Submitted by Pedro Barros (pedro.silvabarros@ufpe.br) on 2018-07-04T20:49:30Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) TESE Amanda Barros de Melo.pdf: 1038337 bytes, checksum: 98f8e95073ee6805bfa965e9a5e95b34 (MD5) / Made available in DSpace on 2018-07-04T20:49:30Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) TESE Amanda Barros de Melo.pdf: 1038337 bytes, checksum: 98f8e95073ee6805bfa965e9a5e95b34 (MD5) Previous issue date: 2017-02-07 / CAPES / O escritor português Urbano Tavares Rodrigues militou tanto na produção ficcional, quanto na atividade crítica. Em ambas as esferas, é detectável um elemento recorrente: o donjuanismo. Articulando a leitura das duas primeiras composições literárias acerca do mito de Don Juan (as peças de teatro redigidas por Tirso de Molina e por Molière) às discussões empreendidas por analistas em torno da personagem (por Rodrigues, inclusive), propomos a investigação de um corpus de contos e de ensaios críticos do autor. Nosso intuito é observar em que medida a essência do mito permanece ou se refaz no contexto -- português -- em que as obras se inserem e quais as implicações decorrentes. Para tanto, contemplamos desde a primeira publicação de Rodrigues, de 1952, até uma das últimas, de 2003. Os contos, particularmente, são organizados por meio dos temas recorrentes na obra do autor, a saber: amor, morte, sexo, erotismo e a mulher. Tais fatores são discutidos por meio do comentário às narrativas, com a abertura a contribuições de mais de uma vertente Estudos Literários (com importância particular à Filologia). Percebe-se, em todo o curso da investigação, a convergência entre o projeto crítico e ficcional do autor, assim como a permanência, ainda que recriada, do mito de Don Juan. / The Portuguese writer Urbano Tavares Rodrigues campaigned for both fictional production and critical activity. In each area, a frequent element is detectable: the donjuanismo. Linking the first two reading literary writings about Don Juan’s myth (the plays written by Tirso de Molina and Molière) to the undertook discussions by analysts around the character (by Rodrigues), we propose the investigation of a corpus of short stories and critical essays of the author. Our intent is to observe to what extent the essence of the myth remains or remakes itself in the context – Portuguese – in which the writings insert themselves and what are the resulting implications. For this purpose, we include since the first Rodrigues’ publication, from 1952 until one of the last, from 2003. The short stories, especially, are organized through recurring themes on the author’s work, namely: love, death, sex, eroticism, and the woman. These facts are discussed through the comments to the narratives, opening to contributions of more than one literary studies strand (with particular relevance to Philology). It is realized, throughout the whole course of its investigation, the convergence between the author’s critical and fictional project, as well as the permanence, although recreated, of Don Juan’s myth.

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This thesis explores the various manners in which schadenfreude – taking pleasure in the misfortunes of others – functions in the theatrical works of Golden-Age Spain, specifically in three donjuanesque plays of the seventeenth century. The first chapter of the thesis analyses schadenfreude as exercised in Tirso de Molina’s "El burlador de Sevilla y convidado de piedra," a play in which Don Juan’s pleasurable deceptions incur the enjoyment of his demise. In the second chapter, a variation on the theme of Don Juan finds playwright Alonso de Córdoba y Maldonado applying schadenfreude as a literary technique in his play "La venganza en el sepulcro." Finally, a female representative of the Don Juan archetype is examined in the third chapter, which features María de Zayas y Sotomayor’s only known comedy "La traición en la amistad." / Graduate / 0465 / 0294 / 0313 / tmak@uvic.ca