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[Resumen] La enseñanza de contenidos de literatura dramática en el marco de las Escuelas de Arte Dramático tiene que ser global y humanista y podría incluir también la interpretación, la escritura y la puesta en escena. Desde la pedagogía estas enseñanzas reclaman que el alumno se desarrolle desde la creatividad, la capacidad de expresión y la receptividad. Vinculado a la escena ha de reflexionar además sobre el entorno social y la realidad contemporánea. La creatividad y la imaginación son herramientas esenciales en la práctica artística y la pedagogía. Aplicadas a la literatura dramática suponen la posibilidad de acercar a los alumnos una visión nueva sobre los contenidos teóricos y sobre los textos dramáticos. Su importancia es capital en la comprensión de los procesos y la estructura de las obras tratadas en el aula. Imaginación y crítica no son realidades excluyentes. Ambas operan juntas y constituyen una forma diferente de ver el arte teatral: el arte de la palabra del que participa la literatura dramática. Crear para comprender y fomentar lugares para el encuentro y el debate. La creatividad acerca a los alumnos a las creaciones de los dramaturgos, pero también a la sociedad en que esos mismos están inmersos. Pensar el teatro desde la práctica, a partir de ejercicios de creación que impliquen la escritura en acción permite a los alumnos de Arte Dramático cuestionar la vigencia de un texto o interrogarse sobre la relación de éste con su propio presente. [Abstract] The teaching of dramatic literature in the framework of Drama Schools must be global and humanistic, and could also include acting, writing and staging. From a pedagogical point of view, these teachings demand that students develop their creativity, capacity for expression and receptivity. Linked to the stage, they must also reflect on the social environment and contemporary reality. Creativity and imagination are essential tools in artistic practice and pedagogy. When applied to dramatic literature, they offer the possibility of providing students with a new vision of the theoretical contents and dramatic texts. Their importance is paramount in the understanding of the processes and structure of the plays discussed in the classroom. Imagination and criticism are not mutually exclusive realities. Both operate together and constitute a different way of looking at theatrical art: the art of the word, in which dramatic literature participates. Creating in order to understand and encourage places of encounter and debate. Creativity brings students closer to the creations of playwrights, but also to the society in which they are immersed. Thinking about theatre in practice, through creative exercises involving actionwriting, enables drama students to question the relevance of a text or its relationship to their own present.

Cet article vise à reconsidérer et mieux appréhender la lecture du texte de théâtre. Les théories du sujet lecteur permettent aujourd'hui de questionner l’approche essentiellement héritée des sémiologues, avec une prépondérance accordée à la scène. En outre, au lieu d’opposer dramaturgie et littérature, je propose de les relier pour analyser plus précisément et totalement les mécanismes de lecture en jeu. Confrontant et revisitant les modèles de lecture existants et en appui sur de très nombreuses traces de lecture (qui proviennent d’une étude longitudinale sur plusieurs classes, comme de lecteurs experts), je présente une nouvelle modélisation des postures de lecture du texte dramatique. Ce travail implique à terme de repenser certains dispositifs didactiques. This article aims to reconsider and better grasp the reading of the dramatic literature. Reading subject theories today allow us to question the approach essentially inherited from semiologists, which gives a preponderance to the stage. Furthermore, instead of opposing dramaturgy and literature, I propose to link them to more precisely analyze the mechanisms of reading. By confronting reading models and based on numerous traces of reading (coming from a longitudinal study on several classes and from expert readers), I present a new modeling of the reading postures of the theater text. These results will imply rethinking certain didactic devices.

