pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma \"arquitetura\" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação? / This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque \'architecture\' in the images of the actor\'s body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?

Este trabalho se propõe a analisar dez canções do espetáculo musical Ópera do malandro, de Chico Buarque, a partir da investigação das formas da paródia, do grotesco e da alegoria. A análise será feita através do estudo dos fonogramas do álbum duplo homônimo, lançado no ano de 1979, com as canções das montagens carioca (1978) e paulista (1979) da peça; e a partir do livro, lançado em setembro de 1978, com a dramaturgia e partituras da montagem carioca. A partir do recurso da paródia, o primeiro capítulo analisa as canções Tango do covil, O casamento dos pequenos burgueses, Teresinha e Ai se eles me pegam agora, com vistas na vasta rede de intertextualidades da peça. O segundo capítulo, a partir da investigação do grotesco, analisa as canções Geni e o Zepelim e Se eu fosse o teu patrão, apoiado em passagens da dramaturgia e de trechos de outras canções. Por fim, o terceiro capítulo analisa a passagem da caricatura grotesca para a forma alegórica, através do estudo das canções O malandro, O malandro n.2, Homenagem ao malandro e a Ópera do \"epílogo ditoso\". O estudo das formas das dez canções selecionadas neste trabalho, somado ao estudo de trechos da dramaturgia, procura desenhar as linhas de força da Ópera do malandro, sua potencialidade crítica e possíveis fragilidades. A partir de um gran finale farsesco, a narrativa da ópera mostra alegoricamente a trajetória político-econômica brasileira no século XX. / This study aims to analyze ten songs from the musical spectacle Ópera do malandro, Chico Buarque, from the investigation of the parody, the grotesque and allegorical forms. The analysis will be done through the study of the homonym double album phonograms, launched in 1979, with the songs from Rio (1978) and São Paulo (1979) stagings of the play; and from the book, released in September 1978, with the dramaturgy and music from the Rio performance. From parody forms, the first chapter analyzes the songs Tango do covil, O casamento dos pequenos burgueses, Teresinha and Ai, se eles me pegam agora, studing the vast intertextuality network of the play. The second chapter, from a research of the form grotesque, analyzes the songs Geni e o Zepelim and Se eu fosse o teu patrão, supported by passages of dramaturgy and excerpts of other songs. Finally, the third chapter analyzes the passage of grotesque caricature to the allegorical form, through the study of the songs O malandro, O malandro n. 2, Homenagem ao malandro and Ópera do epílogo ditoso. The study of the forms of the ten selected songsin this work, added to the study of the dramaturgy, aims to draw the lines of force of the Ópera do malandro, his critical potential and possibles fragilities. From a farce gran finale, the opera narrative shows allegorically the brazilian political and economic history in the twentieth century.

Concerning the Eccentricities of Cardinal Pirelli by Ronald Firbank and Between the Acts by Virginia Woolf both liberate the text from the expected form to engage emotional awareness and instigate reform of societal standards. Employing Mikhail Bakhtin’s theories of the carnivalesque and grotesque realism as a means to create this perspective is unconventional; nevertheless, Firbank, predominantly misunderstood, and Woolf, more regarded but largely misinterpreted, both address sexuality and religion to parody what they believe to be the retrogression of civilization by narrating christenings, pageants, and other forms of carnival. Both novels forefront nonconformity, and the conspicuous influence of debasement is identified as a form of salient renewal. Christopher Ames, Melba-Cuddy Keane, and Alice Fox have already expressed remarkable insight into Woolf; unfortunately not a single scholar has approached Firbank’s text in this manner, and this essay discusses the value of both authors in the aspect of Bakhktin’s theories. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Made available in DSpace on 2016-04-28T19:59:02Z (GMT). No. of bitstreams: 1 LCL - Maria Jose do Carmo.pdf: 737035 bytes, checksum: 4637e5874e364ddbf38b809783972bff (MD5) Previous issue date: 2006-11-07 / Secretaria da Educação do Estado de São Paulo / This research takes charge of an interpretative analysis of the novel Ensaio sobre a Cegueira (1995) by the Portuguese author José Saramago, and uses as the main stream of this assignment the aesthetic construction of the grotesque, imbricated in the allegory, as metaphor of the white blindness that conducts the narrative. In the analysis of the corpus, we use as main theoretical reference the works of Mikhail Bakhtin: A cultura popular na idade média e no Renascimento and Problemas da poética de Dostoiéviski, and the one by Wolfgang Kayser: O Grotesco, where we tried to follow the aesthetic of the grotesque path to the white blindness unveiling established in that saramaguian narrative. In the first chapter, we have made a theoretical outline of the allegory, the grotesque and the menipeia satire, to give analytical support to the second chapter, where we has, more often, used the particularities of the corpus in the novel. In the selection of this corpus, we sought to draw comparisons with canvas of several styles, to the interpretation of the dialogue that is stablished between the Poetuguese author s writing and some procedure of the expressionism. At last we also thought it was necessary to attach the genesis of creation of that novel to the assignment, for a better support to the studying object / Esta pesquisa propõe a realização de uma análise interpretativa do romance Ensaio sobre a Cegueira (1995) do escritor Português José Saramago, e utiliza como fio condutor do trabalho o processo de construção da estética do grotesco, imbricado na alegoria, como metáfora da cegueira branca que conduz a narrativa. Na análise desse corpus, utilizamos como principal referencial teórico as obras de Mikhail Bakhtin: A cultura popular na idade média e no Renascimento e Problemas da poética de Dostoiévski, bem como a de Wolfgang Kayser: O Grotesco, onde procuramos trilhar os caminhos da estética do grotesco para o desvendamento da cegueira branca instaurada nesta narrativa saramaguiana. No primeiro capítulo desenvolvemos um recorte teórico sobre a alegoria, o grotesco e a sátira menipéia, para dar suporte analítico ao segundo capítulo, onde utilizamos, mais amiúde, as particularidades do corpus no romance. Na eleição desse corpus, buscamos tecer comparações com telas de estilos diversos, para a interpretação do diálogo que se estabelece entre a escrita do autor português e procedimentos do expressionismo. Por fim, também julgamos necessário anexar ao trabalho a gênese da criação do romance em questão, para melhor sustentação do objeto em estudo

