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El presente estudio se propone abordar el proceso creativo del actor a partir de su vínculo con los objetos en escena, en base a la metodología interpretativa de formación que propone el director Jorge Eines, para la construcción del personaje de Medea de la obra MEDEAS de Alejandro Alva. La investigación describe los hechos y descubrimientos más significativos encontrados durante el proceso de construcción del personaje en un laboratorio de investigación actoral que se desarrolló a lo largo de treinta y nueve sesiones. El objetivo principal de este estudio es dar a conocer el importante aporte que trae el planteamiento del trabajo de Eines con respecto a la propuesta de exploración con los objetos a través de un estudio de caso. Hacia el final de la investigación, las conclusiones apuntan a señalar los hallazgos más relevantes, que surgieron a partir de la exploración sensoperceptiva del actor en relación al uso de ciertos objetos que destacaron en el proceso exploratorio por generar importantes transformaciones a nivel físico, ideológico o simbólico para la construcción del personaje de Medea.

Die Notwendigkeit von Bx42 für Drosophila Entwicklung und seine Beteiligung an unterschiedlichen zellulären Prozessen wurde mit Hilfe von RNA Interference (RNAi) demonstriert. Das ubiquitäre Ausschalten oder die Reduktion der Bx42 Expression mittels RNAi führte dabei zu embryonaler Letalität. Weiterhin führte eine gewebespezifische Induktion von Bx42 in Abhängigkeit der verwendeten Treiberlinien bei unterschiedlichen Temperaturen zu mehreren verschiedenen adulten Phänotypen. Diese Phänotypen waren die Grundlage für die Annahme, dass Bx42 eine Rolle in der Regulation mehrerer verschiedener Zellsignalwege spielt. In der Tat interagiert Bx42 mit den Proteinen des Notch-Signalweges Suppressor of hairless [Su(H)] und Notch intracellular domain (N-IC). Zusätzlich werden bei einer Verminderung von Bx42 die Notch Zielgene cut (ct) und enhancer of split m8 [e(Spl)m8] reprimiert (Negeri et al., 2002). In dieser Arbeit wurde die Beteiligung von Bx42 am TGF-ß/Dpp Signalweg untersucht. Es wurde gezeigt, dass Bx42 mit den TGF-ß/Dpp-Signalweg Proteinen Mad und Medea sowohl in vitro als auch in vivo interagiert. Die dabei verwendeten Methoden waren das Hefe-Zwei Hybrid-Sytem und Ni-NTA-Pulldown-Assays. Domänen der Smad Proteine (Mad und Medea), die für die Interaktion mit Bx42 notwendig sind, wurden mit Hilfe von Deletionskonstrukten untersucht. Es konnte gezeigt werden, dass die stark konservierte MH2-Domäne dieser Proteine für die Interaktion notwendig ist. Zudem belegten Versuche die genetische Interaktion zwischen Bx42 und Medea, in denen ein Bx42-RNAi-Phänotyp durch die gleichzeitige Überexpression von Medea gerettet werden konnte. Es ist bekannt, dass das humane Bx42-Homolog Skip sowohl mit den Proteinen Smad2 und 3 des TGF-ß/Activin Signalweg, als auch mit den Onkogenen Sno und Ski interagiert. Skip wirkt hier als Antagonist der Ski/Sno-Wirkung auf den TGF-ß/Activin-Signalweg und fungiert als Koaktivator (Leong et al., 2001). Die Interaktion zwischen Bx42 und der TGF-ß/Activin-Signalweg Komponente dSmad2, sowie mit dem Onkogen dSno konnte in dieser Arbeit auch für Drosophila bewiesen werden. Die Bedeutung dieser Wechselwirkung muss noch in weiteren Arbeiten analysiert werden. Der Einfluss der Bx42-RNAi-Induktion auf die TGF-ß/Dpp Zielgene distal-less (dll), optomotor blind (omb) und spalt (sal) wurde anhand von Reportergen Untersuchungen mit enhancer-trap-Linien und RNA in situ Hybridisierung untersucht. Es konnte gezeigt werden, dass das Ausschalten von Bx42 die Expression dieser Gene in ähnlicher Weise reprimiert, wie eine Elimination des TGF-ß/Dpp-Signals. Diese Ergebnisse unterstützen die Annahme, dass Bx42 in der Lage ist, TGF-ß/Dpp Zielgene durch eine Wechselwirkung mit Mad und Medea zu aktivieren. / The importance of Bx42 in Drosophila development was demonstrated using Bx42-RNA interference. The ubiquitous downregulation of Bx42 generated embryonic lethality, indicating the importance of this protein in early development. The tissue specific induction of Bx42-RNAi resulted in several different phenotypes depending on the driver line and the temperature at which animals were raised. The phenotypes obtained were the key point for the assumption that Bx42 may play a role in the regulation of a number of different cellular signalling pathways. Indeed, within the Notch signalling pathway Bx42 interacts genetically with Suppressor of hairless [Su(H)] and Notch intracellular domain (N-IC). Additionally, the reduction of Bx42 negatively affected the expression of the Notch target Genes cut (ct) and enhancer of split m8 [e(Spl)m8] (Negeri et al., 2002). In this work, the involvement of Bx42 in the Dpp signalling pathway was investigated. It was shown that Bx42 interacts both in vitro and in vivo, as demonstrated by yeast two hybrid protein-protein studies and Ni-NTA pull-down assays, with the TGF-ß/ Dpp components Mad and Medea. Domains of Smads (Mad and Medea) required for Bx42 interaction were examined using deletion constructs of Smads and the importance of the well conserved MH2 domains of Mad and Medea for this interaction was revealed. Moreover, the rescue of the Bx42-RNAi phenotype by the simultaneous overexpression of Medea demonstrated the genetic interaction between Bx42 and Medea. Furthermore, evidences for the interaction of Bx42 with the TGF-ß/Activin pathway component dSmad2 and with the oncogene protein dSno were obtained from interaction assays. The human homologue of Bx42, Skip, also interacts with Smad2/3 or Sno. The meaning of this interaction in Drosophila has yet to be analysed. The influence of Bx42-RNAi induction on the expression of Dpp target genes distal less (dll), optomotor blind (omb) and spalt (sal) was also investigated using enhancer trap lines and RNA in situ hybridisation. In this way it was proven that these genes are suppressed as they are by elimination of Dpp signalling. These results suggest that Bx42 may be able to modulate positively TGF-ß/Dpp signalling through an interaction with the signalling transducer Mad and Medea.

