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Master's Dissertation
DOI
10.11606/D.8.2015.tde-09102015-135558
Document
Author
Full name
Renata Cazarini de Freitas
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2015
Supervisor
Committee
Lohner, José Eduardo dos Santos (President)
Coelho, Maria Cecilia de Miranda Nogueira
Fernandes, Marcelo Vieira
Title in Portuguese
CVNCTA QVATIAM - Medeia abala estruturas. O teatro de Sêneca e sua permanência na cena contemporânea: tradução e estudo da recepção
Keywords in Portuguese
Literatura latina
Sêneca
Tragédia
Abstract in Portuguese
Tomando como base teórica os Estudos da Recepção de Clássicos, esta pesquisa de mestrado centrou-se durante três anos na tragédia latina Medeia, de Sêneca, incluindo sua tradução em português e uma análise abrangente de aspectos retóricos, para identificar elementos que se tenham provado elos permanentes na cadeia de recepção de peças de teatro da Antiguidade clássica. Esta investigação assumiu como textos mediadores nesse intervalo de vinte séculos tanto o repertório shakespeariano como o Teatro da Crueldade de Antonin Artaud, sendo que ambos foram em alguma medida apropriados por dramaturgos do século XX como Heine Müller, Sarah Kane e Ted Hughes. Todos os três se voltaram para Sêneca antes de escrever suas respectivas peças Medeamaterial, Phaedras Love e Senecas Oedipus, que também foram objeto deste estudo.
Title in English
CVNCTA QVATIAM - Medea shakes the elements
Keywords in English
Latin literature
Seneca
Tragedy
Abstract in English
Taking into account the concepts of the Reception Studies of Classics, this three-year long Masters Degree investigation centered on Seneca's Medea Latin tragedy, including its translation into Portuguese and a thoroughly analysis of rhetorical aspects, in order to identify elements which have proven themselves as permanent links into the Reception chain of Ancient theatre plays. This research took as mediating texts in this 20th century span transmission net William Shakespeare's repertory and Antonin Artaud's Cruelty Theatre, both of which have in some extent been appropriated by 20th century playwrights such as Heiner Müller, Sarah Kane and Ted Hughes, the three of them having gone back to Seneca before setting up their Medeamaterial, Phaedra's Love and Seneca's Oedipus plays, respectively, which also make up the corpora of this study.
 
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Publishing Date
2015-10-13
 
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