Centro de Comunicação e Letras (CCL)

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Assim que passarem cinco anos (Garcia Lorca) : teatro de ensaio
Pavan, Jussane Cristine Orlandeli (2017-02-06)
Centro de Comunicação e Letras (CCL)
O objetivo desse trabalho é apresentar uma leitura da obra Así que Pasen Cinco Años de Federico Garcia Lorca por meio da personagem Jovem, protagonista da peça, e de sua relação com as demais personagens. Por ser uma peça não tão estudada quanto a conhecida Trilogia Espanhola de Garcia Lorca, a minha interpretação se concentrou nos livros de Alfredo de La Guardia e Francisco Ruiz Ramón. Ambos concordam que a obra de Garcia Lorca utilizou as terorias psicanalíticas de Sigmund Freud para sua construção e, portanto, essa dissertação também recorreu a alguns trechos da obra do psicanalista. Como resultado do trabalho, foi possível perceber que a construção do protagonista acontece por meio das relações que ele constroi durante a peça e elas são introjeções da realidade vivida por ele em um sonho. A partir do encontro com as introjeções, o Jovem consegue alcançar o amadurecimento da vida adulta. A leitura dessa obra de Garcia Lorca trouxe não só o entendimento do processo criativo do autor na escritura do texto dramático e da sua visão para um novo modelo de teatro, mas também um entendimento do desenvolvimento humano e dos obstáculos que se apresentam para que ele seja conquistado.
A consciência dos afetos em Marcel Proust: uma abordagem dos espaços da Recherche
Blumenthal, Thiago (2018-02-15)
Centro de Comunicação e Letras (CCL)
Cette recherche se met à deux fins, d'abord pour mettre en évidence les lieux d'importance fondamentale dans la Recherche, afin de concevoir une impossibilité de récupération du récit narratif, comme dans une carte qui ne conduit nulle part, une carte déjà blessée par la mémoire. De ces lieux, associer aux relations d'affection créés entre l'espace, les amours et les circonstances de vie des personnages, en particulier le Narrateur, au niveau de la conscience de ce qui est responsable par le récit.
Distinções polifônicas na dramaturgia contemporânea : em cena a escrita colaborativa do grupo XIX de teatro
Conceição, Jorge Wilson da (2016-08-22)
Centro de Comunicação e Letras (CCL)
This doctoral thesis describes and analyses four collaborative creative processes of dramaturgy by Grupo XIX de Teatro from Sao Paulo, namely: Hysteria, Hygiene, Marcha para Zenturo e Nada aconteceu, tudo acontece, tudo está acontecendo. The basis of this study are the concepts of collaborative process and polyphony, as a set of voices which resounds from a play. The goal was to investigate the hypothesis that there are three different polyphonic modus which characterizes the productions of the group. In order to confirm that, the study analyzed the contribution of the artists, the public, as well the researches of the group. Besides, it has mapped the writing strategies used by the group to create the play Nada aconteceu, tudo acontece, tudo está acontecendo (Nothing has happened, everything happens, everything is happening) in relation to Vestido de noiva (Wedding dress), by Nelson Rodrigues. In this case, the objective was to understand the relevance of the dialogue of the work by Nelson Rodrigues as a basis for the contemporary dramaturgy by Grupo XIX de Teatro. The final hypothesis concerns the ineffectiveness of labels like adaptation of or freely inspired by in the tentative of naming creative processes of complex nature. The research has interviewed two actors of the group and gathered other contributions from other artists of the group. Besides, the research has analized the texts of the plays, documents, videos, reviews and other writings upon them, as well as some records from our own observation as audience. The results have confirmed our hypothesis about the different polyphonic processes, stating that the ones which are totally based on collaboration present more evidence of polyphony. Regarding the process of retelling Vestido de noiva, it was found evidences of a totally original work created by the group. To complete, the study suggests that contemporary dramaturgy produced by many theater groups should be seen as a rhizomatic one, due to its complexity and the dialogue with a variety of literature genders and Art languages, as well as different authors
Do romance ao filme: um olhar sobre crônica da casa assassinada
Almeida, Londina da Cunha Pereira de (2016-08-23)
Centro de Comunicação e Letras (CCL)
