L’œuvre de Samuel Beckett (1906-1989) est traversée de diverses figures du spectateur. Le terme de spectateur désigne le regardeur et le témoin oculaire d’un événement, et s’emploie souvent depuis l’Antiquité, avec une connotation négative soulignant la passivité. Penser « le » spectateur ne vise pas directement les spectateurs effectifs : c’est une manière de reconsidérer cette entité perceptive au niveau de l’idée. « Le » spectateur interroge sur la corrélation entre la position passive et la perceptivité. L’étude ici présentée, au travers de ce spectateur idéal, cherche à mettre au jour la manière dont il soutient, par sa force négative et perceptive, la créativité de Beckett. Il est indéniable que la philosophie rationaliste du XVIIe siècle, notamment celle d’Arnold Geulincx (1624-1669) influe sur la genèse des figures du spectateur beckettiennes. Elles apparaissent d’abord dans le roman, évoluent ensuite dans le théâtre et l’art audiovisuel, et finissent par engendrer les proses poétiques ultérieures pleines d’imagination perceptive. Tout en déjouant adroitement l’intention du philosophe, Beckett reconstitue l’ordre de l’univers fictif selon l’irrationnel, et ce geste donne naissance à une nouvelle forme d’écriture qui se libère des présupposés philosophiques et des conventions littéraires. Chez Beckett, la passivité n’est pas le contraire de l’activité ou la négation de l’acte, mais elle est la capacité à sentir et à percevoir les choses, de façon tout à fait originale et productive. Par leur passivité même, les figures du spectateur beckettiennes agissent sur le contenu, voire la forme même de l’œuvre. / The work of Samuel Beckett (1906-1989) is featured by various figures of “the” spectator. The term of spectator refers the viewer and the eyewitness of an event, and is often used since ancient times, with a negative connotation highlighting passivity. Thinking “the” spectator does not mean directly actual audience in the theatre, but it is a way to reconsider this perceptive entity at the level of the idea. “The” spectator questions the correlation between the passive position and perceptiveness. Through this ideal spectator, our study will try to clarify how it supports, by its negative and perceptive power, creativity of Beckett. It is undeniable that the rationalist philosophy of the seventeenth century, particularly Arnold Geulincx (1624-1669), influences the genesis of Beckettian figures of “the” spectator. They first appear in the novel, then develop in the theatre and audiovisual art, and at last, generate the later poetic prose full of perceptive imagination. By outmaneuvering ingeniously the intention of the philosopher, Beckett reconstructs the order of the fictional world according to the irrational, and this brings about a new form of writing that is free from philosophical presuppositions and literary conventions. In Beckett’s work, the passivity is not the opposite of the activity or the negation of the act, but it is the ability to feel and perceive things, in a way absolutely original and productive. Owing to their very passivity, the figures of “the” spectator act on the content and the shape of the work.

The edition of Pamela a person reads will affect his or her perception of Pamela's ascent into aristocratic society. Richardson's revisions to the fourteenth edition of Pamela, published posthumously in 1801, change Pamela's character from the 1740 first edition in such a way as to make her social climb more believable to readers outside the novel and to "readers" inside the novel. Pamela alters her language, her actions, and her role in the household by the end of the first edition; in the fourteenth edition, however, she changes in little more than her title. Pamela might begin as a novel that threatens the fabric of class hierarchies, but it ends-both within the plot and externally throughout its many editions-as a novel that stabilizes and strengthens social norms.

A escrita é uma ferramenta poderosa utilizada pelo homem desde que ele descobriu que poderia se comunicar sobre um suporte fixo e não somente pela fala. Ao longo dos anos, o homem desenvolveu essa ferramenta e o suporte onde ela era inserida, transformando e desenvolvendo ambos através de papiros, pergaminhos e códices, até chegar à imprensa, que revolucionou de vez a escrita com a introdução dos sinais de pontuação na mesma. Com o passar dos anos e com o advento da literatura moderna, o suporte textual foi cada vez sendo mais valorizado e trabalhado, até chegarmos a escritores modernos como Samuel Beckett. Mas por que ritmo e escrita? Porque ambos estão intimamente relacionados: não existe escrita sem ritmo. De fato, não há discurso sem ritmo, pois ele é organizado pelo ritmo. Assim, a sintaxe e a pontuação fazem parte do jogo rítmico textual. Pode-se dizer que ritmo, sintaxe e pontuação formam uma tríade poderosa e analisar esses elementos nos três últimos romances de Samuel Beckett é um trabalho importante para se mostrar um trabalho inovador com o ritmo e a escrita. / Writing is a powerful tool used by man since he discovered he could communicate on a fixed support, not only through speech. Over the years, man has developed this tool and support where it was inserted, transforming and developing both through papyrus scrolls and codices, until you get to the press, which revolutionized the writing of time with the introduction of punctuation marks in it. Over the years and with the advent of modern literature, the textual support was increasingly being more valued and worked until we reach modern writers as Samuel Beckett. But why rhythm and writing? Because both are intimately related: there is no writing without rhythm. In fact, there is no speech rhythm as it is organized by the rhythm. Thus, syntax and punctuation are part of textual rhythm game. You could say that rhythm, syntax and punctuation form a powerful triad and analyze these elements in the last three novels of Samuel Beckett is an important job to show innovative work with the rhythm and writing.

