Submitted by Thiago Bronzeado de Andrade (thiago@ch.uepb.edu.br) on 2018-06-04T15:49:05Z No. of bitstreams: 1 PDF - Benedito Olinto da Silva.pdf: 23860914 bytes, checksum: 7fb9324f237ec911231d2c2cc9100a0a (MD5) / Approved for entry into archive by Milena Araújo (milaborges@ch.uepb.edu.br) on 2018-06-04T18:05:04Z (GMT) No. of bitstreams: 1 PDF - Benedito Olinto da Silva.pdf: 23860914 bytes, checksum: 7fb9324f237ec911231d2c2cc9100a0a (MD5) / Made available in DSpace on 2018-06-04T18:05:05Z (GMT). No. of bitstreams: 1 PDF - Benedito Olinto da Silva.pdf: 23860914 bytes, checksum: 7fb9324f237ec911231d2c2cc9100a0a (MD5) Previous issue date: 2018-02-28 / CAPES / In view of the need to find viable alternatives for teaching and learning the reading and writing of the literary text, in order to train critical readers in elementary education II, this study aims to: (a) discuss the importance of dramatic text in the formation of "Literary readers" at school and (b) propose didactic alternatives that stimulate the productive use of these genres in Portuguese Language classes. In order to base the research, the theoretical reference used brought the contributions of Roubine (2003), Stalloni (2001), D'Onofrio (2001), Magaldi (1998), Piqué (1997), Cabral (1995), Brandão (1990) and Aristotle (1975) on discussions about the dramatic text. For the discussions about the reading and writing of the literary text - interpretation, comprehension and production - the contributions of Cosson (2014), Solé (1998), and Marcuschi (2008) among others. The research was anchored in a qualitative, documentary and action-research perspective. This work resulted in the perception that the dramatic text appears superficially in the Portuguese Language Didactic Book (LDLP), that the reading and the production of the dramatic text in the elementary school brings the students closer to literature, perceiving it as a possibility to reflect on of our reality using theatrical language as a discursive modality. / Diante da necessidade de se buscar alternativas viáveis para o ensino-aprendizagem da leitura e escrita do texto literário, com vista à formação de leitores críticos, no ensino fundamental II, este estudo objetiva: (a) discutir a importância do texto dramático na formação de “leitores literários” na escola e (b) propor alternativas didáticas que estimulem o uso produtivo desses gêneros nas aulas de Língua Portuguesa. Para fundamentar a pesquisa, o referencial teórico utilizado trouxe as contribuições de Roubine (2003), Stalloni (2001), D’Onofrio (2001), Magaldi (1998), Piqué (1997), Cabral (1995), Brandão (1990) e Aristóteles (1975) sobre discussões acerca do texto dramático. Para as discussões acerca da leitura e escrita do texto literário – interpretação, compreensão e produção – buscou-se as contribuições de Cosson (2014), Solé (1998), Marcuschi (2008) entre outros. A pesquisa ancorou-se em uma perspectiva qualitativa, de cunho documental e pesquisa-ação. Resultou-se com esse trabalho a percepção de que o texto dramático aparece superficialmente no Livro Didático de Língua Portuguesa (LDLP), que a leitura e a produção do texto dramático no ensino fundamental contribuem para aproximar os alunos da literatura, percebendo-a como possibilidade de refletir acerca de nossa realidade utilizando a linguagem teatral como modalidade discursiva.

