CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Memorial do Convento à considerado uma das principais e mais complexas obras de Josà Saramago. MemÃria peculiar, uma vez que à a lembranÃa manifestada e narrada por um ŖnÃsŗ, o romance assume estruturas invulgares. Memorial do Convento almeja constituir-se uma lembranÃa coletiva dedicada aos homens simples responsÃveis pela grandiosa obra de Mafra. Percebemos que o objeto lembrado no romance em questÃo torna-se pleno de peculiaridades, uma vez que a memÃria que se pretende narrar nÃo se encontra como pertencente a uma individualidade, mas assume uma coletividade, e que, alÃm disso, nÃo à simplesmente a narrativa de eventos passados, mas um amÃlgama de presente, passado e redenÃÃo futura. O convento nÃo à visto somente em sua construÃÃo, mas sob o olhar de um grupo que se desloca em tempo e em espaÃo e que o observa, ao mesmo tempo, em seu assentamento de alicerces e em sua completude presente. O tratamento dado ao objeto representado e à sua memÃria afetarà inevitavelmente a estrutura do romance, fazendo com que se torne um emaranhado entre narrativa e drama: ora a memÃria à narrada em sua distÃncia temporal e espacial, ora à atualizada, assumindo caracterÃsticas dramÃticas. Pretende-se, com esta pesquisa, analisar o romance de Josà Saramago sob a perspectiva do diÃlogo estabelecido entre a sua estrutura narrativa e as inserÃÃes dramÃticas - formas de representaÃÃo que, por suas relaÃÃes com o objeto representado, sÃo causa e consequÃncia da memÃria coletiva suscitada em Memorial do Convento. Ao tratar da dramaticidade adquirida por essa obra de Josà Saramago, farei comparaÃÃes e aproximaÃÃes entre o romance e as peÃas teatrais escritas pelo prÃprio autor, alÃm de aproximar este estratagema estÃtico e estrutural daqueles utilizados no teatro e no drama Ãpicos. Enquanto o drama se debatia com a necessidade de expressar um tempo passado, utilizando-se para isso de estruturas narrativas, Josà Saramago parece ter aceitado o desafio de atualizar uma memÃria, utilizando-se de estruturas dramÃticas. Tem-se, apesar das trajetÃrias inversas, a intersecÃÃo entre os objetivos didÃticos que o teatro e o drama assumiram com Bertolt Brecht e a necessidade de crÃtica social e estÃtica, de humanizaÃÃo, que avulta em Memorial do Convento. / Memorial do Convento is considered one of the main and more complex works of Josà Saramago. It is a peculiar memory once the recollections are expressed and narrated by Ŗweŗ, and the novel is composed by unusual structures. Memorial do Convento aims to be composed by a collective memory which is dedicated to the simple men responsible for Mafrařs great work. We realize that the remembered object in the novel becomes full of peculiarities as the memory does not belong to individuality. In fact, it assumes a collectivity in which the narrative is a mix of present, past and future. The convent is not only seen as a building but it is also seen by a group which moves through time and space and observes its foundations and present completeness. The treatment given to the object that is being represented and its memory will affect the novelřs structure turning it into a mixture of narrative and drama: in some moments the memory is told according to its distance of time and place, but in other moments it is updated and assumes dramatic features. This research intends to analyze Josà Saramagořs novel from the perspective established by the dialog between the narrative structures and the dramatic insertions. These are forms of representation which are both cause and consequence of the collective memory in Memorial do Convento because of their relationships with the represented object. When dealing with drama in this work, I will make approaches and comparisons between the novel and the plays written by the same author. Besides that, I will approach this aesthetic and structural stratagem to those used in theater and in epic drama. While the drama struggled against the need of expressing a past time, which is represented by the narrative structures, Josà Saramago seems to have accepted the challenge of updating a memory by using dramatic structures. In spite of the reverse trajectories, there is the intersection between the didactic goals which theater and drama have assumed with Bertolt Brecht and the need of a social and aesthetic criticism of humanization which is pointed in Memorial do Convento.

