Figure patricienne incontournable du panorama de la création théâtrale, digne successeur d’Eugene O’Neill, de Tennessee Williams et d’Arthur Miller, Edward Albee (1928-2016) a insufflé une nouvelle vitalité au théâtre américain. Son œuvre iconoclaste, reçue avec ricanements, consternation ou enthousiasme, rejette l’existence d’une coupure entre la réalité, ses apparences, et l’imaginaire. Meneur de jeu imaginatif et provocateur, Albee cherche à produire un théâtre “réaliste” en abordant le problème des rapports entre apparences et réalité dans le théâtre du monde (Theatrum Mundi), sur le plan social (rôle et dimension humaine), logique (sens et non sens) et psychologique (raison et folie), ainsi que sur le plan de la représentation théâtrale (personnage et acteur). Cette étude explore, sous l’angle de la métaphore du jeu, les dernières pièces du dramaturge, riches en questionnements philosophiques, qui présentent le parcours initiatique du Sujet entre représentation et expérience, imaginaire et réalité. Du jeu au “je”, le personnage protéen, dans les coulisses du théâtre de l’intime, prépare son audition sur la scène du théâtre du monde. Empreinte de mystère, de poésie, de sagesse, de cocasserie ou de pathétique, l’aire de jeu inédite du dramaturge, où se prépare une expérience de vérité, déploie une vision humaniste optimiste qui ouvre in fine sur l’expérience esthétique de la catharsis. / A patrician key figure of the theatrical landscape, the worthy heir of Eugene O’Neill, Tennessee Williams and Arthur Miller, Edward Albee (1928-2017) has breathed new life into the American theatre. His iconoclastic body of work, which was met with sneering, dismay or enthusiasm, disproves the split between the real, its appearances and imagination. An imaginative, provocative playmaker, Albee aims at producing a “realistic” drama by tackling the problem of the links between appearances and reality in the Theatrum Mundi on various levels : social (role and human dimension), logical (meaning and absurdity), psychological (reason and madness), as well as on the level of performance (character and actor). Through the game metaphor, this study focuses on the playwright’s last plays, which are rife with philosophical interrogations and stage the Subject’s initiatory journey between representation and experience, imagination and reality. As a player, Albee’s protean character prepares backstage to audition for his role on the stage of the Theatrum Mundi. Imbued with mystery, poetry, wisdom, comicality and pathos, the playwright’s original playground, where an experience of truth is under way, brings forth an optimistic, humanistic vision that opens onto the aesthetic experience of catharsis.

An act of violence, be it personal or institution is an event that would distress most witnesses. Yet the representation of violent acts in fictional forms as literature, drama and film often aestheticises that violence, with the result that it is possible to experience it without such distress. However, despite various conjectures being offered, no single and universal theory is possible. An aesthetic response to a representation of violence is influenced to a large extent by the degree of aestheticisation produced by the author and/or director. In addition, the aestheticisation of violence is dependent upon, and an inevitable consequence of, the representation of the violent. This dissertation is an endeavour to explore the issues that the paradox makes evident, to critique various hypotheses that have been offered as a solution, and to speculate upon a more comprehensive theory ofthe representation and aestheticisation of violence / English Studies / M.A. (English)

