Dissertations / Theses on the topic 'Don Juan'

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1979.<br>Made available in DSpace on 2013-12-05T19:10:29Z (GMT). No. of bitstreams: 1 321724.pdf: 4164670 bytes, checksum: 8cdc01b399ddbc49b7eaa0c04b17468c (MD5)

My master´s thesis is devided to four parts. The first part is about the historical, literature and original meanings about the theme Don Juan. That´s althought about the legend of Don Juan in origin and in the czech background of it. The second part is about the interpretation by the main critics, inscenators and theoreticals. That´s consider by ideas, which are important for me. Third, theoretical part compares two inscenations, which were produced in Czech Republic. The fourth part of my study is the most important, because it´s about my practical solution and conception of Don Juan. It contains reflexion of the theme, relationship to the modern time, the main topics of my conception and the art inspiration. The other part is about the main charakters and their costumes, materials, colors, forms, siluets? The last part is about the stage and the dramatical situations. All of my art design is visible on the fotos.

Don Juan, célèbre personnage littéraire éternellement entiché, dupe les femmes. Favorablement, ses séductions leurrent l’objet phallique. Davantage, son atout aguicheur est l’éclat d’une identité sexuée spécifiquement féminine : notamment, il brille les abords de l’Autre. Assurément, l’incidence maternelle trouble la rencontre. Initialement, la séduction est une question freudienne. Nettement, c’est la théorie de la séduction de Freud qui promeut la discussion. Autrement dit, la neurotica énonce la séduction hystérique. Egalement, elle énonce les débuts d’une question toujours notable : le féminin. Donc, notre propos est le sexuel féminin. Aussi, l’élaboration de la théorie de la séduction par Freud initie la question du féminin, étayé ultérieurement par Lacan, notamment avec sa version / interprétation du mythe de Don Juan<br>Don Juan, a great, perpetually infatuated figure of literature, dupes the women. Favourably, his seductions lure the phallic object. More, his provocative trump is the sparkle of a sexual identity, specifically feminine : in particular, he shines the access of the Other. Surely, maternal incidence disturbs the meeting. Initially, the seduction is a Freud question. Distinctly, Freud’s theory of seduction promoted the discussion. Otherwise said, the Freud theory of seduction states a hysteric seduction. More, it states in its infancy an always current question : the femininity. Therefore, our subject is the sexual. Consequently, Freud’s elaboration of the seduction theory initiated the question of femininity, subsequently stayed by Lacan, in particular with his version / interpretation of Don Juan myth

Thesis advisor: Paul Doherty<br>Thesis advisor: Michael Resler<br>This thesis is a case study of translation, based upon the translation of Max Frisch's play "Don Juan: oder, die Liebe zur Geometrie". It includes a brief overview of translation theory from the Romans to the present century, an introduction to the life and works of Frisch and post WWII Swiss literature, and a translation of the full text of the play, complete with notes and observations on the translation<br>Thesis (BA) — Boston College, 2006<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: English<br>Discipline: Germanic Studies<br>Discipline: College Honors Program

This dissertation on Byron's Don Juan begins with a history and analysis of the stanza form. Since ottava rima is a two-fold structure, comprising an alternately rhyming sestet followed by an independent couplet, it encourages the expression of dialectical ideas. Byron's prosodic virtuosity uses this potential to create a multivalent tissue of tones which is essentially—and almost infinitely—ironic. A view of prosody is developed here which is unique in its perception of the poem's existence in terms of a reading that unfolds in "real time." For various reasons, "reader-response" critics have not yet taken much cognizance of prosody. Don Juan is a good testing-ground for their approach because its narrator constantly addresses his reader, insisting on a present time which actively accumulates a past and projects a future, as a reader's consciousness moves sequentially forward through the text. The present time of the verse rhythms is the present time of the discourse, which is often most self-reflexive in the famous "digressions." Some of these begin with an epic simile whose vehicle grows out of proportion to its tenor; others are triggered by an interruption of the story, as the narrator—like a Renaissance improvisor in ottava rima— suddenly addresses his audience directly. Still other digressions are not metaleptic leaps from a fictional to a "real" world, or from one fictional world to another, however; they are the result of the narrator's tendency to linger too long in one world, elaborating descriptions until his story is forgotten. Despite the poem's many-voiced, digressive insouciance, an investigation of its moral and metaphysical components reveals that its irony has limits. Maugre those critics who would claim Don Juan as the paradigmatic work of unlimited, infinitely regressive Romantic irony, the issue of political liberty is not to be joked about, unlike the problem of erotic love. At this stable point in an otherwise absurd universe, Byron reveals a non-ironic self under the ironic mask. More effectively than traditional autobiography, because it is enacted rather than reported, this poem recreates its author dramatically, in terms of a shifting triangular relationship between narrator, protagonist and reader. The temporal locus of this relationship is a fictional present tense grounded in the "real" present time of a reading of the poem.<br>Arts, Faculty of<br>English, Department of<br>Graduate

L'individualisme est l'ideologie fondatrice de notre societe : l'etat doit etre au service des individus, non l'inverse ( holisme ). Pourtant, on accuse d'"individualisme" ceux qui ont un comportement apparemment susceptible de leser les autres. L'individualisme est donc une valeur fondamentale reconnue dans le droit ( liberte individuelle) et un defaut (forme d'egoisme). Cette ambiguite se comprend si on admet que l'obstacle majeur a l'epanouissement de l'individu n'est pas constitue par les lois mais par les conventions. Le "mythe" de don juan (l'appellation est contestable) offre un champ d'etudes commode de la confrontation entre conventions et individus car, ne dans la societe holiste (dix-septieme siecle) il permet de suivre a travers l'evolution de la figure donjuanesque l'elaboration du concept d'individu dans les mentalites et les lois. Cette elaboration s'observe d'abord dans l'elaboration du mythe : l'acte createur force l'individu a sortir du cadre conventionnel; la societe lui impose de respecter des "convenances". Le resultat de cette double necessite est une trame dramatique ou les conventions ( honneur, declaration, promesse) laissent au fil des siecles le premier role a l'individu (don juan et ses victimes). L'age classique revelait a travers les aventures de don juan la peur du desordre contrariee par le besoin de liberte. Mais don juan n'etait pas encore individualiste, n'etant pas reconnu en tant qu'individu. Le dixneuvieme siecle invente au heros une enfance et un nouveau destin; la figure du libertin puni eclate en personnages illustrant l'individualisme sous ses deux formes et montrant que l'individualisme a besoin des conventions pour se forger. Si la figure ne disparait pas avec la liberation des moeurs, c'est que les conventions ne sont pas le seul obstacle a la liberte; l'age, le temps, la mort sont ineluctables; ainsi don juan devient la figure des limites de l'homme.