In my thesis, I analyse the current German political drama. However, the term political drama or theatre is difficult to define in general. In my work, I understand the concepts of political drama / theatre in the narrower sense, follow the engaged, appellative, left-wing (anti-capitalist) oriented the- atre of E. Piscator and Brecht, and at the same, in the broader sense, as socio-critical drama / theatre, i.e. relating to the problems of today's "polis" (city, state) and following mainly the tradition of new German and Austrian folk plays. In contemporary German political drama, the two trends outlined in the introduction can be traced. In their works, the first line (left-wing appellative) is followed mainly by playwrights and directors F. Richter and R. Pollesch, the other line (socio-critical) by D. Loher, O. Bukowski, T. Walser, or M. von Mayenburg.

Cette thèse porte sur le film de reconstitution historique réalisé en Roumanie pendant la période communiste et vise à analyser les enjeux politiques et culturels de la mise en scène du passé national. La compréhension de cette problématique passe d’abord par la mise en exergue des différentes logiques qui ont présidé l’action étatique à l’égard de la culture et en particulier de la cinématographie tout au long de la période communiste. Nous envisageons d’analyser les conditions économiques, politiques et idéologiques de la production cinématographique, les directives concernant la thématique générale et l’orientation que le parti tente d’imprégner au cinéma. Afin de compléter le tableau des relations sociales, cette étude cherche à mettre en évidence également les positions prises par les créateurs et les bureaucrates en rapport avec une politique ou une autre, les résistances, les convenances et les collaborations. Dans un second temps, cette étude envisage la restitution des processus socioculturels qui ont donné naissance aux films historiques. Il nous intéresse de comprendre la conception interne de chaque œuvre, les forces sociales qui se mettent en route, les positions idéologiques du parti, des artistes, des bureaucrates ou des historiens, les mécanismes de prise de décision. Nous essayons de mettre en corrélation la vision des créateurs avec la position des historiens et celle du parti à travers la focalisation ciblée sur les différents niveaux d’écriture cinématographique ainsi que sur les opérations de négociations souterraines pour défendre une vision ou une autre. Enfin, le troisième niveau d’analyse s’intéresse au décryptage du film, en tant que produit artistique complexe réunissant trois formes d’expression (l’image, le dialogue et le son) dans le but de dégager les significations politiques ou culturelles de la mise en scène du passé. Nous étudions les représentations cinématographiques des mythes historiques, leur évolution des 1960 aux années 1980 et l’apport spécifique du cinéma dans leur reproduction. / The subject of this PhD dissertation is the historical reconstructions films produced in Romania under communist rule and more precisely between 1960 and 1989. It analyses the social and cultural significance of the representation of national past but also the social and political aspects involved in the production process. In order to understand these research objectives our approach we stress first various logics which chairing the state action towards the culture and in particular towards the cinematography. We intend to analyze the economic, political and ideological conditions of the film production, the directives concerning the general thematic and the orientation that the party tries to induce to the cinema. To complete the picture of social relationships, this study tries to emphasize the stand taken by the creators and the bureaucrats towards different policies, the resistances, the liking, the collaborations. Second, this study envisages the restoration of the sociocultural processes that gave birth to the historic movies. We try to understand the internal conception process of every work, the social dynamics, the ideological positions of the party, the artists, the bureaucrats or the historians and the decision-making mechanisms. We try to correlate the vision of the creators with the position of the historians and the party through a targeted focus at the various levels of film writing as well as at the operations of subterranean negotiations in order to defend a vision or another. Finally, the third level of analysis, is interested in the deciphering of the movie as a complex artistic product combining three forms of expression (image, language and sound) aiming at reveal the political and cultural meanings of past reconstruction. We study the film representations of the historic myths, their evolution from the 1960 to 1980s and the specific contribution of the cinema in their reproduction.