Il est peu de notions aussi vastes que celle du non-savoir, mais le flou du caractère nécessairement négatif de sa définition s'accompagne tout de même du sentiment que la source de ce qui ne peut qu'être déterminé négativement par la pensée (non, cela n'est pas le savoir) ne peut qu'être positive. Notion à l'applicabilité infinie, parce qu'en elle vient s'abîmer tout ce qui ne peut tenir dans l'espace de la maîtrise relative à ce dont on peut dire : je sais de quoi il s'agit. Est non-savoir tout ce qui se rapporte au bouillonnement pulsionnel de la vie et à l'échéance fatale de la mort. Ce qui pousse l'homme au meurtre, au génocide, à la guerre et à la violence révolutionnaire se confond avec un contenu affectif et identitaire qui ne peut être ramené au savoir sans laisser de reste. Mais tenter de comprendre ce qui échappe à l'entendement est cela même qui relance sans cesse la réflexion comprise comme cœur du savoir. Le savoir se montre ainsi sous une extrême dépendance face à son Autre. À la lumière de cette hypothèse devant beaucoup aux découvertes de la psychanalyse, le présent mémoire s'est donné pour objectif de jeter un regard frais sur quelques grandes tensions sociopolitiques de l'Histoire; mais il a d'abord fallu évaluer philosophiquement la possibilité d'un concept de non-savoir. Des champs identitaires majeurs -- révolutions totalitaires ou démocratiques, bouleversements ou synergies culturelles -- sont ainsi analysés sous l'angle d'une économie pulsionnelle qui s'inscrit dans une interaction perpétuelle avec ce qui s'ébauche ici comme une économie du rapport entre non-savoir et savoir. Est ainsi produite une esquisse des rapports possibles entre la vie pulsionnelle de l'homme, le savoir institutionnel et le monde sociopolitique.

Cette recherche propose une interprétation d’un corpus centré sur le roman Œdipe sur la route d’Henry Bauchau, mais en faisant référence aussi aux autres œuvres du cycle œdipien et aux journaux de l’écrivain. C’est un travail qui opère à un double niveau, celui d’un projet ontologique des personnages errants en quête d’identité, et celui des stratégies d’écriture. La première partie de cette étude, munie méthodologiquement des travaux théoriques sur le mythe, propose une définition des concepts, des relations du mythe avec la littérature, de l’évolution du mythe œdipien. Au centre de l’ouvrage, à l’aide d’une analyse comparative, argumentative, herméneutique et stylistique, nous nous concentrons sur le roman de Bauchau, Œdipe sur la route. Nous analysons les rêves d’Œdipe et de l’écrivain, la route de Thèbes à Colone, la transformation d’un roi déchu, incestueux et aveugle à un aède, un artiste, un héros tutélaire d’Athènes, les symboles, les personnages principaux œdipiens et la vision des Roumains sur le mythe d’Œdipe. La dernière partie analyse l’écriture de Bauchau : la polyphonie, l’anachronie, la mise en abîme, l’intergénéricité, le statut des personnages, la dimension onirique, tout cela dans la lumière de l’intertexte et du palimpseste en tant que modèle herméneutique. Donc, l’originalité de l’écriture bauchautienne est qu’au centre des récits surajoutés, se poursuit le récit mythique avec des parties composantes passées, réelles ou recomposées, au profit d’expériences nouvelles, d’un regard nouveau porté sur l’homme.Mots clés : Henry Bauchau, Œdipe, mythe, symbole, identité, errance, route, catharsis, intertextualité, écriture, rêve. / This research paper proposes a study of a corpus focused on the novel Œdipe sur la route by Henry Bauchau, but also referring to other works of the œdipal cycle and to the writer’s diaries. It is a study which operates on a double level that of an ontological project of the wandering characters in search for identity, for purification and that of writing strategies. The first part of this study, based methodologically on the theoretical works on myth, suggests a definition of concepts, of the relations of myth with literature, of the evolution of œdipal myth. In the centre of our work, with a comparative, argumentative, hermeneutical and stylistic analysis, we focus on Bauchau’s novel, Œdipe sur la route. We analyze Œdipus and the writer’s dreams, the road between Thebes and Colonos, the transformation from an incestuous, murderer and blind king to a bard, an artist, a tutelary hero of Athens, the main symbols and characters in the œdipal cycle and we present the Romanians’ point of view on Œdipus’ myth. The final part analyzes Bauchau’s writing: the polyphony, the anachrony, the mise en abîme technique, the intergenericity, the status of characters, the dream dimension. Everything converges to a poetics of oscillation, of doubt, of wandering. These are emphasized by an analysis in the light of inter-text and palimpsest as a hermeneutical model. Thus, the originality of Bauchau’s writing is that in the centre of added stories, Sophocles’s mythic story continues with past, real or recomposed parts, for the benefit of new experiences, of a new vision on man.Keywords: Henry Bauchau, Œdipus, myth, symbol, identity, wandering, road, catharsis, intertextuality, writing, dream.

