Made available in DSpace on 2014-06-12T18:36:32Z (GMT). No. of bitstreams: 2 arquivo8081_1.pdf: 359095 bytes, checksum: 0a4c80cf61817fda5840425b7ee5895b (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2002 / Propusemo-nos fazer, nesta dissertação, uma análise das convergências e interseções das obras teatrais A Casa de Bernarda Alba, de Federico García Lorca, e Os Sete Gatinhos, de Nelson Rodrigues, sob a perspectiva do Amor, da Liberdade e da Morte. Estudamos a interação dos temas entre si e sua relação com as obras citadas, e analisamos as coincidências na estruturação das tramas e na composição das personagens levando em consideração os princípios de autoridade e liberdade, por onde os caminhos da manifestação da sexualidade/desejo são conduzidos

The purpose of this investigation is to characterize the dramatic characters of Federico García Lorca as realists or idealists. Lorca wrote a total of fifteen plays, and the majority of them are considered in this study. Additional source materials include the works of such critics as J. Alberich, María Teresa Babín, Alfredo de la Guardia, and Francisco Umbral.

No description available.

Thesis (D.M.A.)--Boston University, 1962. From the play by Federico Garcia-Lorca, translated by James Graham-Lujan & Richard L. O'Connell.

Call number: LD2668 .T4 1966 H742 / Master of Science

The topic of my thesis is a play Mariana Pined, written by F.G. Lorca, the most signif-icant Spanish dramatist and poet of the 20th century. My thesis is divided into two main parts. The first theoretically historic part briefly introduces author's live and surroundings that strongly influenced his work and his motivation for writing dramas. This part also shortly summarises the historical and political background in context with its direct influence on his work. In addition, I would like to outline the situation, which became the foundation for story development of the main character, historical figure Mariana Pined and her faith, not dissimilar to the faith of the author. The second part of my thesis focuses on the revelation and description of the psy-chological profile of the individual characters with regards to their meaning in the plot, their motivation and analysis of names and presented symbols. I briefly sketch the plot of the drama and breakdown some situations and their consequences. Subsequently I come to my own concept of colours, shapes, costume designs and the atmosphere. Eventually I attach varieties of visual propositions of the costume solution, its development with respect to the storyline, its transformation and I would like to bring attention to the importance and necessity of costumes in the overall viewer's experience.

No description available.

Cette etude porte sur la difficulte de la traduction culturelle et plus specifiquement sur celle de la poesie. On etudiera les problemes intrinseques de la traduction de ce type de litterature en meme temps que les insuffisances des theories traductologiques contemporaines face a ces problemes. A cette fin, on analysera la traduction du poeme «Romance sonambulo» de Federico García Lorca par Stephen Spender et Joan Lluis Gili. / Thesis / Master of Arts (MA)

This essay is an analysis of the character María Josefa in the play 'The House of Bernarda Alba' (1936) by Federico García Lorca. It is hypothesized that the character of María Josefa can be considered a distorting mirror of the femininity presented in the play, and that through María Josefa this femininity is both revealed and problematized. The analysis adopts theories from the field of the (female) grotesque, using terminology both from Mikhail Bakhtin and Mary Russo. Throughout the analysis it is demonstrated how the character of María Josefa challenges the boundaries and norms which are dictated by Bernarda to control the women of the house. These conventions are challenged by María Josefa with the use of her loud speech, her dressed up appearance, and in her physical resistance. In this manner María Josefa is creating and embodying an alternate feminine view that is uncovered through her consistent provocation and by making herself into "a spectacle", a transboundary behaviour that is well interpreted within the theories of carnival, the grotesque body, and the spectacle of the female grotesque.

<p>Föreliggande uppsats syftar till att undersöka metaforiken i Federico Garcia Lorcas drama Yerma. Undersökningen tar sin utgångspunkt i föreställningen att metaforiken är betydelsebärande för dramat. Metaforiken fokuseras genom en analys som syftar till att blottlägga struktur hos metaforerna. Denna analys fungerar som övergång till en tolkning med hermeneutisk prägel. I strukturanalysen tillämpas Max Blacks interaktionsteori och tolkningen utgår framförallt från Paul Ricoeurs hermeneutiska fenomenologi, vilken även ligger till grund för kombinationen av strukturanalys och hermeneutisk tolkning. Uppsatsen undersöker på detta vis metaforikens speciella karaktär i dramat och dess referens till verkets värld. Metaforerna ses som ingående i ett större nätverk i dramat och gemensamma mönster för uppbyggnad och uttryck urskiljs.</p><p>Nyckelord: Metafor, Metaforik, Federico Garcia Lorca, Yerma, Paul Ricoeur, dramatik, spansk litteratur.</p>