The objective of this thesis is to analyze how the narrative instances of point of view and space compete to create the intimate aura of the novel Crônica da casa assassinada (1959), by Lúcio Cardoso. Using the theory of Jean Pouillon, in O tempo no romance (1974), on the point of view, we try to understand the subjective effects drawn from multiple perspectives looking, combined with the intimate writings of the ten characters-narrators of the text. The variety of versions upon the protagonist of the narration helps to make her indecipherable to our eyes, and leads us to suspect of what some narrators say driven by a jumble of feelings. We also found the space to which these characters-narrators are confined, for being isolated and tedious, contributes to the consolidation of their distress and interpersonal conflicts that settle among them. Moreover, this space is seen in a perspective away, so it expresses the personal impression that each of them has of Chácara dos Meneses. To support our analysis of space, we use essentially the study by Osman Lins, in Lima Barreto e o espaço romanesco (1976), Michel Foucault, in “Outros espaços” (2009) and Gaston Bachelard, in Poéticas do Espaço (2008), because they evaluate subjectively the relation character versus space. The last chapter provides a study of the same narrative instances in the adaptation of the novel to cinema, in the production by Paulo Cesar Saraceni, A casa assassinada (1971). In this chapter we use a more sociological approach to the adaptation process, not focusing exclusively on the aesthetic elements of the text. Whereas the adaptation is not only the product, as a process that sees the film as artistic representation as well as socio-cultural, our analyses are supported by the studies of Linda Hutcheon in Uma teoria da adaptação (2011). Despite the broad possibilities of modifications that adaptation offers, the filmmaker chose to keep the main aspects of the text, which led us to assess how sued the narrative focus and space in the filmic texture.
Elementos constitutivos do documentário Elena, de Petra Costa
Harris, Hugo de Almeida (2018-08-13)
Centro de Educação, Filosofia e Teologia (CEFT)
Esta tese objetiva analisar o documentário Elena, de Petra Costa, no que se refere à organização narrativa de seus elementos visuais e sonoros. Trata-se de um filme que expõe a relação da cineasta com o fato de sua irmã mais velha - Elena - ter se suicidado no início dos anos 1990. A dor e a superação percorrem a narrativa de forma muito particular, poética e confessional. No decorrer do trabalho discute-se o entendimento do que é um documentário nas suas mais variadas facetas, em especial a vertente do documentário poético e performático, devido às características do objeto de estudo. A ética e os dilemas da representação da realidade no documentário também contribuem para o embasamento teórico desta pesquisa. A partir de uma detalhada divisão plano a plano do documentário, foram escolhidos três temas principais para nortear a análise: o trecho em que se descreve o suicídio de Elena; a confusão da imagem de Elena e Petra; e o compartilhamento do luto da cineasta devido à morte da irmã.
As figurações animalescas no "Eu" de Augusto dos Anjos
Costa, Miguel Graciano Silva da (2019-08-19)
Centro de Comunicação e Letras (CCL)
O tema desta pesquisa é relevante uma vez que se propõe a apresentar uma análise de parte da obra de Augusto dos Anjos, que possa ser utilizada como exemplo e contribua para a compreensão e para a construção de sentido dos poemas. O objetivo foi realizar uma análise das figurações animalescas presentes na obra “Eu”, composta por 58 poemas, dentre os quais 43 sonetos. Nesta análise, foram observados o processo de construção e os elementos temáticos dos poemas “O morcego”, “A um carneiro morto”, “Asa de corvo”, “O corrupião” e “Versos a um cão”, o quais têm a figura animal como representante da temática. Inicialmente, foi feito o levantamento e a leitura de estudos acadêmicos que tratam da vida e da obra de Augusto dos Anjos. A ideia foi tomar conhecimento do tipo de abordagem que o poeta recebe daqueles que se propõem a estudá-lo; como são inúmeros os trabalhos, apenas quatro foram consultados para esta pesquisa. Em seguida, foi reunida a fortuna crítica que permitiu a fundamentação teórica, mas que também foi selecionada devido ao grande número de autores. O passo seguinte foi a leitura e releitura do “Eu”, com a finalidade de identificar e selecionar os poemas que melhor atendessem ao tema aqui delimitado, o que resultou no corpus formado pelos referidos poemas. Por fim, foram realizadas as análises dos poemas elencados, partindo da observação dos elementos presentes na superfície textual até chegar à abordagem da estrutura mais profunda dos textos, a exemplo dos ensinamentos de Antônio Cândido em “Na sala de aula”.
