Thesis--Heidelberg, 1978. / Includes bibliographical references (p. 253-267).

Thesis--University of Zurich. / Vita. Includes bibliographical references (p. 161-164).

Thesis (M.A.)--Kutztown University of Pennsylvania, 1997. / Source: Masters Abstracts International, Volume: 45-06, page: 2835. Typescript. Includes bibliographical references (leaves 92-98).

Thesis (M.A.)--Memorial University of Newfoundland. / Typescript. Bibliography: l. 112-117. Also available online.

Thesis (Ph. D.)--Uppsala University, 1993. / Includes bibliographical references (p. 244-253) and index.

Thesis (doctoral)--Universitetet i Lund, 1980. / Inserted t.p. with thesis statement; in Swedish. Includes index. Bibliography: p. 153-155.

Orientadora: Maira Angélica Pandolfi / Banca: Paula Renata de Araújo / Banca: Benedito Antunes / Resumo: O livro Dom Quixote de La Mancha, do escritor espanhol Miguel de Cervantes Saavedra (1547-1616), publicado nos anos de 1605 (Primeiro Livro) e 1615 (Segundo Livro), é considerado por muitos como a obra que marcou o início do romance moderno e tem sua história conhecida mundialmente. O sucesso de Dom Quixote foi preconizado pelo próprio escritor, registrado no prólogo de seu Segundo Livro. Sua interpretação ao longo de quatro séculos de existência revela leituras variadas, sendo que dentre elas acentua-se a de viés romântico. Neste estudo abordamos um breve panorama da história de divulgação da obra e de Cervantes e de sua expansão pelo mundo, tornando-o um dos livros mais conhecidos pela humanidade. Sua divulgação se expande por fronteiras além-literárias, como adaptações presentes nos diferentes campos artísticos: teatro, cinema, música, pintura, entre outros. Enfocamos uma de suas adaptações literárias infantojuvenis, realizada pela escritora brasileira Ana Maria Machado, intitulada O Cavaleiro do Sonho: as aventuras e desventuras de Dom Quixote de La Mancha (2005), que dialoga interartisticamente com a pintura, pois é ilustrada pela série Dom Quixote (1956), de Candido Portinari. O contato com a história também ocorre pela esfera da oralidade, constituindo-se no mito de Dom Quixote, ou seja, a história desprende-se do papel para habitar o campo do imaginário coletivo. Averiguamos a perspectiva adotada pela escritora Ana Maria Machado em relação a sua releitura da história ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The novel Don Quixote de La Mancha, by the Spanish writer Miguel de Cervantes Saavedra (1547-1616), first published in 1605 (Volume 1) and 1615 (Volume 2), is acknowledged by many literary critics as the milestone of the modern novel, and its plot is known worldwide. The success of Don Quixote was foreboded by the own author, reported in the prologue of Volume 2. The interpretation of Don Quixote's narrative over its four centuries of existence unveils multiple analysis, of which, among them, the romantic bias one is emphasized. In this dissertation we have approached a brief overview on the trajectory of the dissemination of the aforementioned novel, also regarding the novelist himself, as well as its diffusion throughout the world, growing into one of the most famous books in mankind. Its diffusion goes beyond literary boundaries, such as existing adaptations in several artistic fields like drama, cinema, music, painting, among others. We have emphasized one of its adaptations to children's literature, made by the Brazilian authoress Ana Maria Machado, entitled O Cavaleiro do Sonho: as aventuras e desventuras de Dom Quixote de La Mancha (2005), which dialogues interartistically with painting, since its illustrations were taken from the series of paintings Dom Quixote (1956), by the Brazilian painter Candido Portinari. The bonding with the narrative also takes place via the field of orality, forming the Myth of Don Quixote. We have investigated Ana Maria Machado's point of v... (Complete abstract click electronic access below) / Mestre

