Orientador: Flávio Ribeiro de Oliveira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T23:09:44Z (GMT). No. of bitstreams: 1 Soares_MarinaPeixoto_M.pdf: 3795789 bytes, checksum: 6535fed014bae350a69e6c944a1cf5c6 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem como objeto de estudo a comédia grega As Rãs, do poeta Aristófanes (c. 450 a.C.). Nosso principal objetivo é a realização da tradução da peça para o português, buscando preservar as características do estilo do autor e os efeitos cômicos que predominam nas obras do gênero. Além da tradução, elaboramos também uma introdução à peça, visando esclarecer alguns aspectos relacionados à obra que nos pareceram relevantes para sua compreensão durante nossa pesquisa. Por fim, apresentamos alguns comentários que abordam a visão da crítica contemporânea a respeito dessa comédia de Aristófanes / Abstract: The subject of this research is the Greek comedy Frogs, by Aristophanes (c. 450 a.C). Our main goal is the accomplishment of the translation of the play to the Portuguese language, trying to preserve the characteristics of the author¿s style and the comic effects that predominate in the works of this kind. Besides the translation, we also elaborate an introduction to the play, with the aim of clarifying some aspects related to the comedy that seemed relevant to us during our research. At last, we present some commentaries that approach the contemporary criticism of this play / Mestrado / Linguistica / Mestra em Linguística

This dissertation claims contributions on two fronts. First, it aims to contribute to the theory of reception with a practical model of reading postclassical texts that substantially engage ancient ones. In the second place, it contributes three individual readings of three important works of literature on which nothing has been written by anglophone classicists working on classical reception: José Watanabe’s Antígona, Christine Brooke-Rose’s Amalgamemnon, and Anne Carson’s Economy of the Unlost. This dissertation’s contribution to the theory of reception is the proposition of a practical schema of reading, which is a figure upon which the imagination can operate. Simply put, it posits a schema as the place where meaning is construed. The schema calls attention to the constructedness of meaning and to the act of construction and organizes different moments of “reception”: that of the postclassical text receiving the ancient one (which the schema imagines as a vertical line) and that of the scholar receiving that particular instance of reception, the “I” of interpretation, which is theorized as one of two axes of transcendence of the schema (the other one being the world of/to which the schema speaks and means). Furthermore, the schema puts the “where” of meaning in the relation of (at least) two texts, but the “of” of meaning belongs to the postclassical texts. The postclassical text receiving ancient text(s) is proposed as a complex work, simultaneously in relationship with texts from the past as well as other texts from other periods. The relations of the postclassical text with each of these texts are different and need to be differently traced or theorized. The relation with the ancient texts is properly textual and thus the primary way of tracing it in the schema is a vertical line that first and foremost pays attention to form, with the tools of structural analysis and philology. Then, the theorization of the vertical line is made thicker with the operation of concepts upon it. As each of these texts (the classical and the postclassical) mean in relation to webs of texts that are relevant to the vertical relation, the schema imagines an additional dimension to the vertical one: the horizontal. Each of the horizontal lines traced for both the classical and the postclassical texts are in one way or another “historicist” readings, they trace contexts for the texts, but the way that context is understood in the theorization of the horizontal dimension of the schema is plural and never saturated. While this horizontal aspect of meaning is understood as textual, the schema also imagines for it an axis of transcendence, the world on which writers write and in which the reader is situated. The first chapter’s primary goal is to provide a reading of José Watanabe’s Antígona using the schema to illuminate the ways in which this text makes meaning in relation to