Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático
Autor(a) principal: | |
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Data de Publicação: | 2018 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Biblioteca Digital de Teses e Dissertações da PUC_SP |
Texto Completo: | https://tede2.pucsp.br/handle/handle/21692 |
Resumo: | The present work aims to investigate the presence of multiple voices in the theatrical works of Nelson Rodrigues, Vestido de novia and Valsa nº6, in dialogue with the writing of the novel O Homem Proibido (2007). The starting point of problematizing the sense of polyphony in the above mentioned Nelson Rodrigues’ texts is the contextualization of the literary career of the author, his literary influences and his experience in newspaper, where he worked in several areas demonstrating a polyphonic ability unparalleled to no other a Brazilian author and a determining factor for the construction of his aesthetic themes and obsessions. After this, we will undertake a shift of perspective between the concept of polyphonic novel developed by Mikhail Bakhtin and the reflection on the current dramatic form, inscribed in some entries, mapped by the Research Group on Drama of the University of Paris III, coordinated by Jean-Pierre Sarrazac, playwright, teacher and essayist on theater theory. In the lexicon of modern and contemporary drama, the French group suggests the extension of the concept of polyphony in line with other dramatic writing procedures: rhapsody, romanticization, monodrama (polyphonic), monologue, action and character crisis, the becoming, the voice and the theater of the possible. This research is in line with literary creation, which, although it does not exist formally, there are projects being carried out in the Program of Literature and Literary Criticism of PUC-SP. This study is guided from the point of view of literary creation, having as presupposition to welcome these multiple voices to analyze the construction of a delusional poetic prose. What procedures does Nelson Rodrigues use to create this explosion of voices in his dramatic texts, Vestido de Noiva and Valsa nº6, therefore becoming one of the greatest exponents of delirious poetics? What are the effects of the plurality of voices employed in such elaborations? The purpose of this study is to list written procedures where multiple voices are released. The writing of both the theoretical field and the fictional creation implies the creation of another time. The voice is due to the construction of poetic time, simultaneous actions, the crossing of temporalities and the vertigo of spacing. To make an analysis of how Nelson Rodrigues created such a foreign language and "dragged his tongue out of his customary furrows, causing it to be delirious," in Deleuze's words |
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Malufe, Annita Costahttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8318620Y9Soares, Priscila Luz Gontijo2018-12-05T11:48:03Z2018-10-26Soares, Priscila Luz Gontijo. Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático. 2018. 226 f. Dissertação (Mestrado em Literatura e Crítica Literária) - Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018.https://tede2.pucsp.br/handle/handle/21692The present work aims to investigate the presence of multiple voices in the theatrical works of Nelson Rodrigues, Vestido de novia and Valsa nº6, in dialogue with the writing of the novel O Homem Proibido (2007). The starting point of problematizing the sense of polyphony in the above mentioned Nelson Rodrigues’ texts is the contextualization of the literary career of the author, his literary influences and his experience in newspaper, where he worked in several areas demonstrating a polyphonic ability unparalleled to no other a Brazilian author and a determining factor for the construction of his aesthetic themes and obsessions. After this, we will undertake a shift of perspective between the concept of polyphonic novel developed by Mikhail Bakhtin and the reflection on the current dramatic form, inscribed in some entries, mapped by the Research Group on Drama of the University of Paris III, coordinated by Jean-Pierre Sarrazac, playwright, teacher and essayist on theater theory. In the lexicon of modern and contemporary drama, the French group suggests the extension of the concept of polyphony in line with other dramatic writing procedures: rhapsody, romanticization, monodrama (polyphonic), monologue, action and character crisis, the becoming, the voice and the theater of the possible. This research is in line with literary creation, which, although it does not exist formally, there are projects being carried out in the Program of Literature and Literary Criticism of PUC-SP. This study is guided from the point of view of literary creation, having as presupposition to welcome these multiple voices to analyze the construction of a delusional poetic prose. What procedures does Nelson Rodrigues use to create this explosion of voices in his dramatic texts, Vestido de Noiva and Valsa nº6, therefore becoming one of the greatest exponents of delirious