Made available in DSpace on 2015-05-14T16:53:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-04-29Bitstream added on 2015-05-14T16:59:25Z : No. of bitstreams: 1 000822571.pdf: 1187833 bytes, checksum: c2815891263d9ed4d5d177351d31217d (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Este trabalho propõe o estudo do poema em prosa de dois poetas simbolistas: o brasileiro João da Cruz e Sousa (1861-1898) e o nicaraguense Rubén Darío (1867-1916). A presente dissertação busca compreender os aspectos do poema em prosa dos autores citados, relacionando-os com o período simbolista no Brasil e na Hispano-América, a fim de demonstrar a importância das inovações e das rupturas realizadas pelos autores no campo da poesia por meio do poema em prosa. Para isso, partimos da obra Missal (1893) de Cruz e Sousa, composta por 45 poemas em prosa, que tendem mais para o lado impressionista, já foi alvo de muitas críticas ao longo da História Literária, sendo por vezes considerado um livro de menos importância dentro do quadro geral de obras do poeta brasileiro. Em paralelo a essa obra, analisamos também Poemas en prosa (1948) de Rubén Darío, uma compilação argentina que reúne 25 poemas em prosa do autor nicaraguense esparsos em várias obras ao longo de sua vida. A comparação entre essas poéticas nos permite compreender as produções em prosa de ambos os autores, bem como verificar a importância dessas rupturas para a poesia moderna / Ese trabajo propone un estudio del poema en prosa de dos poetas modernistas: el brasileño João da Cruz e Sousa (1861-1898) y el nicaragüense Rubén Darío (1867-1916). Nuestra disertación busca comprender los aspectos del poema en prosa de los autores citados, relacionándolos con el período modernista en Brasil y en Hispanoamérica, con el objetivo de demostrar la importancia de las innovaciones y de las rupturas realizadas por los autores en el campo de la poesía a través del poema en prosa. Para eso, utilizamos la obra Missal (1893) de Cruz e Sousa, compuesta por 45 poemas en prosa que se acercan a la tendencia impresionista y que fue objeto de varias críticas a lo largo de la Historia de la Literatura, siendo muchas veces considerado un libro de menor importancia dentro de la relación de las obras del poeta brasileño. Paralelamente a esa obra, analizamos también Poemas en prosa (1948) de Rubén Darío, una compilación argentina que reúne 25 poemas en prosa del autor nicaragüense, que se encuentran aislados en varias obras a lo largo de su vida. La comparación entre esas poéticas nos permite comprender y valorizar las producciones en prosa de ambos autores, así como percibir la contribución que la poesía modernista dejó para la poesía de vanguardia

Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 Melize.pdf: 2987208 bytes, checksum: 1c8ba2cc8b82ebc6c79bd2dd9d9f8536 (MD5) Previous issue date: 2008-06-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research investigates in which dimension the formalization of the procedures from solo theater of physical line, in which the scene determines the spoken text, offers concrete ways to a specific problem in the performing arts: the gesture-speech relation. To check the hypothesis and problems of the theme of this research two works presented by Brazilian groups that have as base for their dramaturgy the monologues written by the Italian actor and dramaturg Dario Fo were analyzed: A descoberta das Américas, presented by Julio Adrião, directed by Alessandra Vannucci and produced by the production team Leões de Circo Pequenos empreendimentos from Rio de Janeiro and Il Primo Miracolo, presented and directed by Roberto Birindelli, of the Cia do Bebê from Porto Alegre. The research focuses on the analysis of some elements that constitute gestural score of these spectacles and their relation to the text, such as: repetition, fragmentation, breaks, description, sense creation, textual embodiment and its intertextual relations / Esta pesquisa investiga em que dimensão a formalização de procedimentos provenientes do teatro-solo de linha física, no qual a cena é determinante do texto falado, oferece caminhos concretos para um problema específico da arte teatral: a relação gestualidade - palavra. Para a verificação das hipóteses e problematização do tema desta pesquisa, foram analisados dois trabalhos apresentados por grupos brasileiros que possuem como base para sua dramaturgia os monólogos escritos pelo ator e dramaturgo italiano Dario Fo: A descoberta das Américas, representado por Julio Adrião, dirigido por Alessandra Vannucci e produzido pelo Núcleo de Produção Leões de Circo Pequenos Empreendimentos do Rio de Janeiro, e Il Primo Miracolo, representado e dirigido por Roberto Birindelli, da Cia do Bebê de Porto Alegre. A pesquisa está centrada na análise de alguns elementos que constituem as partituras gestuais destes espetáculos e sua relação com o texto, tais como: repetição, fragmentação, quebras, descrição, criação de sentido, corporificação do texto e suas relações intertextuais

