Orientador: Alexandre Soares Carneiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T01:53:24Z (GMT). No. of bitstreams: 1 GontijoRosa_CarlosJunior_M.pdf: 638628 bytes, checksum: 5066b9185ab000a40e9a4bf418e30c0c (MD5) Previous issue date: 2011 / Resumo: Esta dissertação tem o objetivo de analisar a personagem de Chichisbéu na peça O Precipício de Faetonte, de Antônio José da Silva (1705-1739), representada em 1739 no Teatro do Bairro Alto, Lisboa, Portugal. Partindo de perspectivas teóricas diversas, mas convergentes no sentido de compreender a pouco explorada dramaturgia do período, buscase um entendimento dos textos joco-sérios do comediógrafo. Observando as diferentes leituras do mito de Faetonte, originalmente contado por Ovídio (43 a.C.~18 d.C.) em suas Metamorfoses (séc. I d.C.), em comparação com a peça El hijo del Sol, Faetón (1662), de Calderón de La Barca (1600-1681), percebe-se no Judeu um outro tom na exploração da narrativa, usada apenas como mote, sem relação direta com grande parte das cenas da ópera. Tendo em vista que se reconhece a peça de Antônio José enquanto pertencente ao gênero tragicômico, procede-se uma análise do cômico, uma vez que cômico e trágico, mesmo que unidos num mesmo gênero, ainda preservam características distintas. Como o forma tragicômica foi amplamente difundido na Espanha no século anterior, com grande influência em toda a Europa, em seguida buscamos demonstrar como esta influência se deu em Portugal, mais precisamente nesta peça do Judeu. Como principal representante do cômico neste gênero teatral, identificamos a figura do gracioso, que se torna tema de um capítulo no qual se estudam as diversas facetas que este personagem-tipo representa em O Precipício de Faetonte, enquanto fonte de riso, entretenimento e entendimento do público em relação à fábula e às relações estabelecidas na cena. Por fim, busca-se o entendimento deste mesmo personagem (Chichisbéu, no caso) em suas relações com o galán e a relação da obra do dramaturgo com as preceptivas e técnicas de escrita teatral vigentes no período / Abstract: This dissertation is intented to analyse the character Chichisbéu in the play O Precipício de Faetonte by Antonio José da Silva (1705-1739), represented in 1739 at Bairro Alto theater, Lisbon, Portugal. Starting from different theorical perspectives, yet converging towards the comprehension of the little-explored drama of the period, it aims to understand the joco-serious texts of the comedy writer. Observing the different readings of Phaeton myth, originally told by Ovid (43 B.C.~18 A.C.) in Metamorfoses (cent. I A.C.) compared to the play El hijo del Sol, Faetón (1662), by Calderón de La Barca (1600- 1681), it is noticed in the Jew a different tone in the exploration of narrative, only used as a motto, without a direct relation to great number of the scenes of the opera. Since the play of Antonio José is regarded as belonging to the tragicomic genre, the proceeding is an analysis of the 'comic', once comic and tragic, even though gathered in the same genre, yet retain distinct characteristics. Considering that the genre of tragicomedy was widely spread in Spain in the previous century, with great influence throughout Europe, subsequentely we aim to point out how its influence took place in Portugal, more precisely in this play of the Jew. As the main representative of the comic in this theatrical genre, we identify the figure of gracioso, who becomes theme of a chapter in which are studied the various facets that this kind of character represents in O Precipicio de Faetonte, while source of laughter, enterteinment and understanding of the public concerning the plot-structure and the relations established in the scene. Finally, we seek the understanding of the character (Chichisbéu, in the case) in his relations to the galán and the relation of the playwright's work to the preceptives and writing techniques which existed in the period / Mestrado / Mestre em Teoria e História Literária

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)

Text in Afrikaans / Spieel, kamer van spieels, mise-en-abyme, representasie, ensovoorts, is almal begrippe wat met die nosie van selfrefleksiwiteit in verband gebring word. Hoewel selfrefleksiwiteit nie 'n nuwe verskynsel is nie, is die vraag waarom dit juis vandag so akuut in die literer-teoretiese diskoers neerslag vind. Dit geld veral teoretiese bydraes oor die Postmodernisme en/of Postmodemistiese tekste. Hieruit kan 'n mens aflei dat daar 'n direkte verband tussen selfrefleksiwiteit en die Postmodernisme bestaan. Hierdie studie is dan primer gemteresseerd in die wyses waarop die Postmodernistiese dramafteater die nosie van selfrefleksiwiteit in die enkoderingsproses in diens neem. Daarbenewens word ondersoek ingestel na die invloed wat die konsep van vervreemding in die twintigste-eeuse dramajteater op die verskillende beskouings van selfrefleksiwiteit gehad het. Die uiteindelike oogmerk is om aan te toon dat selfrefleksiwiteit in die Postmodernistiese dramafteater gevestigde aannames oor kuns as spieelbeeld van die werklikheid omverwerp. / Mirror, hall of mirrors, mise-en-abyme, representation, et cetera are all concepts associated with the notion of self-reflexivity. While self-reflexivity is not a new phenomenon, the question is why, in our time, it should be so acutely present in the discourse of literary theory - especially in theoretic contributions on Postmodernism and/or Postmodernist texts. One is lead to conclude that self-reflexivity and Postmodernism are directly linked. This study, then, focuses primarily on how Postmodernist drama/theatre employs the notion of self-reflexivity in the encoding process. It also explores the impact of the concept of alienation in twentieth century drama/theatre on the various views of self-reflexivity. The fmal objective is to show that self-reflexivity in Postmodernist drama/theatre challenges ftxed suppositions about art as a reflection of reality. / Afrikaans, Theory of Literature / M.A. (Theory of Literature)