Master of Music / School of Music, Theatre, and Dance / Patricia Thompson / This Master’s Report is in the form of extended program notes on works performed on a graduate recital for a mezzo-soprano. The notes include biographical information, and a literary and historical exploration of the piece selected, to discuss the overall theme of the feminine character as she appears in contrasting works. Translations of the texts are included in the body of the text. The pieces discussed are Debussy’s Trois Chansons de Bilitis, Rossini’s “Cruda Sorte!...Già so per practica” from L’Italiana in Algeri, selections from Wolf’s Spaniches Liederbuch, Massenet’s “Va! Laisse couler mes larmes” from Werther, Lori Laitman’s Daughters, Handel’s “In gentle murmurs will I mourn” from Jephtha, and Granados’s La maja dolorosa No. 1, 2, and 3. The graduate recital was given in partial fulfillment of the requirements for the Master of Music degree in vocal performance on March 29th, 2015 performed in All Faiths Chapel at Kansas State University. It featured the piano talents of Amanda Arrington, with the aid of Jillian Emerson on cello, Janice McGregor on violin, and Christopher Gugel on flute.

Made available in DSpace on 2017-07-21T20:49:35Z (GMT). No. of bitstreams: 1 Luciana Asadczuk.pdf: 1189262 bytes, checksum: a5b4a0676e6acda8ef355eedbfe0da1a (MD5) Previous issue date: 2017-04-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work has the principal aim analyses the trajectory of the feminine characters in the Sonia Coutinho work and the clash that they live between “accept old papers” established by patriarchy, living submissive or live the “human vocation”, that is, live freely like social subjects. From this context, from the instauration of the patriarchal and your high predominance, your resistance in some Brazil regions in the XX and XXI centuries, I make the analysis of the difficulties, the challenges of the protagonists characters faced in the Coutinho tales, published in 1970, 1985 and 2006, respectively. Baiana and one of the most important writers of fiction of the contemporary literature, Coutinho covers the in-transition woman, breaking with the conservatory standards and inserting themselves in the society. The analysis is held from the narrative spaces, that work like a clash between the submission and the character transgression. It was observed the feminine condition in these represented times in the tales, like how the feminine character lived in these different contexts, as well as your displacement of the provincial town to Rio de Janeiro, a developed city. With the feminine focus, the analysis explores the tales Nascimento de uma mulher (1970), O último verão de Copacabana (1985) and Ovelha Negra e Amiga Loura (2006) with theoretical reference based on the concepts of Brazilian feminism scholars, the history of the woman and their trajectory, Coelho (2002), Perrot (2007), Duarte (2011), Teles (1999), Xavier (1991), among other. Also with the theoretical contribution of Del Priore (2009; 2013), Velho (1973), Teixeira Coelho Netto (1981), Leiro (2003), Beauvoir (1970), Theories of literary space, literary theory,as well as articles, theses and dissertations about the theme. / Este trabalho tem como objetivo principal analisar as trajetórias de personagens femininas na obra de Sonia Coutinho bem como o embate que elas vivem entre “acatar velhos papéis” estabelecidos pelo patriarcalismo vivendo, portanto, submissas ou viver a “vocação de ser humano”, ou seja, viver livremente como sujeitos sociais. A partir do contexto da instauração do sistema patriarcal e de sua forte predominância, sua resistência em algumas regiões do Brasil ainda no século XX e XXI, analisa as dificuldades, os desafios enfrentados pelas personagens protagonistas dos contos de Coutinho, publicados em 1970, 1985 e 2006, respectivamente. Baiana, e uma das mais importantes ficcionistas da literatura contemporânea, Coutinho aborda a mulher em transição, rompendo com as normas conservadoras e se inserindo na sociedade. A análise é realizada a partir dos espaços da narrativa, que funcionam como embate entre a submissão e a transgressão das personagens. Foi observada a representação da condição das personagens femininas nos contos, como viviam nestes diferentes contextos, bem como seus deslocamentos da cidade provinciana para o Rio de Janeiro, cidade mais desenvolvida. Com foco feminista, a análise explora os contos de Nascimento de uma mulher (1970), O Último verão de Copacabana (1985) e Ovelha Negra e Amiga Loura (2006) com referência teórica respaldada nos conceitos de estudiosos do feminismo brasileiro, da história da mulher e sua trajetória, Coelho (2002), Perrot (2007), Duarte (2011), Teles (1999), Xavier (1991), dentre outras. Também com contribuições teóricas de Del Priore (2009; 2013), Velho (1973), Teixeira Coelho Netto (1981), Leiro (2003), Beauvoir (1970), teóricos do espaço literário, da teoria literária, bem como artigos, teses e dissertações acerca do tema.