O mundo medieval recriado: o "Sertão profundo" de Elomar Figueira Mello
Paes, Marleide Santana (2016-10-26)
Centro de Comunicação e Letras (CCL)
This research proposes to analyze the first novel by Elomar, Sertanílias - Cavalry Novel published in 2008, for the following purposes: to understand the approach that it is the medieval foundations and evaluate the reconfiguration of its narrative from the referent the Bahian backlands, specifically the regions known as "hinterland Surf" and the Middle San Francisco. Developed discussions were based on two assumptions: the cycles of medieval narratives, still present in the traditions of orality and therefore in the collective memory of the frontiersman were reconstructed in that novel and incorporated into local legends; the medieval knight is recovered in idealized construction of the protagonist figure. To treat the operating elements in the process of replacing the narrative focus for a screenplay, we seek support in Alfredo Carvalho considerations about the narrative focus, and respect the fundamental principles of movie theater, consider the concepts of Jean-Claude Bernardet. About the research concerning the fantastic aspects present in the work, we rely on theoretical assumptions of the authors Tzvetan Todorov, Irlemar Chiampi, Selma Calasan Rodrigues, Ana Luiza Camarani. In order to apprehend the discursive level of recurring fantastic in the novel and ascertained the structural and semantic aspects of argumentative field of work, guided by the question: how the author potentiates the beliefs and backcountry cultures from a fantastic approach? We defined the objective of research: a) realize how Elomar builds fantastic language appropriating the backwoods of reference. b) understand how the characters are in the physical hinterland and medieval mythical hinterland proposed in the narrative structure. c) show the argumentative bias adopted by the author in the preparation of country language process. d) learn the procedures adopted by the author during the construction of the concept of hinterland and backcountry in the fictional sense. Regarding the methodological aspects, we turn to literature interviews, newspaper collections, books, periodicals, articles, and videos, interview with the author; sources of which bring a considerable amount of information to enrich the discussions proposed in this research.
As narrativas enquadradas n'As Afinidades Eletivas de Goethe
Cipriani, Ieda Maria Caricari (2012-02-08)
Letras
Elective Affinities (Die Wahlverwandtschaften, 1809) by Johann Wolfgang von Goethe is an imbricated novel, elaborated by symbols repeated throughout the narrative, which build a complex and organized structure. The essential element for the organization of this novel is inserted narratives: Ottilie's diary, the tableaus and the novel Die Wunderlichen Nachbarskinder , which constitute the main narrative. The objective of this doctoral thesis is to analyze how these inserted narratives are grafted in the novel, what is the relationship between the main narrative and inserted narratives and how they work in the novel. The study is done as a Close Reading, that finds significant interrelationships of the main narrative in the inserted narratives and vice versa. The theories of Barthes and Bachelard provide a fresh look at the Goethean work and were used as theoretical foundation of this thesis.
O ponto de vista narrativo em Poe
Aquino, Paula Silveira de (2011-02-09)
Letras
This Mastership Dissertation presents analysis of the narrative point of view in the short-stories "The fall of the House of Usher", "The Tell-Tale Heart", and "Berenice", by Edgar Allan Poe, with basis on theories by Norman Friedman, which is approached by Ligia Chiappini Moraes Leite (2002), and Wayne C. Booth, about the unreliable narrator Some theoretical considerations approached by Poe, in the "Philosophy of the composition" (1846) and in other essays translated by Baudelaire (2003), are also utilized. Considerations by Todorov (2004), Freud (1919), Jung (1961) apud Philippov (1999), and Castex (1951) apud Philippov (1999), about fantastic theories are also approached. It is verified that all the analyzed works are narrated in first person. It means that the narrator is always a participating character of the story. It was possible to evidence that there is, in all of them, a contradiction between what the narrator proposes himself to do and that which is permitted by the situation he is inserted in. The trials in helping a friend, who lives in a full of melancholy house, to alleviate a nervous agitation are all vain, since it is the mansion‟s owner who ushers the narrator to execute his habitual activities. In the second short-story, the character who does not accept to be called mad and wants to show all the calm, precaution and perfection he had when he killed the old man he used to look after, suffers from an acuteness of the sense of hearing, which makes him hear the beats of the murdered man‟s heart. This sound shows the limits between the narrator's calm and fury, until the moment in which he, believing that the policemen could hear the same thing he could, and would be making a mockery of him, confesses the crime. Finally, the narrator Egaeus is conscious that he always had a bad health and recognizes that his reality of life is different from the one of other characters around him. In spite of saying that he does not seek to convince, Egaeus makes long explanations about the features of his illness and tries to avoid technical language, so that the common reader is able to comprehend him. He hopes that the revelation of his consciousness of the crime, and of the consequent family dishonor could assuage his guilt.
