CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Neste trabalho analisamos os contos âPetÃniaâ, âO Convidadoâ e âO Lodoâ de Murilo RubiÃo observando neles a presenÃa da Mitologia grega a partir da teoria da Intertextualidade. Procuramos encontrar os mitos gregos correspondentes Ãs referÃncias dadas pelo autor, as ligaÃÃes entre os mitos e os contos e a contribuiÃÃo que a escolha da Mitologia Grega dà ao texto muriliano. Inicialmente observamos o trajeto da Mitologia Grega desde sua presenÃa na cultura oral atà sua fixaÃÃo em textos literÃrios que escolhemos usar como comparativo e fazemos um pequeno percurso da teoria da Intertextualidade, explorada nos capÃtulos seguintes. Logo em seguida, emparelhamos os aspectos dos contos aos mitos selecionados sugerindo os mitos usados para a leitura proposta. Por fim analisamos atravÃs da Intertextualidade a forma como o mito foi utilizado por RubiÃo e como, ao observarmos esses mitos, à possÃvel uma diferente leitura e uma revisÃo dos contos e dos mitos gregos. ConcluÃmos que a partir da leitura dos mitos gregos, à possÃvel a percepÃÃo, atravÃs de intertextualidade, com os contos de RubiÃo e que tal influÃncia nÃo apenas traz a nosso sÃculo esses mitos como os renova, o eu afeta tanto a leitura do conto quanto a do mito que, agora sob nova leitura, pode ser revisto e expandido em seu entendimento / In this work, we analyze the short stories âPetÃniaâ, âO Convidadoâ and âO Lodoâ, written by Murilo RubiÃo, observing the presence of Greek Mythology from the perspective of the Intertextuality Theory. We aimed at finding the Greek myths which correspond to the references given by the author, the connection between the myths and the short stories, and the contribution of Greek mythology provided the authorâs writing. Initially, the journey of Greek mythology since its presence in the oral culture until its settlement in literary texts that were chosen to use as a comparative was observed. Then, a brief path of the Intertextuality Theory was accomplished, being explored in the following chapters. Next the aspects of the short stories with the myths selected were paired, suggesting the myths used for the reading proposed. Finally, by means of Intertextuality, we analyzed the way how the myth was used by RubiÃo and how, when observing these myths, a different reading and a review of the short stories and also of the Greek myths is possible. We concluded, from the reading of the Greek myths, that the perception with RubiÃoâs short stories is possible by means of intertextuality, and also that such influence not only brings these myths to our century, but it also renews them. The self affects not only the reading of the short story but also of the myth that, now, under a new perspective of reading, might be reviewed and expanded in its understanding.

M.A. / The goal of this research is to list, explore and explain the similarities and differences between the Electra of Euripides and the film of Michael Cacoyannis. Some critics regard the film as completely unfaithful to the original; others view it as a faithful cinematic rendition of the original; while others still regard it as a reworking of, and an improvement on, Euripides’ version of the Electra myth. The myth as treated by Euripides is about the revenge of the two children of Agamemnon and Clytemnestra. After Agamemnon had returned victorious from the Trojan War, he was murdered by his wife, Clytemnestra, and her lover, Aegisthus. His daughter, Electra, finally takes the initiative when she and her brother, Orestes, avenge their father’s murder by killing their mother and her lover. The method devised to address the research problem is firstly to compare the text of the original tragedy with the screenplay of Cacoyannis. Thereafter, the dramatic structure (plot, time frame, characterization, setting, mood, narrative perspective and theme) of the tragedy and the film are compared. Next, the media of film and theatre are explored and compared. For the stage production of Euripides’ Electra, the aspects of the set, masks, choral movement, mirror scenes, objects and tokens, off-stage violence, actions and gestures, the deus ex machina, and tableaux are examined. Regarding the film, the features of set design, costume design, cinematography, music, acting and directing are surveyed. Finally, the respective socio-historical contexts of the original play and the film, as well as relevant biographical material from both Euripides and Cacoyannis, are investigated. It is concluded that Cacoyannis remained true to the spirit of the original drama of Euripides as well as to the genre of tragedy. However, the way in which he adapted Euripides demonstrates his secularism, his dedication to contemporary issues, like the plight of women, an unequal society, oppressive and authoritarian regimes, and the futility of revenge. In this way he forcefully demonstrated the timeless power and universality of an ancient myth even in the twentieth century.

