Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2016-12-20T15:36:49Z No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-12-26T12:39:27Z (GMT) No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-12-26T12:39:27Z (GMT). No. of bitstreams: 2 Dissertação - Paulo Reis Nunes - 2015.pdf: 6235060 bytes, checksum: b4fd8fb32f5d728de4d1c77fdb01d7c0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-11-05 / Outro / This work tries to recall the memory of the show Jú Onze e 24, directed by Júlio Vilela, and its latest attempts at survival, with its structure and circulation among the theatrical spaces and spaces LGBT in Goiânia, with the main attraction the dragqueens performances. This drags, to carry out the production of a female body translated as assemblies, presented at different mappings. These mappings are understood as flexible operating modes that go or back together. The fact of producing and performing, featuring her performative process, which allowed for a study of the aesthetic transformations in the show, based on studies of performance, queer theory, gender and sexuality. These themes could incite processes of identification and difference about subjects of deviant sexuality, as transvestites and transsexuals who are confused or placed under one label, which confirms that there is confusion regarding the usual drag-queen performance. / A presente dissertação busca rememorar a trajetória do espetáculo Jú Onze e 24, dirigido por Júlio Vilela, e suas últimas tentativas de sobrevivência, apresentando sua estrutura e circulação entre os espaços teatrais e espaços LGBT de Goiânia, tendo como foco principal as performances drag-queens. Tais drags, ao realizarem a produção de um corpo feminino traduzido como “montagens”, apresentam-se em diferentes cartografias. Estas cartografias são entendidas como modos de operação flexíveis que se remontam entre si. O fato de se produzir e se apresentar, caracteriza seu processo performativo, o que permitiu realizar um estudo sobre as transformações estéticas no espetáculo, baseado nos estudos sobre performance, teoria queer, gênero e sexualidade. Estas temáticas puderam incitar processos de identificação e diferença acerca de sujeitos de sexualidade desviantes, como travestis e transexuais que são confundidos ou colocados sob o mesmo rótulo, o que corrobora para que haja confusão usual a respeito da atuação drag-queen

Made available in DSpace on 2016-04-18T21:31:39Z (GMT). No. of bitstreams: 6 Kleber Eliandro da Silva1.pdf: 2461281 bytes, checksum: 35256e915d4328339c1da3fd59fc05db (MD5) Kleber Eliandro da Silva2.pdf: 2563461 bytes, checksum: ac9b41b1df25ca8c6c3066d8fb8d0e97 (MD5) Kleber Eliandro da Silva3.pdf: 2071940 bytes, checksum: 3b1b1947ce2d4551655916e4de4de716 (MD5) Kleber Eliandro da Silva4.pdf: 2280241 bytes, checksum: e430acc3217648b05408d99fccdacd34 (MD5) Kleber Eliandro da Silva5.pdf: 2501689 bytes, checksum: dbde07545013d5b1c68222fec13112ce (MD5) Kleber Eliandro da Silva6.pdf: 3327566 bytes, checksum: 22211132f5ac4ee5c5807efdb1ece96e (MD5) Previous issue date: 2008-02-11 / Hoping to contribute to enlarge the discussions about the subject of the cultural intertextualidade, the objective of the present dissertation is to contemplate on the parody concept in the film O Lamparina (1964) of Amácio Mazzaropi dedicated to the representation in the social and cultural universe of the caipira with the satire of the cangaço films and about the historical illustration of the most famous cangaceiro Lampião. We will present the influences that passed over comedian Mazzaropi s road, searching to identify to personage caipira in its history lived from the circus-theater to the dimension as director, actor, producer and writer of their own films. We will discuss also some reasons of the critics' indifference, that they joined in the movement called New Movies. Basing on those studies this research moves in an interdisciplinary way through the languages History of the Culture and Cinematographic, presenting the encounter among culture; caipira and cangaceiro , in the way that they are expressed in the fiction condition in the film O Lamparina and in the historical references. / Esperando contribuir para ampliar as discussões sobre a questão da intertextualidade cultural, o objetivo da presente dissertação é refletir sobre o conceito de paródia no filme O Lamparina (1964), de Amácio Mazzaropi dedicado à representação no universo social e cultural do caipira com a satirização dos filmes de cangaço e sobre a figura histórica do mais famoso cangaceiro Lampião. Apresentaremos as influências que transpassaram o caminho do comediante Mazzaropi, buscando formadores da personagem caipira em sua história vivida desde o circo-teatro até a dimensão como diretor, ator, produtor e escritor de seus próprios filmes. Discutiremos também algumas razões da indiferença de críticos, que se uniram no movimento chamado Cinema Novo. Baseando-se nesses estudos, esta pesquisa transita de forma interdisciplinar pelas linguagens História da Cultura e Cinematográfica, apresentando o encontro entre cultura; caipira e cangaceiro, do modo que são expressas na condição de ficção no filme O Lamparina e nas referências históricas.