This paper is focused on the concept of catharsis in classic Greek tragedy. In the first part, it traces historical context of this term particularly trough the work of Plato; and later, the main effort is devoted to Aristotle. It looks closely in Aristotle's Poetics and Politics, which are the only works where he mentions catharsis. After research of the Aristotle's texts, the study presents variety of interpretations that have arisen over centuries, examines them and derives an elementary understanding of catharsis. The second part of this work tries to trace catharsis in a sample of preserved tragedies of main Greek dramatists. It investigates tragic characters, plot and tragic emotions (i.e. pity and fear). The scope is to compare the Aristotle's theory and practice of dramatists, who lived one century before the theory had rised. Last but not least the study concludes by bringing forward an evaluation of this approach to the theory of Aristotelian catharsis.

Made available in DSpace on 2017-07-21T14:42:46Z (GMT). No. of bitstreams: 1 Rudy Heitor Rosas.pdf: 3661861 bytes, checksum: 906e5775e702dda91c87441329c5b4c7 (MD5) Previous issue date: 2017-02-24 / The following dissertation is the result of an approximation between rap and violence. The initial spark of the research process was Cultural Criminology which, presenting several researches on rock and violence, showed that would be possible a similar research, but with a more national style. Rap was selected because it is currently the music of a stigmatized part of the population, just as the rockers were. To approach the social, it was defined that the research would ally theoretical knowledge on the central themes (rap and violence), with empirical research, to really approach reality and theory. After some incursions into the research, it was defined that the object of this work would be the social representations of rappers about violence. The selected field was CREAS II of Londrina - Paraná. The venue was chosen for sheltering rap composers who are in a situation of violence, either through committing or through living in areas considered violent. The methodology that guides the whole process is the Case Study, with qualitative approach to the research problem. Participant observation, semi-structured interview and documentary research were selected as collection techniques and Bardin content analysis as a technique for the analysis of collected data. The field research was from April to August of 2016, in addition to other virtual contacts. To support the analysis, some theoretical references were chosen: Norbert Elias, with the concepts of mimesis, sociodynamics of power and relationship between established and outsiders; Serge Moscovici with the Social Representations, thus facilitating a better use of what is shared in the common sense of the rappers; And Slavoj Zizek with his categories of violence. The research made it possible to perceive the violence through the reports and experiences of five interviewed subjects, both in their speeches and in their compositions, which often give vent to subjects that they cannot share in daily life. / A dissertação que segue na sequência é fruto de uma aproximação entre o rap e a violência. A fagulha inicial do processo de pesquisa foi a Criminologia Cultural que, ao apresentar diversas pesquisas sobre o rock e a violência, acenderam um alerta no sentido de que seria possível uma pesquisa semelhante, porém com uma roupagem mais nacional. O rap foi selecionado por ser atualmente a música de uma parcela estigmatizada da população, assim como já o foram os rockeiros. Para se aproximar do social, foi definido que a pesquisa aliaria os conhecimentos teóricos sobre as temáticas centrais (rap e violência) com a pesquisa empírica, para aproximar de fato a teoria da realidade. Após algumas incursões na pesquisa, foi definido que o objeto desse trabalho seria as representações sociais de rappers sobre a violência. O campo selecionado foi o CREAS II de Londrina – Paraná. O local foi escolhido por abrigar sujeitos que são compositores de rap e se encontram em situação de violência, ou através do cometimento ou através da habitação em zonas consideradas violentas. A metodologia que norteia todo o processo é o Estudo de Caso, com abordagem qualitativa do problema de pesquisa. Para dar conta da metodologia, foram selecionadas a observação participante, a entrevista semiestruturada e a pesquisa documental como técnicas de coleta e a análise de conteúdo de Bardin como técnica de análise dos dados coletados. Houve permanência em campo de abril a agosto de 2016, além de outros contatos virtuais. Para dar suporte à análise foram eleitos alguns referenciais teóricos, sendo os principais: Norbert Elias, por conta dos conceitos de mimesis, sociodinâmica do poder e relação estabelecidos e outsiders; Serge Moscovici com as Representações Sociais, facilitando assim um melhor aproveitamento do que é partilhado no senso comum dos rappers; e Slavoj Zizek com suas categorias de violência. A pesquisa permitiu perceber a violência através dos relatos e experiências de cinco sujeitos entrevistados, tanto em suas falas como em suas composições, que muitas vezes dão vazão a assuntos que eles não podem ou não conseguem partilhar no cotidiano.

