Este estudo tem como eixo a relação entre a prática artística e política do ator. A partir da pesquisa com o bufão pretende-se analisar a eficácia de seu jogo na realização de ações políticas, em lugares cênicos e/ou públicos. Esta pesquisa, que se refere ao campo da bufonaria, circunscreve a investigação na esfera do grotesco cômico popular. Sendo assim, centrado no caráter de denúncia e protesto do bufão, examina-se os jogos de paródia e blasfêmia que endereçam suas críticas e ações sempre em favor da liberdade. Parte-se da referência dos bufões e bobos da Idade Média para entendermos as raízes populares do jogo do bufão, analisando como os bobos do rei desempenhavam seu papel nesse período. Para pensarmos na evolução do trabalho com esta figura emblemática no teatro, vamos ao encontro de Bertolt Brecht, que percebe na figura bufonesca de Karl Valentin elementos para o ator de seu teatro político. E na atualidade, comparando a gestualidade crítica do bufão com a de artivistas, por exemplo, examina-se os trabalhos de Reverend Billy, Guillermo Gómez-Peña e Leo Bassi que se utilizam do grotesco, da ironia e da bufonaria para denunciar as injustiças contra o homem na sociedade capitalista. Por fim, trazemos uma abordagem pedagógica sobre o trabalho do bufão para atores que desejam exercitar a denúncia de atitudes que consideram equivocadas na sociedade utilizando como ferramenta o humor e o prazer da blasfêmia da bufonaria. / This study has as its axis the relationship between artistic practice and politics the actor. From the research I seek to analyze the buffoon with the effectiveness of his play in carrying out political actions in public places or scenic. This research, which belongs to the field of buffoonery, limited research in this sphere of popular comic grotesque. Thus, focusing on the character of complaint and protest buffoon, I examine the play of parody and blasphemy that address their criticisms and actions always in favor of freedom. It starts with the reference of buffoons and jesters of the Middle Ages to understand the grass roots of the game buffoon, analyzing how the fools King played its role in this period. To consider the evolution of working with this iconic figure in the theater, we meet Bertolt Brecht, who perceives the buffoon figure Karl Valentin elements for the actor in the political theater. And presente, comparing the critical gesture of buffoon with the man who graphite, for example, examine the works of artivists as Reverend Billy, Guillermo Gómez-Peña and Leo Bassi who use the grotesque, irony and buffoonery to denounce the injustices against the man in capitalist society. Finally, we present a pedagogical approach on the work of buffoon for actors who wish to exercise social critique as a tool using humor and pleasure of buffoonery.

Orientador: Karin Volobuef / Banca: Júlio Jeha / Banca: Márcio Roberto do Prado / Banca: Maria Clara Bonetti Paro / Banca: Adalberto Luis Vicente / Resumo: O propósito dessa tese é fazer uma análise das características e funções do grotesco na poesia lírica de Bernardo Guimarães e Cruz e Sousa. Esta recorrente categoria estética, presente em muitos de seus poemas, surge normalmente sob forma de imagens estranhas e inesperadas que sugerem um universo lírico extravagante e rebelde, muitas vezes, oposto às convenções estéticas tradicionais. O grotesco, nesse contexto, revela as dissonâncias e inovações previstas por muitos postulados românticos. A fim de explorar o grotesco na obra de Bernardo Guimarães e Cruz e Sousa, este trabalho examina estéticas relacionadas ao Romantismo, Simbolismo e Modernidade e também algumas teorias do grotesco e sobre literatura brasileira. Este trabalho pretende trazer não apenas uma contribuição ao conhecimento e apreciação das realizações estéticas de Bernardo Guimarães e Cruz e Sousa, mas também mostrar que o entendimento do momento histórico-literário e a própria leitura da obra desses poetas exige que se leve em conta o grotesco, uma estética que busca por rupturas e novas formas de expressão artística - aspectos típicos da lírica moderna. / Abstract: The aim of this thesis is an analysis of the characteristics and functions of the grotesque in the lyrical poetry written by Bernardo Guimarães and Cruz e Sousa. This recurrent aesthetic category, present in several of their poems, is mainly revealed in strange and unexpected images that suggest a rebel and extravagant lyrical universe that is in opposition to traditional aesthetics conventions. The grotesque, in this context, reveals the dissonances and innovations anticipated by many romantic postulates. In order to explore the grotesque in Bernardo Guimarães's and Cruz e Sousa's oeuvre, this research examines aesthetics related to Romanticism, Symbolism and Modernity and also some theories of the grotesque and of Brazilian literature. The contribution intended by this thesis is to provide a better comprehension and appreciation of Bernardo Guimarães's and Cruz e Sousa's aesthetic achievements. Also we strive for showing that in order to fully understand the literary historical moment as well as to really enjoy the artistry of these two authors we must look at the grotesque, an aesthetics based on ruptures and new forms of artistic expressions - typical aspects of modern lyric. / Doutor

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This essay examines the uses of the grotesque in Alice Walker’s novel The Third Life of Grange Copeland. Published in 1970 the novel has been subject to various readings by diverse scholars. However, previous research has failed to take into account the displays of the grotesque in the novel. This essay argues that not only does Walker use the grotesque prominently throughout the novel, but also that Walker constructs an intricate critique of U.S. society through her depictions of the grotesque. Resting largely on the theoretical perspective of Mikhail Bakhtin this essay examines the following grotesque images: the female spectacle, the female adolescent, the hysteric, pregnant death, monstrosity, and whiteness. By exposing Walker’s uses of the grotesque, this essay offers an analysis that exposes the relationship between Walker’s grotesque images and her womanist objective. The aim of The Third Life of Grange Copeland is to critique the oppressive regimes of patriarchy and U.S. white supremacist culture and society. It is argued here, then, that the grotesque is strategically used in different manners when addressing womanist and racial issues. Walker uses the grotesque in order to alter confining gender binaries and expose and criticize the destructive aspects of patriarchal and white supremacist ideologies. Through her narrative and the diverse characters of The Third Life, Walker exposes the repercussions of oppressive white supremacist and patriarchal orders.