O objetivo deste estudo é analisar o romance grego , Das Narrativas Verdadeiras, de Luciano de Samósata (125-180 d.C.), considerando os objetivos expostos pelo autor no proêmio do texto e sua composição por meio da alusão a outros gêneros literários. Apresenta-se também uma tradução do texto em português. / The aim of this study is to analyze the greek novel , True Histories, by Lucian of Samosata (circa 125-180 AD), regarding the aims exposed by the author in the prologue of the text, as well as its composition made by alluding to other literary genres. A Portuguese translation of the novel is also provided.

Heinrich Heine (1797-1856) é costumeiramente lembrado como um escritor engajado. Ora lido como um defensor do povo judeu do qual descendia ora como um intelectual livre que buscou um olhar crítico sobre as religiões e sobre o mundo burguês em formação. Sua obra O Rabi de Bacherach (1840) literaliza a saga do povo judeu em face do cristianismo na Alemanha. Eis, portanto, um vasto leque de possibilidades para análise do engajamento político de Heine, que se mostra nessa obra não de modo panfletário, senão a partir de uma visão crítica da religião. Dentro desse viés, o presente trabalho propõe-se a fazer uma leitura do seu Rabi destacando os recursos estilísticos da ironia e da paródia, acionadas frequentemente por Heine para operar com forças políticas de sua época, o que marcou profundamente sua poética ao mesmo tempo jocosa e crítica. / Heinrich Heine (1797-1856) is usually remembered as a politically engaged writer. Sometimes he is thought of as a defender of the Jewish people from whom he descended sometimes like a free thinker, who had a critical point of view about religions and the emerging bourgeoisie world. His work The Rabbi of Bacherach (1840) describes the saga of the Jewish people in view of Christianity in Germany. Thus, there is a wide range of possibilities to analyze Heines political engagement, which appears in this work not like pamphlet literature, but from a critical point of view about religion. In this context, the present work intends to point out the stylistical mechanisms of irony and parody in his Rabbi, which were often used by Heine to work with political forces of his time. Consequently his poetry was marked both in a funny and in a critical way.

Este estudo trata da presença da paródia nos contos reunidos em Papéis avulsos (1882), de Machado de Assis. Por paródia entende-se, segundo M. Bakhtin, a representação da linguagem de outrem com orientação divergente; e, segundo L. Hutcheon, a repetição de um texto ou discurso com diferença irônica. O objetivo geral da pesquisa é compreender como a paródia pode ser um elemento fundamental na estruturação de quatro contos de Papéis avulsos. Os objetivos específicos são: verificar como Machado de Assis emprega as formas e os gêneros no âmbito dos quais se desenvolve a enunciação dos contos; averiguar como o uso de referências, citações, obras, idéias, discursos etc., servem ambígua e dialogicamente aos narradores e personagens dos contos; compreender como essa mobilização constante de diversas referências, discursos e linguagens colabora com a construção dos contos tanto no nível formal quanto no temático; verificar de que modo o uso da paródia pode ter outro significado para o autor, que, através de diversas estratégias de distanciamento, exercita sua ironia sobre questões de seu tempo e de seu espaço. Pretende-se mostrar que, em todos os contos analisados, os procedimentos paródicos utilizados estão a serviço da produção de um distanciamento crítico e irônico do autor e do leitor em relação a sua realidade. / This study addresses the presence of parody in the short-stories gathered in Papéis avulsos (1882), of Machado de Assis. Parody is understood, according to M. Bakhtin, to be the representation of the language of others with a divergent orientation, and according L. Hutcheon, repetition of a text or speech with ironic difference. The general objective of the research is to understand how parody can be a key element in the structure of four short-stories of Papéis avulsos. The specific objectives are: to verify how Machado de Assis uses the forms and genres within which the narration of the short-stories develops; examine how the use of references, quotations, works, ideas, speeches etc., serve the narrators and characters of the stories with ambiguity; understand how this constant mobilization of different references, speech and language works on the construction of short-stories in terms both of form and theme; check how the use of parody may have another meaning for the author who, through various strategies of distancing, applies his irony to questions of his time and place. It is intended to show that in all of the stories examined, the use of parody serves to distance the author and the reader critically and ironically in relation to their reality.