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-04-18T13:05:16Z No. of bitstreams: 2 Tese - Alessandra Fabrícia Conde da Silva - 2018.pdf: 1843964 bytes, checksum: 34e19a9c19065b3bced0c3c6cdd0256a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-18T15:25:53Z (GMT) No. of bitstreams: 2 Tese - Alessandra Fabrícia Conde da Silva - 2018.pdf: 1843964 bytes, checksum: 34e19a9c19065b3bced0c3c6cdd0256a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-18T15:25:53Z (GMT). No. of bitstreams: 2 Tese - Alessandra Fabrícia Conde da Silva - 2018.pdf: 1843964 bytes, checksum: 34e19a9c19065b3bced0c3c6cdd0256a (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-19 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / I perceive the Judaeo-Christian tradition as more comprehensive than it is treated in the biblical canon. This work aims to unfold paths undertaken by some Judaeo-Christian myths, that is, mythical structures, which corroborated the construction of new myths, such as those of Percival’s sister and Solomon’s wife – characters of A demanda do Santo Graal (1995), Portuguese translation from the 15th century, copy of a French sample from the 18th century. In this trajectory, it is essential to consider, besides the biblical scripture, some apocryphal manuscripts which lend literary elements of feminine prominence and humility to the matter of Britain. This character, for example, was scarcely referred in the Portuguese Demand; therefore it is essential that La queste del Saint Graal (1923), present in Vulgata, be consulted for the purpose of studying the narrative of Solomon’s wife. Thus, according to the Judaeo-Christian tradition one can attest that the elements borrowed from it, still echo in discourses, which sometimes vilify and sometimes defend women, making them exemplary and heroic feminine figures, despite carrying the heavy burden of anti feminine tradition. Such misogynous burden is noticed in the narratives that aim at legitimating the Grail’s hero lineage, taking the Hebrew kings from the biblical tradition as ancestors. It is from this androcentric nucleus that heroic feminine narratives will emerge, softening the bitterness against women, in the moment heroes find themselves in abulia in face of the unknown. For this purpose, the dissertation carries out an analytical study of the referred literary pieces, following the methodological procedures of bibliographic, qualitative research, identifying the literary, sociological, historical and cultural perspectives. It tried to unveil the paths taken by the characters Percival’s sister and Solomon’s wife, along their mythical trajectory, compatible to the Judaeo- Christian tradition. / Compreendendo que a tradição judaico-cristã é mais extensa do que está grafado no cânone bíblico, este trabalho propõe-se a desvelar os caminhos percorridos por alguns mitos judaico-cristãos, isto é, estruturas míticas que amparam a construção de novos mitos, como os da irmã de Persival e da mulher de Salomão, personagens presentes n’A demanda do Santo Graal (1995), tradução portuguesa do século XV, cópia de um exemplar francês do século XIII. Neste percurso, é necessário que se considere, além do texto bíblico, alguns textos apócrifos que emprestaram motivos literários da proeminência e da humildade femininas à matéria da Bretanha, como os que estruturaram os mitos da irmã de Persival e da mulher de Salomão. Esta personagem, por exemplo, recebe apenas poucas citações na Demanda portuguesa, sendo indispensável o manuseio de La queste del Saint Graal (1923), presente na Vulgata, para se conhecer a narrativa da mulher de Salomão. De tal modo, seguindo a tradição judaico-cristã, vê-se que os motivos, dela tomados de empréstimo, continuam por ecoar discursos que ora difamam, ora defendem a mulher, tornando as personagens figuras exemplares e heroicas, ainda que carreguem o fardo da tradição antifeminina. Tal fardo misógino será percebido nas narrativas que visam a legitimar a linhagem do herói do Graal, tomando como ancestrais os reis hebreus da tradição bíblica. É neste núcleo androcêntrico que irromperão as narrativas heroicas femininas, suavizando o ranço contra as mulheres, quando os heróis mostrarem-se em abulia frente ao desconhecido. Para tanto, a tese, realizando um estudo analítico das mencionadas obras, pautando-se na pesquisa de cunho bibliográfico e qualitativa, reconhecendo o viés literário, sociológico, histórico e cultural, procurou deslindar os caminhos percorridos pelas personagens, a irmã de Persival e a mulher de Salomão, em sua trajetória mítica, segundo a tradição judaico-cristã.

