Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Ce document traite de l'introduction et de l'impact du mélodrame français au Brésil au XIXe siècle. Cherchant à clarifier la trajectoire de cette forme théâtrale dans le pays, l'étude veut recueillir et systématiser des diverses informations, à partir de la récupération de sources historiques et matériel théorique, publiée dans le pays et à l'étranger, notamment en France, où le mélodrame est né. À cette fin, une série de recherches ont été faites dans les catalogues des bibliothèques nationales et étrangères, permettant d'organiser des références bibliographiques, consulter les ouvrages originaux dramaturgiques et effectuer des recherches à propos de l'utilisation du terme mélodrame et à propos de la mise en scène de pièces mélodramatiques écrites par des auteurs français de mélodrames du XIXe siècle. Les résultats sous-tendent l'élaboration du texte de la thèse, qui compare des différents systèmes culturels (France et Brésil) et veut comprendre les implications de la mise en place de cette forme théâtrale dans le domaine social et dans le domaine littéraire, selon la compréhension que la littérature dramatique ne se limite pas au langage verbal enregistré dans les pièces. En ce sens, cette étude présente un aperçu de l'art dramatique, spectacles, public et commentaires sur pièces et esthétique mélodramatique, présente dans les discours régulièrement parus dans la presse, comme un registre de l imaginaire collectif de la population. Ainsi, il est prévu de contribuer à la compréhension de ce phénomène associé avec le contexte particulier de sa réception au Brésil, dans cette importante période historique du développement social dans le pays. / Este trabalho trata da introdução e da repercussão do melodrama francês no Brasil, no século XIX. Visando elucidar a trajetória dessa forma teatral no contexto brasileiro, o estudo concentrou-se em reunir e sistematizar informações diversas e originais, provenientes da recuperação de fontes históricas e de material teórico publicado no país e no exterior, especialmente na França, berço do melodrama. Para tanto, foi realizada uma série de pesquisas em catálogos de bibliotecas nacionais e estrangeiras, que possibilitaram a organização de referenciais bibliográficos, a consulta de obras dramatúrgicas originais e levantamentos, em periódicos brasileiros do século XIX, acerca do uso do termo melodrama e acerca da encenação, em nossos palcos, de peças melodramáticas escritas pelos principais autores franceses de melodramas dos Oitocentos. Os resultados obtidos com essas pesquisas orientaram a comparação entre sistemas culturais distintos (França e Brasil) e a análise das implicações do estabelecimento dessa forma teatral no campo social e no campo literário, conforme o entendimento de que a literatura dramática não se limita à linguagem verbal registrada nas peças. Nesse sentido, o presente estudo apresenta um panorama sobre dramaturgia, espetáculos, público e comentários em relação às peças e à estética melodramática, presentes em discursos regularmente veiculados pela imprensa, como um registro do imaginário coletivo da população. Desse modo, espera-se contribuir para a compreensão deste fenômeno, associado ao contexto peculiar de sua recepção no Brasil, tendo em vista que a relação entre as obras encenadas nos palcos brasileiros e seu público acompanha e reflete a produção artística neste importante período histórico de transformação social no país.

The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

Melodrama represents a unique form that combines musical and textual component in a very distinct manner. The submitted doctoral dissertation offers a complex analysis of the contemporary Czech melodrama and places it into a European and indispensable local context. The author emphasizes typical features of this genre and describes the possibilities of its further development by means of complex analysis of melodrama as a work of art together with the evaluation of its status in the contemporary musical culture. Complex analysis of the work of art is absolutely necessary in order to understand the addressed problematics. It is a starting point that offers a further insight into the main characteristics of the form, not only in an artistic sense but also in other contexts. It provides a space for analysis pursued in a pedagogical context, and it offers a base for the pedagogical interpretation of the artwork that is determinative for the analytical perspective of the submitted dissertation. Pedagogical dimension of this doctoral dissertation that focuses on melodrama fully corresponds. Melodrama is, in fact, a very appealing tool for the understanding of music. It allows us to react appropriately to the needs of contemporary education with emphasis on the use of the integrative and poly-aesthetic...

