then qualified as the “lively representation” of the Passion of the Christ, during which Catholic prayers must commemorate the mystery of divine sacrifice. By considering and acting out ceremonies, by vocalizing prayers, the believer is invited to produce certain acts of the heart and to unite with Christ, applying the Christ’s sacrifice to himself. Thus, the believer can be assimilated to an existential comedian on the divine stage : he actively involves his sensibility in the imitation of the great Christian model, by entering into the spirit of the psalms. This relationship to the text as a vestige to follow, this use of the voice and the body as mediums to excite devotion, explain the condemnation of the professional comedian by the Christian zealots (dévots). Indeed, the comedian is seen as someone who excites his own passions, playing a dangerous game with his heart and reminding himself of former worldly passions which can only lessen his faith.The reestablishment of theater questions the legitimacy, the definition and the goals of this art in a Christian society. Translating mimesis by “representation” and not “imitation” brought the theater closer to the liturgy. The discourses on theater in the 1620s and 1630s show that the authors tended to see a memorial, reiterative and visual dimension in theater that was not present in Aristotle. The debates finally conclude on the definition of theater as an honest form of entertainment rather than as a living form of instruction, namely because the latter was the responsibility of predication and mass. Saint Thomas could justify theater as a way of merely releasing the mind without interesting the heart or touching the soul ; at that time, indeed, instruction meant Christian instruction. In the 1640s, to please the devout Spanish queen Anne of Austria, several playwrights did attempt to call back the theater to its former institutional position by assimilating it with religious ceremony and creating sanctified tragedies. But this attempt failed for both poetic and political reasons. The disposition of the spectators in the city was not to be instructed. The theater was finally recognized as incompatible with Christian folly and modesty, but slowly participated in the formation of a secular morality in a new civic sphere.

Writing the speculative fiction novel, Birthright, and this accompanying exegesis, led me to challenge the validity of the disclaimer usually found in the front matter of most novels that the story is purely imaginary, bears no relationship to reality, with the characters not being inspired by anyone known or unknown to the author. For the first time in my career, I began to consider how writers including myself might frequently revisit themes and ideas which resonate with our lived experiences. I call this restorying, an unconscious process whereby aspects of one's life history are rewritten through one's creative work to achieve a more satisfactory result. Through personal contact, studying authors' accounts of their creative practices, and surveying current literature on narrative therapy, a case is made that, far from being generated purely from imagination, writers' creative choices are driven by an unconscious need to restory ourselves.

This study is an investigation into the effective utilisation of Mmaskitlane, a psychotherapeutic African indigenous narrative play technique. The investigation was carried out with six primary school learners in the Tshwane North District of Education in Gauteng Province. The learners were referred for emotional problems and the play was used to enhance emotional healing. The technique was used in both its forms, namely, one which involves learners hitting one stone with another as they narrate their stories, and the other where learners draw symbols representing the characters in their stories. In order to render culturally appropriate services, therapy was carried out in the clients’ mother tongue which was mainly seTswana. The investigation adopted a constructivist interpretivist paradigm, involving the use of a qualitative research design that made use of multiple case studies. Because the research question explored a relatively new research area and there was the possibility of new literature coming up during the process of the study, case studies allowed for a certain flexibility. Qualitative analysis showed how Mmaskitlane helped participants to express global children’s beliefs, such as blaming themselves for dysfunctions occurring in their families and feeling guilty as a result. Through thematic analysis the clients were able to process and express their negative emotions and as a result catharsis was enhanced. The main focus of the study was on how Mmaskitlane could be best utilised in play therapy to achieve the above-mentioned effects. Ultimately, the findings were twofold, namely, that therapists could either be actively involved as participant players of the game during therapy, or secondly, that those who would rather not play along with the clients could be actively involved as participant observers, engaging only in the question and answer stage of the game. This investigation enabled me to effectively document guidelines for ways in which therapists can use Mmaskitlane effectively in play therapy. / Psychology of Education / D. Ed. (Psychology of Education)