Tom Murphy, dramaturgo irlandês, apropria-se da tradição e a reescreve transformando-a e contextualizando-a para a Irlanda contemporânea. O trabalho trata de três peças: The Morning After Optimism (1971), The Sanctuary Lamp (1976) e The Gigli Concert (1983), que se caracterizam, predominantemente, pela reescritura. O estudo tem por objetivo analisar como a herança literária efetivamente ocorre na composição das peças de Tom Murphy, através da intertextualidade em citações, alusões, paródias, reescrituras e outras formas, bem como entender os motivos do autor utilizar-se de obras da tradição clássica, renascentista, medieval, dos contos populares, das óperas e música popular para escrever as três peças. / Thomas Murphy, an Irish playwright, appropriates tradition and rewrites it transforming and transcontextualizing it to the contemporary Ireland. The dissertation deals with three plays: The Morning After Optimism (1971), The Sanctuary Lamp (1976) and The Gigli Concert (1983) which are predominantely characterized by rewriting. The study aims to analyze how literary heritage effectively occurs in Tom Murphy\'s plays through intertextuality in citations, allusions, parodies, rewriting and other related forms, as well to understand why the author uses works of art from classical, renaissance, medieval, fairy tale, opera and popular music tradition to write the three plays.

O segundo livro publicado por Hélia Correia, O número dos vivos, em 1982, faz uma crítica aos modelos sociais da sociedade portuguesa da década de 40 do século XX. Essa crítica é alcançada no romance através do uso de estratégias narrativas como a ironia e a paródia, responsáveis por desencadear questionamentos no leitor. O romance tem como modelo a ser parodiado o cânone da literatura realista principalmente, Madame Bovary, de Gustave Flaubert, e O primo Basílio, de Eça de Queirós. Como resultado, há concomitantemente uma crítica aos ideais defendidos pelo realismo e à opressão sofrida pelas mulheres sob o sistema patriarcal português. A ironia, por sua vez, surge em conjunto com o modelo de masculinidade criado na segunda metade do século XIX e perpetuado até meados dos anos 50 do século seguinte. A análise das personagens masculinas parte da relação entre essa imagem do homem e as bases da sociedade portuguesa para criticar as instituições fundamentais para a manutenção da ditadura salazarista: Família, Igreja e Estado. Como forma de libertação dessa situação opressora, no romance, são encontrados prenúncios de uma transformação que estaria próxima e que traria uma nova configuração para a sociedade portuguesa, na qual seriam revistos os papéis das mulheres e dos homens na sociedade, além da redemocratização do país. / The second novel published by Hélia Correia, O número dos vivos, in 1982, critics the social standards in Portuguese society in the 40s of twentieth century. This critic is achieved in the novel through strategies as irony and parody. The novel has as the model for the parody the realist literature mainly, Madame Bovary by Gustave Flaubert and O primo Basílio by Eça de Queirós. As a result, there is at the same time a critic to the ideals endorsed by the Realism and to the oppression suffered by women under the patriarchy. Irony is studied in combination with the standard of masculinity created in the second half of 19th century and preserved until the 50s of the next century. The analysis of the masculine characters is based in this relation between the image of man and the foundations of Portuguese society in order to criticize the fundamental institutions of Salazars dictatorship: Family, Church and State. As a way to get rid of the oppression, in the novel, are found predictions of an imminent change that would bring a new configuration to the Portuguese society, where the roles of women and men would be revised, in addition to the return of the democracy.

The aim of this work is to map fake Czech profiles on social networks Facebook and Twitter. "Fake profiles" in this case mean those where authors are acting as a well-known person, company or institution. Best known Czech profiles are Twitter's @schwarzenbergk, @kardinalvlk or @ovcacek_jiri and Facebook profile @jiriovcacekunofficial. After a general introduction to the topic, which includes, among other things, a brief look at the topic of political satire and the introduction of social networks, including the regulation they take to protect personality, the main part follows. It analyzes 8 different Czech false profiles. The content of the posts, the account statistics, the most successful posts and possibly other related information are presented. An important part of the work are interviews with authors of these profiles as well as with counterparts: real people or companies. This offers a close look at the backstage of the creation and running of the profile and, on the other hand, the possibility to gain the reaction of the concerned party. A comparative analysis of false and real Jiří Ovčáček's Facebook profiles is conducted in this part as well. The next section is included in order to bring a wider view of the issue. It is devoted to similar profiles abroad, which gives the possibility...