Esta tese é um estudo analítico-interpretativo do romance A Hora da Estrela, de Clarice Lispector. Com base nas teorias de Mikhail Bakhtin, explicitam-se os elementos dialógicos que estariam na base da composição do romance final de Lispector. Por dialogismo, entendem-se as várias interações crítico-paródicas que o narrador Rodrigo S.M, persona masculina criada pela autora, estabelece com outros discursos no processo metaliterário que embasa a construção da narrativa. Entre estes discursos, a análise dá especial atenção à paródia que o narrador faz de diferentes formas narrativas e dramáticas, entre as quais se destacam o romance de folhetim, o melodrama, o romance regional, o romance social e o romance psicológico. O tom dialógico-paródico dominante na obra permite detectar traços de carnavalização usados como arma de crítica e denúncia social. No âmbito desta carnavalização, destaca-se a presença de máscaras ancestrais da arcaica romanesca retomadas e atualizadas por Lispector, em especial as máscaras do tolo, do bufão e do trapaceiro, personagens arquetípicos que, oriundos do solo da cultura popular, teriam importante papel na consolidação do romance como gênero fundamentalmente voltado para a representação/encenação crítica de discursos (ainda segundo Bakhtin). Analisam-se também algumas crônicas de Lispector consideradas importantes para a compreensão da figuração do \"personagem tolo\" sem sua obra. Trata-se de crônicas que tematizam o longo contato da escritora com empregadas domésticas, personagens que antecipam e inspiram a criação de Macabéa. A importância do tolo é destacada, na medida em que ele se apresenta como uma \"máscara\" que permite interagir criticamente com os discursos instituídos, ou seja, com a ideologia dominante. O tolo que estranha e não compreende a sociedade que o cerca torna-se um importante elemento de denúncia da falsidade e do perniciosismo das relações sociais estabelecidas. A ele se junta o bufão, representado ironicamente na persona burlesca do narrador masculino Rodrigo S.M., que, em clima de carnavalização, desmascara e destrona discursos no processo autocrítico de construção da narrativa. / This thesis is an analysis and interpretation of Clarice Lispector\'s novel The Hour Of The Star. Based on Mikhail Bakhtin\'s theories, the work focuses attention on various forms and degrees of dialogic orientation in the discourse of the narrator Rodrigo S.M., who is a kind of fictional \"male mask\" created by the author in order to develop parodic stylization of a series of other discourses, specially of epic and dramatic forms, such as the melodrama, the \"serialized novel\" (\"feuilleton-roman\"), the social novel, the regional novel and the psychological novel. The dialogic and parodic tone of Lispector\'s novel implies the use of carnivalization as a tool of social criticism. It is also considered that the novelist has constructed the main characters, including the narrator, out of ancient and durable popular masks which, according to Bakhtin, had a great role in the constitution of the specific dialogism of novelistic discourse. These masks, which correspond to the figures or artistic images of the fool, the clown and the rogue, go back into the depths of folklore and have a vital connection with the public square and the public spectacle. In the context of the novel, these popular masks assist the author in the task of parodying the languages of others as well as different literary and non - literary discourses. Besides, the analysis focuses on some Lispector\'s short stories which were regarded important for the understanding of the image of the fool character, mainly those ones well known to be based on her real life. The theme of such stories is Lispector\'s daily contact with housemaids, an inspiration for the creation of Macabéa, the \"fool\" protagonist of The Hour Of The Star. The importance of the fool is emphasized in this study due to the fact that his stupidity and incomprehension of the conventions of society and its canonized discourses (religious, political, judicial, scholarly) turn to be a dialogic category whose function is to rip off ideological falsehood. In addition to the fool, there is the clown, a role played by Rodrigo S. M., the male narrator who, as a mask, has the right to speak in otherwise languages and maliciously distort and turn them upsidedown