The main aim of the study is to make a historical-biographical analysis of four selected Northern Sotho dramatic texts. Chapter one illustrates that the texts we have selected are historical dramas since they deal with the life histories of historical characters. In order to comprehend these texts, it is important to view them as evidence of oral history. The chapter also discusses the approach used by Fleischman which consists of the following parameters: authenticity, intention, reception, social function, narrative syntax and finally narrator involvement. Chapter two discusses the play Marangrang as a reflection of the consequences of Shaka's imperialism and how this affected the Eastern Transvaal in 1820. The chapter illustrates that in order to understand the life history of Marangrang, it is important to discuss it in relation to this period, popularly known as difaqane. It is clear that information about Marangrang has been deliberately distorted because of fear. Chapter three deals with the destructive consequences of Western religion on the traditional African religion. The chapter is based on the life history of Kgasane, who was murdered in 1884, allegedly for his devotion to Christianity. The chapter shows the importance of the need to make a re-interpretation of missionary writings, specifically those surrounding the Berlin Mission Society in South Africa. Chapter four focuses on the role of formal education in the destruction of the Bakgaga ba GaMphahlele history. The chapter is based on the life history of Kgosi Mmutle Ill in bringing formal education to the people of Mphahlele and how this destroyed certain traditional institutions such as chieftainship. Chapter five deals with the problems experienced by mineworkers and also shows the sufferings of Africans at the hands of the government. The chapter is based on the life of Serogole Mathobela, who once worked in the mine. Chapter six is a conclusion where the findings of the previous chapters are made. The reasons why the authors of these texts suspended certain information while highlighting other information varies from fear to propaganda. In conclusion, it is observed that in order to do justice to oral history more financial support is needed. / African Languages / D.Litt. et Phil. (African Languages)

Title: Literary text in French language teaching at Czech high schools Author: Bc. Anna Brodinová, anna.brodinova@gmail.com Department: Institute of Romance studies, Faculty of Arts, Charles University Supervisor: PhDr. Hana Loucká, CSc. Number of characters: 147 252 Keywords: literary text, poetical text, prose, dramatic text, French teaching, high school Abstract: Literary text, meaning a text enriched with aestethical quality, represents one means to convey culture of a country. Its role in foreing language teaching is to help strenghten communicative competency and develop socio-cultural competency. The way literary text is used in didactics and approached in general has changed considerably in terms of individual methodical principles of foreign language teaching. Firstly, in the period of grammar- translation method, literary text was of the utmost importance, contrary to the beginning of the period of direct methods when it was completely abandonned. Nowadays, literary text is understood as one of the effective supplements in foreing language teaching. The Common European Framework of Reference for Languages, considered to be a fundamental document for principles of foreign language teaching at present, identifies for each level of proficiency the ability of reading comprehension. This ability...

Cette étude vise à analyser la question de l’identité culturelle dans un corpus dramatique de seize textes écrits en français et en anglais par des Kenyans à l’occasion du Kenya National Drama Festival (KNDF). Tenant compte de l’histoire coloniale et du contexte post-colonial du Kenya, il s’est agi de relever dans ce corpus les marqueurs de la post-colonialité, à y identifier les thèmes majeurs et les traits constructifs de l’identité culturelle kenyane et à y déterminer les particularités culturelles. Dans une optique comparatiste, l’étude s’appuie sur les théories aussi bien post-coloniales que du théâtre. Les concepts post-coloniaux touchant la question de l’identité à travers la langue, la culture et la représentation sont identifiés et analysés dans le contexte kenyan. Pour cette raison, l’on s’est appuyé sur les travaux d’Edward Saïd, d’Homi K. Bhabha, de Chinua Achebe et de Ngugi wa Thiong’o. L’étude révèle que la population kenyane se trouve face à une multiplicité de choix culturels résultant de l’expérience coloniale, de nouvelles pratiques liées à la globalisation ainsi que des complexités et des défis de la vie quotidienne du monde moderne. Le KNDF s’avère un dispositif de sensibilisation du public aux nouveautés, de dénonciation des maux sociétaux et de promotion de normes culturelles africaines. Il apparaît ici que le recours aux langues européennes n’empêche pas de représenter des réalités culturelles locales. Le Kenya fait ainsi preuve d’une mobilité culturelle qui se manifeste dans la progression du système traditionnel vers une disposition mondialisée. / This study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition.