Antonio Pietrangeli (1919-1968) est une figure incontournable du paysage cinématographique italien, en tant que critique tout au long des années 1940, puis comme réalisateur à partir de 1953. Formé par les débats critiques qui ont accompagné l’élaboration du néoréalisme, il place son premier film (Le Soleil dans les yeux, 1953) sous les auspices d’une saison néoréaliste finissante, ensuite réélaborée à travers un réalisme conçu sous les termes de la perte et de l’inachèvement, dont on trouve un écho dans son attention à la condition féminine. La présente étude propose une première monographie en langue française sur l’œuvre de Pietrangeli, conduite d’après l’ambition d’établir un dialogue entre son œuvre critique et filmique. L’hypothèse d’une pensée pietrangelienne du réalisme cinématographique, en mettant au jour des modalités de pensée spécifiques à la critique et la création, permet d’établir un dialogue dans lequel la question réaliste apparaît comme un outil conceptuel, qui éclaire la contribution de Pietrangeli à l’élaboration d’une modernité cinématographique. Les trois premiers chapitres retracent un « combat réaliste » qui s’inscrit pleinement dans l’historiographie du néoréalisme italien et se caractérise par sa spécificité morale. Elle annonce une transition épistémologique d’après laquelle la pensée du cinéma s’éloigne d’une tradition idéaliste au profit de perspectives existentielles, incarnées dans une filmographie où le réel, devenu objet de doute, dessine une phénoménologie sceptique que nous aborderons dans les quatrième et cinquième chapitres. / Antonio Pietrangeli (1919-1968) has been a prominent figure in Italian cinema, as a critic throughout the 1940’s and as a director from 1953. As an actor in the critical debates during the elaboration of neorealism, Pietrangeli places his first film (Empty Eyes, 1953) under the auspices of a neorealist ending season. This style will evolve afterwards towards a realism conceived under the concepts of loss and incompleteness, which is particularly visible in the light of his concern to the condition of women. The present study proposes the first french-language monography about the work of Pietrangeli, with the ambition to establish a dialogue between his critical and filmic work. The hypothesis of a Pietrangelian conception of cinematographic realism, by revealing specific relations between critics and creation, established a dialogue where the realistic question appears as a conceptual tool, which enlightens Pietrangeli's contribution to the elaboration of a cinematic modernism. The first three chapters trace back a "realistic struggle", which is fully part of Italian neorealism’s historiography, and is characterized by its moral specificity. It announces an epistemological transition, meaning that the conception of cinema moves away from an idealistic tradition in favor of existential perspectives, embodied in a filmography where reality, becoming questionable, indicates a skeptical phenomenology, which constitutes the core of the fourth and fifth chapters.