This article aims to investigate the feeling of tragic in the play Waiting for Godot, by the Irish writer Samuel Beckett. Through our analysis, we propose to examine how we can understand the tragic as a structure of feeling, a term coined by Raymond Williams (2002; 2011), and which concerns aspects in common between writers within the same historical situation. The tragic, perceived under the sociological concept of Williams, comes to be seen as a generational convention of characteristics that, at a given time, are considered as a feeling of the tragic. In this sense, we will try to demonstrate that Beckett's work can also be understood as a symbolic form that expresses the tragic feeling of his time. In addition to Raymond Williams, who bases the work on the concept of structure of feeling, it serves as a theoretical contribution to contemporary philosophers to Beckett, like Albert Camus, with regard to existential absurdity O presente artigo objetiva investigar o trágico na peça Esperando Godot, do escritor irlandês Samuel Beckett. Através de nossa análise, propomo-nos examinar de que maneira podemos compreender o trágico enquanto uma estrutura de sentir, termo cunhado por Raymond Williams (2002; 2011). O trágico, percebido sob o conceito de Williams, passa a ser visto como uma convenção geracional de características que, em uma determinada época, são consideradas enquanto uma estrutura de sentimento do trágico. Nesse sentido, buscaremos demonstrar que na obra de Beckett encontramos um sentir trágico que se expressa na existência esvaziada de qualquer sentido. Além de Raymond Williams, que alicerça o trabalho sobre o conceito de estrutura de sentimento e do trágico, bem como Terry Eagleton sobre este último, serve-nos também de aporte teórico filósofos contemporâneos a Beckett, como Albert Camus, no que diz respeito ao absurdo existencial.

Este artigo tem como proposta aproximar De onde vem o verão (1989-90), de Carlos Alberto Soffredini, de Vestido de noiva (1943), de Nelson Rodrigues, compreendendo as múltiplas referências textuais e intertextuais existentes na peça de Soffredini. Para isso, consideram-se na obra desses autores dois momentos de modernidade dramática, tendo em vista as formas híbridas desenvolvidas e alinhadas aos anseios de cada época de criação., This article aims to approach De onde vem o verão (1989-90), written by Carlos Alberto Soffredini, and Vestido de noiva [Wedding Dress] (1943), written by Nelson Rodrigues, understanding the multiple textual and intertextual references that exist in Soffredini’s play. For this, two moments of dramatic modernity are examined in the work of these playwrights, taking into account the hybrid forms developed in both plays and that reflect the historical context of each playwright’s work., Éste artículo pretende acercarse a De onde vem o verão (1989-90), de Carlos Alberto Soffredini, y Vestido de noiva (1943), de Nelson Rodrigues, por medio de la comprensión de las múltiples referencias textuales e intertextuales existentes en la pieza de Soffredini. Para eso, se consideran en la obra de estos autores dos momentos de la modernidad dramática, teniendo en cuenta las formas híbridas desarrolladas y alineadas con los anhelos de cada tiempo de creación.

RESUMO Este artigo é oriundo da pesquisa resultante na tese de doutorado Antônio José da Silva: uma dramaturgia de convenções1. No presente texto, discute-se o princípio de carnavalização no teatro ibérico a partir de diferentes perspectivas teóricas, dentre as quais a de Mikhail Bakhtin. Nesse sentido, a partir da descrição da personagem-tipo do gracioso, o criado carnavalizado originalmente inserido no teatro pelos autores do Século de Ouro espanhol, pretende-se problematizar embates de classe e artifícios discursivos da narrativa tragicômica. Tal análise é embasada pela teoria de análise de textos barrocos ibéricos desenvolvidas em Espanha, nos estertores do século XX e no início do XXI, especialmente em Hermenegildo (1995). Desse modo, analisa-se como a personagem-tipo, seja em sua formulação tradicional masculina ou na feminina, como criada, participa das intrigas, de modo a tornar mais contundentes as questões centrais do enredo disparador. Como exemplificação da teoria trabalhada, trazemos a obra do autor português setecentista Antônio José da Silva, Precipício de Faetonte. Nela, é possível perceber a participação dessas personagens baixas entremeando a intriga principal: o que pode ser lido, em nossa perspectiva, como uma forma de carnavalização do teatro ibérico de tal período, dentro da perspectiva bakhtiniana. ABSTRACT This article derives from the research which resulted in the doctoral thesis Antonio Jose da Silva: a dramaturgy made of conventions.1 It discusses the principle of carnivalization in Iberian theatre from different theoretical perspectives, including that of Mikhail Bakhtin. Through an analysis of the stock character of the gracioso, the carnivalized servant figure originally introduced by the dramatists of the Spanish Golden Age, the intention is to problematize the class tensions and discursive artifices of the tragicomic narrative. This analysis is based on the theory for studying Iberian baroque texts developed in Spain at the end of the 20th century and the beginning of the 21st, and which is particularly present in Hermenegildo (1995). This article therefore examines the ways in which this stock character, either in its traditional male version or as its female counterpart - the maid -, participates in the development of dramatic intrigue, amplifying the impact of the central issues of a given play’s main plot. To demonstrate the aforementioned theory, this article will examine the play Precipício de Faetonte by 18th-century Portuguese playwright Antonio José da Silva. In this work the actions of these low-status characters can be seen to be interwoven with the development of the central intrigue, a fact which, from a Bakhtinian perspective, can be interpreted as a form of carnivalization explored by the Iberian theatre of the period.