The main aim of the study is to make a historical-biographical analysis of four selected Northern Sotho dramatic texts. Chapter one illustrates that the texts we have selected are historical dramas since they deal with the life histories of historical characters. In order to comprehend these texts, it is important to view them as evidence of oral history. The chapter also discusses the approach used by Fleischman which consists of the following parameters: authenticity, intention, reception, social function, narrative syntax and finally narrator involvement. Chapter two discusses the play Marangrang as a reflection of the consequences of Shaka's imperialism and how this affected the Eastern Transvaal in 1820. The chapter illustrates that in order to understand the life history of Marangrang, it is important to discuss it in relation to this period, popularly known as difaqane. It is clear that information about Marangrang has been deliberately distorted because of fear. Chapter three deals with the destructive consequences of Western religion on the traditional African religion. The chapter is based on the life history of Kgasane, who was murdered in 1884, allegedly for his devotion to Christianity. The chapter shows the importance of the need to make a re-interpretation of missionary writings, specifically those surrounding the Berlin Mission Society in South Africa. Chapter four focuses on the role of formal education in the destruction of the Bakgaga ba GaMphahlele history. The chapter is based on the life history of Kgosi Mmutle Ill in bringing formal education to the people of Mphahlele and how this destroyed certain traditional institutions such as chieftainship. Chapter five deals with the problems experienced by mineworkers and also shows the sufferings of Africans at the hands of the government. The chapter is based on the life of Serogole Mathobela, who once worked in the mine. Chapter six is a conclusion where the findings of the previous chapters are made. The reasons why the authors of these texts suspended certain information while highlighting other information varies from fear to propaganda. In conclusion, it is observed that in order to do justice to oral history more financial support is needed. / African Languages / D.Litt. et Phil. (African Languages)

Made available in DSpace on 2016-12-23T14:34:17Z (GMT). No. of bitstreams: 1 Fernanda Maia Lyrio.pdf: 1091093 bytes, checksum: 6e7e3f47db061df702b455115d5db56c (MD5) Previous issue date: 2011-12-05 / Using some of Nelson Rodrigues dramaturgy researchers, such as Sábato Magaldi, Eudinyr Fraga, Décio de Almeida Prado and Adriana Facina; of critics and essayists on modern tragedy as Raymond Williams and Peter Szondi; and also of critics on Rodrigues tragedy, such as Carla Souto, Elen de Medeiros and Victor Adler Pereira among other researchers on this playwriter who comes from Pernambuco, the present proposal aims to put the play Álbum de Família (1945) in Brazilian dramaturgy scenario, observing the critics position about the third and most controversial theatrical Nelson Rodrigues text, as well as the multiple faces that this tragedy assumes given the complexity of its characters and of the text itself. For textual analysis, it will be used critical and theoretical apparatus of notions on tragedy and work its context in the national scenario, pointing out some appropriation which were made by the Brazilian playwriter of the gender in question, especially considering the innovations he proposed so that the concepts of ―tragic‖ and ―tragedy‖ would gain more singular outlines on this studied work. Anguish of existing in Álbum de Família (1945) is a proper example of the dichotomy between the ―I‖ and the ―other‖; hero and anti-hero, since the couple s photographs on the album, Jonas and D. Senhorinha, reinforce the influence of the ―other‖ on frustrations and impossibilities of ―fulfillment‖ of each component s ideals of an entire family structure; ―deformed‖, ―unpleasant‖, ―tormented‖ by the tragic unit of the text performed by them / À luz de estudiosos da dramaturgia de Nelson Rodrigues, como Sábato Magaldi, Eudinyr Fraga, Décio de Almeida Prado, Adriana Facina, de críticos e ensaístas acerca da tragédia moderna, como Raymond Williams e Peter Szondi, e de críticos da tragédia rodriguiana, a citar, Carla Souto, Elen de Medeiros, Victor Adler Pereira dentre outros estudiosos do dramaturgo pernambucano, a proposta apresentada visa a situar a peça Álbum de Família (1945) no cenário da dramaturgia brasileira, observando o posicionamento da crítica diante do terceiro e mais polêmico texto teatral de Nelson Rodrigues, bem como as múltiplas faces que essa tragédia assume dadas a complexidade das personagens e do texto dramático em questão. Serão utilizados para a análise textual, aparatos críticos e teóricos das noções de tragicidade e de contextualização da obra no cenário nacional, apontando-se, assim, as apropriações que o dramaturgo brasileiro fez do gênero em questão, especialmente no que concerne às inovações que ele propôs para que as noções de ―trágico‖ e de ―tragédia‖ ganhassem contornos mais singulares na obra estudada. A angústia de existir em Álbum de Família (1945) é a prova cabal da dicotomia existente entre o ―eu‖ e o ―outro‖: herói e anti-herói, posto que as fotografias do álbum do casal protagonista, Jonas e D. Senhorinha, reforçam a influência do ―outro‖ nas frustrações e nas impossibilidades de ―realização plena‖ dos ideais de cada um dos componentes de toda uma estrutura familiar ―deformada‖, ―desagradável‖ e ―atormentada‖ pela unidade trágica do texto que a performatiza