In this thesis I try to discover the American West in Annie Proulx¡¦s Wyoming Stories. I do so in three chapters, each devoted to a different approach of the stories: chapter one looks at Proulx¡¦s work from the point of view of history, chapter two from that of sense of place, and chapter three looks at the grotesque elements in the Wyoming Stories. While approaching Wyoming Stories with a historical perspective, I discuss how Proulx reverses the stereotypical Western images that have been widely accepted since Frederick Jackson Turner published his ¡§The Significance of Frontier.¡¨ I use historian Patricia Limerick¡¦s historical observations, which discover the intertwined relationship of the mythisized West and American culture, to be my theoretical base to examine how the stereotypes of the American West create a virtual American West while marginalizing the real American West. I argue that Proulx¡¦s Wyoming Stories break the Western myths and suggest that the region has many of its own stories to tell. By presenting an unconventional Western image to readers, the stories also invite new perspectives on the region which may lead more outsiders to see the West without stereotypes. In chapter two, I argue that Proulx¡¦s stories contain a ¡§sense of place¡¨ that does not resemble the joyous topophilic feelings usually associates by that phrase, but that rather, presents complicated relationships between humans and the landscape. By presenting different relationships between humans and landscapes in her Wyoming stories, Proulx also exposes urban-rural conflicts that result from an urban living style that turns away from landscapes and ¡§the world out there.¡¨ However, as the urban pushes the rural far away, Proulx suggests that the rural, also rejects the urban. Nevertheless, I argue that, Proulx establishes in her stories a communal path for both sides with her sense of place that stresses that ¡§everything is linked.¡¨ In the third chapter, I turn to the grotesque to discuss Proulx¡¦s writing style and how this style leads the readers into the inner culture of Wyoming that is itself grotesque and full of contradictions. I also argue that with the form of grotesque, Proulx¡¦s stories weave complex and challenging texts that often confuse and challenge readers so that they have to constantly work with the stories, questioning them as well as their own experiences and knowledge in order to make sense out of the stories. And such a process not only allows the readers to, again, connect to a Wyoming or American West that does not exist in the stereotypes, but also provides a chance for readers to see conflicts, struggles, and grotesques in themselves and their own cultures.

Avhandling--Stockholm, 1998. / Bibliogr. p.371-387. Index. Résumé en anglais.

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In this study of narration, feminist theory, and grotesque Canadian fiction, my aim is to provide a narrative model with which to read characters portrayed as both female and monstrous in a way that criticism on the grotesque does not. I provide two systems for the methodology of this study: via negativa, a well-established philosophical system of definition by negation, which shows the strength of the grotesque to represent a subject that is inherently paradoxical; and a narrative model called the "middle voice," which I developed to examine narratives that confuse or render ambiguous the identity of subjects. Through these distinct but complementary frameworks I illustrate a literary phenomenon in fiction of the grotesque: that authors develop and reveal the subjectivity of characters by confounding identities. / Although I provide a concise definition of the term "grotesque," my focus is on feminist theoretical approaches to the grotesque. However, whereas feminist theory on the grotesque examines the binary opposition of woman to man, this study shows that the grotesque bypasses the "male/female" dichotomy in the representation of fictional characters. Instead, the sustained contradiction of the central opposition "woman/monster" works to undermine the notion of fictional characterization. / Specifically, this study focuses on the grotesque as a narrative strategy and examines the use of the grotesque in the portrayal of female narrators. The prevalence of female grotesque characters in recent Canadian fiction combined with the rapid growth of interest in the critical concept of the "female grotesque" requires a theoretical analysis of the literature. / In the fiction I examine by Canadian authors Margaret Atwood, Lynn Coady, Barbara Gowdy, Alice Munro, and Miriam Toews, narrators are contradictory. As subjects, they have doubled identities. Authors situate identity ("subjectivity") in the realm of paradox, rather than in the realm of clarity and resolution. As a result, readers and critics must rely on ambiguity and subversion as guides when posing the ultimately irresolvable question "who is speaking?" Through analysis of this fiction, then, I argue for nothing short of a new conceptualization of subjectivity.

The grotesque is an unsettled notion which is difficult to define. Over the years, there have been several attempts to formulate a satisfactory definition. Today, a few definitions prevail, namely that proposed by Hugo, Bakhtine and Kayser. In my opinion, the latter is the most appropriate for the analysis of the grotesque in Barbey d'Aurevilly's Diaboliques . / Indeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.

By fusing many of the established hypotheses on the source of the grotesque in Irish literature, this study establishes that these writers' impatience with all boundaries and limitations, physical or mental, led them to exploit the indeterminacy of the grotesque to achieve their particular aesthetic and epistemological objectives. / After an initial chapter on the relevant theoretical and national considerations, the prodigious cloacal visions of Beckett and Joyce are compared, with emphasis on their use of the grotesque to demythologize the creative process. A fourth chapter compares O'Brien's and Beckett's exploitation of the grotesque to undermine hegemonic philosophical and epistemological systems. / Like most writers of the grotesque tradition, Joyce and O'Brien assume a degree of moral responsibility by affirming, explicitly or implicitly, some traditional or utopian values and standards, while Beckett's deliberations on the complex relationship between Nature, the mind and the body end in negation, impotence and the hope of silence.