Yirmi birinci yüzyılın ilk çeyreğinde Batılı edebiyat-felsefe akademilerinde agonun fazlaca göz ardı edilen bir kavram olduğuna dikkat çekilmekte ve bu kavrama değerini kültürel, filozofik, politik ve estetik bağlamda yeniden kazandırmaya yönelik çalışmalar yapılmaktadır. Burada yer alan yeniden kazandırma ifadesinden anlaşılacağı gibi spesifik bir kültür, agonistik ruhun -Nietzsche’nin deyimi ile rejeneratif bir değer olarak- önemini kavradıkları bir çağı daha önce yaşamıştır. Bu çağ, Eski Yunan’ın “agonal çağı” dır. Söz konusu kavram Nietzsche’nin çağdaşı ve aynı zamanda hocası olan Burckhardt’a aittir. Burckhardt’ın işaret ettiği üzere, agonun kavramsal ve işlevsel dinamizmi ve bu dinamizmin dramatik edebiyatla ilişkisi Eski Yunan’a kadar geri gider. Başlangıcından hemen sonra agonistik, felsefi ve kültürel-antropolojik bir kavramsallaştırma olarak ele alınırsa, dramatik edebiyat da bu kavramsallaştırmanın somutlaştırıldığı ilk estetik formlardan biri olarak düşünülebilir. Nitekim Burckhardt, agonu düşünsel ve kültürel bağlamda “kavramsal” olarak ele alırken, Nietzsche onun “sanatsal” ya da Deleuze’cü tabirle “algısal” düzlemde somutlaştırılmasına Eski Yunan dramatik edebiyatının oluşum aşamasından örnek gösterir. Agonistiğin ne olduğuna ve dramatik edebiyatla ilişkisinde ne türden bir görünüm sergilediğine ilişkin Eski Yunan kanonunu ağırlıklı olarak Burckhardt ve Nietzsche üzerinden yeniden okumak gerekir. Bu çalışma, dramatik olana ve dolayısıyla dramatik edebiyata varlık kazandıran, Nietzsche’nin “sağlıklı” olarak nitelediği kültürü, temasta olduğu diğer kültürlerle ilişkisinde özgün kılanın agonistik kavrayış olduğu savından hareketle, dramatik edebiyatı başlangıcı itibari ile agonistikle doğrudan ilişkilendirir. Çalışmada, bir taraftan agonistik ruh, bu ruhun Hellenik yükselişi, deHellenizasyonu ve re-Hellenizasyonunun imkânı, insan-doğa-kültür ile ilişkisinde ele alınırken, buna koşut Oudemans ve Lardinos’un ayırt ettikleri ayrıştırıcı ve bağlantılı kozmoloji tiplerine alternatif bir model olarak agonistik kozmoloji ve kaynağını bu modelden alan bir agonistik okuma ve eleştiri yöntemi önerilir. Böylelikle, Batı’nın hegemonik ilişkileri açığa çıkaran, Deleuzecü tabirle ağaçsı yapısının nerede kök saldıysa orada; Eski Yunan’da sağaltılabileceği ve yerini rizomatik olana; oluşa bırakabileceği iddiasına ulaşılmış olunur. In the first quarter of the twenty first century, agon has been pointed out as a highly disregarded concept in the Western literature-philosophy academies and studies are being conducted for the purposes of reintroducing to this concept its value in the cultural, philosophical, political and aesthetical context. As one can understand from the term “reintroducing”, a specific culture has experienced an age when the importance of the agonistic spirit was comprehended -as a regenerative value in Nietzsche’s words-. This age is the agonal age of the Ancient Greek. This concept was introduced by Burckhardt, who was both the peer and the teacher of Nietzsche. As suggested by Burckhardt, the conceptual and functional dynamism of agon and the relation of this dynamism with dramatic literature date back to the Ancient Greek. Even though agonistic was addressed as a philosophical and culturalanthropological conceptualization just after its introduction, dramatic literature can be considered as one of the first aesthetic forms whereby such conceptualization was concretized. As a matter of fact, Burckhardt addresses agon “conceptually” in the intellectual and cultural context, while Nietzsche gives an example of the concretization of agon at an “artistic” or, in Deleuzeian terms, “perceptual” level from the evolution stage of the dramatic literature of the Ancient Greek. The Ancient Greek canon regarding what is agonistic and what kind of relationship it has with the dramatic literature should be re-read mainly through Burckhardt and Nietzsche. This study directly associates dramatic literature with agonistic from the very beginning, on the assumption that agonistic perception by which the culture, which brings an existence to everything that is dramatic and thus to dramatic literature and which is described by Nietzsche as “healthy”, is rendered original in its relationship with the other cultures in touch with it. The study, on one hand, addresses to the agonistic spirit, the Hellenic rising of this spirit and the possibility of de-Hellenisation and re-Hellenisation within the context in the human-nature-culture relationship, but on the other hand, suggests an agonistic cosmology as an alternative model to separative and interconnected cosmology as distinguished by Oudemans and Lardinos, and an agonistic reading and criticism method which has its roots in this model. Thus, it can be suggested that the West’s structure revealing hegemonic relations, which, in Deleuzian terms, is arborescent can be restored wherever it has been rooted, i.e. the Ancient Greek, and give its place to what is rhizomatic, i.e. becoming.