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Given its early connection to western science fiction, it is not entirely surprising that contemporary Chinese science fiction (csf) frequently references the "west" in general and Greek mythology in particular. The three works that I analyze in this paper are Xia Jia's "Psychology Game," Gu Shi's "Chimera," and Egoyan Zheng's The Dream Devourer. These three texts utilize Greek mythology in different ways, to different degrees, and with different purposes, and yet they all use Greek mythology to visually disrupt their respective texts. Xia Jia ends "Psychology Game" with a direct Greek-language quotation. Throughout "Chimera," Gu Shi quotes Chinese translations of Greek texts. Finally, in The Dream Devourer, Egoyan Zheng's references to Greek myth are more playful and extensive. Although Zheng names certain significant characters in his novel after figures in Greek mythology, the connections to those figures are rarely explicit and are often twisted or inverted. By analyzing these three texts together we can more clearly see the overarching connection that Greek mythology has to contemporary csf. Although multilingual references are not new to Chinese literature, the Greek references commonly found in csf are likely foreign not only to their Chinese-language audience, but to their Anglophone audience as well. As such, there is a very distinct visual divide between the Chinese-language references and the Greek or Roman script in these texts. Though each script remains clearly discernable, they are connected by the interweaving of the languages and by the text itself, the final result being a literary "cyborg" that unites supposedly binary aspects of "East" and "West." As Donna Haraway claims in her "Cyborg Manifesto," the cyborg represents the rejection of rigid binaries and two-word definitions. She claims, "We are cyborgs. The cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality" (50). By combining Greek, Roman, and Chinese scripts these authors simultaneously represent and complicate the dichotomy of "East" and "West," acknowledging how these supposedly distinct cultures have blended.

Given its early connection to western science fiction, it is not entirely surprising that contemporary Chinese science fiction (csf) frequently references the "west" in general and Greek mythology in particular. The three works that I analyze in this paper are Xia Jia's "Psychology Game," Gu Shi's "Chimera," and Egoyan Zheng's The Dream Devourer. These three texts utilize Greek mythology in different ways, to different degrees, and with different purposes, and yet they all use Greek mythology to visually disrupt their respective texts. Xia Jia ends "Psychology Game" with a direct Greek-language quotation. Throughout "Chimera," Gu Shi quotes Chinese translations of Greek texts. Finally, in The Dream Devourer, Egoyan Zheng's references to Greek myth are more playful and extensive. Although Zheng names certain significant characters in his novel after figures in Greek mythology, the connections to those figures are rarely explicit and are often twisted or inverted. By analyzing these three texts together we can more clearly see the overarching connection that Greek mythology has to contemporary csf. Although multilingual references are not new to Chinese literature, the Greek references commonly found in csf are likely foreign not only to their Chinese-language audience, but to their Anglophone audience as well. As such, there is a very distinct visual divide between the Chinese-language references and the Greek or Roman script in these texts. Though each script remains clearly discernable, they are connected by the interweaving of the languages and by the text itself, the final result being a literary "cyborg" that unites supposedly binary aspects of "East" and "West." As Donna Haraway claims in her "Cyborg Manifesto," the cyborg represents the rejection of rigid binaries and two-word definitions. She claims, "We are cyborgs. The cyborg is our ontology; it gives us our politics. The cyborg is a condensed image of both imagination and material reality" (50). By combining Greek, Roman, and Chinese scripts these authors simultaneously represent and complicate the dichotomy of "East" and "West," acknowledging how these supposedly distinct cultures have blended.

In this long form narrative poem, the speaker is led out into the wilderness and encounters panic in the form of the god Pan. Pan appears in Greek mythology as a raucous god of revelry at times and as moody and destructive in his anger and brutality at other times. This is how panic attacks find her. In writing this project I wanted a character I could tack the panic on, a character I could address, understand, and defeat. Instead what I found was myself, and wildness.

Teilw. zugl.: Oxford, Univ., Diss. / Includes bibliographical references and index

Thése-- Universit́e de Paris. / "Bibliographie"; p. [157]-163.

Thesis (doctoral)--Universität, Santiago de Compostela, 1997. / Includes bibliographical references (p. [239]-259) and index.

Thesis (doctoral)--Universität, Santiago de Compostela, 1997. / Includes bibliographical references (p. [239]-259) and index.