Thesis--Leipzig. / Cover title. Vita.

Thesis--K. Wilhelms-Universität zu Münster I.W. / Bibliography: p. [91]-93.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on July 01, 2010). Creative project (M.M.), 3 hrs.

Dissertation--Universität Mainz, 1996. / Bibliogr. p. 523-542.

Submitted by Jos? Henrique Henrique (jose.neves@ufvjm.edu.br) on 2018-11-08T17:17:33Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) / Approved for entry into archive by Rodrigo Martins Cruz (rodrigo.cruz@ufvjm.edu.br) on 2018-11-10T12:07:35Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) / Made available in DSpace on 2018-11-10T12:07:35Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) luciana_lacerda_carvalho.pdf: 1397794 bytes, checksum: 3046a26548eb944a833dc85051e295a7 (MD5) Previous issue date: 2018 / Este trabalho prop?e um cotejo de teorias da adapta??o, a fim de realizar um exame comparativo entre o conto liter?rio ?Berenice? (1835), do escritor norte-americano Edgar Allan Poe e o primeiro epis?dio (denominado ?Ber??) da micross?rie televisiva Contos do Edgar (2013), dirigida pelo cineasta brasileiro Pedro Morelli. Visando a uma delimita??o te?rica adequada dos procedimentos envolvidos nessas transposi??es da p?gina para a tela, os m?todos empregados para esta investiga??o foram os da pesquisa bibliogr?fica e os da an?lise de elementos da narrativa comuns ?s duas obras. Com o intuito de circunscrever essas reflex?es em torno da produ??o audiovisual, elegeu-se como objeto de estudo um epis?dio da miniss?rie brasileira Contos do Edgar (2013), cujo enredo ? livremente baseado no conto ?Berenice? (1835) de Edgar Allan Poe. Considerou-se a intertextualidade como elemento de liga??o entre as duas obras. O distanciamento espa?o-temporal e cultural entre ambas e a pr?pria leitura que o audiovisual fez do liter?rio foram aspectos de fundamental import?ncia para esta an?lise. Tratase de um trabalho interdisciplinar cujo foco ? o estudo da transposi??o de uma arte liter?ria para uma arte de v?deo, com aten??o ao processo intertextual envolvido na recria??o sob a forma de epis?dio televisivo. As produ??es audiovisuais s?o performances realizadas em coautoria com uma s?rie de profissionais envolvidos e que, portanto, o objeto resultante ? um constructo est?tico executado com base em diversos compartilhamentos interpretativos. Portanto, as semelhan?as e diferen?as apontadas entre os dois suportes s?o considerados elementos intertextuais. O epis?dio audiovisual analisado tamb?m apresenta elementos relacionados ao conceito de carnavaliza??o, como a profana??o, o grotesco e o rebaixamento. / Disserta??o (Mestrado Profissional) ? Programa de P?s-Gradua??o em Ci?ncias Humanas, Universidade Federal dos Vales do Jequitinhonha e Mucuri, 2018. / This thesis aims at contrasting theories of adaptation in order to compare the literary short story "Berenice" (1835) by the American writer Edgar Allan Poe and the first episode (titled "Ber?") of the television series Contos do Edgar (2013), directed by the Brazilian moviemaker Pedro Morelli. In order to find an appropriate theoretical procedure involved in these transpositions from the page to the screen, the methods used for this investigation were the bibliographical research and the analysis of narrative elements shared by both works. With the purpose of zeroing in on the audiovisual production, the object of study chosen was an episode of the Brazilian miniseries Contos do Edgar (2013), whose plot is freely based on the short story "Berenice" (1835) by Edgar Allan Poe. In this case, intertextuality can be regarded as an element of connection between the two works. The space-time, cultural and interpretive differences between the literary and the audiovisual were aspects of fundamental importance for this analysis. It is an interdisciplinary work, focusing on the study of the transposition of literary art into video art, and on the intertextual process involved in the recreation of the story into a television episode. The audiovisual productions are performances carried out in co-authorship with multiple professionals and, therefore, the resulting object is an aesthetic construct executed based on several interpretive exchanges. Consequently, the similarities and differences pointed out between the two media are considered intertextual elements. The audiovisual episode analyzed also presents elements related to the concept of carnivalization, such as profanation, grotesque and degradation.