Nearly all of the works written between 1986 and 2009 by the playwright Rodrigo García are included in the volume titled Cenizas escogidas (2009) and in a large part of his theater the food appears as a central element, both at the textual level on the scenic or performative plane. It is evident that few themes can find in the history of art greater richness of expressive possibilities than food, and the connection that Lévi Strauss understood so well between food and culture is a constant that Rodrigo García explores artistically in order to offer a penetrating reflection on contemporary society and on the individuals who conform it. Rodrigo García’s play (1964) may be identified with the trend that Hans Thies Lehmann has called Posthramatic Theater (Lehmann, 1999). Within this heterogeneous label we find many of the most outstanding representatives of the stage renovation of the last third of the 20th century, from Tadeusz Kantor to Robert Wilson, to Heiner Müller, Peter Brook, Pina Bausch, Jan Fabre and Elfriede Jelinek, among others. El volumen que recoge casi en su totalidad la obra escrita entre 1986 y 2009 por el dramaturgo Rodrigo García lleva por título Cenizas escogidas (2009) y en buena parte de su teatro la comida aparece como un elemento central, tanto a nivel textual como en el plano escénico o performativo. Es evidente que pocos temas pueden encontrar en la historia del arte mayor riqueza de posibilidades expresivas como la comida, y esa conexión que tan bien entendió Lévi Strauss entre la comida y la cultura son una constante que explora y explota artísticamente Rodrigo García, para ofrecer una espléndida reflexión sobre la sociedad contemporánea y los individuos que la conformamos. La obra dramática de Rodrigo García (1964) pudiera identificarse con la tendencia denominada por Hans Thies Lehmann Teatro Posdramático (Lehmann, 1999). Dentro de esta etiqueta heterogénea encontramos a muchos de los representantes más destacados de la renovación escénica del último tercio del siglo XX, desde Tadeusz Kantor a Robert Wilson, pasando por Heiner Müller, Peter Brook, Pina Bausch, Jan Fabre o Elfriede Jelinek, entre otros.