M.A. / The idea that parody can be used as an instrument of internal criticism and at the same time be a form of literary history is the point of departure for this study. By analysing and comparing the parody pendants of D.J. Opperman ("Met apologie" in Kuns-mis, 1964) and Johann Johl ("Dubbelloop: 'n pastiche" in Gewalste woord, 1990), the way in which parody functions as internal criticism and even as method of periodisation in literary history is examined. D.J. Opperman parodies the Afrikaans poets of the thirties. In the parodies he establishes a critical dialogue with these poets and their work by means of the intertextual nature of parody. Through these parodies he comments on each poet's oeuvre with regard to the mannerisms and personal style of writing apparent in their work by exaggeration and intentional ridicule. However, the parody does not only reduce the poet's work to a ridiculous level, but is also used as a vehicle of praise for the highlights in the poet's work. Furthermore, by restricting these parodies to the poets of the thirties and two of their successors of the forties, Opperman also establishes a kind of miniature literary history. One can deduce some aspects of the characteristics of the thirties poetry from these parodies. In the same way Johann Johl parodies the Afrikaans writers of the sixties and seventies. Here the critical dialogue is established on two levels. On the first level it serves as criticism on the work of D.J. Opperman and that done by the poets of the thirties by means of the intertextual relationship existing between the parody pendants. In doing so it compares and contrasts the renewal in Afrikaans literature by the poets of the thirties to the renewal brought by two writers of the sixties and seventies. In this study the focus will be on the writers of the sixties (Breyten Breytenbach and Etienne Leroux). On the second level it serves as criticism on the work of Breyten Breytenbach and Etienne Leroux as well as a form of miniature literary history of the writers of the sixties. Some characteristics of this period in the Afrikaans literature can be deduced from these parodies. The whole study is based on the statement made by Lyotard (Hutcheon, 1985:1) "Art forms have increasingly appeared to distrust external criticism to the extent that they have sought to incorporate critical commentary within their own structures in a kind of self-legitimizing short-circuit of the normal critical dialogue." From what has been said above, it is clear that parody may well be this "self-legitimizing short-circuit". The parodies analysed in this study are examples of parody being used as an internal instrument of criticism, thus incorporating critical commentary within art's own structures. Furthermore, due to its intertextual nature, parody also comments on the characteristics of (in this case) two important periods (the thirties and sixties) in the history of Afrikaans literature and therefore also serves as a kind of miniature literary history.