Né en 1630, sous la plume du moine espagnol Tirso de Molina, le personnage de Don Juan n'a cessé d'inspirer les auteurs, au point de devenir un véritable mythe littéraire. On ne saurait, désormais, l'évoquer sans mentionner quelques œuvres majeures, telles que le Dom Juan de Molière ou le Don Giovanni de Mozart. S'il est difficile de trouver, au 20ème siècle, des réécritures du scénario mythique susceptibles de rivaliser avec ces illustres noms, il est indéniable que ce dernier demeure productif. La France offre, à elle seule, des preuves de cette vitalité. En effet, l'histoire de Don Juan continue à inspirer les auteurs. Elle semble même avoir conquis de nouveaux genres littéraires : longtemps cantonné au théâtre, c'est, pourtant, dans le genre romanesque que le héros mythique trouve actuellement ses traitements les plus originaux.Mais ces réécritures littéraires sont enrichies, au 20ème siècle, par deux apports fondamentaux. La critique, tout d'abord, qui multiplie les angles d'approche sur le mythe et entretient, à son tour, un dialogue fertile avec les œuvres de fiction. Cette dimension réflexive renouvelle considérablement le regard porté sur la fable donjuanesque. Le cinéma, ensuite, qui, en s'emparant du mythe, en propose de nouvelles lectures. Cependant, cette productivité ne doit pas occulter un constat : pour s'adapter à notre époque, le canevas mythique a souffert de nombreuses modifications. Ces dernières sont-elles la preuve de la plasticité du mythe et la garantie de sa survie ou, au contraire, des étapes pouvant aboutir à sa déconstruction ? Il importera de se demander, en définitive, si Don Juan ne risque pas d'être victime de la fascination qu'il inspire.

L'étude porte sur le personnage du commandeur : ses origines, du culte des pierres au culte de la statue, le retour du mort dans les légendes. Une analyse comparée des versions montre l'itinéraire du commandeur, de sa naissance en 1630 dans la pièce de Tirso de Molina : el burlador de Sevilla y convidado de piedra, jusqu'à nos jours ; son rôle primordial dans l'histoire, les diverses interprétations de la signification de la statue, les mutations du personnage et sa substitution dans les œuvres contemporaines où il est remplacé par d'autres formes du destin<br>The research relates to the character of commander: his origin from the stone - worship to the statue-worship, the return of the dead in the legend. A comparative analysis of play and novel point out the commander's itinerary, from his birth on 1630 in Tirso de Molina's play: el burlador de Sevilla y convidado de piedra, up to now; his prominent part in the myth, the different interpretation of the statue's meaning, the character's alteration and his substitution in the contemporary works where other kind of fate replace him

L'etude de la matiere de don juan et de ses metamorphoses dans l'oeuvre d'alfred de musset ne peut en aucun cas se limiter a l'analyse du poeme namouna (1832) ou du fragment en forme dialoguee un matinee de don juan (1833). Une etude de l'ensemble des oeuvres de musset revele l'omnipresence d'un schema obsessionnel, d'une serie de metaphores obsedantes. Si la conscience de l'auteur tend a varier les themes et les situations, l'imagination, comme puissance dynamique, charge les objets pour focaliser leur insertion dans le dynamisme des sensations. Alfred de musset saisit la connection entre eros et thanaton dans la substance mythique de don juan. Il s'identifie tout d'abord a l'archetype, puis, il lui demande de representer sa propre situation, ses angoisses et ses desirs latents, son eternel dechirement entre l'appel de l'ame et celui du corps. Musset illustre par son anti-heros la concretisation d'un reve et son avortement spectaculaire. Grace a l'identification, au truchement litteraire, il mythifie sa propre histoire, il cree son propre mythe. Le nouveau don juan differe enormement du burlador espagnol, du libertin de moliere et meme de beaucoup de don juan romantiques. Il devient un personnage complexe qui decouvre le paradis et l'enfer de la sensualite. La complexite du nouveau don juan resulte en effet de la rencontre entre le mythe et l'imagination. Elle temoigne de l'omnipresence de musset derriere son "heros"<br>The study of the don juan myth and of its metamorphoses in the works of alfred de musset can not be limited to the analyse of the poem namouna (1832), or the fragment of the play une matinee de don juan (1833). The substance of the myth is omnipresent in the obsessionnal plan, in series of absessive metaphors. If the conscience of the auther wants to vary the themes and the situations, his imagination, as a dynamic power gives the things a special sens. Alfred de musset discovers the connexion in don juan myth between eros and thanatos. First, he wants to represent his owen situation, his hidden anguichs and desires. Musset identifies him self with the prototype. When he writes his don juan, he does his own myth. The new don juan is verry different than the spanish burlador and the moliere's libertin. Musset wants him more beautiful, more poetic and more wonderful than all the others don juan. The caracter of the new don juan is verry complex. Don juan discovers the paradis and the hell of the sensuality. The meeting between the myth and the imagination of alfred de musset explains all the complexity of the new romantic don juan

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2013.<br>Made available in DSpace on 2014-08-06T17:45:33Z (GMT). No. of bitstreams: 1 326308.pdf: 1751176 bytes, checksum: b260d009c11087f8a428dbbe282a20ba (MD5) Previous issue date: 2013<br>Abstract : The present work investigates the possibilities and implications of the translation of irony on the published parts of Don Juan by George Gordon Byron (1818-1823) in Brazil by seven Brazilian translators of distinct historical and cultural contexts during 138 years. From the reflection about the irony concept and its evolution (MUECKE, 1995), the irony manifestations are observed. Some of the essential characteristics of irony constitution are listed and related to the poem Don Juan. From the ?irony markers? (HUTCHEON, 2000) a parameter to observe the reconstruction of that discursive strategy on the analyzed parts of the poem is built. Such reconstruction is the subject of the reflections about the translation of irony possibilities, of the importance of the context (MATEO, 2010), the translator?s roll as interpreter (ISER, 2002), of translation strategies (BERMAN, 2007), and the necessity of a translation project that matches with the main characteristics of the original work. On this way, different strategies elected by the translators are analyzed. These translations show the importance of Lord Byron?s works in Brazil. The translation solutions sign to the translation principles that guide each of the translations, and the contextualization as determiners for the translation of irony, so as to the increasing maturing of translation practice in our country.

