<p> During the 20th century, book historians, bibliographers, librarians, and archivists laid down the theoretical and empirical framework to understand the printed book as a commodity--a product of a specific market. In the 21st, the predominance of digital technologies and the cyberspace has made more evident than ever that print technologies created a specific market space for cultural exchange: the <i>printspace</i>. We propose <i> authorship</i> as a textual commodity, a cultural object that is shaped by the legal, commercial, and material limitations of the printing press as a platform of media communication.</p><p> Under this framework I present four study cases, analyzing different authorships associated with a specific print product, all in the context of the Spanish Golden Age. In the first case, I posit that the material characteristics of the <i>pliego suelto</i> produce a very specific kind of authorship that differs greatly from the authorship for books. Here, the works of Benito Carrasco and Crist&oacute;bal Bravo serve as an example and a probe for the market of <i>pliegos</i>. In the second case I contrast Mateo Alem&aacute;n&rsquo;s authorial project with how the readers consumed his authorial persona. This juxtaposition shows how an authorship is not the sole creation of the author, but the product of the mechanisms of production, distribution, and consumption of printed text. The third case investigates the interaction between the market of <i>comedias</i> and the market of printed books. The play <i>El Burlador de Sevilla</i> serves to illustrate how this transfer created persistent authorial problems. I demonstrate how the <i>printspace</i>, as a theoretical framework, can provide critical solutions to these authorial problems. The last chapter studies the authorships of Lope de Vega and Juan P&eacute;rez de Montalb&aacute;n as part of the editorial enterprise of the book merchant Alonso P&eacute;rez. This case exhibits the marketing strategies used in the construction of both authorships, and showcase the importance of the nascent figure of the editor in the market of books.</p><p>

Vita, di Melania Mazzucco (giovane scrittrice italiana contemporanea), è il romanzo di una storia di esilio (ex-solum, allontanati dal proprio suolo, emigrati), intessuto di finzione, realtà, memoria. Scritto in alcune parti in prima persona, il romanzo sfuma nell\'autobiografia. L\'invenzione s\'intreccia alla ricerca di una memoria familiare e personale, per narrare una epopea collettiva che rarissimamente ha trovato la via della letteratura. Vita e Diamante Mazzucco, i protagonisti, sono due ragazzi italiani che, all\'inizio del Novecento, insieme alla moltitudine di immigrati della grande emigrazione, affrontano la loro America, passione e vita. Apparentemente limitati a un gruppo e a un periodo, i temi del romanzo toccano il rapporto contraddittorio, il limite fra reportage veridico e ricostruzione ideale, fra memoria storica e costruzione narrativa e portano alla luce vite \"analoghe\". La problematica dell\' \"altro\" (Vita e Diamante come rappresentanti dei \"vinti\", dell\'altra faccia della storia) fa emergere la reale alterità che la letteratura - e il romanzo meglio di altri generi - può portare alla luce, verbalizzando ciò che era da lungo tempo rimosso nella memoria familiare e, forse, in quella collettiva / Vita, de Melania Mazzucco (jovem escritora italiana contemporánea), é um romance que trata sobretudo do exílio, (ex-solum, distância da própria terra, emigração) por meio de uma narrativa que mescla ficção, realidade, memória. Escrito em algumas partes em primeira pessoa, o romance possui uma nuance de autobiografia. A ficção se entrelaça com as pesquisas da memória familiar e pessoal da autora, de modo a narrar uma epopéia coletiva, a qual em raríssimos casos encontrou a via da literatura. Vita e Diamante Mazzucco, os protagonistas, são dois jovens italianos que, no início do século XX, junto à multidão que compôs a grande emigração italiana, afrontam a América, a paixão e a vida. Com um enredo aparentemente limitado a um grupo e a um período histórico, os temas presentes na obra apontam para uma questão contraditória, o limite entre a reportagem verídica e a reconstrução ideal dos fatos, entre a memória histórica e a construção narrativa, colocando em evidência situações análogas. A problemática do \"outro\" (Vita e Diamante como representantes dos \"vencidos\", da outra face da história) faz emergir a real alteridade que a literatura - e o romance melhor que outros gêneros - é capaz de trazer à tona, verbalizando aquilo que estava desde muito tempo escondido na memória familiar e, talvez, na memória coletiva