En ce début du XXIème siècle, un nombre d’auteurs sans cesse plus important développe un véritable enthousiasme pour des thématiques féminines. Plus précisément, il s’agit pour eux de mettre en exergue la quête identitaire des femmes dans notre société. Cette littérature révèle une omniprésence du corps et de la sexualité en lien étroit avec la société et les schémas culturels imposés tenant ainsi un discours novateur sur les femmes. Le but de cette recherche est de montrer comment un discours littéraire, en reprenant les discours socioculturels, féministes et psychanalystes du moment, conçoit la question de la femme et quelle représentation de la femme il produit. Face à cette réflexion sur la question de la femme et son identité, cette thèse centre son étude sur les romans de trois auteurs, Virginie Despentes, écrivain français, Lucía Etxebarria, écrivain espagnol et Maïssa Bey, écrivain algérien francophone. L’être femme est représenté dans un rapport avec la violence masculine mais aussi avec sa propre violence, dans son rapport au corps et à la sexualité, par des relations humaines conflictuelles ainsi que par une aliénation sociale et culturelle. Le personnage féminin est un personnage seul, enfermé dans une identité dans laquelle il ne se reconnaît plus et qu’il rejette. La quête de soi et de la reconnaissance de soi laisse apparaître leurs aspirations, en contradictions avec leurs attributions. A la fin de chaque roman, l’individualisation de la femme est envisagée par la reprise de parole. La reconstruction de soi ne peut être permise que par la maîtrise de la parole sur soi, et la quête d’individualisation doit se poursuivre / In our early 21th century, an increasingly number of writers gets a real enthusiasm for woman-related themes. More precisely, their purpose is to underline the identity quest of women in our society. This kind of literature uncovers a constant involvement of body and sexuality closely linked to society and to cultural schemes that society imposes - thus leading these authors to hold an innovative discourse about women. Our research aims to show how a literary discourse, drawing from actual sociocultural, feminist and psychoanalytic discourses, conceives the Woman issue and which representation of woman it can create. At the hands of this reflection about the Woman issue and her identity, the study focuses on three female authors’ novels, Virginie Despentes, a french writer, Lucia Extebarría, a spanish writer and Maïssa Bey, an algerian French-speaking writer. The woman being is portrayed in her relations with male violence but also with her own violence linked to her relation to body and sexuality, and through human struggles and a social and cultural alienation. The female character is lonely, confined to an identity in which she does not recognize herself anymore and that she rejects. The quest for self-knowledge and for self-recognition lets its longings emerge, in contradiction with their remit. In the end of each novel, woman’s individualization is imaged through a takeover of speech. Self-reconstruction can only be possible thanks to a control of speech about oneself and the individuation quest has to keep going

Made available in DSpace on 2016-04-28T19:59:03Z (GMT). No. of bitstreams: 1 MARIZETE_BORGES_DE_ABREU.pdf: 451206 bytes, checksum: 97d730c4046114335bb9dbef1eee8564 (MD5) Previous issue date: 2007-05-10 / In this work, we made a study of novels Desmundo of Ana Miranda and Memorial do Convento of José Saramago, specifically the narrative structure and feminine characters Oribela and Blimunda. The comparative method was used to promoving a dialogue between brazilian and portuguese literature. The authors made a History s critical revision, when through fiction, anonymous and stranger people had opportunity to show a new version of facts. In this way, the forgetful people and everyone who were quiet or had kept in silence by oficial history for years earned voice. The fictional procedures and organization of narratives reveal ideological marks of past that contrast with present, we have the time of history in direct confront with time of writing. Feminine characters are agents of social transformation, too. They keep themselves an ideological speech which approach them to the present. They look into their reality, and thought acute sense show us aspects of nature and human relationship had never seen before. The sensibility, capacity to appreciate the world and years of repression make the feminine characters a spokeswomen of excluded people such as poors, women and jewish beyond all persons who had an inadequate behaviour to pattern of period. Therefore, our purpose was reveal the manner as writters articulated literature elements mixing ideological aspects of present and past, history and fiction to build a ficcional universe which destroy the dominant ideology / Neste trabalho fizemos uma análise da estrutura narrativa dos romances Desmundo de Ana Miranda e Memorial do Convento de José Saramago e das respectivas personagens Oribela e Blimunda. Utilizamos o método comparativo como instrumento de análise com o propósito de promover o diálogo entre as literaturas brasileira e portuguesa. Os romances fazem uma revisão crítica da história ao dar voz aos esquecidos, àqueles que foram calados pela História oficial. A organização estética, os procedimentos literários comuns ao corpus evidenciam marcas ideológicas de um tempo histórico que se contrapõem ao tempo da escritura. Por outro lado, a construção de personagens femininas que se destacam pelas atitudes e pela forma diferente de pensar e enfrentar a realidade, tornam-nas agentes de transformação social, portadoras de um discurso ideológico que as aproximam da contemporaneidade. É por meio da agudeza do olhar que essas personagens conseguem apreender o real em todas as suas nuanças e perceber aspectos da natureza e das relações humanas, impossíveis de serem captadas por indivíduos cuja visão é embotada pelo processo de automatização social. A sensibilidade, a capacidade de apreensão do mundo e o fato de ter sido calada durante tanto tempo, faz da personagem feminina uma espécie de porta-voz dos excluídos, seu discurso ganha uma dimensão que extrapola os limites do próprio romance. Sua perspicácia e agudeza, assim como a forma como penetra e revela a natureza e as relações humanas materializam-se esteticamente na narrativa. Nosso objetivo, portanto, foi mostrar como os escritores articularam os elementos literários absorvendo traços ideológicos do presente e do passado e revelar de que maneira as protagonistas femininas se desenvolveram como agentes de transgressão social por meio de um discurso literário que esfacela a ideologia dominante