poetics? What are the effects of the plurality of voices employed in such elaborations? The purpose of this study is to list written procedures where multiple voices are released. The writing of both the theoretical field and the fictional creation implies the creation of another time. The voice is due to the construction of poetic time, simultaneous actions, the crossing of temporalities and the vertigo of spacing. To make an analysis of how Nelson Rodrigues created such a foreign language and "dragged his tongue out of his customary furrows, causing it to be delirious," in Deleuze's wordsO presente trabalho tem como objetivo investigar a presença de múltiplas vozes nas peças teatrais Vestido de noiva e Valsa nº6 em diálogo com a escrita do romance O homem proibido (2007), todos de Nelson Rodrigues. Para problematizar os efeitos de sentido da polifonia nos textos dramáticos de Nelson Rodrigues, parte-se primeiramente da contextualização da carreira literária do autor, suas influências literárias e sua experiência em jornal, onde trabalhou em diversas áreas demonstrando uma habilidade polifônica sem paralelo a nenhum outro autor brasileiro e fator determinante para a construção de seus temas e obsessões estéticas. Após esse percurso, empreenderemos um deslocamento de perspectiva entre o conceito de romance polifônico desenvolvido por Mikhail Bakhtin e a reflexão sobre a forma dramática na atualidade inscritas em alguns verbetes mapeados pelo Grupo de Pesquisas sobre o Drama da Universidade de Paris III, coordenado por Jean-Pierre Sarrazac, dramaturgo, professor e ensaísta da teoria do teatro. Em Léxico do drama moderno e contemporâneo, o grupo francês sugere a ampliação do conceito de polifonia em consonância à outros procedimentos da escrita dramática: a rapsódia, a romancização, o monodrama (polifônico), o monólogo, a crise da ação e do personagem, o devir, a voz e o teatro dos possíveis. A pesquisa vai na linha da criação literária, que, embora não exista formalmente, já tem projetos realizados e em andamento no Programa de Literatura e Crítica Literária da PUC-SP. Este estudo se guia a partir do ponto de vista da criação literária, tendo como pressuposto acolher essas múltiplas vozes para analisar a construção de uma prosa poética delirante. Que procedimentos Nelson Rodrigues utiliza para criar essa explosão de vozes em seus textos dramáticos Vestido de noiva e Valsa nº6, tornando-se assim, um dos maiores expoentes de uma poética delirante? Quais os efeitos da pluralidade de vozes empregadas em tais elaborações? O objetivo deste estudo é elencar procedimentos de escrita onde as múltiplas vozes se libertam. A escrita tanto do campo teórico quanto da criação ficcional implica na criação de um outro tempo. A voz está em função da construção do tempo poético, das ações simultâneas, do cruzamento de temporalidades e da vertigem do espaçamento. Para fazer uma análise de como Nelson Rodrigues criou uma língua estrangeira e “arrastou a língua para fora de seus sulcos costumeiros, levando-a a delirar.” nas palavras de DeleuzeCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucsp.br/tede/retrieve/47548/Priscila%20Luz%20Gontijo%20Soares.pdf.jpgporPontifícia Universidade Católica de São PauloPrograma de Estudos Pós-Graduados em Literatura e Crítica LiteráriaPUC-SPBrasilFaculdade de Filosofia, Comunicação, Letras e ArtesDialogismoPolifoniaRodrigues, Nelson [1912-1980] - Crítica e interpretaçãoDialogismPolyphonyRodrigues, Nelson [1912-1980] - Criticism and interpretationCNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA::LINGUISTICA APLICADAVozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramáticoDissonant voices in Nelson Rodrigues's Vestido de Noiva and Valsa # 6, and the proposal to create a dramatic novelinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_SPinstname:Pontifícia Universidade Católica de São Paulo (PUC-SP)instacron:PUC_SPTEXTPriscila Luz Gontijo Soares.pdf.txtPriscila Luz Gontijo Soares.pdf.txtExtracted texttext/plain499865https://repositorio.pucsp.br/xmlui/bitstream/handle/21692/4/Priscila%20Luz%20Gontijo%20Soares.pdf.txt6496b5c326c45a9da9693d5864a9b6d5MD54LICENSElicense.txtlicense.txttext/plain; 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dc.title.por.fl_str_mv |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
dc.title.alternative.eng.fl_str_mv |
Dissonant voices in Nelson Rodrigues's Vestido de Noiva and Valsa # 6, and the proposal to create a dramatic novel |
title |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
spellingShingle |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático Soares, Priscila Luz Gontijo Dialogismo Polifonia Rodrigues, Nelson [1912-1980] - Crítica e interpretação Dialogism Polyphony Rodrigues, Nelson [1912-1980] - Criticism and interpretation CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA::LINGUISTICA APLICADA |
title_short |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
title_full |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
title_fullStr |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
title_full_unstemmed |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