This thesis examines the use of elements of myth and ritual in the work of Peter Brook, focusing primarily on The Mahabharata ( 1986 ). The argument proposes that Brook uses myth and ritual as an integral part of his search for the culture of links .. This thesis examines the precise functioning of myth and ritual in Brook's theatre, and places his work in relation to the concepts of interculturalism and postmodernism. In so doing, The Mahabharata is seen as a valid and important step in Brook's search for the culture of links. Chapter One formulates broad-based concepts of myth and ritual, and examines their function in society and culture, as well as their role in theatre. Chapter Two offers a brief discussion of the use of elements of myth and ritual in Brook's productions, beginning with King Lear (1962), and ending with 0rghast (1971). The discussion illustrates the multiple functions which myth and ritual serve in Brook's work. Chapter Three examines the trend of interculturalism, placing Brook's work within this franlework. Attention is given to the moral and political issues implicit in interculturalism. The chapter highlights the need for intercultural theatre to be evaluated in terms of artistic criteria, rather than on anthropological or political grounds. Finally, there is a discussion of the work of other intercultural theatre practitioners. Chapter Four examines Brook's Mahabharata. A detailed discussion of the authenticity and visual presentation of Brook's interpretation shows how Brook mediates between the Indian epic and a Western audience An examination of the critical response offers insights into the dangers of insensitive cross-cultural contact.. Chapter Five offers a critical summary of the argument. Brook's search for the culture of links has led him to use elements of myths and rituals of non-Western cultures. In so doing, Brook seeks to bring their living quality to his work, and to forge links between the peoples and cultures of the world.

En premier lieu, cette étude relie les formes verbales du mythe aux formes littéraires. Par la suite, une analyse des structures mythiques des genres romanesques traditionnels est effectuée à l'aide d'un corpus représentatif de Vimaginaire québécois. Le premier chapitre développe une "dynamique structurale" du mythe, basée sur la "classification isotopique des images" de G. Durand et sur les mécanismes mimétique et victimaire de R. Girard. Le mythe raconte l'affrontement entre les deux bornes réversibles de la NATURE (instinctive, individuelle, nocturne) et de la CULTURE (rationnelle, collective, diurne) et l'établissement des "différences" (linguistiques, morales, sociales) à partir du sacrifice d'une victime personnifiant la violence indifférenciatrice. L'analyse des contes de La Chasse-galerie (1900) de H. Beaugrand, dans le deuxième chapitre, démontre que, malgré leur "incarnation historique", ces récits, qui relèvent de la tradition carnavalesque médiévale, sont relies par leurs structures et par leur rôle social au mythe originel. Cet événements primordial, en effet, structure paradigmatiquement et syntagmatiquement le récit romanesque, lequel dérive de l'épisode mythique suivant diverses étapes de transformation. Cette évolution, étudiée en fonction des théories de M. Bakhtine et de G. Durand dans le troisième chapitre, dépend d'une oscillation entre deux pôles identifiables aux "bornes antagonistes" du mythe: un mytho-romanesque unilingue au service de la collectivité et un néo-romanesque ouvert a l'Histoire et au désir humain. Le premier roman publie au Québec fut L'Influence d'un livre (1837), un roman d'aventures écrit par de Gaspé, fils. Le premier roman psycho-sentimental, unique pendant longtemps, fut Angeline de Montbrun (1884) de L. Conan. Un examen des structures de ces œuvres significatives, dans les deux chapitres suivants, manifeste une certaine distanciation avec le mythe. Par son ambiguïté et son incohérence, la première traduit la problématique de la Rébellion de 1837-38. La seconde, qui privilégie une dialectique "interpersonnelle", rend compte de l'avènement d'une "petite bourgeoisie" et d'un processus d'individualisation. Cependant, ces deux romans refusent ultimement d'accéder a l'Histoire et demeurent profondément attaches a Tordre traditionnel patriarcal. L'"aventure" d'un moi individualise au présent est supplantée par un élément démythifiant tourne vers un passe féodal édénique. Un clergé de plus en plus puissant force le romanesque a regresser en promouvant un roman historique fataliste, infériorisant, compensateur et un roman du terroir au service d'un ultramontanisme messianique. Les sixième et septième chapitres étudient ces genres mytho-romanesques en relation avec deux oeuvres "classiques" quebecoises, Les Anciens Canadiens (1863) de de Gaspé, père, et Un Homme et son pèche (1933) de C.-H. Grignon. Avec cette dernière œuvré, une ouverture sur le néo-romanesque plurilingue se fait sentir. De plus en plus réaliste, le roman va traduire dans ses structures la désintégration de l'univers mytho-traditionnel: la conscience psychologique démonte la fonction sociale du mythique. Toutefois, en raison du processus de remythification propre a toute idéologie, des structures de l'imaginaire et des mécanismes mimétiques inhérents a l'homme, il découle que le romanesque moderne n'échappe pas aux forces structurantes du mythe. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

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