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Den här uppsatsen undersöker filmstjärnan Leonardo DiCaprios retoriska funktion såsom den manifesteras i klimatdiskursen. Undersökningen genomförs med speciellt avstamp i två av hans filmer vilka i uppsatsen anses särskilt relevanta med tanke på deras produktionsmässiga samtidighet med DiCaprios år som FN:s fredsbudbärare varunder han valde att uppmärksamma klimatfrågan: The revenant (2015) och Before the flood (2016). Filmerna betraktas i uppsatsen som diskurser, likaledes semiotiska texter. Denna undersökning utförs med stöd i ett antal analysverktyg och teoretiska utgångspunkter. Forskningsfälten klimatkommunikation och celebritetsstudier är viktiga utgångspunkter, medan melodrambegreppet och Lloyd F. Bitzers ”retoriska situation” är de viktigaste analysverktygen. Även västerngenren och tillhörande mytbildning bereds stor plats, inte minst på grund av att en av filmerna, The revenant, är en västernfilm. Melodrambegreppet, vars retoriska funktion betonas, sammankopplas med både klimatdiskursen och västerngenren samt George Lakoffs klimatkommunikatoriska tes som kortfattat och förenklat går ut på att känsloargument är det bästa sättet att informera om den globala uppvärmningen. Vidare diskuteras DiCaprios personas förhållande till dessa diskurser och begrepp. Uppsatsens analyser visar att melodrambegreppet är centralt för både klimatdiskursen och de analyserade filmerna. Och att DiCaprios funktion i klimatdiskursen vidare samspelar med dessa aspekter. Samtidigt upprättas frågetecken kring huruvida detta nödvändigtvis innebär att de retoriska diskurserna (filmerna), och likaledes DiCaprio, besvarar sina situationer. Snarare antyder analysresultaten paradoxalt nog att den melodramatiska klimatdiskursen, såsom den kommuniceras via filmerna, trumfas av andra, mer melodramatiska diskurser. / This paper examines film star Leonardo DiCaprio’s rhetorical function as it is manifested within the climate discourse. The analysis is effected with especial focus on two of his films which by this paper are considered particularly relevant considering their productional concurrence with DiCaprio’s year as the UN’s Messenger of peace during which he chose to direct attention toward the climate issue: The revenant (2015) and Before the flood (2016). Both movies are herein considered discourses, likewise semiotic texts. This analysis is effected with the help of several analytical tools and theoretical perspectives. The research fields of climate communication and celebrity studies are important theoretical views for the study, while the narrative concept of “melodrama” and Lloyd F. Bitzer’s “rhetorical situation” are the most important analytical tools. Also, the western genre and its adherent formation of myths are payed a lot of attention, not least because one of the analyzed movies, The revenant, is a western. Melodramas, whose rhetorical function is emphasized, is connected to both the climate discourse and the western genre as well as George Lakoff’s thesis of climate communication which shortly and simply boils down to the view that appealing to feelings rather than reason is the most effective way to inform people about global warming. Furthermore, DiCaprio’s persona is discussed in relation to these discourses and concepts. The analyses of the paper show that the concept of melodrama is central both for the climate discourse and the analyzed movies. And furthermore, that DiCaprio’s function within the climate discourse play into these mentioned aspects as well. Doubts are however raised as to whether this necessarily means that the rhetorical discourses (i.e. the movies), and likewise DiCaprio, succeed in answering their respective situations. The results of the analysis paradoxically suggest that the melodramatic climate discourse, as it is communicated by the two movies, is trumped by other, even more melodramatic discourses.

This thesis analyses how ways of thinking about and meanings of family are (re)negotiated and (re)presented in six films that, to varying degrees, are categorised as cine social. The group of films consists of Familia (León de Aranoa, 1996), Solas (Zambrano, 1999), Flores de otro mundo (Bollaín, 1999), Poniente (Gutiérrez, 2002), Te doy mis ojos (Bollaín, 2003) and Cachorro (Albaladejo, 2004). Despite the growing body of critical work on the wide-ranging social themes they deal with, little sustained attention has been given to their representations of family. Scholars tend to mention it only in passing, or refer back to the allegorical/mediating function that family has often played in Spanish cinema. The objective of this thesis is to place the emphasis, as the films do themselves, on the family per se. Insights into family from a range of academic fields including philosophy, sociology, feminist and queer theories and cultural, race and gender studies are combined with close textual readings and a consideration of the modes of representation and address employed in the films to analyse how they function as sites of ideological struggle. The thesis begins by sketching out historically and culturally situated definitions of family and providing an overview of some of its most iconic representations in Spanish cinema. Establishing many of the aspects developed in the main body of the thesis the first chapter concentrates on Familia, which denaturalises the hegemonic family by presenting it as a self-conscious performance. The subsequent four chapters focus on family forms, roles, practices, commitment, power dynamics and domestic space. They explore how the films’ affective and informed modes of address position the spectator in relation to criticisms of the traditional family and evaluations of emerging family ideologies, finally proposing that they could usefully be viewed as a cycle of postmodern family melodramas.