Made available in DSpace on 2016-04-27T19:30:54Z (GMT). No. of bitstreams: 1 Priscila de Paula Gorzoni.pdf: 10349185 bytes, checksum: d661a91833e3e7dec6045eb2cf01bcb5 (MD5) Previous issue date: 2014-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The masks are essential accessories in the visual of men and women from different cultures and eras. They are used in religious and social rituals, parties and folkloric festivities. Its meaning is different, serve as mediators during religious rituals, as well as in leisure festivities. The word mask originates from the Latin mascus or masca = ghost , or in Arabic maskharah = clown , man in disguise . In festivals, among them the Kings Folly, the masks are the main accessories of marungos, bastions or clowns. They serve not only to incorporate the character reveler how to produce a catharsis among viewers. This paper will analyze the masks of two companies of Kings Folly: one is the Santa Cecília Company, in São Caetano do Sul (SP), and the other is the Company of the Sawmill, of São Thomé das Letras (MG). At work topics such as cooking, materials, rituals and character who wears the mask are treated / As máscaras são acessórios fundamentais no visual dos homens e das mulheres das mais distintas culturas e épocas. Elas são usadas em rituais religiosos e sociais, bem como em festas e manifestações folclóricas. Seu sentido é diverso, podendo servir de mediadoras durante os rituais religiosos, assim como para lazer nos eventos festivos. A palavra máscara tem origem no latim mascus ou masca = fantasma , ou no árabe maskharah = palhaço , homem disfarçado . Nas festas populares, entre elas a Folia de Reis, as máscaras são os acessórios principais dos marungos, bastiões ou palhaços. Elas servem não só para o folião incorporar o personagem como também para produzir uma catarse entre os espectadores. Este trabalho irá analisar as máscaras de duas Companhias de Folia de Reis: uma é a Companhia Santa Cecília, em São Caetano do Sul (SP), e a outra é a Companhia da Serraria, de São Thomé das Letras (MG). Serão tratados temas como a confecção, os materiais, os rituais e o personagem que usa a máscara