La thèse s’intéresse aux usages de l'épopée chez Rabelais et les histoires comiques du XVIIe siècle (Sorel, Furetière, Scarron, Tristan L’Hermite, d’Aubigné). Elle cherche à dépasser l’interprétation parodique, souvent mobilisée par la critique moderne, et à montrer comment ces auteurs semblent rivaliser avec les poètes héroïques de la même époque (Ronsard, Chapelain, etc.) en tentant de refonder le récit comique long. Tout d’abord, on tente d’évaluer la présence de l’épopée dans ces œuvres comiques par un relevé des références et des citations, et une redéfinition de l’héroïsme tel qu’il apparaît dans les récits. Dans un deuxième temps, on cherche à expliquer l’usage de ces références par les auteurs comiques, autrement que par le concept moderne et trop souvent plaqué de « parodie » : on s’intéresse donc aux usages sociologiques de l’épopée, qui sert à la satire politique, religieuse, mais aussi savante. Les historiens sont, par exemple, des cibles privilégiées, car ils se servent de l’épopée pour cautionner leurs projets d’historiographie nationaliste et mythologique. Ce travail doit enfin permettre de mesurer le rôle du genre épique dans le renouvellement de l’écriture comique, tel que l’a instauré Rabelais, et tel qu’il fut poursuivi par ses successeurs. Cette analyse permet de revenir sur la réception de Rabelais au XVIIe siècle, encore peu étudiée, autant que d’appréhender l’influence de ces longues histoires comiques en prose, dans les siècles suivants : romans d’aventures, romans de cape et d’épée – autant de genres qui ont bénéficié des innovations héroïques et vraisemblables de ces longs récits comiques d’une époque disparue. / This dissertation focuses on the various uses of epic in Rabelais’ Books and in the comic novels of the XVIIth century (d’Aubigné, Sorel, Tristan L’Hermite, Scarron, Furetière). It attempts to go beyond the parodic interpretation commonly adopted by modern criticism towards this corpus, and to underline how these authors compete with the epic poets of that time (Ronsard, Chapelain etc.), as they try to renew the comic narrative. The first part of the study assesses the presence of epic features in the works: using a list of references and quotes, it strives towards a redefinition of heroism, as the paradigm appears in the texts. It then delves into the reasons why the authors so often refer to epic: as an efficient tool for their satiric discourses. The dissertation focuses on the sociological uses of epic that target political, religious and intellectual groups that appropriate epic models for their own purposes. Historians appear as privileged targets because they use epic to validate their historiographic projects, often imbued with nationalist and mythological tendencies. Finally, the work gauges the role of epic in the renewal of comic writing, as established by Rabelais, and continued by his epigones. This analysis sheds light on Rabelais’ reception in the XVIIth century, a topic that has scarcely been studied yet, and offers explanations for the lasting influence of these long comic and prosaic stories in the following centuries: adventure novels, swashbucklers and historical novels are some of the genres that may have taken advantage of the realistic and heroic innovations brought forth by these comic stories of a bygone age.

Avec une œuvre déjà abondante (dix-sept romans publiés à ce jour, sans compter des recueils de textes brefs et quatre volumes de son blog quotidien, L'Autofictif), Éric Chevillard est l'un des représentants les plus singuliers du roman français contemporain. L'objet de cette thèse est de cerner les traits caractéristiques de cette œuvre. Dotés d'une forte dimension critique, notamment à l'égard du roman réaliste, les récits de Chevillard élaborent dans le même temps un monde fictionnel ludique et poétique, d'une extrême fantaisie. L'ironie, la parodie, le jeu avec la logique et le langage participent de cette écriture joueuse, en opposition avec la représentation de la réalité. En outre, ces récits instaurent une forte relation, empreinte de connivence, avec le lecteur. A celui-ci, ils proposent ce que l'on peut appeler « une aventure de la conscience ». / Éric Chevillard has already published seventeen novels, amongst other works, such as short storiesand his daily blog, L'Autofictif. He now stands as one of the most remarkable and unusual Frenchcontemporary novelists. This work aims at analysing the main characteristics of Chevillard's works. His stories are based on a strong and general criticism of literary realism. Simultaneously, Chevillard's stories playfully create a fictional world that is both poetical and whimsical.In playing with language and logic, in using parody and irony, these stories bring together a playful style in opposition to the representation of reality.Lastly, Chevillard's works establish a strong relationship, in connivance, with the reader. They suggest what could be phrased as a "consciousness' adventure".

The following work from the field of czech literature for children will be focused on the interpretation of the literaty piece of work by writer Iva Peřinová. The first concentrates on the specifics of the motives and themes, refering to the standard puppet play and fairy-tails model. The second part of the thesis observes the poetics of Peřinova's fairy tails, paying a special attention to her narrative stragies, the way of the construction of the fairy tail characters and to the regularities of the composition. Keywords: Iva Peřinová, puppet play, parody, fairy-tail, ironydivadlo, drama, ironie