Sophocles’ Antigone and part of the body of texts that have come to form part of that name. This reading counters the predominant approach to this work (and to many a work in classical reception), which reads it allegorically, as a commentary on a particular moment in the history of Peru. That predominant way of reading not only ignores the vertical orientation of the text in relation to its avowed ancient source, it also limits itself to one way of tracing the horizontality of the postclassical text, construing “context” in the most immediate and literal sense. The chapter contributes a reading that opens up Antígona to much more than allegory, highlighting its powerful affective and aesthetic dimension, as well as its intersection with recent feminist readings of the Greek tragedy that turn towards the figure of Ismene and the politics of sisterhood. The second chapter sets itself to the analysis of the complex role that ancient texts play in Christine Brooke-Rose’s radically experimental novel Amalgamemnon. This novel has not been the focus of attention of any work by a classical scholar, and those scholars who have written about it in other fields have failed to analyze the importance that Herodotus’ Histories and Aeschylus’ Agamemnon play at both the structural and the thematic levels. Tracing the vertical line, the chapter shows how these two texts are essential to the novel’s writing and themes. In the horizontal dimension, the schema situates the novel’s engagement with those ancient sources in the context of contemporary feminist discourse, especially as it concerns the question of the possibility of a feminine discourse and an outside of the phallocentric system of signs. That intersection illuminates both how Brooke-Rose is reading the ancient sources as well as what are arguably some of the limitations of her writing in contrast to the ethical commitments of feminisms. Finally, the third chapter is a reading of Anne Carson’s Economy of the Unlost, a text that is perhaps better known than the texts treated in the previous two chapters, at least in the Anglophone world, but which has nonetheless been fairly disregarded in the scholarship. The chapter provides a rigorous analysis of the “work” of this text, of what it does and how it does it, as the scholarship on Carson’s work has failed to posit or satisfactorily respond to the important questions regarding what constitutes the undeniable originality of her writing. In this particular book, which combines academic and poetic discourses into a new form that partakes of both, Carson proposes a comparative mode of making meaning that cannot be captured with a structural analysis of inter- or -trans- textuality, as the previous two chapters construed the vertical dimension of the schema. Instead, the theory of metaphor developed by Paul Ricoeur provides the appropriate tool to imagine the vertical dimension of the schema and analyze Carson’s exercise in bringing an ancient and a modern author together. This particular construction of the schema brings into the terrain of classical reception the possibility of interpretating comparative works that do not fit nicely within the theoretical margins of this subfield of classical studies. Finally, the chapter provides the occasion to trace another aspect of the schema, its other axis of transcendence, which is the “I” of interpretation.

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans & Theory of Literature / M.A. (Afrikaans)

The matter of the Good in classical Greek philosophy and literature is so important and extensive that it can hardly be covered in one document. Therefore the aim of the first part of the thesis is to express both fundamental context and critical attitude towards the concept of the Good in the philosophy of Socrates, Plato and Aristotle. The second part provides a coherent perspective on the development of archaic literature in terms of forming the idea of gods, virtues, good and evil in classical Greek epic and tragedy. Theoretical basis of the thesis relies on the studies of important philosophers, literature historians, religionists and mythologists, whose views are connected systematically or outlined comparatively in corresponding chapters. Both main parts of the thesis are divided into chapters which follow in logical sequence. The thesis is theoretical and corresponds to the assigned topic.