L’objet de ce travail est de montrer le rôle capital qu’a joué la parodie dans la construction du genre romanesque, le seul de ce que l’on considère aujourd’hui comme les grands genres à ne pas être théorisé jusqu’à la fin du XVIIe siècle. La parodie est considérée comme une pratique facile et gratuite, comme une attaque déloyale visant à détruire sans pitié un modèle supérieur. Pourtant, on peut plaider en faveur de son pouvoir habilement corrosif et régénérateur : en critiquant une esthétique, elle en dénonce les défauts et invite à la renouveler. Tournée vers le passé du texte qu’elle imite, elle est aussi tournée vers l’avenir et porte en germe, dans sa critique, la suggestion de voies de renouvellement. Cette capacité de la parodie de régénérer par-delà la critique explique que le roman, en l’absence de théorisation, se soit largement défini par la parodie. Son rôle a, de ce fait, été crucial aux époques où le roman n’était ni théorisé ni accepté et elle a constitué un des lieux majeurs de la réflexion sur le genre romanesque. Non seulement la parodie bouscule le genre du roman et, par ce geste même, le constitue comme genre, mais elle permet aussi de mettre en évidence la conscience générique d’une époque et les formes qu’elle adoptait. Œuvre de lecteur, elle reflète la vision qu’a eue une époque du roman et les manières dont elle entendait le renouveler : elle est donc doublement théoricienne. Il s’agit ici de voir comment la parodie, du roman grec au roman du XVIIIe siècle a été le laboratoire du genre romanesque, situé dans un fragile équilibre entre la destruction des esthétiques qui l’ont précédé et la promotion de nouvelles formules. / The aim of this dissertation is to show the decisive role that parody played in the construction of the novel as a genre, that has not been theorized before the end of the XVIIth century (a unique case within the main forms of literatures). Parody is often considered as an easy process, an unfair and merciless way to attack a superior model. However, its defenders can valuably argue for its caustic and regenerative impact : by criticizing the novel’s aesthetic, parody points out its weaknesses and thus shows the way to renew it. By the process of imitation, parody inevitably confines the parodied text into the past; but at the same time it looks towards the future and suggests, in its criticism itself, new territories to explore. This fertile feature of parody explains why it has largely helped to define the novel in the absence of theoricians. At times when the novel was neither theorized, nor even accepted, parody has played a crucial role, concentrating most of the intellectual reflection about the novel. Not only has parody shaken the form of the novel – which by the way helped establishing it as a genre, it has also highlighted how conscious people were of the existence of this genre, the forms it took. Being a reader’s work, parody reflects how an audience considered the novel and how it intended to renew it : in that sense it has a double contribution to theory. Our objective is to see how, from the greek novel to the XVIIIth century, parody has been a think tank for the novel, in a fragile balance between the destruction of former aesthetics and the promotion of new formulas.