pesquisa propõe uma reflexão sobre o grotesco como operador e mediador fundamental da cena teatral, visando ao encontro de uma \"arquitetura\" do grotesco nas imagens do corpo do ator. A análise parte da observação de duas experiências poético-estéticas distintas no tempo e no espaço, que parecem exemplares no tocante à discussão sobre o grotesco e ao trabalho de composição cênica através da dança: o Butô de Tatsumi Hijikata (1929-1986) e parte da produção teórica e artística (das décadas de 1910 e de 1930, respectivamente) do encenador russo V. E. Meyerhold (1875-1940). A transposição das questões observadas sobre o tema do grotesco para o âmbito da criação e construção da cena, nas duas experiências artísticas abordadas, foi orientada por uma pergunta-chave: Pode a dança ser uma espécie de arquitetura corporal do grotesco cênico, ou seja, através das imagens do corpo que dança, podemos observar a operação grotesca na encenação? / This research presents a reflection about the grotesque as an operator and a vital intercessor of the dramatic scene, aiming at a grotesque \'architecture\' in the images of the actor\'s body. The analysis is based in two poetic-esthetic experiences distinguished on time and in space, that appear to be examples concerning the discussion about the grotesque and the labor of the stage composition through the dance: the Butoh of Tatsumi Hijikata (1929-1986) and the theoretical and artistic production (particularly in the decade of 1910 and 1930) of the russian V. E. Meyerhold (1875-1940). The transposition of the remarked issues about the grotesque to the field of creation and scene construction, in both artistic approached experiences, had been guided by a central question: could dance be a sort of corporal architecture of the grotesque scenery, in other words, through the images of the dancing bodies, could we observe the grotesque operation on stage?

Made available in DSpace on 2016-03-15T19:45:42Z (GMT). No. of bitstreams: 1 Nahina de Almeida Rosa Barbosa.pdf: 4546645 bytes, checksum: 5947eac026f0083b3e264f55dd40e6aa (MD5) Previous issue date: 2012-08-13 / This thesis aims to examine the update that the myth of Orpheus has suffered in the movie "Coraline" an adaptation of the British Neil Gaiman s novel "Coraline" (2003) , through a comparative and dialogic analysis, based on Bakhtin s concepts of dialogism, carnivalization and grotesque, between the original myth and its degradation in the film work. The proposal of a dialogic study between the myth of Orpheus and the movie happens not only because of the dessacralization that the myth has suffered, but also for the common theme of the katabasis, since Coraline and Orpheu made it to rescue something that was taken from them, whether it was the loved one or the recognition of the family and own values. After this analysis, based on Mircea Eliade s, Pierre Brunel s and João Batista de Brito s studies, the double was shown as an increase that the myth has suffered on this update and the reason why there was the manifestation of the double in this work was elucidated. / A presente dissertação tem como objetivo examinar a atualização que o mito de Orfeu sofreu no filme Coraline e o Mundo Secreto uma adaptação do romance Coraline (2003), do britânico Neil Gaiman -, por meio da análise comparativa e dialógica, de acordo com os conceitos bakhtinianos de dialogismo, carnavalização e grotesco, entre o mito original e o seu rebaixamento na obra fílmica. A proposta de um estudo dialógico entre o mito de Orfeu e o filme ocorre não somente pela dessacralização que o mito sofreu, mas também pela presença, em comum, do tema da catábase, já que Coraline e Orfeu a realizaram para resgatarem algo que lhes foi tomado, seja a amada ou o reconhecimento de valores próprios e familiares. A partir desta análise, baseada nos estudos de Mircea Eliade, Pierre Brunel e João Batista de Brito, elencou-se o duplo como um acréscimo que o mito sofreu nessa atualização e elucidou-se a razão pela qual houve a manifestação do duplo nesta obra.