Tänapäeval käsitletakse teatriteksti lugemist eeskätt tekstianalüüsina. Doktoritöö eesmärk on antud lähenemist rikastada, käsitledes teatriteksti lugemist fiktsionaalse teksti lugemisena. Seda lugemisviisi vaadeldakse XIX sajandi prantsuse draama tegelaste enesetapuproblemaatika valguses. Teisisõnu huvitab autorit see, kuidas tegelase enesetapp mõjutab teatriteksti lugemist protsessina. Sellele küsimusele vastamiseks uuritakse põhjalikult ka enesetappude põhjusi ja tagajärgi ning nende seost katarsisega. Analüüsiks kasutatakse Vincent Jouve’i virtuaalset lugejat ehk ajastuvälist ja implitsiitset tekstiefektide adressaati. Lugemise ajal «imbub» virtuaalne lugeja fiktsionaalsesse maailma, mille aluseks on Reaalse-Kujuteldava-Sümboolse kolmikjaotusel põhinev dispositiiv. Doktoritöö koosneb viiest peatükist: teoreetilisele sissejuhatusele järgnevad melodraama, romantilise, naturalistliku ja sümbolistliku draama käsitlused. Peale fiktsionaalsete enesetappude mõju lugejale huvitab autorit ka uuritavate teatrižanrite arengu küsimus «virtuaalse» lugemise perspektiivis. Nii saabki XIX sajandi prantsuse draama lugemist võrrelda teekonnaga melodraama elujaatavast meelekindlusest sümbolistliku draama traagilise määramatuseni, õnnestunud enesetappudest võimalike suitsiidideni ning «nutuküllasest» katarsisest antikatarsiseni., This study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary. The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeter¬minacy of symbolist drama, from actual to probable suicides, from “sorrow¬ful” catharsis to anticatharsis.

How can one person help another? This thesis is an investigation of the act of helping other human beings in the realm of social work. Jocelyn is a social worker fresh out of school who is stationed in a social housing building. Travis is unofficially staying in the building with his girlfriend, Andrea. Jocelyn tries to help them, increasingly pushing professional boundaries to do so. As the difference between help and the need to feel helpful becomes blurry, Jocelyn grows close to Travis and Andrea and the tension between the three of them rises to a tragedy. This play asks: what is the best way to help another person? In what ways does the social system help and hinder? And at what point does the self-interest of the helper derail the process of helping? There is no doubt that help is required, but the devil truly is in the details. 2999-01-01

63-75 pp. The construction of the corpus of dramatic literature in the northern portion of Mexico has had a symbolic and referential load decanted from the very reality that produces and surrounds it. Perhaps because of its high value of social and political criticism or because of its natural condition of literature written to be performed, the theatrical genre in Latin America and specifically that produced by Mexican authors, allows us to appreciate a close contact with the history of everyday life; that is, with the daily matter that in turn influences a greater and more effective reception of the spectacular text because it recognizes in the exposition raised, aspects of close references. In this sense, for its part, the complex and historical relationship of interdependence of the United States with Mexico, strengthened by the migratory character of the former as an entity of reception of labor force, establishes multiple referential guidelines that playwrights have taken advantage of for the writing of their texts. In recent decades, texts have been written in this part of the country that have attracted the attention of national and international critics, which make social or political denunciations, but also experiment with writing forms and language. The purpose of this paper is to highlight the general qualities of some pieces written in that geography.

Se trata de un acercamiento a la literatura dramática para niños escrita e impresa por el editor Antonio Vanegas Arroyo en las primeras décadas del siglo XX, Tanto la estructura como la temáticas de los llamados «juguetes cómicos» de Vanegas Arroyo destacan por su originalidad que salen del canon propio de lo que se considera teatro infantil y por su enorme presencia en la niñez mexicana de la época. It is an approach to dramatic literature written and printed for children by Antonio Vanegas Arroyo editor in the early twentieth century, both the structure and the themes of so-called «juguetes comicos», Vanegas Arroyo noted for their originality salt the own canon of what is considered children’s theater and its huge presence in Mexican children of the time.

Se trata de un acercamiento a la literatura dramática para niños escrita e impresa por el editor Antonio Vanegas Arroyo en las primeras décadas del siglo XX, Tanto la estructura como la temáticas de los llamados «juguetes cómicos» de Vanegas Arroyo destacan por su originalidad que salen del canon propio de lo que se considera teatro infantil y por su enorme presencia en la niñez mexicana de la época. It is an approach to dramatic literature written and printed for children by Antonio Vanegas Arroyo editor in the early twentieth century, both the structure and the themes of so-called «juguetes comicos», Vanegas Arroyo noted for their originality salt the own canon of what is considered children’s theater and its huge presence in Mexican children of the time.