Orientador: Arnaldo Franco Júnior / Banca: Ana Cecilia Arias Olmos / Banca: Joyce Rodrigues Ferraz Infante / Banca: Márcio Scheel / Banca: Orlando Nunes de Amorim / Resumo: Esta tese desenvolve um estudo sobre os aspectos escriturais associados à estética melodramática no romance latino-americano do pós-boom. Trata-se de procedimentos criativos apropriados na constituição temático-formal dos romances, mediados por um diálogo com diversos recursos narrativos, tecnologias e linguagens, como o romance-folhetim, o rádio e o cinema, que lhes confere uma configuração dialógica e híbrida. O estudo tem como corpus de base um conjunto de seis romances circunscritos às décadas de maior expressividade da narrativa do pós-boom, os anos 1970 e 1980, ao qual articula, também, um corpus secundário que ultrapassa tais limites temporais, aproximando-se de épocas mais recentes e chegando ao início do século XXI. Nesse sentido, o trabalho constitui-se no estudo de um gênero - o romance - em uma de suas vertentes escriturais (o romance de estética melodramática), numa determinada época (o pós-boom) e lugar (América Latina), que, desse modo, lida com uma série literária ainda aberta e em desenvolvimento. A proposta situa-se no marco da literatura comparada, adotando um comparatismo sul-sul que privilegia o texto literário como objeto de estudo, e parte da análise específica dos modos como elementos temático-formais e estilemas da estética melodramática são transpostos para as narrativas literárias do corpus de base. A partir dessas análises, identificamos um conjunto de matrizes escriturais norteadoras da narrativa híbrida e marcada pela configuração melodramática que esse conjunto de romances apresenta, a saber: o conteúdo social, a mediação do rádio e do cinema, a canção popular de feição romântica e a paródia. Desse modo, o estudo faz uma espécie de mapeamento temático-formal da estética reelaborada nessa vertente literária, que encontra no melodrama uma alternativa de renovação da narrativa, ao mesmo tempo em que situa a estética... / Abstract: This dissertation focuses on the melodramatic aesthetics in the post-boom Latin American novel, from the perspective of comparative literature. Our basic corpus is formed by six novels published in the most expressive decades of the after-boom period, which are the 1970's and 1980's, while our secondary corpus goes up to the beginning of the 21st Century. Thus, the research deals with a literary series that is open and ongoing. The work analyses stylistic features and creative procedures that are employed in the formal and thematic constitution of the novels, in dialogue with a number of languages, media and narrative resources - like the newspaper serial novel, the radio and the cinema - emphasizing the dialogical and hybrid character of those novels. The analysis identifies a writing matrix that guides the hybrid narrative and that defines the melodramatic configuration of this set of novels, namely: social context, mediation of radio or cinema, romantic popular songs and parody. This study, then, carries on a formal and thematic mapping of the melodrama as it is reworked in a literary trend for which the melodrama offers a possibility to renew the narrative form. The study sees the melodramatic aesthetics as a long lasting line that is relevant for Latin American literary system. Also, it concludes that the openness of literary discourse to individual categories such as the black, the woman, the homosexual, and to cultural products like the melodrama or the serial novel, often seen as "minor" in the social fabric, enhances a paradoxical critical view of the alienation associated to the consumption and the marketing of cultural industry products, and indicates possible paths for a critical dialogue with those products inside literature / Resumen: En esta tesis se hace un estudio de los aspectos escriturales relacionados con la estética melodramática en la novela latinoamericana del posboom. Son artificios creativos de los que se apropia para la constitución temática y formal de las novelas, mediados por un diálogo con múltiples recursos narrativos, tecnologías y lenguajes, como el folletín, la radio y el cine, que les asigna una configuración dialógica e híbrida. El estudio adopta para el corpus principal un grupo de seis novelas adscritas a la época de más expresividad de la narrativa del posboom, las décadas de 1970 y 1980, al que vincula un corpus complementario que supera dichos límites temporales, acercándose a épocas recientes y al comienzo del siglo XXI. Así que el trabajo se constituye en el estudio de un género - la novela - en una de las vertientes escriturales (la novela de estética melodramática) de una época (el posboom) y un lugar (América Latina), lo cual hace que manejemos una serie literaria todavía abierta y en curso. La propuesta se ancla en el marco de la literatura comparada y despliega un comparatismo sur-sur que le asigna importancia al texto literario en tanto objeto de estudio, partiendo del análisis específico de los modos de transposición