Orientadora: Maira Angélica Pandolfi<br>Banca: Ester Myriam Rojas Osorio<br>Banca: Luciana Brito<br>Resumo: Esta pesquisa tem como objetivo o estudo da obra A Mulher que venceu o Don Juan (2013), da escritora portuguesa Teresa Martins Marques, com foco nas personagens femininas. Nesse romance, há uma galeria de personagens masculinas e femininas que se unem em torno de um objetivo comum, ou seja, vencer a si mesmas, seus medos, traumas e obsessões. Os obstáculos externos são motivos que levam essas personagens a vencerem os impedimentos internos, sobretudo, as mulheres, inseridas em uma sociedade onde o patriarcado deixa suas feridas expostas. A obra confere destaque a um tipo de Don Juan psicopata, tanto na versão masculina como na feminina, desconstruindo estereótipos que tendem apenas a vitimizar a mulher. São acionados muitos componentes, tanto sociais e culturais como psíquicos, que problematizam as relações de gênero nas sociedades pós-modernas. O título da obra, ainda que remeta a uma possível heroína, esconde um coletivo, uma rede de pessoas mobilizadas ao enfrentamento de perigosas e abusivas relações que desmascaram uma sociedade doente, manipuladora, preconceituosa e carente de políticas públicas voltadas para uma educação libertadora, onde homens e mulheres possam se igualar em deveres e direitos. Não se volta, apenas, à problemática das relações de gênero, mas também aos conflitos entre pais e filhos, questionando valores consumistas que impregnam essas relações. Como fundo teórico de base para a construção de um novo tipo patológico de Don Juan moderno, a autora tem como referência principal a obra do filósofo dinamarquês Søren Kierkegaard. Foi utilizada nessa análise da galeria feminina uma abordagem eclética, que reúne obras oriundas da psicologia, da literatura, da história cultural, da crítica feminista e da filosofia<br>Abstract: This research has as objective the study of The woman who won the Don Juan (2013), Portuguese writer Teresa Martins Marques, focusing on female characters. In this novel, there's a gallery of male and female characters who come together around a common goal, namely, to win themselves, their fears, traumas and obsessions. The obstacles are external reasons that lead these characters to win the internal impediments, especially women, in a society where patriarchy let your wounds exposed. The work gives prominence to a kind of Don Juan psychopath, both in male version as in feminine, deconstructing stereotypes that tend just to victimise the woman. Many are driven both social and cultural components as psychics, to problematize the gender relations in postmodern societies. The title of the work, even if refer a possible heroin, hides a collective, a network of people mobilized to the confrontation of dangerous and abusive relationships, debunking a sick society, manipulative, prejudiced and lacking in public policies facing a liberating education, where men and women can be equal in rights and duties. Not back, just to the issue of gender relations, but also to conflicts between parents and children, questioning consumerist values that permeate these relationships. As the basic theoretical background to the construction of a new pathological type of modern Don Juan, the author has as main reference the work of Danish philosopher Søren Kierkegaard. It was used in this analysis of the women's gallery eclectic approach, bringing together works from psychology, literature, cultural history, feminist criticism and philosophy<br>Mestre

Thesis ( M.A. )-- Kutztown University of Pennsylvania, 2004.<br>Source: Masters Abstracts International, Volume: 45-06, page: 2845. Typescript. Abstract precedes thesis as 1 preliminary leaf (iii ). Includes bibliographical references ( leaves [ 90-93] ).

Made available in DSpace on 2014-06-11T19:29:02Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-20Bitstream added on 2014-06-13T20:38:08Z : No. of bitstreams: 1 bezerra_pv_me_assis.pdf: 380773 bytes, checksum: f49a83c05a0a976487bb13b5c873e66d (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O mito de Don Juan surgiu em 1630 na peça O Burlador de Sevilha e o Convidado de Pedra, escrita por Tirso de Molina. Desde então o personagem ganhou espaço no imaginário coletivo através de inúmeras releituras que o levou a ser reconhecido como um mito moderno. O objetivo desse trabalho é analisar o mito de Don Juan tal como ele se expressa em obras literárias e cinematográficas, identificando as expressões da subjetividade e suas transformações ao longo desses 400 anos. Para analisar tais representações, importantes para a construção e desenvolvimento desse mito, utilizamos como referência metodológica a análise de conteúdo. As primeiras representações de Don Juan pintavam-lhe como anti-herói. Uma observação detalhada do contexto de seu aparecimento revelou que o mito surgiu como um dispositivo da Contra-Reforma para combater o individualismo e a crise de valores que se irrompeu com a falência dos ideais Renascentistas. Assim, verificamos que a discussão inicial em torno do mito, fundado nas burlas de Don Juan, gira em torno da crise entre indivíduo e sociedade, entre os valores morais da sociedade e a conduta dos seus sujeitos. As subsequentes atualizações do mito deslocam esse conflito do terreno da religião para as instituições sociais emergentes. Em 1821, Lord Byron começa a escrever um Don Juan em conflito com os ideais das revoluções burguesas. Já em 1973, curtindo o legado da revolução feminista, Don Juan vem à tona como uma mulher sedutora e insaciável, interpretada por Brigitte Bardot. Em 1995, o personagem é novamente evocado para relembrar, ao mundo globalizado, o papel da fantasia. Já em 2005 o plot é revisto e ampliado por José Saramago, que lhe imprime, além da falência do inferno como instância punitiva, as características do sujeito atual. Sem a pretensão de esgotar o assunto, este trabalho revela as transformações do sujeito e sua relação com alguns aspectos da sociedade<br>Don Juan´s myth first appeared in the 1630´s play named El Burlador de Sevilla y Convidado de Piedra, written by Tirso de Molina. Since then the character became popular through many remakes that lead it to be recognized as a modern myth. The objective of the present work is to analyze the myth of Don Juan as it appears on literature and cinematographic works, identifying the expressions of the subjectivity and its transformations throughout these 400 years. To analyze such representations we recurred to Bardin´s Analysis of Content. The first artworks about Don Juan made him as a villain. A closer look to the social context of its appearance reveals that the myth was built up as a method of repression against the individualism in attempt to cease the crisis of the Christian´s moral codes that burst with the ruin of the Renaissance’s values. Therefore, we brought up that the initial subjects on the myth, pictured by the character´s tricks, comes to be the crises between the individual itself and the society. However, the subsequent updates of the myth displaced the religious conflict to the emergent social institutions. In 1821, Lord Byron starts to write his Don Juan in disagreeing the Bourgeois Revolution values’. In 1973, tanning the legacy of the feminist revolution, Don Juan is brought up as seductive woman, played by Brigitte Bardot. In 1995, the character is once more evoked to remind the globalizing world of the importance of loving and fantasy. In 2005 the plot is remade by Jose Saramago, who prints to it the failure of Hell as a punishing institution. Without the pretension to deplete the subject, this work discloses to the transformations of the individual and its relation with some social issues