Made available in DSpace on 2014-06-12T18:35:15Z (GMT). No. of bitstreams: 2 arquivo8433_1.pdf: 1081868 bytes, checksum: d8c43144ec6ba2c86e5b17dbc40cf2b8 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2005 / Obra provavelmente escrita no século I d.C., o Satiricon é abordado nestes estudos como resultante da ação das mesmas forças histórico-pragmáticas e estético-ideológicas que condicionaram o aparecimento e a evolução dos gêneros literários na Antiguidade. Através desta abordagem foi possível observar que a evolução dos gêneros seguiu dois rumos que coincidiram com a divisão aristotélica do drama helênico, em tragédia e comédia. A partir dos princípios adotados na criação do drama é possível compreender a existência de pelo menos duas espécies de realismo: 1- o realismo trágico de caráter idealista teve como sua principal fonte o mito; a Tragédia conheceu seu pleno desenvolvimento no século V a.C. em Atenas; 2- O realismo cômico que teve como fonte a própria realidade; a Comédia mimetizou o homem comum e se desenvolveu ao longo das transformações que as cidades gregas sofreram, e se desenvolveu entre os romanos no século II a.C. Além dos gêneros miméticos a evolução do realismo fez aparecer os gêneros teóricos escritos principalmente em prosa. O romance antigo é um gênero que apresenta uma estrutura híbrida e teria nascido da fusão desses gêneros em resposta às novas demandas estético-ideológicas que surgiram com a decadência da Hélade e com a ascensão das monarquias alexandrinas e de Roma. O Satiricon, classificado aqui como romance satírico, é uma importante obra mimética que exemplifica com clareza a evolução do realismo cômico em contraste com o realismo trágico

<p> This dissertation explores operatic adaptations of Orlando <i>JR furioso </i> in the eighteenth century, particularly as they relate to the Arcadian Academy. Whereas the seventeenth century witnessed only a handful of <i> Furioso</i>-themed operas, the eighteenth century was a veritable geyser of operatic Orlando; dozens of libretti were produced on the subject, leading to an eighteenth-century craze for the crazed, staged Orlando. The most celebrated and most diffused operatic adaptations of the <i>Furioso</i> were produced by members of the highly influential Arcadian Academy, an institution that aimed to establish a literary (and therefore social, cultural, and political) reign of good taste and reason throughout the European continent. This dissertation probes why and how Arcadians, self-proclaimed harbingers of eighteenth-century reason, were so invested in the operatic depiction of a Renaissance madman. I am interested not only in the intertextual threads of operatic Orlando that is, how librettists and composers translated sixteenth-century sensibilities to the eighteenth-century stage&mdash;but also how these intertextual threads can be read for their broad cultural resonances. Operatic Orlando, in his many permutations, is emblematic of the complexities and contradictions espoused by the Arcadian Academy, and, as such, is crucial to the shaping of an eighteenth-century ethos.</p><p> This dissertation consists of five chapters. The first chapter explores the different ways in which Arcadians understood madness, in its myriad manifestations. Rather than focusing specifically on opera, I cast a wide net in my discussion in order to holistically approach Arcadian theories and practices: through an examination of early Arcadian writings I identify threads and currents that likely formed the text/texture for the operatic Orlando craze. Chapter 2 focuses more specifically on Arcadian opera, if such a concept truly existed: drawing from the works of scholars of music history such as those of Freeman, Strohm, and Smith, I explore the conventions of eighteenth-century opera and contextualize them within the frame of the Arcadian Academy and its reform culture. Chapters 3, 4, and 5 form the analytical body of the dissertation, as they each probe the conditions and textual questions of specific adaptations of the <i>Furioso</i>. I consider the libretti discussed in each of these chapters to be `ur-adaptations,' in that they were each performed&mdash;and often modified&mdash;numerous times in diverse locales, serving as textual bases for many of the eighteenth-century <i>Furioso</i> adaptations. In these chapters I perform both historical analyses and close readings of texts, as well as musical analyses and examinations of related textual objects. Thus in Chapter 3 I read Grazio Braccioli's libretto <i>Orlando furioso </i> (1713) as well as his related libretto <i>Orlando finto pazzo </i> (1714), and explore the musical settings of composer Antonio Vivaldi as they were performed at the Teatro Sant'Angelo in Venice; in Chapter 4 I turn to Rome, with Carlo Sigismondo Capece's libretto <i>Orlando ovvero la gelosa pazzia</i> (1711), and follow the work to its London iteration <i> Orlando</i> (1733), which was set to music by George Frideric Handel; finally, in Chapter 5 I analyze Pietro Metastasio's serenata <i>L'Angelica </i> (1720) within the context of the court of the Holy Roman Emperor, and explore its resonances throughout Europe.</p><p>

Abstract not available.

Abstract not available.