The diploma thesis focuses on small scene theaters which developed in the 1950s and represent a unique generational movement within the Czech cultural framework. This final project aims to describe the distinctive poetics of two of the Czech small theaters - the theatre Semafor and Studio Ypsilon. The description itself is based on the analysis of the original dramatic texts produced by their main representatives, Jiří Suchý and Jan Schmid. The thesis opens with the domain of the small scene theaters as such, its definition and characteristics. In order to provide a comprehensive perspective on the matter, the authorial theater and its specifics is further discussed. The main part of this thesis then concentrates on the origins of the two theaters, their profiles during the period of 1960s to 1990s and, eventually, their present form. Finally, despite the different conditions of existence of the two theaters, and the cultural, historical and political context, a comparison of the two poetics is proposed. KEYWORDS small scene theatre, author's theatre, theatre Semafor, Studio Ypsilon, Jiří Suchý, Jan Schmid, drama, dramatic text, poetics

The Master's thesis provides an analytic overview of translated dramatic texts from French to Czech after 1989. It focuses on the proportional representation of contemporary plays as well as on translators' work. The first part of the thesis gives a brief idea of contemporary French dramatic art and points out different expectations of French theatre spectators and readers in comparaison with the Czech ones. Subsequently, the specificity of drama translation and the role of translator in drama translation process is clarified according to existing theories. The main part focuses on analysis of list of the Czech translations created between 1990 and 2015 that are available to the public. As expected, drama publishing shows marginal and decreasing tendency and the majority of published authors are represented by classics. In general, contemporary texts prevail among theatre agency translations, most of which are represented by comedy plays. However individual efforts and projects help to broaden the image of French contemporary drama. Individual interviews with translators and publishers enrich the analysis with experience from professional practice. Key words: contemporary French drama, drama translation, dramatic text, role of translator, sociology of translation, translation production, drama...

Resumé The diploma thesis represents a complex teaching method which is especially suitable for educating of students in their first year at secondary schools, or in the last year at lower secondary schools. This method introduces students to the basics of the secondary school literary education and to the "summary" characteristics of a literary work. The aim of the method is to guide students by means of the method of experiential pedagogy to acquire the whole complex of knowledge and skills in the field of interpretation and analysis which is required for the State part of school-leaving examinations. The method also aims to create and strengthen mutual relationships inside teams of students and the ability of students to cooperate more closely. The method is built up on four starting points: the constructivism, the creation or creativity, the comparison, and dramatic texts with drama education. We have chosen dramatic texts because, from the point of view of literary-theoretical analysis, they contain all the basic categories of "syuzhet" genres; all, apart from narration and narrators. In addition, and in contrast to epics, the interpretation of drama becomes a greater challenge due to the "gaps" which must be filled by the reader. In the method, we meaningfully connect the analysis and interpretation...