Την εργασία απασχολούν οι τεχνικές του θεάτρου εν θεάτρω στη νεοελληνική δραματουργία που χρησιμοποιεί τον αρχαίο μύθο ως ανακλαστικό καθρέπτη, ο οποίος τέμνει τις πλοκές του έργου-πλαισίου και του εγκιβωτισμένου έργου και αναπτύσσει μια ειρωνική μεταγλώσσα, που διαφοροποιεί αισθητικά και υφολογικά την επική και τραγική ποίηση από τη νεωτερική, μεταπολεμική δραματουργία που τις εγκιβωτίζει. Αφού εκτεθούν τα προβλήματα που προκύπτουν από την ευρυχωρία του όρου μεταθέατρο, που «εγκιβωτίζει» το θέατρο εν θεάτρω, ο τελευταίος εξετάζεται ως ειδική μορφή, φόρμα, υπο-είδος και τεχνική, όπως ορίστηκε από τη δραματουργία του μπαρόκ, εκείνη της ρομαντικής ειρωνείας, του Πιραντέλλο, μέχρι τη μεταμπρεχτική και μεταμπεκετική δραματική παραγωγή, για να δοθεί τελικώς έμφαση στην αποκλειστικά αρχαιόθεμη ελληνική και αλλοδαπή δραματική σχετική παραγωγή. Στο corpus περιλαμβάνονται τρία νεοελληνικά αρχαιόμυθα έργα: Η βουή (1997) του Παύλου Μάτεσι, που εγκιβωτίζει ανολοκλήρωτη παράσταση και την αυτοσχέδια πρόβα της, με απαγγελίες και μίμηση μικροεπεισοδίων από την Ιλιάδα, και ανεκδοτολογικό υλικό από την τρωική περιπέτεια, σε ένα έργο-πλαίσιο που επανεξετάζει το μύθο των Ατρειδών, υιοθετώντας ανοίκειες σε αυτόν δομές˙ Η τελευταία πράξη (1998) του Ιάκωβου Καμπανέλλη, όπου, με αφορμή το επικό οδυσσεϊκό παρελθόν και μια προγενέστερη πραγμάτευση του μύθου από το συγγραφέα, στήνεται ένα τριπλό θέαμα με ένα εξωσκηνικό δράμα, ένα αθέατο εσωσκηνικό δράμα και μια ανοιχτή προς όλους δοκιμή, με κεντρική μορφή τον αθέατο, διηγητικό Οδυσσέα, που διεκδικεί νέα οδύσσεια μέσω του θεάτρου˙ και Οι ηθοποιοί (2001) του Γιώργου Σκούρτη, όπου οι ηθοποιοί-χαρακτήρες του διεκδικούν με το εγκιβωτισμένο έργο εγκατάσταση στη «σοβαρή μυθολογία», εμφανίζοντας τον προς παράσταση Αγαμέμνονα ως Βίβλο, στις διατάξεις της οποίας υπάγονται τα περιστατικά των τριών τους, προκειμένου να ελεγχθούν οι εκλεκτικές τους συγγένειες με τους ήρωες του οίκου των Ατρειδών. Η μελέτη στα εν λόγω θεατρικά έργα, των χρήσεων των εγκιβωτισμών παραστάσεων και προβών, σε καθορισμένα ή συγκεχυμένα χρονικά και χωρικά πλαίσια, επιχειρεί να εξηγήσει τις δυνατότητες μετατόπισης ηθοποιών και εξωκειμενικών θεατών σε ρητές ή άρρητες μυθοπλασίες, καθώς και τις δυνατότητες παραβίασης του συνόρου μύθου και πραγματικότητας. Εξηγείται κατά πόσον σε επίπεδο υπερκειμενικής ζενετικής διακειμενικότητας τα υποκείμενα έργα καθορίζουν τη μυθοπλασία του έργου-πλαισίου, του εγκιβωτισμένου ή και των δύο, και αν δικαιώνεται ο χαρακτηρισμός υποκείμενο ως ενθυλακωμένο έργο στο υπερκείμενό του πρωτεύον. Η συνεξέταση συμβάλλει στον έλεγχο τού κατά πόσον η εγκιβωτισμένη ή η πλαισιωτική μυθοπλασία, που αρδεύεται από την προϋπάρχουσα κειμενική τραγική, επική ή άλλη κλασική παράδοση, κυρώνει ή υπονομεύει τις τραγικές δέσεις και λύσεις ή διανοίγει προοπτικές σε νέους μύθους. Μέσα από την εξέταση, διαφαίνεται πώς ο χειρισμός του θεάτρου εν θεάτρω γίνεται ένας χειρισμός μιας ρητορικής περί της ύπαρξης, της αναβίωσης ή του θανάτου του αρχαίου μύθου στο πεδίο της νεωτερικότητας. / -

This study examines carnival and ritual in Breyten Breytenbach's dramatic oeuvre and focuses on his Afrikaans drama texts Boklied (1998) and Die toneelstuk (2001). Seeing that these dramas had their debut performances at the Afrikaans national arts festival, the Afrikaans festival phenomenon, as well as Breytenbach's texts will be discussed as framed Events, within a carnival environment, as defined and described by Russian philosopher Bakhtin. The study evolves around three critical questions: 1. How does Bakhtin define the term "carnival" and could Afrikaans national arts festvals be seen as platforms for carnavalesque expression? 2. How does Professor Temple Hauptfleisch define an Event and why can the Afrikaans national arts festivals, as well as the drama texts under discussion, be seen as such Events? 