This thesis consists of a discussion upon love in the dramatic texts of Nelson Rodrigues. The starting point here lies on the hypothesis according to which the traditional meanings of Christian agape, Aristotelian philia and Platonic eros play a master role in the context of the tragicalness of the work. In this sense, there are in this thesis incursions to the Classical Philosophy in which the corresponding reference universes were systematized in order to demonstrate the relevence of such contents in the actions of the characters, according to an existentialist perspective, in the sense used by Hélio Pellegrino (Uma confissão de amor ao ser humano). In this theoretical and methodological approach, the focus is on the character, which can reveal the human condition, in depth analysis. According to which, Nonô (Álbum de família), Gilberto (Perdoa-me por me traíres) and Arandir (O beijo no asfalto), in the sense of characters that become viable the rare emergences of agape, are compared side by side with religious texts trough a process through which proves the convertibility between tragic and comic aspects, based principally on the non place of the spiritualized love. In the second instance, the philia according to Aristotelian Etica Nicomaquea occupies the foreground of research, with the demonstration of its presence - absence. Presence as proximity (familiar or friendship) and absence as occasion of competition. This relations are discussed in terms of philia-agon, sometimes in terms of the birth context of the philosophy x tragedy (characteristics of the key elements of the genres such as pathos and eudaimonia ) and sometimes in the relationship between the sisters Guida and Lídia (A serpente), Alaíde and Lúcia (Vestido de noiva) and Aurora and Silene (Os sete gatinhos).Such analyses reveal , among several other things, that the love philia persists in a very specific sense, according to which the set of the family suffers strikes from the erotic love that fray its web only resumed later, allusively, in the new order of the relationships of those who have left to tell the story. Finally, the erotic love is presented through the discourses-contacts between Rodriguean and Platonic Characters such as Diotima and Dorotéia and even between Erixímaco, Freud and Nelson Rodrigues, showing not only the dramatic action of The banquet of Plato even a continuity of the history of ideas pointed out in the complementary opposition between healthy eros and pathologic one (Eurixímaco), as well in the dicotomy between Eros and Tanatos (Freud) or even when a female cat is brutally killed and gives birth to seven kittens (Nelson Rodrigues). Here is limited a reading of teatro desagradável like bitter medicine, according to a teleological approach, precisely, to punctuate the merits of the author to promote the awakening of the reader to conditioning that obliterate the happiness of the characters, among them the unsustainable ideal of love put in traditional terms. The tragicalness of love, taking into account the adequate proportions of social and psychological factors is this. It presents human being, automatically responsive, without the power to overcome the fundamental fear and selfishness, however protecting your desire of emptying, always renewing willingness to fight for one more second of eternity. Thus, to the point of feeling threatened again, and in this tension, find it share of absolute and continuity. CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior Esta tese consiste em uma discussão acerca do amor nos textos dramáticos de Nelson Rodrigues, a partir da hipótese segundo a qual as acepções tradicionais ágape cristão, philía aristotélica e eros platônico participam da tragicidade da obra. Nesse sentido, há nesta tese incursões à filosofia clássica, onde os universos de referência foram sistematizados para demonstrar a pertinência de tais conteúdos na ação das personagens, segundo um viés existencialista, no sentido empregado por Hélio Pellegrino (Uma confissão de amor ao ser humano). Nessa linha teórico-metodológica o foco recai na personagem, que pode revelar a condição humana, aprofundada na análise. Assim, Nonô (Álbum de família), Gilberto (Perdoa-me por me traíres) e Arandir (O beijo no asfalto), na acepção de personagens que viabilizam as raras eclosões de ágape, são cotejados com textos religiosos em um processo através do qual se revela a conversibilidade entre os aspectos trágico e cômico, baseada, sobretudo, no radical não lugar do amor espiritualizado. Em um segundo momento, a philía de acordo com a Etica Nicomaquea ocupa o primeiro plano de investigação, com a demonstração de sua presença-ausência. (Presença enquanto proximidade (familiar ou convivência) e ausência enquanto ocasião para disputar.) Essa relação é discutida nos termos philía-agon, ora no contexto de nascimento filosofia x tragédia (caracterização de elementos-chaves dos gêneros tais como pathos e eudaimonía), ora no relacionamento entre as irmãs Guida e Lígia (A serpente), Alaíde e Lúcia (Vestido de noiva) e Aurora e Silene (Os sete gatinhos). Tais análises revelam, dentre outras coisas, que o amor philía persiste em um sentido muito específico, segundo o qual a união familiar sofre golpes do amor erótico que esgarçam sua teia, só retomada adiante, alusivamente, na retessitura do convívio daqueles que sobraram para contar a história. Finalmente, o amor erótico é apresentado através de discursos-contatos entre personagens rodriguianos e platônicos tais como Diotima e Doroteia, e mesmo entre Erixímaco, Freud e Nelson Rodrigues, mostrando não apenas a ação dramática de O Banquete de Platão, mas, até mesmo, uma continuidade na história das ideias, apontada na oposição complementar entre eros sadio e eros mórbido (Eurixímaco), na dicotomia entre Eros e Thánatos (Freud) ou, ainda, quando uma gata morta a pauladas dá à luz sete gatinhos (Nelson Rodrigues). Aqui se circunscreve uma leitura do teatro desagradável segundo uma abordagem teleológica enquanto remédio amargo, precisamente, ao pontuar o mérito do autor em promover o despertar do leitor para condicionamentos que obliteram a felicidade das personagens, dentre os quais o insustentável ideário amoroso nos termos tradicionais. Guardadas as devidas proporções dos fatores social e psicológico, nisso consiste a tragicidade do amor, apresentando o humano, automaticamente responsivo, sem poder livrar-se do medo e do egoísmo fundamentais, todavia protegendo seu desejo do esvaziamento sempre que renova sua disposição para lutar por mais um segundo de eternidade. Assim, até o ponto de sentir-se novamente ameaçado, e, nessa tensão, encontrar sua parcela de absoluto e de continuidade.