La critique s'est peu intéressée à l'oeuvre dramaturgique de Vian, sans doute en raison de son insuccès. Si notre analyse a privilégié la dimension comique de cette production, c'est qu'elle permettait de comparer les sketchs que Vian écrivit pour le cabaret aux pièces plus élaborées et ainsi de mesurer les conditions de réception de l'oeuvre. Il nous est apparu que le comique scénique reposait sur une série de clichés et de jeux de langage qui, plus que la fable ou la structure scénique, constituent la manière d'un auteur dont la matière première est l'actualité. Ayant mis au jour le rapport qui lie étroitement l'oeuvre à son contexte, nous avons voulu montrer comment, dans cette dramaturgie, l'action cède le pas au commentaire implicite d'un auteur, qui s'érige ainsi lui-même en personnage pour occuper une position discursive qui favorise l'adresse directe au spectateur. Des sketchs aux pièces, une même facture s'impose mais impose aussi à l'oeuvre les limites d'une existence.

Dans l'élaboration de cette thèse, mon objectif était d'entreprendre une adaptation théâtrale et, ce faisant, de mieux comprendre les enjeux du processus de création d'une oeuvre à partir d'une oeuvre existante, en l'occurrence, La Chatte, un roman que Colette a écrit en 1933. Les théories sur l'adaptation théâtrale étant rares, j'ai entrepris une étude de deux des adaptations que Colette a écrites en collaboration avec Leopold Marchand, les pièces La Vagabonde et Chéri qui m'ont servi d'exemples et aussi de contre-modèles pour résoudre les questions de concentration du récit et de transposition scénique. En outre la mise en scène du roman devait relever un défi de taille, l'omniprésence de la chatte, personnage éponyme du roman où elle est traitée de l'extérieur par un narrateur omniscient. De plus l'oeuvre de Colette s'inscrit dans une époque et un milieu social qui trouve peu d'échos dans le public contemporain. Le processus d'adaptation se devait de prendre en compte la réception et d'inclure des éléments, tant scéniques que thématiques, pour rapprocher l'oeuvre originale du spectateur potentiel. L'adaptation a ainsi tirer parti de techniques audio-visuelles et de la familiarité du public avec des traitements modernes sur les plans de la structure, du temps et de l'espace pour créer une pièce qui soit contemporaine tout en rendant justice au roman et à son auteure.

This study is a critical edition with an introduction and notes of Hado y divisa de Leonido y de Marfisa, the last creation of one of the most influential playwrights of all time, D. Pedro Calderon de la Barca (1600-1681). This is an eclectic edition based on a manuscript with signature MS. 8314 from L'Arsenal Library in Paris, corrected and modified when deemed necessary with the help of other existing textual witnesses. The introduction includes an analysis of the political, social and economic context of this comedia and the circumstances of its production; the literary context and characteristics that it shares with the byzantine and chivalry novels; its textual transmission; its musical tradition; its staging and its polymetrical structure. At the end of this study are included the explanatory notes as well as the textual variants of all witnesses analyzed.

The Libro del rey Canamor is one of a small group of chivalric narratives that reached popularity levels in sixteenth-century Europe similar to the “best-seller” of today. In the nineteenth and twentieth centuries these works were often overlooked or easily dismissed by scholars and many have been forgotten by the modern press. My proposal is to present the Libro del rey Canamor to the scholarly public for closer examination, easier access and renewed interest. This study presents a review of the essential distinctions often made between various types of chivalric narratives, leading to a brief discussion of their history in Hispanic literature, as well as their classification and acceptance through the years. It also examines the history of the shorter narratives and their relation to sixteenth-century printing and the creation of an editorial genre. The analysis of the Libro del rey Canamor examines its editorial history and narrative structure. Although some of its contemporaries were published for a longer period of time, this text was not able to extend its publishing life into the seventeenth century. Nevertheless, there were at least ten different editions in its heyday. The Libro del rey Canamor consists of two independent nuclei which create a hybrid text, the first part of which comes from a medieval source, while the second brings to light the aforementioned editorial genre. It is likely that the second part was written specifically for publication in early sixteenth-century Valencia. The analysis of content focuses on the major protagonists, folk motifs and their roles and functions in the more developed episodes. Finally we examine the presence of humor found in each section, concentrating on battle bravado, love intrigues, and jests. The review of the history of the chivalric narratives, both editorial and social, as well as the analysis of the internal elements of the Libro del rey Canamor in particular, show that this brief narrative is a hybrid text: a combination of a medieval narrative, albeit heavily edited, and a newly written second generation, melded together to create one of the best-sellers of sixteenth-century Spain.