3. How does Breyten Breytenbach's texts link up with Bakhtin's carnival theory and the ritual nature of the Dionysos festivals? / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This dissertation demonstrates how props act as conduits of knowledge and (thus?) power in Sophocles’ “non-Theban” plays. I show how certain props challenge the definitions and values that they accrue as they move between actors onstage. Key props in these four plays behave unlike other props in extant tragedy, opening up the possibility for a sustained inquiry into the ways that property speaks to and for power. Focusing on the urn in Electra, the bow in Philoctetes, Hector’s sword and Ajax’s own shield in Ajax, and the robe in Trachiniae, this project argues for the centrality of these props in these plays’ verbal exchanges. The introduction sets up a framework and methodology that draws on Michel Foucault’s notion of power-knowledge (pouvoir-savoir) and the sociology of Pierre Bourdieu alongside contemporary thinkers like Jack Halberstam, Jane Bennett, and Sara Ahmed. The first chapter, “The Urn is the Wor(l)d in Sophocles’ Electra,” builds on prior scholarship on this much-studied stage object by showing how it accrues “symbolic power” and comes to construct reality and the social world. The possibility of that consensus breaks down, however, in the face of the familiar/l strife at Argos, and it is through this breakdown that the urn gives audience members a way to examine the play’s puzzling lack of resolution. The second chapter, “Stringing a Bow: Learning, use, and power in Sophocles’ Philoctetes,” builds on the previous chapters’ by showing how the bow defines the limits of Neoptolemus’ education on Lemnos and the terms of its own exchange. The bow’s frequent back and forth between characters and its role in Odysseus’s subterfuge belie the fact that it still belongs to Heracles, who alone can authorize its use. This reading draws out the strange relationship between the deceptions of the False Merchant and the divine interventions of Heracles, demonstrating an uncomfortable consonance between the two scenes. The third chapter, entitled “Ajax’s economy of hostility: the necropolitics of kleos,” explores how Ajax paradoxically gives up his shield even as it merges with his identity as a defense for the Achaeans against the Trojans. Ajax himself attempts to manipulate this threat through the handling and “exchange” of the sword of Hector with its native soil, misleading his compatriots — and possibly himself — about his intentions in his so-called “deception speech.” When Hector’s sword pierces Ajax’s body, Trojan and personal hostilities merge until Odysseus manages to rectify the play’s errant exchanges and restore Ajax’s status as a shield for his companions. The fourth and final chapter, “Ceci n’est pas un prop: The robe as gift and garment in Sophocles’ Trachiniae,” shows that the robe’s failure to appear onstage as a prop — the audience might see it as part of Heracles’ costume at the end of the play — enacts the conflict between oikos and wilderness that the characters inhabit, exposing them to the threats of order and disorder as they attempt to integrate Heracles’ pure excess into the oikonomia of Trachis. This process ultimately reveals the futility of attempts to analyze the play in terms of its dichotomies: female-male, oikos-polis, concealed-revealed, etc. The circulation of the robe in its box charts a path for understanding the play in terms that defy dichotomization by locating the play’s exchanges along intersecting modes of valuation. In the conclusion, I widen the perspective of this methodology again, turning to the instrumentalization of bodies in Sophocles’ Theban plays. I raise questions about how meaning, use, value, and power come to be confused via onstage exchanges, and I gesture towards possible future avenues of inquiry that might account for the trouble with bodies that Ajax raises.