No description available.

Issued also as thesis, Heidelberg, 1966. / Bibliography: p. 185-191.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Québec Université Laval, Bibliothèque 2018

Thesis (doctoral)--Ruhr-Universität, Bochum, 2008. / Includes bibliographical references (p. 179-188).

The author's Habilitationsschrift--Universität München. / Includes indexes. Includes bibliographical references (p. [213]-223).

Thesis (doctoral)--Ruhr-Universität, Bochum, 2008. / Includes bibliographical references (p. 179-188).

The purpose of this thesis is to examine the letters of Diderot to Sophie Volland for the year 1759 as they are a source of important autobiographical, social, and psychological elements that shed light on Diderot's private and public life. In fact a turning point in the sentimental relationship between Diderot and Sophie Volland, the death of his father, the difficulties experienced in publishing the Encyclop6'die and consequently the coolness in his friendship with D'Alembert make 1759 a crucial year in Diderot's life. The conclusion reached is that the stylistically beautiful and modern letters to Sophie Volland of this year are self-revelatory for they show that the events of 1759 made a great psychological impact upon Diderot and started a process of maturity in his character. These letters can undoubtedly be considered a major part of Diderot's work and they can certainly contribute to a deeper understanding of this genius.

The purpose of this thesis is to examine evidences of dramatic technique in Diderot's three major fictional works, "La Reliieuse," "Le Neveu de Rameau," and "Jaccues le fataliste." The management of dialogue, setting, and gesture is of particular concern, along with style and structure and the recurrent theme of the actor. The conclusion reached is that the influence of dramatic technique is everywhere present in the three works under consideration. Diderot enlists the reader's visual and auditory participation by the use of fast-paced dialogue, striking gestures, and dynamic settings. He also borrows certain stylistic and structural devices from the theater and enhances the dramatic impression by presenting many of his main characters as actors playing their own special roles.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-30T11:40:08Z No. of bitstreams: 1 Carolina Ribeiro Paraíso Araujo.pdf: 800039 bytes, checksum: 20bfee2d80f717e3d15ea8646ebac1f7 (MD5) / Made available in DSpace on 2016-11-30T11:40:08Z (GMT). No. of bitstreams: 1 Carolina Ribeiro Paraíso Araujo.pdf: 800039 bytes, checksum: 20bfee2d80f717e3d15ea8646ebac1f7 (MD5) Previous issue date: 2016-09-22 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The purpose of this dissertation is to present the importance of the theatre according to Denis Diderot point of view. Thus, based on his thoughts, try to understand the purposes of which, the philosopher will demonstrate from the representative act, in France during the 18th century. Diderot suggests an improvement in the way of making theatre, as well as in its own theatrical representations. The philosopher will determine a theory for the actors to improve their performances. The performances should be based on nature observation, aiming to be studied and represented with pure rationality. In this regard, he gives emphasis to artificiality in disadvantage of nature to create perfection in a scene. In Diderot’s point of view, the theatre should be and do the job of remove society’s addictions and make people work on their virtue. In addition, theater plays should approach people’s busy lives and through that he suggests and introduces a new genre called drama and it is a genre that can be classified as intermediate, being in between tragedy and comedy / A presente dissertação tem como intuito analisar a importância do teatro no pensamento de Denis Diderot. Portanto, buscamos como isso entender os propósitos, aos quais o filósofo evidenciará a partir do ato representativo na França do século XVIII. Diderot, não só propõe uma reforma no modo de fazer teatro como também nas próprias representações teatrais. O filósofo irá formalizar uma teoria para que os atores pudessem aprimorar suas atuações. Estas devem ser pautadas na observação da natureza, com a finalidade de serem estudadas e representadas com a mais pura racionalidade. Neste sentido, o enciclopedista enfatiza a artificialidade em detrimento da natureza para existir a primazia em cena. O teatro para Diderot deveria ser e fazer o papel de expurgar os vícios da sociedade, fazendo com que os indivíduos aprimorassem a virtude. Além do mais as peças teatrais deveriam retratar a vida corriqueira das pessoas e com isso propõe e inaugura um novo gênero, este seria o gênero sério ou drama, o qual é intermediário, está entre a tragédia e a comédia