Orientador: José Sterza Justo<br>Banca: Luiz Carlos da Rocha<br>Banca: José Artur Molina<br>Resumo: O mito de Don Juan surgiu em 1630 na peça O Burlador de Sevilha e o Convidado de Pedra, escrita por Tirso de Molina. Desde então o personagem ganhou espaço no imaginário coletivo através de inúmeras releituras que o levou a ser reconhecido como um mito moderno. O objetivo desse trabalho é analisar o mito de Don Juan tal como ele se expressa em obras literárias e cinematográficas, identificando as expressões da subjetividade e suas transformações ao longo desses 400 anos. Para analisar tais representações, importantes para a construção e desenvolvimento desse mito, utilizamos como referência metodológica a análise de conteúdo. As primeiras representações de Don Juan pintavam-lhe como anti-herói. Uma observação detalhada do contexto de seu aparecimento revelou que o mito surgiu como um dispositivo da Contra-Reforma para combater o individualismo e a crise de valores que se irrompeu com a falência dos ideais Renascentistas. Assim, verificamos que a discussão inicial em torno do mito, fundado nas burlas de Don Juan, gira em torno da crise entre indivíduo e sociedade, entre os valores morais da sociedade e a conduta dos seus sujeitos. As subsequentes atualizações do mito deslocam esse conflito do terreno da religião para as instituições sociais emergentes. Em 1821, Lord Byron começa a escrever um Don Juan em conflito com os ideais das revoluções burguesas. Já em 1973, curtindo o legado da revolução feminista, Don Juan vem à tona como uma mulher sedutora e insaciável, interpretada por Brigitte Bardot. Em 1995, o personagem é novamente evocado para relembrar, ao mundo globalizado, o papel da fantasia. Já em 2005 o plot é revisto e ampliado por José Saramago, que lhe imprime, além da falência do inferno como instância punitiva, as características do sujeito atual. Sem a pretensão de esgotar o assunto, este trabalho revela as transformações do sujeito e sua relação com alguns aspectos da sociedade<br>Abstract: Don Juan's myth first appeared in the 1630's play named El Burlador de Sevilla y Convidado de Piedra, written by Tirso de Molina. Since then the character became popular through many remakes that lead it to be recognized as a modern myth. The objective of the present work is to analyze the myth of Don Juan as it appears on literature and cinematographic works, identifying the expressions of the subjectivity and its transformations throughout these 400 years. To analyze such representations we recurred to Bardin's Analysis of Content. The first artworks about Don Juan made him as a villain. A closer look to the social context of its appearance reveals that the myth was built up as a method of repression against the individualism in attempt to cease the crisis of the Christian's moral codes that burst with the ruin of the Renaissance's values. Therefore, we brought up that the initial subjects on the myth, pictured by the character's tricks, comes to be the crises between the individual itself and the society. However, the subsequent updates of the myth displaced the religious conflict to the emergent social institutions. In 1821, Lord Byron starts to write his Don Juan in disagreeing the Bourgeois Revolution values'. In 1973, tanning the legacy of the feminist revolution, Don Juan is brought up as seductive woman, played by Brigitte Bardot. In 1995, the character is once more evoked to remind the globalizing world of the importance of loving and fantasy. In 2005 the plot is remade by Jose Saramago, who prints to it the failure of Hell as a punishing institution. Without the pretension to deplete the subject, this work discloses to the transformations of the individual and its relation with some social issues<br>Mestre