The thesis examines the phenomenon of Romantic authorship as a conceptual tool of literary criticism. It compares the concept of Romantic authorship, in which the authorial personality plays a crucial role in determining the meaning of a literary work of art, and various positions of the author in relation to the meaning of their text in English Romantic literature itself. The introductory theoretical chapter develops the idea that the Romantic emphasis on the authorial subject and its primacy in interpretation of a work of art is, to a certain extent, a creation of late 19th - and 20th - century criticism. The thesis then examines the authorial position in Romantic thought and connects it with contemporary debates about language and the transfer of meaning between the subject and the outer world. The case study interprets selected poems by and the autobiography of Samuel T. Coleridge against the background of the debate on language and communication, presenting a number of authorial images in which centrality of the author's self for interpretation of a literary text is problematized.

The music of Samuel Barber is well known in the vocal, piano, and string literature; however, little of his chamber music involves woodwinds, and in particular, only one work involves the woodwind quintet. Summer Music, originally commissioned as a septet, developed after the premiere of the work into the woodwind quintet version, with the assistance of the New York Woodwind Quintet. Barber is considered a contemporary .romantic. composer, evidenced through his use of lyricism. Summer Music, a standard in the woodwind quintet literature, should be included in every professional flutist's repertoire. The intent of this dissertation is to consider Barber's use of lyricism as a determinant of the form of Summer Music, as well as to compare the differences between the manuscript and the published edition.

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Dans l’œuvre de Samuel Beckett, les personnages féminins qui au début sont quasi absents, prennent de plus en plus d’importance et présentent alors différentes images féminines. L’univers féminin qui apparaît ne cesse de prendre de l’ampleur. Pour aborder le fait féminin, il faut prendre en compte les différents langages esthétiques spécifiques des personnages-femmes. En effet, ces langages - faits de diverses tournures imagées -, mettent en exergue l’identité féminine de ces personnages. Ces langages recouvrent de nombreux domaines : corporel, gestuel, scénique et pictural. Cette recherche permet de mieux comprendre le traitement du féminin dans l’œuvre dramatique de Samuel Beckett et de souligner les aspects majeurs des personnages féminins. / In Samuel Beckett’s works the female characters are seen to be absent at the beginning, but throughout the story their presence becomes more significant, and represents the different images of the female characters.The female characters in his work expand and grow constantly.To understand the female characters, we need to analyze the languages that have been used by each character. The languages provide a different image which highlights the identity of each character. They also cover many areas such as body, gestural, scenic, and pictorial. This research paper helps us to better understand how Samuel Beckett deals with feminine in his works, and highlights the major features of the female characters.

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[pt] Esta dissertação baseia-se no acervo do escritor Samuel Rawet, doado em 2018 ao Arquivo-Museu de Literatura Brasileira da Fundação Casa de Rui Barbosa. A proposta é investigar hipóteses para os procedimentos de escrita e percursos de criação do autor, analisando de que forma seu acervo pode ser compreendido como parte integrante de sua obra literária. A partir do estudo de fontes documentais e de suas possíveis articulações, estabelecidas pelos cruzamentos e pelas conexões com textos publicados e com o próprio conjunto documental do acervo, busca-se refletir sobre novos caminhos de acesso ao universo criativo do escritor, identificar movimentos de sua escrita e processos para composição de seus contos e ensaios. Neste sentido, compõem as bases para orientação e formação do corpus desta pesquisa a caderneta de anotações de Rawet e uma seleção de transcrições, notas e datiloscritos do autor. De maneira convergente, o trabalho dedica-se a pensar a formação do acervo de Samuel Rawet na contemporaneidade; as problemáticas acerca do conceito e modo de operação dos arquivos, em especial, sob as perspectivas de Michel Foucault e Jacques Derrida, bem como de Reinaldo Marques no âmbito dos arquivos literários. / [en] This dissertation is based on the personal collection of Brazilian writer Samuel Rawet, which was donated in 2018 to the Casa de Rui Barbosa Foundation s Archive Museum of Brazilian Literature. As we turn to Rawet s writing procedures and creative paths, we wish to discuss how his collection can be viewed as an integral part of his literary work. The work is grounded on an understanding that investigating the documentary sources which compose Rawet s collection and considering the possible articulations between them and the author s published texts may open up new pathways into the writer s creative universe, especially by highlighting the movements and processes which characterize his writing — in particular, his production of stories and essays. Our research corpus is primarily based on Rawet s personal notebook and on a selection of the author s transcripts, notes, and typewritten texts. The study, which is informed by Michel Foucault s and Jacques Derrida s contributions, as well as by Reinaldo Marques insights into the scope of literary archives, intertwines thoughts on the formation of Samuel Rawet s collection in the contemporary world with broader reflections on the notion and operation of archives.

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