Thesis (Ph.D.)--Tufts University, 1999. / Adviser: William Sun. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 264-283). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

Thesis (D.C.A.)--University of Wollongong, 2005. / Typescript. Includes bibliographical references: leaf 153-170.

Thesis (Ph. D.)--Catholic University of America. / "List of references": p. 142-158.

Thesis (Ph.D.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 203 p. Includes bibliographical references.

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / The teatral play Calabar, o Elogio da TraiÃÃo, by Chico Buarque and Ruy Guerra, has for subject the historical episode of the Dutch Invasion in the BrazilColony of century XVII. The play focus the controversial historical character Calabar, intrepid warrior allied to portuguese, that, in 1632, desert for the dutch side. Instigating the reader/spectador to review history with other eyes, the authors of Calabar , using a mordacious irony, demystify the betrayal concept. Although belongs to the dramatical sort, Calabar, o Elogio da TraiÃÃo is identified with the main characteristics of the literary subgenus of Latin American origin: the New Historical Romance (NHR). This work objective to realize a comparative and prospectus exercise: to transpose the model of the NHR to the Calabar work, as possibility of inclusion of this play in a possible model of the New Historical Drama. For in such a way, the work was divided in three chapters. In the first one, we approach some theoretical aspects and the passage of the literary subgenus âhistorical fictionâ (including romance and drama) in the Romantism. We weave some comments about the NHR and the Brazilian drama of century XX. Finally, we display, our proposal of adaptation of the NHRâs characteristics to the Calabar play. In the second chapter, we revise the historical episode of the Dutch Wars and deal with the thematic appropriation of the Dutch Invasion in Brazilian Literature. In the third chapter, we realize the transposition process identifying the NHRâs characteristics in Calabar, O Elogio da TraiÃÃo. Between them: critical revision, cyclical and unexpected character of history, rich intertextuality, parody, irony and metafiction. / A peÃa teatral Calabar, O Elogio da TraiÃÃo, de Chico Buarque e Ruy Guerra, tem por assunto o episÃdio histÃrico da InvasÃo Holandesa no BrasilColÃnia do sÃculo XVII. A peÃa focaliza o controverso personagem histÃrico Calabar, intrÃpido guerreiro aliado dos portugueses, que, em 1632, passa a apoiar os holandeses. Instigando o leitor/espectador a rever a histÃria com outros olhos, os autores de Calabar, por meio de ironia mordaz, desmistificam o conceito de traiÃÃo. Embora pertenÃa ao gÃnero dramÃtico, Calabar, o elogio da traiÃÃo identificase com as principais caracterÃsticas do subgÃnero literÃrio de origem latinoamericana: o Novo Romance HistÃrico (NRH). Este trabalho visa realizar um exercÃcio comparativo e prospectivo: a transposiÃÃo do modelo do NRH à obra Calabar , como possibilidade de inclusÃo desta peÃa em um modelo possÃvel de Novo Drama HistÃrico. Para tanto, foi dividido em trÃs capÃtulos. No primeiro, abordamos alguns aspectos teÃricos e o percurso do subgÃnero literÃrio ficÃÃo histÃrica (incluindo romance e drama) no Romantismo. Tecemos, ainda, consideraÃÃes relativas ao Novo Romance HistÃrico e à dramaturgia brasileira do sÃculo XX. Por fim, expomos nossa proposta de adaptaÃÃo das caracterÃsticas do NRH à peÃa Calabar . No segundo capÃtulo, revisamos o episÃdio histÃrico das Guerras Holandesas e tratamos da apropriaÃÃo temÃtica da InvasÃo Holandesa na Literatura Brasileira. No terceiro capÃtulo, realizamos o processo de âtransposiÃÃoâ, identificando as caracterÃsticas do NRH em Calabar, o elogio da traiÃÃo. Entre elas: releitura crÃtica, carÃter cÃclico e imprevisÃvel da histÃria, rica intertextualidade, parÃdia, ironia e metaficÃÃo.

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The purpose of this study is to investigate how femininity is portrayed in relation to power in the Swedish documentary series Drottningarna, which follows the life experience of 8 Swedish queens. This will be researched based on the theories of hegemonic masculinity and femininity. The study also aims to investigate what purposes might have contributed to how the different queens are portrayed in the series, and how truthful the representation of them is. The results shows that power in the series is often associated with breaking and opposing the power structures, but also with typically hegemonic masculine traits such as assertiveness, independence and aggressivity. the series also seems to primarily have a commercial purpose, even though it contains both cognitive, moral, and aesthetic intentions. This in turn affects the credibility of the series in a negative way, as the focus is on making good television instead of sticking to historical truths.

This thesis examines the theoretical foundations of Brecht's and Sartre's "dialectical" theatre. Proceeding first from their most significant theoretical writings, it then studies representative plays--Mutter Courage und ihre Kinder and Les Mains sales--in an attempt to make explicit the relationship between theory and artistic practice. The textual analysis proper develops certain aspects of theme, structure and reception which in turn reveal meaningful differences and contradictions. Sartre's "dramatic" theatre in fact evidences a sort of ideological creativity whereas Brecht's "epic" theatre presents a more primordial artistic creativity. Therefore, though the concept of dialectical theatre (essentially political and/or historic) is a common thought-structure to both dramatists, its actualization differs. I will argue that Sartre's work shows a view of the art process as ideologically predetermined and almost ineluctable. Brecht's more primordial work, on the other hand, shows process as a creative anagnorisis, more immediate and archetypal. In the last chapter, I will give an overview of the changes in consciousness produced by these approaches of "dialectical" theatre and substantiate these by criticism that has dealt with the subject.

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