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Counter-discourse in Australian political literature : the picaresque /Feros, Kate. January 2003 (has links) (PDF)
Thesis (Ph.D.) - University of Queensland, 2003. / Includes bibliography.
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Divertidas aventuras del nieto de Juan Moreira : la amarga Argentina de Roberto Jorge PayróCoromina, Marta Irene. January 1983 (has links)
No description available.
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Le roman "picaresque" anglais, 1650-1730Gondebeaud, Louis. January 1900 (has links)
Thesis--Paris III, 1977. / Includes indexes. Includes bibliographical references (p. 611-696).
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El mundo alucinante vis-à-vis Guzmán de Alfarache and El buscón the living traditions of the baroque picaresque /Willis, Angela Lynn. January 2001 (has links)
Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also in a digital version from UMI/Dissertation Abstracts International.
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Divertidas aventuras del nieto de Juan Moreira : la amarga Argentina de Roberto Jorge PayróCoromina, Marta Irene. January 1983 (has links)
No description available.
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A saga do herói mendigo : o riso e a neopicaresca no progama chaves / The Saga of Beggar Hero: The laugh and the neopicaresque in the Chaves ProgramCARDOSO, Ludimila Stival 26 February 2009 (has links)
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Previous issue date: 2009-02-26 / The laugh is a human phenomenon, that has different faces depends on the historical period
and how the intellectuals see it. It can be morality s instrument and deviation s punishment;
element of be extinct; way of release, since it would produce a new world s vision, based in a
nom-official popular true ; or a way to economize the psychic energy necessary to keep an
inhibition; or still, it can be answer of the nothing the existence, what award it, in the
contemporarily, moment of provisionals truths, a deep presence in the society, so to say that
the laugh became present in all of the places, show that the reality is, at the same time, liquid
and humoristic and confirming the importance of to study this human skill. So, it opted to
work with the humor, specifically in the television, principal mass media in the Brazil and,
particularly, the Chaves program, since it is considered a greater success Brazilian mass
media, as proves the audience. However, this program presents a difference: it is being
televised too much than 20 years, almost without stop, what make it a case to be studied, but
in a different way: associated it with the picaresque literature, because believes that it main
character is a nom-hero, as the picaresque hero (with home, work and swindler) and the
program, itself, is a picaresque romance, because the others characters are ways to make a
social criticism that is, specifically here, conservative, like the parody, since doesn t try to
change the poverty s situation of the main character or of any others characters life, but only
to let see these life s conditions. At the same time, Chaves presents a series of aspects that
explain, in a certain way, it success, since the innocence; the type of humor, founded in
everyday and simple plots; the textuality ; the theatrality ; a persuasition s grammar; the
use of concrete and primary thought; and still, the proximity with the italian commedia
dell art, elements confirmed from the analyses of ten histories on, when tables about many
scenes and about the characteristics of the characters were built. But, it s still necessary to say
that not even all these elements together are capable to justify the success of this humoristic.
Due to see Chaves as a cultural product of Latin America, that goes besides of technical
questions, and so it gets to keep itself for many years, wining, always, new publics, over / O riso é um fenômeno humano, que assume diferentes faces dependendo do período histórico
e de como a intelectualidade o vê, pode ser instrumento de moralização e de punição de
desvio; elemento a ser extirpado; meio de libertação, já que produziria uma nova visão de
mundo, baseada em uma verdade popular não-oficial ; forma de economia de energia
psíquica necessária para manter uma inibição; ou ainda, resposta ao nada da existência, o que
lhe confere, na contemporaneidade, momento de verdades provisórias, uma profunda inserção
na sociedade, daí se dizer que o riso se tornou presente em todos os lugares, mostrando que a
realidade é, ao mesmo tempo, líquida e humorística, e asseverando a importância de se
estudar essa habilidade humana. Por isso, optou-se por trabalhar com o humor,
especificamente, dentro da televisão, principal meio de comunicação no Brasil e, nesse
tocante, o programa Chaves, já que este é considerado um dos grandes sucessos do meio
televisivo, como provam os índices de audiência. Contudo, esse programa apresenta um
diferencial: está sendo transmitido a mais de 20 anos, quase ininterruptos, tornando-se um
caso a ser explorado, porém de forma diferente, nesse caso, associando-o à literatura
picaresca, pois se acredita que seu personagem central seja um anti-herói, aos moldes
picarescos: itinerante, trapaceiro e sem trabalho, por exemplo, e a atração, em si, seja uma
novela picaresca, porque os outros personagens são maneiras de se fazer uma crítica social
que é, especificamente aqui, conservadora, de tipo paródico, já que não procura mudar a
situação de miséria do protagonista ou de qualquer outro, mas apenas deixar ver tais
condições de vida. Ao mesmo tempo, Chaves apresenta uma série de aspectos que explicam,
de certa forma, seu sucesso, desde a ingenuidade; o tipo de humor, fundamentado em tramas
cotidianas e simples; a textualidade; a teatralidade; a gramática da persuasão; o uso do
pensamento concreto e primário, e ainda, a proximidade com a commedia de ll arte italiana,
elementos ratificados a partir da análise de 10 histórias, em que foram construídas tabelas
referentes a diversas cenas e às características percebidas em cada personagem. Porém, cabe
ainda ressaltar, que nem todos esses elementos somados são capazes justificar o sucesso,
devendo-se ver esse humorístico como um produto cultural da América Latina, que vai além
de questões técnicas, e por isso consegue se manter a tantos anos, conquistando sempre novos
públicos
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Los medios de comunicación y transporte en la novela picaresca del Siglo de OroMenchaca, Juan 05 1900 (has links)
The problem with which this study is concerned is that of demonstrating the importance of communication and travel in the Siglo de Oro as seen in selected picaresque novels. This study is divided into five chapters. The introductory chapter includes a literary and chronological history of the period and, in the interest of clarity, a plot summary of the selected picaresque novels. The second, third and fourth chapters discuss the various means of urban, rural and maritime communication and travel. The concluding chapter summarizes the study and asserts that communication and travel were of utmost importance during the Siglo LeQ ro and that the picaresque novel, describing faithfully the society that produced it, is a valuable data source for research of this kind.