O sujeito lírico em colapso: Cecília Meireles e o fim da subjetividade na poesia
Souza, Daniel Paulo de (2014-06-06)
Letras
This thesis reflects on the nature of poetry, and also the work of Cecília Meireles, assuming that, from a phenomenological analysis that it is not possible to consider the ideas of subjectivity and lyrical subject when discussing about poetic compositions, since these notions do not represent, in fact, the poetic act, but only explain it as a rational attitude, not as a phenomenon that took place in the world. Going back to subjectivity does not mean understanding the peculiarity of this type of speech, but intends to immerse in the interiority of an "I" that does not reflect the existential movement of a new presentation of things which he performs at the moment when he is articulated in their own metaphorical significances of poetic language. Due to this, the phenomenology was chosen as a line of thought, because it suggests that there is no subject as an "absolute cogito" disconnected from the world without roots in it, but a consciousness that looks to this world with the purpose to realize it. This attitude tends to get over the relationship between "subject" and "external object" that is always taken when reading and analysis of poetic texts are the question. Merleau-Ponty, for example, investigates how the explanation of a "philosophy of subjectivity" is valid as a possible discovery that consciousness realizes itself, or simply it is a construction produced at the instant that reflection comes out and takes this consciousness as a acquisition of thought after pronouncing the "I think". Along the way, the work of Cecília Meireles is highlighted, which reveals the vivacious appearance of things, shows total admiration for the sensory spectacle offered by them and stands unique because of its look that always reveals the most unusual meanings of the world and, through a poetic speech, makes it accessible in all its visibility.
Touradas, toureiros e morte
Mozer, Mariana Calvo (2011-02-25)
Letras
The present paper develops the analysis of the figurative presences in the work of Frederico Garcia Lorca. For this ,it is used as corpus for the analysis the work of Llanto by Ignácio Sanchez Meijas, wherein the author proposes through the bullfight ceremony the vision of the death. Constituting this ceremony as the basis of the paper, we will focus on the study of the symbolic figures-the moon, the blood, the flowers, the colors red and white, the bull, the stone, the wind etc.. by focusing on the presence of the death as the main reason of this work.
Vampiros humanizados: análise da obra Interview with the vampire de Anne Rice
Hradec, Patricia (2014-01-31)
Letras
Esta dissertação tem por objetivo analisar o romance Interview with the Vampire de Anne Rice que é o primeiro livro dos dez que constituem suas Crônicas Vampirescas . Pretende-se com esta pesquisa demonstrar como os vampiros apresentados por Rice são humanizados. Inicia-se com um estudo histórico sobre os vampiros, tanto lendários quanto literários, depois há um estudo sobre a vida e obra da escritora norte-americana bem como um levantamento das diferenças entre os vampiros de Rice e outros descritos na literatura, entre os quais o ícone do gênero: Drácula, de Bram Stoker. A análise continua ainda com alguns apontamentos teóricos sobre o gênero fantástico, incluindo conceitos de Todorov, Ceserani, entre outros. Há também uma análise dos principais personagens: o vampiro Louis que renega sua natureza vampírica; o vampiro Lestat que também luta contra problemas humanos; Cláudia, a menina vampira, que não aceita sua condição de mulher presa a um corpo de criança; o vampiro Armand, um dos mais velhos vampiros do mundo que almeja a paz humana. Há ainda a análise de um personagem humano, um suposto jornalista, que ouve toda a história de vida mortal e imortal do vampiro Louis. A análise ainda abrange o tempo e espaço da narrativa e sua relação com o gênero fantástico, bem como algumas diferenças entre o livro escrito em 1976 e o filme, lançado em 1994, um sucesso de bilheteria, referência para muitos filmes sobre vampiros.

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