Made available in DSpace on 2016-04-28T20:39:22Z (GMT). No. of bitstreams: 1 PCL - Denise Procopio.pdf: 645504 bytes, checksum: b475715ddd6d1dffee1043b018b70346 (MD5) Previous issue date: 2006-10-11 / Woman who took revenge of the husband by killing her own children. The feature of the character envisaged here is the overmuch dependence that this woman cherishes towards man. In the second place, the analysis of a clinical case of a 40- years old woman who called herself a Medea of life when she looked for therapy. Finally, Winnicott`s Theory of Human Maturation as a theoretic approach useful to understand the case in question. As a result, the articulation of these points points out to the importance of winnicottian clinic as an alternative care to patients with flaws in primitive development, i.e., in preedipic stage, when is at stake the continuity of the being, not sexuality / O presente trabalho parte de três pontos principais. Em primeiro lugar, o mito de Medéia a mulher que mata os filhos para se vingar do marido. O aspecto enfocado na figura da personagem é a excessiva dependência que essa mulher nutre em relação ao homem. Em segundo, a análise de uma mulher de 40 anos que se autodenominou "uma Medéia da vida" ao procurar terapia, utilizando para isso o método clínico. E, finalmente, a Teoria do Amadurecimento Humano de D. W. Winnicott como abordagem teórica para compreender o caso em questão. O resultado da articulação desses pontos aponta para a importância da clínica winnicottiana como uma alternativa para cuidados com pacientes com falhas no desenvolvimento primitivo, ou seja, na fase pré-edípica, quando o que está em jogo é a continuidade do ser e não a sexualidade

