Th.--Histoire--Pampelune--Universidad de Navarra, 1998. / Bibliogr. p. 515-529.

This work studies the arguments of eleven of Manuel Ortiz de Pinedo's works, which the author considers as a matter of research and worthy of criticism and analysis on everything related to their themes, characters and resources used by the playwright.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

This thesis examines the carnivalesque strategies evident in the short story "Confabulacion de la arana" by the Cuban writer, Guillermo Vidal. Two particular perspectives are used here. First, an analysis of the narrator and the narrative structure is made in which the contribution of the narrative strategies present in the text are explored. To do this, the methodological framework of literary carnivalization offered by the Russian critic Mijail Bajtin has been used, foregrounding his basic argument that carnival, as a social practice, is intrinsically subversive since it abolishes all forms of hierarchy and convention present in society during non-carnival time. By extending his theory to those genres of literature in which the elements of carnival are transcribed, Bajtin insists that carnival and carnivalized literature are potentially subversive since they contest conventional structures and frameworks. The narratological models and categories outlined by Gerard Genette and Mieke Bal allow consideration of the variety of pronouns through which the story is narrated and text's representation of the various speech acts. Unlike traditional narratives which are based on the use of a single pronoun, narration in this text is conducted through continual and abruptly shifting changes of pronoun. Such a technique disrupts the stability afforded by a single narrative voice and a narrative function based on ambivalence and plurality becomes evident. Secondly, the carnival theme and its relationship to the Bajtin's theory of the carnivalesque is examined. It is the contention here that "Confabulacion de la arana" may be read as a satire of contemporary Cuban society. Through the process of the continual debasement of the main character, the representative here of authority in Cuba, the story critiques the social and political values in force in Cuba today.

Thesis (M.A.)--George Mason University, 2009. / Vita: p. 154. Thesis director: Ricardo F. Vivancos Pérez. Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Interdisciplinary Studies. Title from PDF t.p. (viewed Oct. 12, 2009). Includes bibliographical references (p. 147-153). Also issued in print.

Thesis (Ph. D.)--University of Kentucky, 2004. / Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).

No description available.

Orientador : Prof. Dr. Walter Lima Torres Neto / Dissertação (mestrado) - Universidade Federal do Paraná, Setor de Ciências Humanas, Programa de Pós-Graduação em Letras. Defesa: Curitiba, 29/07/2016 / Inclui referências : f. 169-179 / Área de concentração: Estudos literários / Resumo: Apesar do aumento da produção cultural para infância, o teatro para crianças é uma linguagem artística que ainda possui o estigma de ser um gênero menor. Tal consideração é decorrente da própria legitimação social da infância, fase esta que, semelhante à velhice, é desvalorizada no contexto capitalista. Soma-se a isso o fato de que a produção teatral para crianças no Brasil apresenta uma história recente de pouco mais de cinquenta anos. Com isso, é bastante comum se deparar com espetáculos infantis desprovidos de qualquer compromisso estético ou com montagens que utilizam o teatro como instrumento pedagógico, cujo objetivo é transmitir ensinamentos ou mensagens edificantes. Na contramão dessas iniciativas, observam-se autores e encenadores como Maria Clara Machado, Tatiana Belinky, Ilo Krugli e Vladimir Capella, que se destacaram no teatro para infância e que adentraram a porta aberta por Lúcia Benedetti e O Casaco Encantado, texto que marcou o início da profissionalização do teatro infantil no Brasil. A partir de uma reconstrução da trajetória desta modalidade, verifica-se que grande parte das pesquisas na área do teatro e dramaturgia para infância abrange principalmente artistas domiciliados nas capitais do Rio de Janeiro e São Paulo. Dessa forma, o objetivo desta dissertação é situar-se "fora do eixo" (Peixoto) e possibilitar uma explanação sobre a caminhada do teatro infantil em Curitiba. Motivada pelos acontecimentos do eixo cultural do país, a produção teatral para crianças se consolidou na capital na década de 1950. Com a fundação do Teatro de Comédia do Paraná em 1960, a realização dos Seminários de Dramaturgia e a vinda do Grips Theater na década de 1970, o teatro produzido em Curitiba tornou-se reconhecido no âmbito nacional e lançou os profissionais que atualmente produzem espetáculos para crianças na capital paranaense. Sendo assim, com o intuito de analisar a produção dramatúrgica realizada em Curitiba, apresentam-se considerações sobre os textos dos principais autores que escrevem peças para crianças ou peças de classificação livre. Para um estudo mais aprofundado, apresenta-se uma análise de algumas peças da Fátima Ortiz, fundadora da Companhia Pé no Palco, cuja dramaturgia compõe-se de textos de teatro para crianças e jovens. Palavras-chave: Teatro para Crianças; Dramaturgia para Infância; Teatro Curitibano; Análise Dramatúrgica; Fátima Ortiz. / Abstract: Despite the increase in cultural production for children, theater for children is still stigmatized as a minor genre. This aspect is related to the social legitimation of childhood, and that infants as well as elderly are set aside in a capitalist context. In addition to that, Brazil has a recent history of a little more than fifty years of theatrical production for child spectators. Therefore it is quite common to come across plays for children devoid of any aesthetic commitment, or used merely as a mean for didactic and edifying messages. Opposed to these productions, authors and directors such as Maria Clara Machado, Tatiana Belinky, Ilo Krugli and Vladimir Capella, have entered the door opened by Lúcia Benedetti and O Casaco Encantado (text that marks the beginning of professional theater for children in Brazil), and stood out due to their theatrical productions for children. Most studies about this theatrical and dramaturgical genre focus on artists from Rio de Janeiro and São Paulo. Thus the present thesis aims to present the trajectory of theatre for children in Curitiba. Impelled by the events occurred in the cultural centers of the country, theatrical production intended for children was consolidated at Curitiba in the 1950s. After the foundation of the "Teatro de Comédia do Paraná" (1960), the Playwriting Seminars as well as the visit of the Grips Theater in the 1970s, the theatrical production from Curitiba has achieved national recognition and launched important names that still produce plays intended for child spectators. With the aim of analyzing the dramaturgy for produced in Curitiba, this study presents considerations about the work of the main playwrights who write for children or all ages plays. For more detailed study an analysis of the plays from, the founder of the Pé no Palco Company, Fatima Ortiz whose work is composed by plays for children and young spectators. Key-words: Theater for children; Dramaturgy for children; Theatre in Curitiba; Dramaturgical analysis; Fátima Ortiz.

Fernando Ortiz, en su grandioso trabajo Contrapunteo cubano del tabaco y el azúcar del año 1940, realiza una radiografía de la cultura cubana que incluye todos los aspectos más arriba mencionados —que son parte fundamental de las discusiones actuales— y conecta diversos campos del saber y de la vida que luego reunirá en el termino de "transculturación".

Fernando Ortiz, en su grandioso trabajo Contrapunteo cubano del tabaco y el azúcar del año 1940, realiza una radiografía de la cultura cubana que incluye todos los aspectos más arriba mencionados —que son parte fundamental de las discusiones actuales— y conecta diversos campos del saber y de la vida que luego reunirá en el termino de "transculturación".:Algunas nociones teóricas. - Figuras de la hibridez: Transculturaciones y Caliban