Esta tese é um estudo analítico-interpretativo do romance A Hora da Estrela, de Clarice Lispector. Com base nas teorias de Mikhail Bakhtin, explicitam-se os elementos dialógicos que estariam na base da composição do romance final de Lispector. Por dialogismo, entendem-se as várias interações crítico-paródicas que o narrador Rodrigo S.M, persona masculina criada pela autora, estabelece com outros discursos no processo metaliterário que embasa a construção da narrativa. Entre estes discursos, a análise dá especial atenção à paródia que o narrador faz de diferentes formas narrativas e dramáticas, entre as quais se destacam o romance de folhetim, o melodrama, o romance regional, o romance social e o romance psicológico. O tom dialógico-paródico dominante na obra permite detectar traços de carnavalização usados como arma de crítica e denúncia social. No âmbito desta carnavalização, destaca-se a presença de máscaras ancestrais da arcaica romanesca retomadas e atualizadas por Lispector, em especial as máscaras do tolo, do bufão e do trapaceiro, personagens arquetípicos que, oriundos do solo da cultura popular, teriam importante papel na consolidação do romance como gênero fundamentalmente voltado para a representação/encenação crítica de discursos (ainda segundo Bakhtin). Analisam-se também algumas crônicas de Lispector consideradas importantes para a compreensão da figuração do \"personagem tolo\" sem sua obra. Trata-se de crônicas que tematizam o longo contato da escritora com empregadas domésticas, personagens que antecipam e inspiram a criação de Macabéa. A importância do tolo é destacada, na medida em que ele se apresenta como uma \"máscara\" que permite interagir criticamente com os discursos instituídos, ou seja, com a ideologia dominante. O tolo que estranha e não compreende a sociedade que o cerca torna-se um importante elemento de denúncia da falsidade e do perniciosismo das relações sociais estabelecidas. A ele se junta o bufão, representado ironicamente na persona burlesca do narrador masculino Rodrigo S.M., que, em clima de carnavalização, desmascara e destrona discursos no processo autocrítico de construção da narrativa. / This thesis is an analysis and interpretation of Clarice Lispector\'s novel The Hour Of The Star. Based on Mikhail Bakhtin\'s theories, the work focuses attention on various forms and degrees of dialogic orientation in the discourse of the narrator Rodrigo S.M., who is a kind of fictional \"male mask\" created by the author in order to develop parodic stylization of a series of other discourses, specially of epic and dramatic forms, such as the melodrama, the \"serialized novel\" (\"feuilleton-roman\"), the social novel, the regional novel and the psychological novel. The dialogic and parodic tone of Lispector\'s novel implies the use of carnivalization as a tool of social criticism. It is also considered that the novelist has constructed the main characters, including the narrator, out of ancient and durable popular masks which, according to Bakhtin, had a great role in the constitution of the specific dialogism of novelistic discourse. These masks, which correspond to the figures or artistic images of the fool, the clown and the rogue, go back into the depths of folklore and have a vital connection with the public square and the public spectacle. In the context of the novel, these popular masks assist the author in the task of parodying the languages of others as well as different literary and non - literary discourses. Besides, the analysis focuses on some Lispector\'s short stories which were regarded important for the understanding of the image of the fool character, mainly those ones well known to be based on her real life. The theme of such stories is Lispector\'s daily contact with housemaids, an inspiration for the creation of Macabéa, the \"fool\" protagonist of The Hour Of The Star. The importance of the fool is emphasized in this study due to the fact that his stupidity and incomprehension of the conventions of society and its canonized discourses (religious, political, judicial, scholarly) turn to be a dialogic category whose function is to rip off ideological falsehood. In addition to the fool, there is the clown, a role played by Rodrigo S. M., the male narrator who, as a mask, has the right to speak in otherwise languages and maliciously distort and turn them upsidedown