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-18Bitstream added on 2014-06-13T19:21:20Z : No. of bitstreams: 1 silva_amz_dr_arafcl.pdf: 1437284 bytes, checksum: a57768f1083ee10b765a92dde5c797f1 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese tem por objetivo o estudo de seis contos - A esfinge, Uma estória de Jerusalém, O diabo no campanário, Mistificação, Os óculos e Pequena conversa com uma múmia - do ficcionista, poeta e crítico norte-americano Edgar Allan Poe (1809-1849), mundialmente conhecido como o pai do conto moderno, a fim de analisar o modo como o autor constrói o humor e a sátira e em que medida eles constituem uma sátira ambivalente ao seu meio social. As análises revelam a existência de um compromisso do autor com a sociedade do seu tempo, que se manifesta na criação ficcional pelo viés satírico e crítico aos exageros da ideologia norte-americana do século XIX. / This dissertation aims to study six short stories - The Sphynx, A Tale of Jerusalem, The Devil in the Belfry, Mistification, The Spectacles, and Some Words with a Mummy - by the American fictionist, poet, and critic Edgar Allan Poe (1809-1849), world wide known as the father of the modern short story, in order to analyze how the author builds humor and satire and to what extent they constitute an ambivalent satire to his social millieu. The analyses reveal the existence of the author's compromise with the society of his time, which is manifested in his fictional creation by means of the satire and criticism of the exaggerations of XIXth century American ideology.

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Scholarship on Edgar Allan Poe's Dupin stories consistently focuses on the stories' influence on the genre of detective fiction. One of the foundational genre elements pioneered by Poe in these tales is the sidekick/narrator. Throughout detective fiction, the less-intelligent sidekick has become a standard fixture, a convenient trope in foregrounding the brilliant machinations of the detective's mind. The attention the literature gives to the narrator of the Dupin tales is almost universally in terms of the sidekick/narrator figure as a trope of detective fiction; in this way, it seems that Dupin's companion has come to be read in terms of what he has in common with his successors, the Watsons and Archie Goodwins of mystery stories, rather than more strictly on the terms of what makes him unique. This thesis examines the ways in which the narrator alternately highlights (in subtle ways) and attempts to obfuscate (in equally subtle ways) his role as the fictional author of the tales. The narrator's role as writer complicates the reading of Dupin as the autonomous master of his own narrative, and as the narrator himself as a generic, dim-witted sidekick. In this way, Dupin and the narrator occupy flip sides of the same narrative coin—Dupin serves as the showman, and the narrator, the invisible author. As contrasting, complementary doubles of one another, they perform the function of collaborative authors, each one equally essential to the production of the tales. Similarly, this reevaluation of the narrator/sidekick as an author figure brings out ways in which the narrator's genius parallels and matches the genius of Dupin.

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Though the cinematic genre of horror was not designated until the twentieth century, elements of this genre have appeared onstage since the time of the Greeks. Theatre history is rife with examples of theatrical ghosts and horrors, whose ever-changing representation indicates society's evolving relationship to and expectation for horror onstage. In 2019, Virginia Tech presented the installation Poe's Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe's work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques and technologies. The properties of the Cube performance space allowed the Poe's Shadows creative team to imitate hand-cranked panoramas, magic lantern shows, and shadow plays, while also using sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe's Shadows, as well as the reception of the installation, one can see how the theatre's evolving relationship with horror is effected by audience demand and expectation, as well as newly available technologies. / Master of Arts / Though the horror genre is most often associated with books and films, elements of the genre have been present onstage for thousands of years. Furthermore, studying these theatrical ghosts and ghouls—and how they were represented onstage— can help contemporary audiences understand historical anxieties and expectations. In 2019, Virginia Tech presented the installation Poe’s Shadows, which combined elements of traditional theatre, original art, and innovative technology to present an immersive experience of Edgar Allan Poe’s work. This production was a unique collaborative work that combined the creative labor of both faculty and students, while also invoking past horror theatre techniques such as hand-cranked panoramas, magic lantern shows, and shadow plays, accompanied by with sound effects and narration that combined elements of theatrical tradition and ghost shows. By studying the history of Poe’s Shadows, as well as the reception of the installation, one can see how the theatre’s evolving relationship with horror is effected by audience expectation and newly available technologies.