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La fuerza de la tradiciâon: representaciones del estudiante en la novela picaresqueUnknown Date (has links)
The genre of the "picaresque" (romances of roguery), which were popular in sixteenth-century Spain, contain the literary type of the "picaro" or rogue, which can appear at times as a "student." The current work presents the historical context of the Spanish university and of the student's life as well as the representation of the "student" in several picaresque novels, namely, Mateo Aleman's El Guzman de Alfarache, Vicente Espinel's Marcos de Obregâon, Jerâonimo de Alcalâa y Yâanez's El donoso hablador, and Francisco de Quevedo's El Buscâon, in order to contrast the social reality of the student and its literary representation. The literary character of the "student" does not depart only from its reality. Its characteristics are based on the student stories from the oral medieval tradition, a residual cultural elements, as described by Maxime Chevalier, as well as the emerging picaresque narratives. / by Javier Fernândez del Pâramo. / Abstract in Engllsh. / Thesis (M.A.)--Florida Atlantic University, 2008. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2008. Mode of access: World Wide Web.
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Cervantes e a nova arte de novelar em \'Rinconete y Cortadillo\' / Cervantes and the new art of writing novels in \'Rinconete y Cortadillo\'Araújo, Paula Renata de 26 March 2010 (has links)
O presente trabalho tem como objetivo contextualizar a novela exemplar \"Rinconete y Cortadillo\" no conjunto da obra de Miguel de Cervantes, bem como analisá-la estabelecendo o diálogo com alguns gêneros literários de sua época, como a picaresca e o teatro. Será examinada a trajetória do texto desde sua menção no Dom Quixote de 1605 até a sua publicação entre as Novelas Exemplares em 1613. Serão estudados os diversos discursos presentes na composição da obra, considerada a grande aproximação de Cervantes à literatura picaresca. Ao incorporar elementos do gênero dramático à narrativa, o autor realiza, com comicidade, uma interessante aproximação aos temas cotidianos, assim como a comédia o fazia. Será possível observar como \"Rinconete y Cortadillo\" expõe, de maneira cômica e satírica, algumas máculas e vícios da sociedade sevilhana dos séculos XVI e XVII. / The objective of this work is to contextualize Rinconete y Cortadillo exemplary novel within the works of Miguel de Cervantes and analyze it by establishing a dialogue with some of the literary genres of its time, namely the picaresque novel and drama. This current dissertation examines how the text evolves since it was first mentioned in Don Quixote (1605) until its publication among the Exemplary Novels in 1613. I will analyze the several forms of speech pervading the novel in light of Cervantes propinquity to the picaresque literature .By incorporating into the narrative drama-related elements, the author brings his work to deal more closely with everyday topics, as comedy has been used to. Thereby one can notice how Rinconete y Cortadillo displays, both comically and satirically, certain vices and blemishes present in the 16th- and 17thcentury Sevillan society.
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La chanson d'Yde et Olive: A Parable of a Medieval Self-Made ManYoung-Studer, Noémie 01 February 2003 (has links)
La chanson d'Yde et Olive, an early fourteenth-century epic poem from the Picard region, exemplifies the medieval custom of text renewal that seeks to adapt pagan materials to fit Christian doctrine. Largely based on the plot of the Ovidian fable Iphis and Ianthe from The Metamorphoses, its main character Yde undergoes a metaphorical transformation from a woman into a man. Moreover, much like the Ovide moralisé, a Christianized adaptation of the Latin original, Yde et Olive's message can be understood as a Christian parable for the purging of the sinful soul. To set up the poem's didactic message, the poet carefully infuses the story with contemporary social concerns, such as the theme of incest and gender disruption, both potentially offensive forces to the medieval social structure. In the backdrop of these threats to society, the heroine's overcoming of her struggles becomes all the more meaningful, leading to a clear moral message to the reader. While being a hybrid in genre and structure, the poem shows many borrowings from Christian hagiography, especially from the later, more romance-influenced versions of the Vitae of female transvestite saints. In these narratives, the heroine's spiritual development is typically portrayed in terms of "becoming male," which can also be understood as an erasure of sexual difference to approach God in a Neoplatonic sense. Moreover, the development of Yde's own hybrid state leading to the climax of revealing her new sex exemplifies medieval literary criticism, elaborating on the central theme of uncovering truth by exposing the hidden gem beneath the rough surface.
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