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Antithesis and oxymoron in early Cornelian tragedies : Médée, Le Cid, Horace, Cinna /Al-Soudi, Siaf Y. January 1999 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 276-280). Also available on the Internet.
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Antithesis and oxymoron in early Cornelian tragedies Médée, Le Cid, Horace, Cinna /Al-Soudi, Siaf Y. January 1999 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 1999. / Typescript. Vita. Includes bibliographical references (leaves 276-280). Also available on the Internet.
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Analyses microtextuelles de trois pièces d'Eugène Ionesco /Dubé, Valérie, January 2005 (has links)
Thèse (M.E.L.) - Université du Québec à Chicoutimi, 2005. / "Mémoire présenté à l'Université du Québec à Chicoutimi comme exigence partielle de la maîtrise en études littéraires offerte à l'Université du Québec à Chicoutimi en vertu d'un protocole d'entente avec l'Université du Québec à Trois-Rivières." Comprend des réf. bibliogr. : f. 109-115. Document électronique également accessible en format PDF.
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MOLIERE AND MEDICINE: DISSECTING THE KALEIDOSCOPE (FRANCE).LEMP, RICHARD WARREN. January 1986 (has links)
The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.
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O lugar do espectador na dramaturgia de Armand Gatti: engajamento político, cooperação textual e performatividadeSilveira, Isabela Fernanda Azevedo 08 June 2011 (has links)
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Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral,
dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente
trabalho sua atuação como dramaturgo. No universo de suas peças escritas e
publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha
urbana (1968), uma compilação de quatro peças curtas de temática política, escritas
pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das
quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de
dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma
amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A
máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão
Che Guevara - e demonstro os esforços do autor para prever a participação do
espectador teatral desde o momento de escrita de seus textos. Através de suas teorias,
Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto
Eco são os principais autores que oferecem suporte para meu trabalho, em especial na
análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita
dramatúrgica com a participação dos espectadores das encenações que dela resultam. / L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène,
dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude
sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en
France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur
ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de
quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les
événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit
Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres
avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal.
Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour
entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de
démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la
création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz
Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent
mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par
écrit et par rapport à leur dramaturgie.
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