Osmanlı İmparatorluğu'nda modern tiyatro Ermenilerin öncülüğünde 19. yüzyılın ikinci yarısında büyük gelişim gösterdi ve İstanbul başta olmak üzere geniş bir izlerçevreye ulaştı. Bunun bir yansıması olarak tiyatro oyunu yazarlığı entelektüellerin önemsediği ve çok sayıda ürün verdiği bir alan haline geldi. Bu tez, söz konusu alanın dönem içinde ima ettiği siyasal ve toplumsal talepleri Türkçe ve Ermenice yazılmış oyunları bir arada okuyarak anlamaya çalışıyor.Tez genel olarak iki temel hat ve iddia üzerinden kuruluyor. İlk olarak, Türkçe ve Ermenice dramatik edebiyatlardaki tüm üretimin üç temel tür altında toplanabileceği (melodram, tarihsel dram, komedi) ve bu türlerin her birinin Osmanlı 19. yüzyılındaki önemli bir meseleyi açık ettiği iddia ediliyor. Buna göre, melodramlar dönemin temel ahlaki-politik eğilimlerini, tarihsel dramlar milli kimlik arayışını, komediler ise değişen ve piyasalaşan ekonomiyi temsil etmişler; ya da tersten söylersek bu kurucu dinamikler, dönem içinde dramatik edebiyat alanında bu türler içinden kendilerini ifade etmişlerdir.Tezde ikinci olarak, Ermenice ve Türkçe metinleri bu üç türsel alan dahilinde karşılaşmalı okunarak imparatorluğun öznelerinin arasındaki ilişkiler anlaşılmaya, bu türlerin işaret ettiği çatışma ve uzlaşma hatları ortaya konmaya çalışılıyor. Buna göre, melodramlar ve tarihsel dramlar bir tarafta çatışma hattını, komediler karşı tarafta uzlaşma hattını oluşturmuşlardır ve bu türsel karşıtlık Osmanlı'da dramatik edebiyat dahilinde hem İmparatorluğun çözülmesinin hızlandığını ama aynı zamanda bir barış imkânının da orada bulunuduğunu göstermektedir. Modern theater in the Ottoman Empire had a spectacular development, lead by Ottoman Armenians, in the 19th century and it drew a large audience. At the same time many Ottoman intellectuals became playwrights and they produced a greatnumber of plays. This thesis tries to understand the political and social implications of dramatic literature by comparatively analyzing plays written in Ottoman Turkish and Armenian in the period. The thesis has two main arguments: First, I claim that we can analyze the whole dramatic-literary area in three genres (melodrama, historical drama, comedy) and every different generic area discloses and represents a main dynamic in the empire. Melodramas represent dominant political-moralistic tendencies, historical dramas show the search for national identity, and comedies disclose developing market relations and changing economy. Second, by reading texts in Turkish and Armenian together and comparatively, I endeavor to understand mutual relations between Ottoman subjects and negotiationconflict paths these three genres demonstrated. In this perspective, I claim that melodramas and historical dramas on the side of conflict and comedies on the side of negotiation disclose an inexorable struggle. This struggle is the evidence of the empire?s future collapse and the possibility of a peaceful solution at the same time. 220