<p>Позоришни редитељ Боривоје Ханауска незаобилазан је у проучавању делатности Српског народног позоришта у периоду после Другог светског рата. Ханауска је од 1945. до 1967. (са прекидом од 1948. до 1952) у Српском народном позоришту режирао тридесет представа. Овај рад приказуке редитељски рад<br />Боривоја Ханауске у СНП, једног од најзначајнијих редитеља СНП-а, и на најбољи<br />начин показује његовог значај и допринос развоју режије у српском послератном<br />позоришту. Методи истраживања били су историјски, театролошки, реконструкција и<br />анализа свих тридесет представа које је Ханауска режирао у СНП, као и синтеза<br />добијених резултата. Овај рад на основу доступне грађе обухвата сваки сегмент<br />његовог рада на представи. У раду му је био важан сваки детаљ представе, залагао да домаћи драмски текст буде што више присутан на сцени, да се са сцене чује домаћи текст, а посебно је водио рачуна о визуелном аспекту. Један је од зачетника новог приступа драмској режији. Из сваке његове представе, у мањој или већој мери, излазила је поетичност, коју је носио дубоко у себи. Рад је илустрован палкатима и фотографијама из представа, а доноси и попис свих представа које је режирао са пописом свих актера, бројем извођења у СНП и на гостовању, као и бројем гледалаца.</p> / <p>Pozorišni reditelj Borivoje Hanauska nezaobilazan je u proučavanju delatnosti Srpskog narodnog pozorišta u periodu posle Drugog svetskog rata. Hanauska je od 1945. do 1967. (sa prekidom od 1948. do 1952) u Srpskom narodnom pozorištu režirao trideset predstava. Ovaj rad prikazuke rediteljski rad<br />Borivoja Hanauske u SNP, jednog od najznačajnijih reditelja SNP-a, i na najbolji<br />način pokazuje njegovog značaj i doprinos razvoju režije u srpskom posleratnom<br />pozorištu. Metodi istraživanja bili su istorijski, teatrološki, rekonstrukcija i<br />analiza svih trideset predstava koje je Hanauska režirao u SNP, kao i sinteza<br />dobijenih rezultata. Ovaj rad na osnovu dostupne građe obuhvata svaki segment<br />njegovog rada na predstavi. U radu mu je bio važan svaki detalj predstave, zalagao da domaći dramski tekst bude što više prisutan na sceni, da se sa scene čuje domaći tekst, a posebno je vodio računa o vizuelnom aspektu. Jedan je od začetnika novog pristupa dramskoj režiji. Iz svake njegove predstave, u manjoj ili većoj meri, izlazila je poetičnost, koju je nosio duboko u sebi. Rad je ilustrovan palkatima i fotografijama iz predstava, a donosi i popis svih predstava koje je režirao sa popisom svih aktera, brojem izvođenja u SNP i na gostovanju, kao i brojem gledalaca.</p> / <p>The theatre director Borivoje Hanausca is an unavoidable figure in the study of the Serbian National Theatre (SNP) activities in the period after the Second World War. Hanausca directed thirty plays in the Serbian National Theatre from 1945-1967(with a break from 1948-1952). This study describes the work of the theatre director Borivoje Hanausca in the Serbian National Theatre being one of the most significant directors in it and in the best way presents his contribution to the development of directing in the Serbian post-war theatre. The research methods in this work are historical and<br />theatrical; reconstruction and analysis of all the thirty plays Hanausca directed in the Serbian National Theatre as well as the synthesis of the results that were obtained. This study includes each part of his work in his plays, on the basis of the material which was available. He considered every single detail of his plays important; he supported Serbian plays to be both present and heard from the stage as much as possible and he particularly took care of visual aspects. He is one of the<br />creators of the new approach to theatre play directing. Poetics he had deep within himself came out and was present, more or less, in his plays. This work is illustrated with posters and photographs from his plays and there is a list of all plays he directed and the names of all the people involved in the performances, the number of performances in the Serbian National Theatre and performed on tour, as well as the number of audiences.</p>