The aim of this Master’s thesis is to achieve philosophical clarity on an interpretative problem I have been struggle with in Euripides’ Medea: That Medea murders her own children, while claimingto love them. Situated within the philosophical and literary tradition of ordinary language philosophy and ordinary language criticism, the thesis draws on ideas, theoretical discussions, and concepts from Ludwig Wittgenstein, Toril Moi, Stanley Cavell, Cora Diamond, and Niklas Forsberg – but also Søren Kierkegaard. The analysis is divided in two parts. The first is anarticulation of the grammar of my problem through Cora Diamond’s conception of the phenomenon “a difficulty of reality”, and an emulation of a hermeneutical strategy to deal with such problems, which I identify in Søren Kierkegaard’s Fear and Trembling. I reach the conclusion that the co-existence of Medea’s murder och love is a paradox, which cannot be thought. The second part of the analysis is an attempt to step out of this paradox. Here, I compare Medea to Stanley Cavell’s readings on the Shakespearean tragedies Othello and King Lear, and Cavell’s ideas on “lived scepticism”, “avoidance of love” and “best case of acknowledgment”. By doing this, I am able to form the hypothesis that Medea’s understanding of “love” has been severely damagedafter Jason’s betrayal, and that she actually fails to sensically mean that she loves her children. In its use of my own confusion as a starting point and in employing Toril Moi’s views on reading, this thesis continuously stresses the individual reader’s responsibility in literary interpretation, as well as the importance of daring to voice or personal struggles, questions, and interests – even (or especially) when reading great classics.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study examines the construction of cultural identity in Mamma Medea by Tom Lanoye (2001) and it’s translation by Antjie Krog (2002) by employing various theories as well as exhausting binary oppositions, and analysing the way it relates to the difference in language use between the conflicting individuals and groups in the drama. Mamma Medea is based predominantly on two versions of the Greek myth of Medea and her shocking tale of infanticide in order to wound her deceitful spouse, Jason. It follows the long tradition in literature and art wherein Medea is used to comment on the subjugation and oppression of women and non-dominant groups, as well as on the formation of the Other. Lanoye uses the details of the Ancient account, but broadens the spectrum to include commentary on contemporary themes in order to seek an alternative motivation for her premeditated infanticide. The drama does not stay within the details of the intertexts, however, and is altered so that both Medea and Jason each kill one of their children. A context-relevant approach is followed to examine how Lanoye’s drama challenges modern myths surrounding cultural identity in the Flemish-Dutch context. The latter interpretation is warranted by linking Flemish en Dutch with the groups in the drama, in accordance with the real language tension between the two language regions. In contrast to this Krog makes use of much more dialectal forms of Afrikaans reflecting the multicultural and multilingual South-African context. Her translation is not studied from a purely translational, theoretical perspective, considering that the focus of the study is on differences in cultural identity and on the differences in context wherein the respective drama and translation is produced. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die konstruksie van kulturele identiteit in Mamma Medea van Tom Lanoye (2001) en in die vertaling daarvan deur Antjie Krog (2002) aan die hand van verskeie teorieë, asook met behulp van binêre opposisies, en analiseer die wyse waarop dit onder meer saamhang met die verskille in taalgebruik tussen konflikterende individue en groepe in die drama. Mamma Medea ontgin veral twee weergawes van Griekse mites oor Medea, wat haar twee seuns op skokkende wyse vermoor om haar verraderlike eggenoot, Jason, leed aan te doen, in aansluiting by ’n lang tradisie in die literatuur en kunste waarin dié figuur veral gebruik is om kommentaar te lewer op die uitbuiting en onderdrukking van vroue en nie-dominante groepe, asook die formasie van die die Ander in verhoudinge. Lanoye verruim in sy drama die onderwerp van die konvensionele huweliksdrama en betrek hedendaagse kwessies ten einde ’n geldige eietydse motivering te verskaf vir Medea se optrede. Hy wyk onder meer doelbewus af van die brontekste deurdat hy Medea en Jason elk ’n seun laat vermoor. ’n Gemeenskapsrelevante benadering word gevolg om na te gaan hoe Lanoye se drama in die proses moderne mites rondom kulturele identiteit uitdaag binne ’n Vlaamse-Nederlandse konteks. Laasgenoemde interpretasie word ondersteun deur onderskeidelik Vlaams en Nederlands te verbind met die hoofgroepe in die drama, in ooreenstemming met reële taalspanninge tussen die twee taalgebiede. Hierteenoor maak Krog van veel meer dialektiese taalvorme gebruik in aansluiting by die multikulturele Suid-Afrikaanse konteks. Haar vertaling word nie soseer vanuit ʼn vertaalwetenskaplike perspektief nagevors nie, aangesien die hooffokus val op sowel die verskille in kulturele identiteit as op verskille rakende die konteks waarin onderskeidelik die drama en die vertaling geproduseer is.