de los elementos temáticos y formales de la estética melodramática hacia las narrativas literarias del corpus principal. Entonces, a partir de dichos análisis, pudimos identificar un conjunto de matrices escriturales que orientan a la narrativa híbrida y melodramática de estas novelas, que son las siguientes: el contenido social, la mediación de la radio y el cine, la canción popular de matiz romántico y la parodia. De este modo el estudio logra presentar una suerte de mapeo de los elementos de la estética recreada en esta vertiente literaria, que halla en el melodrama una opción de renovación de la narrativa, a la vez que ubica la estética / Résumé: Cette thèse développe une étude sur les aspects de l'écriture liée à l'esthétique mélodramatique dans le roman latino-américain du post-boom. Il s'agit de procédures créatives appropriées dans la constitution thématique-formel des romans, médiatisées par un dialogue avec des divers expédients narratifs, des technologies et des langages, comme le roman-feuilleton, le radio et le cinéma, ce qui lui donne une configuration dialogique et hybride. L'étude a comme corpus basique un ensemble de six romans limités aux décennies de la plus grande expressivité du récit du post-boom - les années 1970 et 1980 - sur lequelles s'associe un corpus sécondaire que dépasse ces limites temporels qui s'approche des époques plus récentes arrivant au début du XXIème siècle. Dans ce sens, le travail consiste dans l'étude d'un genre - le roman - avec une de ses manifestations de l'écriture (le roman de l'esthétique mélodramatique), dans une époque délimitée (le post-boom) et dans un lieu (L'Amérique Latine) qui de cette façon est lu comme une série littéraire encore ouverte et en train de se developper. La proposition se situe sur la limite de la littérature comparée, en prenant un comparatisme sud-sud qui privilégie le texte littéraire comme un objet de l'analyse et part de l'étude espécifique des manières comme des éléments thématique-formels et des estilemas de l'esthétique mélodramatique sont transposés pour les récits du corpus principal. À partir de ces analyses, on a identifié un ensemble des matrices de l'écriture qui guident le récit hybride et est marquée par la configuration mélodramatique qui cet ensemble des romans présentent, à savoir : le contenu social, la médiatisation du radio et du cinéma, la chanson populaire d'expression romantique et parodique. En ce sens, l'étude établit une espèce de cartographie thématique-formel de ... / Doutor

The setting for this study is Swedish film culture of the 1920s, which has been studied with a focus on representations of masculinity and gender relations according to four themes: 1) children and youth 2) fatherhood and love 3) sexuality and popularity 4) ethnicity and racial stereotyping.       The rise of new consumer culture in the first decades of the 20th century created turmoil between traditional and modern values, not least when it came to conceptions of gender. Studies on masculinity have often directed its efforts towards writing a history of ideals, bound by the concept of hegemonic masculinity; a concept that exclude women as insignificant for the social construction of masculinity. One ambition with this thesis has been to counter the long-lasting concept of hegemonic masculinity, and in the process, try to build a bridge between men and women studies.         One other ambition has been question the canonisation of the “Golden Age” of Swedish silent filmmaking by introducing the concept of “the pluralism of film”, and by using a vast material including: Swedish feature films, reviews, articles from fan magazines and trade paper, screen plays, censorship cards, official reports, etc; thereby circumventing the concept of film as “art” in order to focus on film as representation in a more reliably way.       One conclusion is the revelation of the diversity that surrounds social constructions of masculinity and gender relations in both film culture and society. In addition, Swedish film of the 20s hardly contained any male characters that upheld the hegemonic ideal, giving way to a more prominent presence of strong female characters, often in the shape of the New Woman. Women did as well have a great influence on the formation of masculinity. However, a notion of a Swedish normative masculinity became visible when contrasted with numerous racial stereotypes, such as malicious representations of Black people and Travellers. The emphasis on gender relations, rather than on ideals, has also contributed to a wider understanding of gender, where criteria such as generation, class, ethnicity and sexuality ought to be included.          When it comes to the canonisation of the “Golden Age”, a strong notion exists about the integrated use of nature in film narratives as being a Swedish national trait, when in fact this could be linked only to a few films. If one would point out a trait that permeates Swedish film of the 1920s, it would not be the use of nature, but instead the flagrant racism and xenophobia.

