Vazio Ávido: negatividade e autorreflexividade em Dias felizes, de Samuel Beckett
محفوظ في:
| المؤلف الرئيسي: | |
|---|---|
| تاريخ النشر: | 2017 |
| التنسيق: | Master thesis |
| اللغة: | por |
| المصدر: | Repositório Comum do Brasil - Deposita |
| Download full: | https://deposita.ibict.br/handle/deposita/453 |
الملخص: | This research addresses the influence of the romance on the drama Happy Days by Samuel Beckett. Thus, it adopts a dialectic perspective, which debates the contagion of genres in the modernity, with predominance of romance. Therefore, the romance is understood as predominant, assimilated by Happy Days. More specifically, the narrative voice of the main character is listed as an epic manifestation in scene. It is highlighted as the theatrical paralyses resulted of actions that are delivered and occur in an insular subjectivity; displayed in emphasis in relation to the other characters. These are characteristics which, commonly, belong to the modern drama. However, to the analyses of the target, this study claims a broader approximation with the romance theory. Consequently, it is also aimed to analyze theatrical phenomena, odd to the classic tragedy, such as Romanesque manifestations, mainly originated by the rupture of the subject and the object. In this way, Happy Days was examined by means of the subjective displacements of its main character, as well as the reorganization of her memories. |
مواد مشابهة: Vazio Ávido: negatividade e autorreflexividade em Dias felizes, de Samuel Beckett
- Errata pensante: temporalidade e subjetivação em A última gravação
- Arpilleras: o bordado como performance cultural chilena, em favor do drama social
- A experiência de Samuel Beckett no cinema
- Participação política na era informacional : um modelo para o sec. XXI
- Pelo reencantamento da Psicologia : em busca da positividade epistemológica da imaginação e da emoção no desenvolvimento humano
- O drama como método de investigação de linguagem: uma interpretação do dramatismo de Kenneth Burke