Made available in DSpace on 2016-12-23T14:01:47Z (GMT). No. of bitstreams: 1 Fabricio Moraes Cunha.pdf: 1113794 bytes, checksum: d12423013854d79f0d7a9fd34b3c3894 (MD5) Previous issue date: 2013-07-23 / Com base em uma pesquisa de cunho eminentemente teórico-bibliográfica, a contribuição que segue visa abordar a relação entre o teatro e a formação humana, sob ótica da Teoria Crítica da Sociedade. O problema a que se deseja responder tem que ver com a possibilidade de o processo catártico, motivado pelo teatro, inspirar uma formação a contrapelo dos ditames educacionais vinculados à lógica do mercado. O principal objetivo é entender em que medida a experiência com o teatro, capaz de despertar a dimensão catártica, pode contribuir para a ampliação da formação humana. O conceito de formação humana adotado vincula-se à concepção de Bildung presente especialmente na obra do filósofo Theodor Wiesengrund Adorno (1903-1969). O objetivo específico, nessa primeira etapa do trabalho, foi apreender até que ponto o conceito de catarse tem sido referência nesses estudos e como, no ambiente acadêmico, tem ocorrido esse diálogo entre teatro e educação, tendo como mediação a experiência catártica. Entretanto, além de conhecermos os diferentes sentidos do termo catarse, é importante identificar as características do tipo de educação que defendemos em nossa hipótese. Por isso, o segundo objetivo específico do trabalho corresponde a compreender a proposta da educação voltada para a emancipação com base nos pressupostos teóricos do filósofo Theodor Adorno. O trajeto metodológico parte de um breve detour conceitual em obras de referência (dicionários gerais e especializados) das áreas de filosofia, artes e teatro e, em seguida, focaliza uma revisão de literatura, com ênfase nos trabalhos acadêmicos publicados por pesquisadores do campo educacional em diálogo com a área de estudos sobre o teatro. Como forma de estabelecer um contraponto entre os pressupostos adornianos e o atual contexto histórico-social, assumimos também o objetivo específico de analisar aspectos do tipo de catarse estimulada pela sociedade atual e suas consequências para os processos de formação humana. Por fim, investigamos como outro tipo de catarse, especificamente estética e promovida pela arte teatral, pode servir para uma educação emancipadora com base na teoria estética de Adorno / Based on a theoretical-bibliographical research, this dissertation aims to investigate the relationship between theater and human formation, in a perspective of Critical Theory of Society. The main goal is to understand how the experience with the theater, capable to rouse the cathartic dimension, can contribute with the growth of human formation. The issue that needs answer is related with the possibility of the cathartic process, motivated by the theater, to inspire a formation opposed to the educational commands linked to the logic of the market. The concept of human development adopted is linked to the concept of Bildung in the philosophical tradition of Theodor W. Adorno. The methodological course starts with a brief conceptual detour in reference works (general and specialized dictionaries) in the areas of philosophy, arts and theater, and then focuses on a literature review, with emphasis on academic papers published by researchers in the educational area and the dialogue with the area of theater studies. The specific goal in this first stage of the work was to understand how the concept of catharsis has been reference in these studies and how, in the academic environment, this has been dialogue between theater and education, knowing that the cathartic experience is the mediation. However, besides knowing the different meanings of catharsis , is important to identify the characteristics of education types that we support in our hypothesis. Therefore, the second specific objective of the work is to understand the educational proposal towards emancipation based on the conceptual framework of Theodor Adorno. As a way to establish a counterpoint between Adorno s assumptions and the current socio-historical context, we also assume the specific purpose of analyzing aspects of the kind of catharsis stimulated by current society and its consequences for the processes of human development. Finally, we investigated how other kind of catharsis, specifically aesthetic and promoted by theatrical art, can serve to Emancipatory Education based on Adorno s Aesthetic Theory

Creativity and innovation are attributes that are important in business and leadership today, perhaps more than ever. The recent economic crisis has shown that relying on pre-established business patterns is not enough anymore. Art has always been visionary and creativity is one of its major characteristics.   This thesis looks into the possible impact the arts can have on leadership. We ask ourselves what it is that we can learn from the arts, what they can teach us that is relevant for leaders and leadership. We have used the grounded theory and the methods suggested by Corbin and Strauss. We have conducted conversations with 12 leaders coming from different occupations who share at least one characteristic; they are all engaged in the arts. Through their experience, and through secondary data we used from studies concerning the impact the arts have on communities, we have constructed a theory. This shows that through their interaction with art, people are affected in their well-being, their personal development and their cognition. This phenomenon we have identified as the leader's catharsis.   We conclude our work by showing a map to show where in leadership research our substantive theory is useful. Further we also discuss how our findings can contribute to future leadership research. Our thesis might contribute to the discussions of aesthetics and leadership, the influence art has on the well-being of followers and how leaders can effectively form frames. Further, we suggest that the arts can be seen as a school for leadership development.

An act of violence, be it personal or institution is an event that would distress most witnesses. Yet the representation of violent acts in fictional forms as literature, drama and film often aestheticises that violence, with the result that it is possible to experience it without such distress. However, despite various conjectures being offered, no single and universal theory is possible. An aesthetic response to a representation of violence is influenced to a large extent by the degree of aestheticisation produced by the author and/or director. In addition, the aestheticisation of violence is dependent upon, and an inevitable consequence of, the representation of the violent. This dissertation is an endeavour to explore the issues that the paradox makes evident, to critique various hypotheses that have been offered as a solution, and to speculate upon a more comprehensive theory ofthe representation and aestheticisation of violence / English Studies / M.A. (English)