La tesi s'ha proposat analitzar les transformacions del mite de Don Joan en la narrativa, el teatre i el cinema espanyol entre els anys seixanta del segle XX i l'actualitat, amb la finalitat de perfilar les múltiples identitats que el personatge literari i, per tant, el relat mític ha assumit en el nostre temps. Així, doncs, beneficiant de les eines proporcionades per la crítica intertextual, els estudis intergenèrics i els de mitecrítica, s'ha reconstruït la història del mite de Don Joan respecte tant als seus orígens com a la seva evolució fins a l'actualitat. Centrant-nos en la producció artística més recent en llengua espanyola, hem detectat, en aquest primer i provisional intent de sistematització, un corpus de catorze obres que hem agrupat en cinc línies temàtiques i formals, que es descriuen a continuació. En primer lloc, en l'àmbit de les reescriptures del mite en l'exili republicà espanyol, després de presentar un panorama de les obres dramàtiques i de pensament que van aparèixer en l'època, ens hem detingut en el text teatral Don Juan en la mancebía (1968), de Ramón J. Sender, i en el de José Ricardo Morales titulat Ardor con ardor se apaga (1987). Tots dos autors proposen una reflexió crítica tant de la seva condició d'exiliats com de la societat espanyola del seu temps, alhora que subratllen el caràcter llibertari de l'heroi, facilitant també la recuperació del paper de la dona en el procés de seducció. La segona línia correspon a les reescriptures de caràcter metaficcional. Les obres en les quals hem centrat la nostra atenció són els drames D.J. (1987), de Jerónimo López Mozo, i La sombra del Tenorio (1994), de José Luis Alonso de Santos, així com les pel·lícules Don Juan, mi querido fantasma (1990), de Antonio Mercero, i Io, Don Giovanni (2009), de Carlos Saura. Totes elles parteixen del mite de Don Joan per a desenvolupar un discurs autoreflexiu basat en les diferents fórmules de la myse en abyme. Una altra tendència que hem individuat tendeix a subratllar el caràcter reflexiu i introspectiu de Don Joan. En efecte, en el drama Don Juan último (1992), de Vicente Molina Foix, en el conte de Paloma Díaz-Mas titulat «La visita del comendador» (2008), i en la novel·la Cartas de un jubilado (2010), de Tomás Segovia, els seus autors s'endinsen no sols en l'ànim del protagonista, sinó també en el d'altres personatges, a vegades aliens al relat mític, als quals se'ls permet exterioritzar els seus pensaments. En el quart grup convergeixen aquelles obres que tendeixen a transposar el tret de seductor de Don Joan als personatges femenins. En aquest marc temàtic hem analitzat els drames La vil seducción (1967), de Juan José Alonso Millán, una versió sobretot còmica del mite, i d.juan@simetrico.es (La burladora de Sevilla y el Tenorio del siglo XXI) (2008), de Jesús Campos García, al qual l'autor aconsegueix modernitzar el relat mític, al mateix temps que preserva tots els patrons que el constitueixen. Finalment, s'han analitzat aquelles reescriptures del mite que tenen un caràcter experimental que dificulta la seva agrupació dins d'una línia temàtica específica. A aquesta categoria pertany el drama de Luis Riaza titulat Representación del Don Juan Tenorio por el carro de las meretrices ambulantes (1973), així com la novel·la Larva / Babel de una noche de San Juan (1983), de Julián Ríos, i la pel·lícula Don Juan en los infiernos (1991), de Gonzalo Suárez. La tesi s'enriqueix d'una enquesta final realitzada a alguns dels autors, les obres dels quals han estat objecte d'aquest estudi, així com d'alguns documents gràfics significatius.<br>La tesis se ha propuesto analizar las transformaciones del mito de Don Juan en la narrativa, el teatro y el cine español entre los años sesenta del siglo XX y la actualidad, con el fin de perfilar las múltiples identidades que el personaje literario y, por ende, el relato mítico ha asumido en nuestro tiempo. Así, pues, beneficiando de las herramientas proporcionadas por la crítica intertextual, los estudios intergenéricos y los de mitocrítica, se ha reconstruido la historia del mito de Don Juan respecto tanto a sus orígenes como a su evolución hasta la actualidad. Centrándonos en la producción artística más reciente en lengua española, hemos detectado, en este primer y provisional intento de sistematización, un corpus de catorce obras que hemos agrupado en cinco líneas temáticas y formales, que se describen a continuación. En primer lugar, en el ámbito de las reescrituras del mito en el exilio republicano español, tras presentar un panorama de las obras dramáticas y de pensamiento que aparecieron en la época, nos hemos detenido en el texto teatral Don Juan en la mancebía (1968), de Ramón J. Sender, y en el de José Ricardo Morales titulado Ardor con ardor se apaga (1987). Ambos autores proponen una reflexión crítica tanto de su condición de exiliados como de la sociedad española de su tiempo, a la vez que subrayan el carácter libertario del héroe, facilitando, además, la recuperación del papel de la mujer en el proceso de seducción. La segunda línea corresponde a las reescrituras de carácter metaficcional. Las obras en las que hemos centrado nuestra atención son los dramas D.J. (1987), de Jerónimo López Mozo, y La sombra del Tenorio (1994), de José Luis Alonso de Santos, así como las películas Don Juan, mi querido fantasma (1990), de Antonio Mercero, e Io, Don Giovanni (2009), de Carlos Saura. Todas ellas parten del mito de Don Juan para desarrollar un discurso autorreflexivo basado en las distintas fórmulas de la myse en abyme. Otra tendencia que hemos individuado tiende a subrayar el carácter reflexivo e introspectivo de Don Juan. En efecto, en el drama Don Juan último (1992), de Vicente Molina Foix, en el cuento de Paloma Díaz-Mas titulado «La visita del comendador» (2008), y en la novela Cartas de un jubilado (2010), de Tomás Segovia, sus autores se adentran no solo en el ánimo del protagonista, sino también en el de otros personajes, a veces ajenos al relato mítico, a los cuales se les permite exteriorizar sus pensamientos. En el cuarto grupo convergen aquellas obras que tienden a trasponer el rasgo de seductor de Don Juan a los personajes femeninos. En este marco temático hemos analizado los dramas La vil seducción (1967), de Juan José Alonso Millán, una versión sobre todo cómica del mito, y d.juan@simetrico.es (La burladora de Sevilla y el Tenorio del siglo XXI) (2008), de Jesús Campos García, en el cual el autor consigue modernizar el relato mítico, al tiempo que preserva todos los patrones que lo constituyen. Por último, se han analizado aquellas reescrituras del mito cuyo carácter experimental dificulta su agrupación dentro de una línea temática específica. A esta categoría pertenece el drama de Luis Riaza titulado Representación del Don Juan Tenorio por el carro de las meretrices ambulantes (1973), así como la novela Larva / Babel de una noche de San Juan (1983), de Julián Ríos, y la película Don Juan en los infiernos (1991), de Gonzalo Suárez. La tesis se enriquece de una encuesta final realizada a algunos de los autores cuyas obras han sido objeto de este estudio, así como de algunos documentos gráficos significativos.<br>This research work aims to study the transformations and reconstruction of the myth of Don Juan in Spanish literature, theatre and cinema from the 1960s up to the present, analyzing and systematizing these transformations in the context of current cultural trends. The study, based on an interdisciplinary, as well as an intertextual and a myth-critical approach, reconstructs the path of the myth from the beginning up to nowadays, focusing on the most recent rewritings, some of whom little known and in general not yet studied sufficiently, which in turn reflect the cultural circumstances of our day. By analyzing the extensive corpus of the new works –eight dramas, three movies, two novels and a short story– it was possible to trace five thematic and formal lines, to each of which is dedicated a chapter. We therefore shift from the rewritings of the myth in the last years of the Spanish republican exile, in particular by analyzing the dramas Don Juan en la mancebía (1968), by Ramón J. Sender and José Ricardo Morales’ Ardor con ardor se apaga (1987). In general, these texts emphasize the transgressive and libertarian personality of the protagonist, giving his events a decidedly political value; leading to the versions in which the metafictional construction stands out, such as the plays D.J. (1987), by Jerónimo López Mozo and José Luis Alonso de Santos’ La sombra del Tenorio (1994), as well as the movies Don Juan, mi querido fantasma (1990), by Antonio Mercero and Io, Don Giovanni (2009), by Carlos Saura. We also explore those works where an introspective and self-reflective nature is offered, such as Vicente Molina Foix’s drama Don Juan último (1992), as well as Paloma Díaz-Mas’ short story titled «La visita del comendador» (2008), and Tomás Segovia’s novel Cartas de un jubilado (2010). Finally, the last two chapters respectively focus on dramas in which the seducer who takes on the characters of the mythical protagonist is female, as it occurs in Juan José Alonso Millán’s La vil seducción (1967), and in Jesús Campos García’s d.juan@simetrico.es (La burladora de Sevilla y el Tenorio del siglo XXI) (2008), and on the experimental rewritings which are difficult to classify, such as Luis Riaza’s drama Representación del Don Juan Tenorio por el carro de las meretrices ambulantes (1973), Julián Ríos’ novel Larva / Babel de una noche de San Juan (1983), and Gonzalo Suárez’s movie Don Juan en los infiernos (1991). The thesis is enriched by an appendix in which we present the interviews to some of the authors whose works have been the subject of our study, as well as the contribution of some and representative images related to the works that have been analysed in our study.