This thesis aims to explore the influences and references, with a particular focus from occultism and western esotericism, found in the film trilogy of The Three Mothers directed by Dario Argento. The trilogy composed of Suspiria, Inferno and The Mother of Tears was produced in a timeframe of thirty years from 1977 to 2007, so it embeds three decades, it also reflects the willingness from the director to disconnect himself from the usual representation of supernatural and horror films of witches and power. The three films Suspiria, Inferno and The Mother of Tears, present an innovative point of view, first of all, the representation of power in the context of horror and secondly, for the nature of references distributed throughout the trilogy. This thesis presents a film analysis of Suspiria, Inferno and The Mother of Tears investigating the semiotics behind the symbols, storytelling, characters, and technical aspects of film production. This work concludes that the deep desk research conducted by Argento on occultism and western esotericism before engaging into the production has deeply influenced it. The references to occultism, western esoteric schools, Steiner and alchemic influences are several, Christianity is also present in the trilogy with a dystopic lent. There is also a gender aspect analysed in the trilogy connected with the representation of feminine power, as the mothers in the trilogy represent witches, a supreme independent source of truth and power disconnected from any Christian and/or masculine representation. Suspiria, Inferno and The Mother of Tears can be then interpreted as a way to challenge the patriarchate power. This thesis is opening with the relevance of references from occultism to be found in several expressions of popular culture in our contemporary society. However, this aspect has not been investigated further than that. It has been utilized to serve the purpose of highlighting the elements in common between Argento’s trilogy and those expressions of popular culture (i.e. horror and supernatural TV series). If this research will be one day extended, the next step would be to find, in other expressions of popular culture (films, manga, graphic novels…), references in line with the ones traced in the trilogy. This would lead to investigate further the way occultism has influenced expressions of art and culture. Another point that is kept for a potential future research, would be to investigate which other examples of horror and supernatural films will be produced (or had been produced), where power and feminine representation breaks the traditional tendency of connecting power either with a Christian notion of evil or with a patriarchal form of power. In this regard, I am sure expressions from Artificial intelligence will come to play a role, but this is due maybe for the future, and maybe for another research to connect these dots.

No description available.

Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. / This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling.

La commedia dell'arte is a recognized, vibrant theatrical form that emerged in Italy during the Renaissance. However, while great attention has been given to the particulars of the genre (performance techniques, important troupes, leading players), there lacks a study behind the reasoning for its vast international popularity. In this thesis, I explore why this particular genre was able to cross cultural and linguistic boundaries, finding a dedicated and enthusiastic following in most European countries for over 200 years. After analyzing commedia dell'arte's original development in the Italian peninsula, examining the predominating Carnival ideology and the ability of the troupes to establish both regional and national symbols through the creation of specific stock characters, I will concentrate on the international tours and performances. By looking at the adaptive qualities of the troupes, and specifically their ability to play off of Europe's lack of national identity and Northern European's fascination with their exotic southern neighbor, I will discuss the reaction of Northern Europe with the Italian theatre, with a detailed look into the success of the troupes abroad. The popularity of the troupes will also be explored through the unique adaptation, assimilation and adoption of commedia dell'arte techniques and characters into developing national theatres of the other countries. I will conclude with a look of how commedia dell'arte has been and can continue to be effectively used in today's theatre. The examination of what drew both native and foreign audiences to the commedia dell'arte performances opens up possibilities for modern practitioners who wish to capitalize on the ability of the troupes to successfully play to a wide spectrum of people.

No description available.