O presente estudo volta-se para a construção estética do drama documental O Inferno (1967) de Bernardo Santareno. Esta peça tem por argumento outra peça, de fato encenada empiricamente nas barras de um tribunal do júri que, em 1966, acusa, julga e condena os réus Ian Brady e Myra Hindley, etiquetados pelas mídias por \"amantes diabólicos\". Ambos foram protagonistas de malfadados sucessos ocorridos na Grã-Bretanha, daquela época. Com zelo cruel, eles assassinaram o adolescente homossexual Edward Evans, de 17 anos, e duas crianças: uma judia Lesley Ann Downey de 10 anos e, outra negra John Kilbride de 12 anos. Que forças teriam, pois, motivado esse fatídico casal inglês a cometer tais atrocidades? Essa pergunta animou a enunciação das mídias inglesas, que exploraram à farta esses episódios no fito de noticiar espetacularmente os fatos empíricos. Assim, na medida em que as histórias sobre as perversidades macabras dos \"nascidos para matar\", Ian Brady e Myra Hindley, eram divulgadas, acendia-se a comoção e o clamor da opinião pública, que recobriu essas figuras com a película da monstruosidade. Esse processo de patemização ajudou a tingir os fatos empíricos com a coloração ideológica, que deles abstraiu o caráter histórico-social e circunstancial do fenômeno. Será, portanto, navegando a contrapelo da patemização midiática e, ao mesmo tempo, incorporando-o de forma paródica que Santareno reconstruirá, em O Inferno, o julgamento dos ilustres amantes Moors Murderers. Dessa maneira, um dos interesses deste estudo é compreender as relações estabelecidas entre o fato empírico e o processo de modelização semiótica por ele sofrido ao ser apropriado pelas mídias. Outro elemento a permitir a interpretação dessa apropriação - forte influenciadora da transformação do casal de amantes em mito na sociedade unidimensional - é a (re)contextualização crítica do mito de Orfeu e Eurídice, de modo que se buscará analisar essa (re)contextualização a partir da leitura dos MoorsMurderers em chave mítica, bem como a persistência desse topos literário na tradição artística ocidental. Por último, pretende-se estudar a construção estética da peça e suas raízes em determinadas convenções estéticas e coordenadas históricas, somadas ao seu cariz metateatral, considerando que os trabalhos do tribunal do júri são reconfigurados, em O Inferno, como uma encenação forense de um drama positivista/naturalista, que enreda e contém outras formas dramáticas, literárias e sociais. As chaves teóricas mestras para a realização deste trabalho são as teorias da linguagem (lingüístico-literária) do Círculo de Mikhail Bakhtin, especialmente no que concerne às concepções dialógica e social da linguagem, associadas aos conceitos de dialogismo, modelização semiótica, polifonia e carnavalização. Acrescenta-se, também, a esse escopo teórico alguns dos postulados teóricos de Theodor Adorno e Horkheimer, de Guy Debord e de outros que discutem a onipresença e o papel das mídias na sociedade unidimensional, assim como os postulados teóricos de Peter Szondi a respeito do drama como forma teatral. / This research has set out to investigate the aesthetic construction of the documental drama O Inferno (1967), by Bernardo Santareno. The plot of this play is based on another play that has in fact been empirically staged in the bars of a jury court, which, in 1966, accuses, judges and condemns the defendants Ian Brady and Myra Hindley, labeled by the media as the \"diabolic lovers\". Both of them were the protagonists of unlucky happenings occurred in the Great Britain of that time. With cruel care, they murdered Edward Evans, a 17-year-old homosexual adolescent, and two children: one black, Lesley Ann Downey, 10 years old, and the other Jewish, John Kilbride, 12 years old. What forces would have, then, motivated this fatidic English couple to commit such atrocities? This question enlivened the English media headlines that intensely explored these episodes; with the purpose of spectacularly inform the empirical facts. Thus, as the stories about the macabre perversity of the \"born to kill\", Ian Brady and Myra Hindley were spread, people were filled with commotion and the clamour of the public\'s opinion re-covered these characters with a pellicle of monstrosity. This pathos-driven process helped to dye the empirical facts with the ideological colours that abstracted the historical-social and circumstantial characters of the phenomenon. It will be, therefore, by sailing against the pathos-driven media, and, at the same time by incorporating it in a parodic manner that Santareno shall reconstruct, in O Inferno, the judgment of the illustrious lovers Moors Murderers. In this way, one of the interests of this study is to understand the established relationships between the empirical fact and the semiotic modelization process suffered by such fact when appropriated by the media. Another element to permit the interpretation of such appropriation -strong influencer of the lovers transformation into a myth in the one-dimensional society - is the critical (re)contextualization of the myth of Orpheus and Euridice. Thus, it will be attempted to analyse such (re)contextualization from the mythical key reading of Moors Murderers, as well as the persistence of such literary topos within the artistic western tradition. Finally, it is intended to investigate the aesthetic construction of the play and its roots in specific aesthetic conventions and historical co-ordinations, added to its metatheatre complexion, considering that the work of the Jury Court is reconfigured in O Inferno as a forensic acting of a positivist/naturalist drama that elaborates and contains other dramatic, literary and social forms. The theoretical master keys for the accomplishment of this work are the language theories (linguistic-literary) from the Mikhail Bakhtin?s Circle, specially in respect to the dialogic and social concepts of language, associated to the concepts of dialogism, semiotic modelization, polyphony and carnivalization. It is added to this theoretical skopos some of the theoretical postulations of Theodor Adorno and Horkheimer, Guy Debord and of others who discuss the omnipresence and the role of media in the one-dimensional society, as well as the theoretical postulations of Peter Szondi in respect to drama as a theatrical genre.

Este estudo trata da presença da paródia nos contos reunidos em Papéis avulsos (1882), de Machado de Assis. Por paródia entende-se, segundo M. Bakhtin, a representação da linguagem de outrem com orientação divergente; e, segundo L. Hutcheon, a repetição de um texto ou discurso com diferença irônica. O objetivo geral da pesquisa é compreender como a paródia pode ser um elemento fundamental na estruturação de quatro contos de Papéis avulsos. Os objetivos específicos são: verificar como Machado de Assis emprega as formas e os gêneros no âmbito dos quais se desenvolve a enunciação dos contos; averiguar como o uso de referências, citações, obras, idéias, discursos etc., servem ambígua e dialogicamente aos narradores e personagens dos contos; compreender como essa mobilização constante de diversas referências, discursos e linguagens colabora com a construção dos contos tanto no nível formal quanto no temático; verificar de que modo o uso da paródia pode ter outro significado para o autor, que, através de diversas estratégias de distanciamento, exercita sua ironia sobre questões de seu tempo e de seu espaço. Pretende-se mostrar que, em todos os contos analisados, os procedimentos paródicos utilizados estão a serviço da produção de um distanciamento crítico e irônico do autor e do leitor em relação a sua realidade. / This study addresses the presence of parody in the short-stories gathered in Papéis avulsos (1882), of Machado de Assis. Parody is understood, according to M. Bakhtin, to be the representation of the language of others with a divergent orientation, and according L. Hutcheon, repetition of a text or speech with ironic difference. The general objective of the research is to understand how parody can be a key element in the structure of four short-stories of Papéis avulsos. The specific objectives are: to verify how Machado de Assis uses the forms and genres within which the narration of the short-stories develops; examine how the use of references, quotations, works, ideas, speeches etc., serve the narrators and characters of the stories with ambiguity; understand how this constant mobilization of different references, speech and language works on the construction of short-stories in terms both of form and theme; check how the use of parody may have another meaning for the author who, through various strategies of distancing, applies his irony to questions of his time and place. It is intended to show that in all of the stories examined, the use of parody serves to distance the author and the reader critically and ironically in relation to their reality.