Este trabalho de tradução e sobre tradução de Don Juan de lorde Byron pode ser dividido em duas partes: a primeira cuida das especificidades de autor, sua vida, obra, fortuna crítica, assim como o tratamento do mito de Don Juan na obra byroniana, além de um estudo descritivo das traduções de Don Juan de lorde Byron publicadas no Brasil. A segunda, compõe-se de comentários à guisa de introdução à tradução de Don Juan, e da tradução dos Cantos I, II, III e IV para a língua portuguesa, feita em versos, na mesma estrutura estrófica do original, abalizada por uma pletora de notas a respeito do texto e dos vieses tradutórios.<br>This work of the translation and on the translation of Lord Byrons Don Juan can be divided into two parts: the first examines Byron\'s characteristics, life, work, literary criticism, as well as Byron\'s treatment of the myth of Don Juan, besides making a descriptive study of the translations of Don Juan of Lord Byron published in Brazil. The second part contains comments on the translation of Don Juan, the translations of Cantos I, II, III and IV, done in verse, in the same formal structure as the original, supplemented by a large number of notes on the text and background.

The four main thesis novels are Alas's La Regenta (1884), Gald6s's Fortunata y Jacinta (1886-7), Puig's Boquitas pintadas (1969) and Cabrera Infante 's La Habana para un infante difill1to (1979). Specific criteria for the Don Juan novel are drawn up and seducers not fulfilling the prerequisites of the attractive, vain, sexually potent, deceitful and diabolically impious Don Juan rejected. Classical literature ( myths of Zeus, satyr stories, Ovid's AI'S AlI1atoria) and early Spanish ballads concerning irreverent gallants are posited as influences on the Don Juan legend. The two key plays are Tirso de Molina's EI bur/adOJ' de Sevilla (1630) and Zorrilla's Don Juan Tenorio (1844). Other sources include Don Juan works by Zamora, Espronceda, Moliere, Shadwell, Byron, Lenau, Shaw, Mozart and Sh'auss and the memoirs of Casanova. The progression is h'aced from the early Don Juan plays, in which the seducer's father is the sole parental presence, to the novel, in which Don Juan's domineering and adoring mother exercises a powerful influence on her son. Early classical mother figures such as Venus (Cupid), Liriope (Narcissus) and Jocasta (Oedipus) are analysed as her predecessors. The three main psychologists consulted regarding the seducer's umesolved Oedipus complex are Freud, Jung and Otto Rank. Other theorists include Maraft6n, Kierkegaard, Lafora, Brachfeld, Weinstein, Miller, Aramoni, Mandrell, Smeed and Kristeva. The thesis counterbalances the views of those who see Don Juan as immature, effeminate, melancholic or hysterical with others who consider him to be powerful, masculine, confident and eloquent, revealing the modern Don Juan to be a complex and multifaceted figure. The importance of the novels' musical themes is considered together with the different ways in which Don Juan is made to suffer in variations ofTirso's hellfire, The thesis demonstrates that, in spite of being metamorphosed into a mother's boy, Don Juan continues to wreak his infernal charm over author and audience alike.

Authentique figure historique, Miguel Mañara (1627-1679) est un gentilhomme sévillan à la jeunesse sans histoire qui s'est rendu célèbre par son œuvre caritative et sa réputation de sainteté. Parallèlement au discours hagiographique suscité par sa cause de canonisation, s'est élaboré un cycle de légendes faisant de lui l'archétype du jeune insouciant converti à la faveur de spectaculaires avertissements de la Providence. S'inspirant librement de ce modèle dans Les Âmes du Purgatoire (1834), Prosper Mérimée a fait de lui un personnage de littérature et favorisé, par la création du personnage hybride de Don Juan de Maraña, la confusion entre Don Miguel et Don Juan Tenorio. Resté une figure légendaire à Séville et devenu le prétexte à une sorte de pèlerinage littéraire, Mañara s'est vu attribuer depuis le Romantisme de nombreux avatars fictifs, surtout par des écrivains français et espagnols, au point de pouvoir être considéré en lui-même comme un mythe littéraire<br>A genuine historic figure, Miguel Mañara (1627-1679) was a Sevillian gentleman with an uneventful youth who made himself famous through his commitments to the poor and a reputation for holiness. His case for canonization gave rise to a hagiographic discourse while a cycle of legends developed turning him into an archetypal carefree young man converted owing to Providence's spectacular warning signs. Freely drawing his inspiration from this model, Prosper Mérimée, in Les Âmes du Purgatoire (1834), has made him a literary character and has favoured a confusion between Don Miguel and Don Juan Tenorio by creating the hybrid character of Don Juan de Maraña. Still a figure of legend in Seville and the object of a kind of literary pilgrimage, Mañara has, from Romantic days, experienced numerous fictitious rebirths above all in the work of French and Spanish writers, and therefore may be himself considered as a literary myth. (Trad. D. Kremer)

O presente trabalho visa delimitar quais os fatores os fatores constitutivos da peça El burlador de Sevilla, tanto do ponto de vista histórico -- isto é, os fatores sociais, políticos e religiosos --, quanto do ponto de vista da estrutura literária -- relacionados à forma artística em que os primeiros ganham forma --, e o modo como esses fatores se relacionam na composição do mito que sustenta o enredo da obra.<br>The present work intents to delimitate what are the containing factors from the play El burldor de Sevilla, by the historic view -- social, politics and religious facts -- as well as the literary structure view -- related to the artistc form in which the previuous ones gain shape --, and the way those factors associate to each other compounding the plot sustaining myth.

La thèse a pour objectif l’étude comparative des avatars de trois figures mythiques – Don Juan, Ulysse et Jason – dans le roman contemporain francophone. La première partie « Art donjuanesque et art romanesque. Le libertinage kundérien » aborde la genèse du paradigme donjuanesque kundérien réactualisant les gestes du burlador baroque ainsi que les métamorphoses et expériences romantiques, modernes et postmodernes du patron mythique évoluant vers une posture distanciée et critique. Dans la deuxième partie « Variations romanesques sur héritage mythique. Avatars et aventures de Don Juan et d’Ulysse » nous nous focalisons sur les stratégies intertextuelles participant de l’élaboration de la typologie libertine contemporaine dans l’œuvre kundérienne et dans trois cas de donjuanisme morbide dépeints par Pierre-Jean Remy, par Denis Tillinac et par Béatrix Beck pour les confronter aux techniques de réinvention de l’aventure odysséenne revisitée par Maurice Audebert et par Eric-Emmanuel Schmitt. La troisième partie « Figures mythiques de voyageurs – Ulysse et Jason. Expériences du retour et de la quête » étudie les procédés de démythologisation utilisés par Milan Kundera, l’enchevêtrement des intertextes homérique et joycien dans le cycle de Cyrtha de Salim Bachi et les transformations du syntagme de base du mythe de Jason dans trois œuvres de Jean-Marie Gustave Le Clézio. Les résultats de nos analyses sont systématisés en vue de circonscrire les traits dominants des écritures mythologiques et de les situer par rapport aux tendances du roman contemporain francophone<br>The purpose of this thesis is the comparative study of the resurgences of three mythical figures – Don Juan, Ulysses and Jason – in the contemporary francophone novel. “Part One : The Art of Don Juanism and the Art of the Novel: Milan Kundera’s libertinage” discusses the genesis of the Kunderian donjuanesque paradigm reviving the gestures of the baroque burlador and the romantic, modern and postmodern metamorphoses and experiences of the mythical pattern moving towards a distanced and critical posture. “Part Two: Novelistic variations on the Mythical heritage: Avatars and Adventures of Don Juan and Ulysses” focuses on the intertextual strategies involved in the development of the contemporary libertine typology in Kundera's oeuvre and in three cases of morbid Don Juanism portrayed by Pierre-Jean Remy, Denis Tillinac and Béatrix Beck in order to compare them to the techniques of reinvention of the Odyssean adventure revisited by Maurice Audebert and Eric-Emmanuel Schmitt. “Part Three: Mythical travellers – Ulysses and Jason. Experiences of the return and the quest” studies the devices of demythologisation used by Milan Kundera, the entanglement of Homeric and Joycean intertexts in the Cycle of Cyrtha by Salim Bachi and the transformations of the basic syntagm of the myth of Jason in three works by Jean-Marie Gustave Le Clézio. The results of the analyses are systematized in order to identify the main features of the mythological writings and to relate them to the trends in the contemporary francophone novel