This book is a monograph about Anna Świrszczyńska’s poetry. It may be described as one woman’s attempt to read another woman’s literary work by taking into account established canons as well as the tools of feminist literary analysis. Part One begins with a discussion of Świrszczyńska’s biography (Chapter One). It then moves on to an overview of critical (mainly male) reactions to Świrszczyńska’s work (Chapter Two), with special regard to Czesław Miłosz’s contribution to its interpretation and popularization (Chapter Three). In Part Two there are three principal discussions: 1) of Anna Świrszczyńska’s early work Wiersze i proza [Poems and Prose] (1936), in which the poet develops her specific female view of European art and culture as disintegrated into incongruent fragments. Her premonition of the apocalypse, which is soon to be fulfilled in the events of World War II, finds its expression in the poet’s desperate attempts to unite the fragments of a shattered culture into individualized versions of myths (Chapter Four); 2) of the collection Budowałam barykadę [Building the Barricade] (1974), in which what is most crucial to the poet (biographically and poetically) is expressed – the encounter with human suffering in an inhuman world. Following this, her poetic view of the mortal body exposed to suffering under an empty sky becomes a well established motif in her work (Chapter Five); 3) of the collection Jestem baba (1972), in which Świrszczyńska introduces into poetry, by making the non-poetical “baba” her lyric heroine, the “outlawed feminine” and, as a result, revolutionizes the language of poetry and poetic representation, which leads in turn to liberating herself from the hegemony of the totalizing male gaze. In this way her anti-world is created (Chapter Six). The “world” is understood here as a male term – one might say that Świrszczyńska creates a “woman’s anti-world” as a place where the woman herself has to regain the right to name things according to her own terms.

Ce mémoire porte sur la question du stéréotype féminin dans sa valeur construite et normative. Plus spécifiquement, nous aborderons ce type de catégorisation d'identité de genre mis en relief de manière critique par l'utilisation de stratégies du grotesque dans la série Fashion de Cindy Sherman. En substituant un canon grotesque à la représentation de la féminité à l'intérieur du champ de la photographie de mode haute couture, l'artiste met en évidence les structures qui régissent la création et le maintien d'un tel stéréotype. En premier lieu, nous procéderons à la définition de la notion de stéréotype produit dans le domaine de la représentation médiatique pour démontrer comment celui-ci est naturalisé et partagé culturellement. À l'aide de théories féministes, nous ciblerons la particularité du stéréotype dans sa version « féminine » en tant que sujet passif et soumis à un regard de type masculin. En nous basant sur la pensée foucaldienne, nous verrons qu'un ensemble de règles et de codes identitaires sera intégré à titre de normes dans une discipline du corps féminin. Dans un deuxième temps, nous cernerons de manières conceptuelle et historique la particularité de la mode qui, bien que faite de changements subits et aléatoires, sous-tend une vision statique de la différence des sexes en catégories de genre. Également, nous définirons le vêtement en tant que symbole de mascarade de la féminité qui exige la participation de la femme au jeu de la séduction. Enfin, nous verrons que les stratégies visuelles humoristiques permettent d'appuyer les discours critiques et politiques des pratiques artistiques contemporaines par la déconstruction des structures de la représentation. En dernier lieu, nous observerons les œuvres Fashion de Cindy Sherman, en analysant l'impact qu'elles créent sur les habitudes du corps-regardant par l'insertion de personnages qui défient les conventions de la féminité en mode. En transgressant les limites du présenté et du présentable en photographie de haute couture, l'artiste démontre que la femme est confinée à une logique de domination qui régule sa conduite par diverses instances externes et internes : le regard de l'autre, le rire, l'association de la féminité à la moralité, l'enveloppe vestimentaire, la maîtrise des limites du corps. Au terme de ces recherches, les stratégies du grotesque observées dans l'œuvre de Sherman nous apparaissent comme étant des outils particulièrement efficaces pour permettre une déconstruction de la vision stéréotypée du genre féminin ainsi qu'une mise en évidence des structures qui conditionnent le regard du spectatorat. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art contemporain, Cindy Sherman, Fashion, stéréotype, genre, féminisme, représentation, mode, humour, grotesque.