O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imagina) no palco, os aspectos poéticos, lírico-musicais da peça, sua característica dramático-épica e os temas e idéias que permeiam o plano de conteúdo da obra. A análise foi feita em grande parte contrapondo Gota dágua com a obra que pretende recriar: a Medeia de Eurípides. Os diversos elementos manipulados no trabalho ora se complementam, ora se chocam, criando uma mescla significativa e de apreciação controversa, sobre a qual artistas e pesquisadores têm se debruçado no questionamento da produção teatral brasileira. Tais elementos são a absorção do popular e do erudito, da identificação catártica e do distanciamento crítico, da experiência totalizante do mito e daquela que é comum, socialmente demarcada por delineamentos temporais e espaciais, dentre outros exemplos. / This paper goes into the production process of the poetic lines which give life to Chico Buarque and Paulo Pontes´s play Gota dágua, published and performed in 1975. It aims to understand how they are put together to compose its drama structure as well as the effects they cause on the reader and audience. Since the play is deeply engaged in the cultural and political scenario of the 1970s, this analysis also seeks to examine the connections between its esthetics and the cultural projects or any other points of influence that may have motivated its form. The study involves the plays sounds listened to (or imagined) on stage such as the play´s poetic, musical-lyric aspects, its epic-drama characteristics and many of the themes and ideas that constitute the works content. The analysis frequently contrasts Gota dágua and the play it intends to recreate: Medea by Euripides. The various elements dealt with in Gota dágua are sometimes complementary, sometimes clashing, accounting for a meaningful mix and giving rise to controversial appraisal upon which researchers and artists have given a lot of thought when pondering about the Brazilian contemporary drama experience. Such contrasts bring together the resource to the popular and the scholarly, the use of cathartic identification and critical distance, the mythical and the anonymous ordinary human trajectory, among other examples.

Zugl.: Berlin, Humboldt-Univ., Diss.

O trabalho investiga a feição dos versos que dão vida à peça Gota dágua de Chico Buarque e Paulo Pontes, escrita e encenada em 1975. Procura desvendar a maneira como os versos se compõem na formação da estrutura dramática da peça e os efeitos que produz no leitor ou no espectador. Como a peça dialoga intensamente com o momento cultural e político dos anos 1970, há uma busca do ponto de encontro entre a realização estética concebida e os projetos culturais ou outras motivações extra-textuais que tenham influenciado a sua composição. O estudo abrange a realização sonora que se dá (ou que se imagina) no palco, os aspectos poéticos, lírico-musicais da peça, sua característica dramático-épica e os temas e idéias que permeiam o plano de conteúdo da obra. A análise foi feita em grande parte contrapondo Gota dágua com a obra que pretende recriar: a Medeia de Eurípides. Os diversos elementos manipulados no trabalho ora se complementam, ora se chocam, criando uma mescla significativa e de apreciação controversa, sobre a qual artistas e pesquisadores têm se debruçado no questionamento da produção teatral brasileira. Tais elementos são a absorção do popular e do erudito, da identificação catártica e do distanciamento crítico, da experiência totalizante do mito e daquela que é comum, socialmente demarcada por delineamentos temporais e espaciais, dentre outros exemplos. / This paper goes into the production process of the poetic lines which give life to Chico Buarque and Paulo Pontes´s play Gota dágua, published and performed in 1975. It aims to understand how they are put together to compose its drama structure as well as the effects they cause on the reader and audience. Since the play is deeply engaged in the cultural and political scenario of the 1970s, this analysis also seeks to examine the connections between its esthetics and the cultural projects or any other points of influence that may have motivated its form. The study involves the plays sounds listened to (or imagined) on stage such as the play´s poetic, musical-lyric aspects, its epic-drama characteristics and many of the themes and ideas that constitute the works content. The analysis frequently contrasts Gota dágua and the play it intends to recreate: Medea by Euripides. The various elements dealt with in Gota dágua are sometimes complementary, sometimes clashing, accounting for a meaningful mix and giving rise to controversial appraisal upon which researchers and artists have given a lot of thought when pondering about the Brazilian contemporary drama experience. Such contrasts bring together the resource to the popular and the scholarly, the use of cathartic identification and critical distance, the mythical and the anonymous ordinary human trajectory, among other examples.

Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam ». / The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”.