In 1541 Doctor Juan Negrete arrived in Mexico, the first lay professor of theology, and who was also named the archdeacon of the new cathedral. Twelve years later he participated as the first rector in the inauguration of the Royal University of Mexico, and a few months before he died in 1555 he also taught theology there. Several documents relating to Negrete, many of them unpublished, reveal the internal difficulties which the first bishop and the cathedral chapter experienced as they attempted to lay the basis for the secular aspects of the church. Negrete, instead of being a factor of cohesion in the chapter, was the source ofdivisions and conflicts given his disorderly life style and propensity to speak ill of others and initiate rumors. He created many enemies and instigated proceedings which often led to prison. His case in particular reveals the ambivalent nature of many personalities who participated in the creation of Spanish institutions in the newly conquered lands.<br>En 1541 llegó a México el doctor Juan Negrete, el primer catedrático secular deTeología, quien tenía el nombramiento adicional de arcediano de la naciente iglesia catedral. Doce años después, participó en la inauguración de la Real Universidad de México en calidad de primer rector, y pocos meses antes de morir, en 1555, también enseñó Teología en dicha institución. Diversos documentos relacionados con Negrete, en su mayoría inéditos, nos revelan las dificultades internas que debieron sortear el primer obispo y cabildo eclesiástico de México para asentar la Iglesia secular. Negrete, antes que factor de cohesión en el cabildo,fue causa de divisiones y conflictos, debido a su disipado estilo de vida y, especialmente, a su carácter, inclinado a la maledicencia y a la murmuración, y fuente de enemistades, procesos y cárceles. Su caso muestra también la ambivalencia de no pocas personalidades que participaron en la creación de las instituciones peninsulares en los territorios de conquista.

La recherche porte sur les modalités de l'introduction du mythe donjuanesque et de son fonctionnement dans le domaine russe. L'arrivée tardive de l'histoire du héros sévillan dans le domaine littéraire russe avec l'"Invité de Pierre" de Puskin, ainsi que le caractère dominant de l'influence que celui-ci produit sur les textes donjuanesques russes postérieurs, conditionnent le caractère original et authentique de son parcours qui privilégie une évolution homogène et structurée, déterminée par l'existence du noyau central : de l'hypotexte pouchkinien. La comparaison des différents éléments qui motivent et structurent le mythe russifié, révèle une perspective de l'intertextualité avec la variante occidental du mythe, mais aussi à l'intérieur du système de la littérature donjuanesque russe. Une approche diachronique permet de retracer les modalités de l'adaptation du mythe européen sur le terrain allogène, ainsi que d'observer les premières étapes de la naissance du mythe russe, son évolution étant déterminée par sa nouvelle diégèse. La variante révèle l'existence de plusieurs processus propres à son parcours littéraire : extension du temps du mythe, mise en abyme et autoréférentialité, déconstruction du thème théologique. Le système des personnages permet d'évaluer le degré de sa métamorphose et de préciser le noyau intérieur ; celui des personnages voisins (comme Casanova ou Faust), d'observer le processus d'inscription du mythe dans la psyché collective. A travers plus de trente oeuvres l'étude révèle le caractère unique du parcours héroïque et les raisons de la prospérité sans précédent que le mythe connaît dans la littérature russe au XXe siècle

Thesis (M.A.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 22, 2008) Includes bibliographical references.

Orientador: Marcos Antônio Siscar<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-23T15:09:48Z (GMT). No. of bitstreams: 1 Santucci_IsabellaCristinaStangherlin_M.pdf: 1947248 bytes, checksum: a55952ad63ed1c55a1055229aa8d2f54 (MD5) Previous issue date: 2013<br>Resumo: Em 1789 um novo século se impôs ao mundo. Das Luzes à Escuridão, o homem francês tornou-se apenas homem. O medo, o silêncio e o tédio invadiam o coração de uma sociedade. O sublime, ou o grotesco, como diria Victor Hugo, inevitavelmente levaria a outra revolução. Na política, nos costumes, nas artes, o novo urgia por eclodir. Nesse cenário, Stendhal, homem, crítico e escritor de seu tempo, quer-se portador de uma reviravolta nunca antes concebida. Quer, assim, olhar para sua nação e refletir através do reino das palavras o que nela encontrava. Quer, da mesma maneira, retratar a alma de seus contemporâneos, ávida de emoções e de algo que há muito a França desconhecia, o amor-paixão. Para tanto, decide exumar como herói o demônio das terras do midi, o transgressor por natureza, o amante indomável, Don Juan. A presente dissertação, diante desse fato, tem por escopo a análise dessa figura que se torna central na produção romanesca do autor ao se transfigurar em miroir de um século e de uma nação pós-revolucionários. E nesse percurso, passando pelos diversos modelos de Don Juan da história literária pelo próprio Stendhal relembrados e criticados, observaremos de que maneira se constituiu seu ideal de Romantismo, o Beau moderne, em meio à incessante busca por um herói verdadeiro<br>Abstract: In 1789, a new century imposed itself on the world. From Light to Darkness, the French man became just a man. Fear, silence and boredom invaded the heart of a society. The sublime, or the grotesque, as would say Victor Hugo, nothing else could provoke but the revolution. In politics, in mores, in arts, the new urged to hatch. In this scenario, Stendhal, man, critic and writer of his time, wants to hold a twist never before conceived. He wants, then, to look to his nation and reflect through the realm of words that which he could find in it. He wants, in the same way, to portray the soul of his contemporaries, eager for emotions and of something that remained unknown to France for a long time, love-passion. Therefore, Stendhal decides to exhume as hero the devil of midi's land, the transgressor by nature, the untamed lover, Don Juan. This thesis, in the face of this fact, has as its goal the analysis of this figure that became central in Stendhal's novelistic work as he is transfigured in miroir of a century and of a post-revolutionary nation. And along this path, passing through many different Don Juans of literary history, remembered and criticized by Stendhal, we will observe how it has constituted his ideal of Romanticism, the Beau moderne, amid the ceaseless quest for a true hero<br>Mestrado<br>Historia e Historiografia Literaria<br>Mestra em Teoria e História Literária