Robert Macaire apparaît en 1823 dans le mélodrame L’Auberge des Adrets sur la scène du Théâtre de l’Ambigu-Comique. Cette pièce marque l’histoire du mélodrame grâce à l’interprétation qu’en fait Frédérick Lemaître. Il crée un costume extravagant et improvise sur scène, transformant alors ce personnage secondaire en héros. Notre thèse met en lumière les modifications apportées dans l’oeuvre initiale grâce au jeu du comédien et recontextualise l’histoire des premières représentations. Le personnage apparaît de nouveau en 1834 dans Robert Macaire. Il devient un témoin emblématique des travers de la société de l’époque et héraut des contestations sociales et politiques de la monarchie de Juillet. Le succès est tel que le personnage réapparaît dans de nombreuses suites et avatars, donnant naissance au « macairisme ». Il s’attire ainsi les foudres de la censure. Au-delà du théâtre, il se transpose dans les caricatures et la littérature, devenant une figure archétypale et mythique. Il reste néanmoins fortement attaché à Frédérick Lemaître avec lequel il constitue un couple symbiotique justifiant l’analyse de l’impact du comédien dans la transfiguration du personnage de théâtre en un type social médiatisé. À travers cette étude, nous analysons le succès de Robert Macaire et les différentes utilisations du personnage et de ses implications politiques afin de comprendre comment et pourquoi ce personnage théâtral est devenu type social. Aborder la question de Robert Macaire à travers le couple qu’il forme avec Frédérick Lemaître permet d’interroger les véritables enjeux de l’esthétique macairienne dans l’affirmation du théâtre populaire. / Robert Macaire appears in 1823 in L’Auberge des Adrets melodrama on the stage of the L’Ambigu-Comique Theater. This play celebrates the melodrama’s history, thanks to the interpretation created by Frédérick Lemaître. He creates an extravagant costume and improvises on stage, transforming this secondary character in heroe. Our thesis highlights changes in the initial work through the actor’s play and re-contextualizes the history of the firsts performances. The character appears again in 1834 in Robert Macaire. He became an emblematic witness of the society of that time and herald for the social and political challenges of the “monarchie de Juillet”. Due to the success, the character reappears in many suites and avatars giving birth to the “Macairisme”. He thus, attracted the wrath of censorship. Beyond the theatre, he transfers in cartoons and literature, thus becoming an archetypal and mythic figure. Nevertheless, he remains strongly attached to Frédérick Lemaître with whom he creates a symbiotic couple justifying the study of the impact of the comedian in the transfiguration of the theatre in a publicized social type character. Through this study, we do analyze the success of Robert Macaire and the different uses of the character and its political implications in order to understand how and why this theatrical character has become a social type. Addressing the issue of Robert Macaire through the couple formed with Frédérick Lemaître, allows querying the real issues of “the macairienne esthetic” in the claim of the popular theatr