Josip Kosor je jedno od istaknutijih imena hrvatske književnosti. Bio je pjesnik, pripovjedač, putopisac i romanopisac, a posebno se istakao kao dramski autor, postigavši značajnu europsku recepciju.Ta je recepcija značajno pripomogla razbijanju stereotipova o našem narodu i značajno je djelovala na konstituiranje slike o njemu. To iskustvo također je znakovito i u oblikovanju identiteta prostora, kao što je to Pokrčje, koje determinira djelić Kosorove biografi je – i ljudske i književne. U radu je poseban naglasak na Kosorovoj dramskoj književnosti., Josip Kosor is undoubtedly one of the outstanding names of the Croatian literature. He was a poet, story-writer, travel-writer, and a novelist, but he will be best remembered as a playwright, receiving a signifi cant reception and recognition in Europe. This reputation has considerably contributed towards breaking of the stereotypes with regard to the Croatian people, at the same time creating the author’s own image. This experience is also important in the forming of the identity of the area, as is the River Krka Basin, which determines a small part of Kosor’s biography – both literary and personal. The paper lays a particular emphasis upon Kosor’s work as a playwright: his dramatic oeuvre., Josip Kosor è uno dei nomi più sottolineati della letteratura croata. Era poeta, narratore, scrittore di viaggi e romanziere, ma specialmente era sottolineato come l’autore drammatico, raggiungendo l’accettazione europea importante. Questa accettazione ha aiutato in modo signifi catico all’autore per la rottura degli stereotipi del nostro popolo ed anche faceva effetto alla constituzione della sua immagine. Quest’esperienza è signifi cativa anche nella formazione d’identità del paese, come è il Pokrčje, che determina un piccolo parte della biografi a di Kosor – umana e letteraria. In questo lavoro l’accento è sulla letteratura drammatica di Kosor.

Cet article a pour but de présenter les résultats d'une recherche concernant l'emploi des pronoms personnels dans deux traductions espagnoles de l'œuvre moliéresque Tartuffe, distantes de près de deux siècles (José Marchena, 1811 ; Encarnación García Fernández et Eduardo J. Fernández Montes, 1984). L'analyse comparative entre les systèmes d'énonciation offre un éclairage intéressant concernant la notion d'adaptation culturelle dans le cadre d'un texte dramatique, tout en mettant l'accent sur l'évolution diachronique de la conception de la traduction en Espagne. Este artículo describe los resultados de una investigación acerca del uso de los pronombres personales en dos traducciones españolas de Tartuffe de Molière, publicadas con casi dos siglos de distancia (José Marchena, 1811, y Encarnación García Fernández y Eduardo J. Fernández Montes, 1984). El análisis contrastivo entre los sistemas de enunciación ofrece una visión interesante sobre la noción de adaptación cultural, en el marco de un texto dramático, a la vez que pone de manifiesto la evolución diacrónica de la concepción de la traducción en España. This article presents the results of a research project concerning the use of personal pronouns in two Spanish translations of Molière's Tartuffe. A span of nearly two hundred years separates the two translations, the first by José Marchena in 1811 and the second by Encarnación García Fernández and Eduardo J. Fernández Montes in 1984. A contrastive analysis of the two systems provides an interesting view of the notion of cultural adaptation within the framework of a dramatic text and, at the same time, reveals the diachronic evolution of the idea of translation in Spain.