title_sort |
Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático |
author |
Soares, Priscila Luz Gontijo |
author_facet |
Soares, Priscila Luz Gontijo |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Malufe, Annita Costa |
dc.contributor.authorLattes.fl_str_mv |
http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K8318620Y9 |
dc.contributor.author.fl_str_mv |
Soares, Priscila Luz Gontijo |
contributor_str_mv |
Malufe, Annita Costa |
dc.subject.por.fl_str_mv |
Dialogismo Polifonia Rodrigues, Nelson [1912-1980] - Crítica e interpretação |
topic |
Dialogismo Polifonia Rodrigues, Nelson [1912-1980] - Crítica e interpretação Dialogism Polyphony Rodrigues, Nelson [1912-1980] - Criticism and interpretation CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA::LINGUISTICA APLICADA |
dc.subject.eng.fl_str_mv |
Dialogism Polyphony Rodrigues, Nelson [1912-1980] - Criticism and interpretation |
dc.subject.cnpq.fl_str_mv |
CNPQ::LINGUISTICA, LETRAS E ARTES::LINGUISTICA::LINGUISTICA APLICADA |
description |
The present work aims to investigate the presence of multiple voices in the theatrical works of Nelson Rodrigues, Vestido de novia and Valsa nº6, in dialogue with the writing of the novel O Homem Proibido (2007). The starting point of problematizing the sense of polyphony in the above mentioned Nelson Rodrigues’ texts is the contextualization of the literary career of the author, his literary influences and his experience in newspaper, where he worked in several areas demonstrating a polyphonic ability unparalleled to no other a Brazilian author and a determining factor for the construction of his aesthetic themes and obsessions. After this, we will undertake a shift of perspective between the concept of polyphonic novel developed by Mikhail Bakhtin and the reflection on the current dramatic form, inscribed in some entries, mapped by the Research Group on Drama of the University of Paris III, coordinated by Jean-Pierre Sarrazac, playwright, teacher and essayist on theater theory. In the lexicon of modern and contemporary drama, the French group suggests the extension of the concept of polyphony in line with other dramatic writing procedures: rhapsody, romanticization, monodrama (polyphonic), monologue, action and character crisis, the becoming, the voice and the theater of the possible. This research is in line with literary creation, which, although it does not exist formally, there are projects being carried out in the Program of Literature and Literary Criticism of PUC-SP. This study is guided from the point of view of literary creation, having as presupposition to welcome these multiple voices to analyze the construction of a delusional poetic prose. What procedures does Nelson Rodrigues use to create this explosion of voices in his dramatic texts, Vestido de Noiva and Valsa nº6, therefore becoming one of the greatest exponents of delirious poetics? What are the effects of the plurality of voices employed in such elaborations? The purpose of this study is to list written procedures where multiple voices are released. The writing of both the theoretical field and the fictional creation implies the creation of another time. The voice is due to the construction of poetic time, simultaneous actions, the crossing of temporalities and the vertigo of spacing. To make an analysis of how Nelson Rodrigues created such a foreign language and "dragged his tongue out of his customary furrows, causing it to be delirious," in Deleuze's words |
publishDate |
2018 |
dc.date.accessioned.fl_str_mv |
2018-12-05T11:48:03Z |
dc.date.issued.fl_str_mv |
2018-10-26 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
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masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
Soares, Priscila Luz Gontijo. Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático. 2018. 226 f. Dissertação (Mestrado em Literatura e Crítica Literária) - Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
dc.identifier.uri.fl_str_mv |
https://tede2.pucsp.br/handle/handle/21692 |
identifier_str_mv |
Soares, Priscila Luz Gontijo. Vozes dissonantes em Vestido de noiva e Valsa nº6 de Nelson Rodrigues e a proposta de criação de um romance dramático. 2018. 226 f. Dissertação (Mestrado em Literatura e Crítica Literária) - Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, Pontifícia Universidade Católica de São Paulo, São Paulo, 2018. |
url |
https://tede2.pucsp.br/handle/handle/21692 |
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por |
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Pontifícia Universidade Católica de São Paulo |
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Programa de Estudos Pós-Graduados em Literatura e Crítica Literária |
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PUC-SP |
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Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Filosofia, Comunicação, Letras e Artes |
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Pontifícia Universidade Católica de São Paulo |
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