Qu’advient-il lorsqu’un dramaturge à succès se glisse dans la peau d’un chroniqueur? Comment se manifeste alors l’influence du modèle théâtral sur sa prose narrative? À une époque où la question des genres canoniques semble dépassée et où les notions d’intergénéricité et d’hybridation paraissent plus aptes à expliquer les pratiques esthétiques contemporaines, nous avons choisi de nous intéresser aux différentes modalités d’inscription de la théâtralité dans les « Chroniques du Plateau Mont-Royal » de Michel Tremblay. Notre premier chapitre se penche sur les manifestations ostensives de la théâtralité dans les six récits. Grâce au recours à des figures comme l’hypotypose et à certains procédés de distanciation comme la mise en abyme, l’adresse au lecteur et l’aparté, le lecteur assiste à une mise en œuvre récurrente du dispositif spectaculaire. Notre deuxième chapitre porte sur les procédés de dramatisation du romanesque. À travers un mouvement impétueux qui fait alterner et même cohabiter le comique et le tragique, le réel et le fantastique, le sublime et le grotesque, l’excès et le manque, l’auteur pratique non seulement le mélange des genres et des tonalités au sein de son œuvre, mais fait appel à divers procédés qui visent à produire la catharsis chez le lecteur. Notre troisième chapitre dégage les modalités de théâtralisation de la parole romanesque. Par la mise en place d’un double régime discursif, qui oscille entre l’effacement de l’énonciation auctoriale et la pulsion rhapsodique, l’auteur donne à voir une parole romanesque qui reflète les grands enjeux de l’écriture dramatique contemporaine. / What happens when a successful playwright attempts to play the part of a chronicler? How does the influence of the theatre manifest itself in his narrative prose? At a time when the question of the canonic genres seems to have become obsolete and where the notions of intergenericity and hybridism seem more apt at explaining modern esthetical practices, we chose to target the various ways in which theatricality inscribes itself in Michel Tremblay’s Chroniques du Plateau Mont-Royal. Our first chapter looks at the ostensive manifestations of theatricality in the six stories. Through recourse to figures such as hypotyposis and other distancing processe, like mise en abyme, the address to the reader and the aside, the reader witnesses a recurrent manifestation of the spectacular device. Our second chapter targets the dramatization process of the novelistic. Through an impetuous movement that makes comic and tragic, reality and fantasy, sublime and grotesque, excess and lack alternate and even cohabit, the author claims not only a mix of genres and tonality within his works but he also provokes an outbidding of processes which aim at triggering a catharsis within the reader. Our third chapter outlines the theatricality modes of the novelistic voice. Through the implementation of a double discursive regime which oscillates between the author’s self-effacement and enunciation and rhapsodisation, the writer’s novelistic word reflects the great stakes of contemporary playwriting.

This dissertation presents an investigation into two so-called live art works – Ugly girl at the rugby (1998) and Chandelier (2001-2002) – by the contemporary South African artist Steven Cohen (1962-). These works are explored with reference to the manner in which Cohen (as self-declared queer Jewish freak) uses performance art as a form of activism in order to expose practices of marginalisation and suppression (oppression) of non-normative or so-called deviant subject positions in terms of gender, race and ethnicity. The analysis of artworks is guided by the discourse of the carnavalesque and performative conceptualisations of gender with particular emphasis on Cohen’s use of drag as contemporary form of masquerade in order to propose an alternative subject position. The argument is as follows: that Cohen, by setting up an extreme alternative to normative identity constructs, manages to destabilise existing hierarchies that are structured according to binaries as these exist in spaces (such as a rugby stadium and a squatter camp) in the South African context. This destabilising of binary hierarchies gives rise to the argument that the symbolically encoded nature of spaces known for associations of suppression, exclusion and marginalisation are wrought open so that alternative meanings can come into being by activating these spaces as multifaceted and chronotopic constructs. The conclusion is that Cohen contributes profoundly towards the destabilisation of identities and in this way also helps to propose invigorating and fresh views of gender, race and ethnicity in a contemporary South African situation. / Thesis (MA (History of Art))--North-West University, Potchefstroom Campus, 2013.