The aim of this thesis is to examine the poetics of postmodernism and explore to what extend were the dystopian novels London Fields (1989) by Martin Amis and England, England (1998) by Julian Barnes influenced by this concept. The first part of the work deals with the biographies of the authors, dystopian features of both books and the theory of postmodernism. The second part focuses on practical analyses of both novels. In the second part, the thesis theoretically introduces various concepts of postmodernism and then practically illustrates them on the works.

Made available in DSpace on 2016-03-15T19:46:33Z (GMT). No. of bitstreams: 1 Fabrizzi Matos Rocha.pdf: 2115417 bytes, checksum: 5722c834ba91ff96667c75ab37623df9 (MD5) Previous issue date: 2007-08-06 / Fundo Mackenzie de Pesquisa / The aim of this research is to investigate the compositive elements of Geração Trianon, a play written by Nunes in 1987 and first represented in 1988. Theme, characters and their conflicts, as well as other elements of the play are examined with the theoretical support of Ryngaert s analysis of the drama. The concepts of parody and irony are focused here, under Hutcheon s perspective, to support the study of dialogues and intertextualities between past and present events and the understanding of similarities in the atmosphere of the Stage in the early decades of the 20th century (atmosphere of the so-called Geração Trianon ) and now. Her theory is also the basis for the analysis of post-modern characteristics seen in Geração Trianon. The matter of intertextuality in the play is studied under Kristeva s perspective. And Abel s concept of metatheatre offers subsides for the study of the metalinguistical events of the text. / O objetivo deste trabalho é investigar, dentro do quadro do Pós-Modernismo, os elementos estruturantes da narrativa dramática de Geração Trianon, escrita por Nunes em 1987. Com base na teoria analítica do drama de Ryngaert, analisaram-se o tema, as personagens e seus conflitos, bem como os demais elementos que compõem este texto teatral. Considerando os aspectos históricos presentes na obra, são destacados os recursos da paródia e da ironia, conceitos estudados nesta pesquisa à luz da teoria de Hutcheon. Ainda, com base nos conceitos propostos pela mesma autora, são discutidas as características pós-modernas encontradas na peça. A questão da intertextualidade é investigada segundo a perspectiva de Kristeva. Para a presença das metalinguagens no texto, utilizaram-se os estudos de Abel.

Made available in DSpace on 2016-03-15T19:46:34Z (GMT). No. of bitstreams: 1 Marcia Helena Ribeiro Amadio.pdf: 733550 bytes, checksum: 11e418785a6459d3c0d0500dc68b36eb (MD5) Previous issue date: 2007-06-28 / Fundo Mackenzie de Pesquisa / The present research has as object to analyze how the greek myth Orpheus was modernized by Marcel Camus film Black Orpheus. We took the approach theoretically defined as parody, specially the carnavalesque and grotesque effects in the light of Mikhail Bakhtin in The popular culture in the Middle Ages and Renaissance - the context by Francois Rabelais and Linda Hutcheon in A Theory of Parody. Furthermore, we will mention theoretical concepts referring to myth by Mircea Eliade. / Esta pesquisa tem como objeto de estudo analisar como o Mito grego de Orfeu foi atualizado no filme Orfeu Negro pelo cineasta francês Marcel Camus na perspectiva teoricamente definida como paródia e seus elementos: a carnavalização e o grotesco à luz dos pressupostos teóricos de Mikhail Bakhtin em A cultura popular na Idade Média e no Renascimento: o contexto de François Rabelais e Linda Hutcheon em A teoria da Paródia. Além disso, examinar-se-ão os postulados teóricos sobre o mito baseado na teoria de Mircea Eliade.