While the Romantic lyric has long been understood as an exploration of human subjectivity, the era's dramatic works have been viewed as more oriented toward objective or mimetic representation. As such, scholarship on Romantic subjectivity from Harold Bloom to Andrea Henderson has bypassed dramatic and quasi-dramatic explorations of subjectivity. These explorations, however, add to the conversation about subjectivity in powerful ways by addressing the paradoxes of mimetically representing subjectivity. These difficulties spring from a question that surrounds mimetically represented subjectivity: how can a supposedly objective medium portray experience that is by definition non-objective, purely interior, and therefore incommunicable? This paradox calls for a reassessment of criticism on Romantic subjectivity, this time attending not only to the Romantic lyric with its recognized formal emphasis on interiority, but also to Romantic drama, which productively resists interiority by underscoring the paradoxes inherent to representations of subjectivity. This thesis traces the development of dramatic explorations of subjectivity in two of Byron's works, the closet drama Manfred and the trans-generic mock-epic Don Juan. Manfred attempts to mimetically portray the horrors of subjectivity by showing how the title character's solipsism leads to his demise. The work ultimately falls short of this purpose, but in so doing reveals a crucial paradox: the tragedy inherent to subjectivity lies in the very inexpressibility the play hopes to express. Don Juan, on the other hand, embraces this paradox by allowing the work's theme of Manfred-like subjectivity to leak from content to form—from the story of Juan to the very act of diegesis. This blurring of textual lines results in generic inversions, marked in Don Juan by the constant irruptions of comedy into the otherwise tragic tale. Ultimately, if Don Juan succeeds as tragedy of subjectivity, it does so by failing, tragically, at being tragedy. Such a tragedy must be understood based on a dynamic, rather than a static, conception of genre; rather than being defined based on a resemblance to recognized tragedies, Don Juan's tragic associations come from the work's constant movement between genres. As such, Don Juan's method for treating the paradoxes of mimetically portrayed subjectivity is to imagine them as the play between content and genre, substance and form.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Cette thèse présente les résultats partiels de l`analyse en cours qui permet la continuité des recherches à propos d’expériences de lecture, déjà développées en études précédentes. D`après des études spécifiques du mythe littéraire de Don Juan et la version italienne du personnage Don Gioavanni, présenté en versions contemporaines de la langue portugaise, dans le roman brésilien O Burlador de Sevilha, de João Gabriel de Lima en texte dramatique Don Giovanni, Le dissolu acquitté, de José Saramago et pris en compte l`étude du philosophe Soren Kierkegaard sur la version de la pièce d’opera de W. Amadeus Mozart et Da Ponte, Don Giovanni, se discute l`expérience de lecture, en tant que catégorie de référence pour le processus de formation de lecteurs. Par autant, se met en évidence des sens dans des textes littéraires sélectionnés conducteurs d`autres ouvertures pour la compréhension du mythe littéraire, dans des contextes différés, comme des expériences de lecture et d`écrite. La représentation du non-lecteur par le mythe, à travers la catégorie construite avec l`analyse des données fournies du travail sur le terrain, expériences donjuanesques de lecture, a permis la réévaluation de la valeur négative normalement fournie aux jeunes à l`école qui ne présentent aucune expérience de lecture par rapport aux attentes du genre de lecteur idéalisé. Ajoutons encore que l`observation de comportement de recherche du mythe comme une des possibilités de traduction de façons diférentes de gérer le savoir, rend évidente la vivacité de ce mythe littéraire et de son étude pour la formation qui fait face à Internet actuellement. Cette thèse prend quelques textes de la philosophe Maria Zambrano comme référence aux notes prélevées comme clés de la lecture.<br>A Tese apresenta resultados parciais da pesquisa em curso que dá continuidade às investigações acerca de experiências de leitura, iniciadas em formação anterior. A partir do estudo de aspectos específicos do mito literário de Don Juan e da versão italiana do personagem Don Giovanni, apresentado em versões contemporâneas de língua portuguesa, no romance brasileiro O Burlador de Sevilha, de João Gabriel de Lima, e em texto dramático Don Giovanni ou o dissoluto absolvido, de José Saramago, e tomando como base o estudo do filósofo Soren Kierkegaard sobre a versão operística de W. Amadeus Mozart e Da Ponte, Don Giovanni, discute-se a experiência de leitura, enquanto categoria de referência para o processo de formação de leitores. Para tanto, evidenciam-se sentidos nos textos literários selecionados norteadores de outras aberturas para o entendimento tanto do mito literário, em contextos diferenciados, como de experiências de leitura e escrita. A representação do não- leitor pelo mito através da categoria construída com a análise dos dados fornecidos pelo trabalho de campo, experiências donjuanescas de leitura, permitiu a reavaliação do valor negativo normalmente dado pela escola aos jovens que não apresentam experiências de leitura de acordo com as expectativas do tipo de leitor idealizado. Acrescente-se ainda que a análise do comportamento de busca no mito sugeriu tomá-lo como uma das possibilidades de tradução de um modo de se relacionar com o conhecimento, evidenciando a vitalidade desse mito literário e do seu estudo para a formação que lida com a Internet na contemporaneidade. A Tese toma alguns escritos escolhidos da filósofa Maria Zambrano como referência para anotações levantadas como chaves de leitura.

Memoria para optar al título de Periodista<br>El ser humano olvidó que puede evocar lo esencial. En los rostros de la ciudad, la ansiedad de quienes van de un lado a otro buscando soluciones, evidencia que ya no logran detenerse donde estén para dar espacio a la tregua que surge de su propio interior. La atracción por la gravedad es fatal, cejas caídas como hojas de otoño y miradas ancladas en charcos que reflejan el cielo gris. Lo inexplicable ya no invade las calles con aura misteriosa, ahora es un mendigo desilusionado que duerme siestas cubierto por diarios. Nos abrigamos cada vez más, y la primavera se congela afuera de la fortaleza de explicaciones, como bufandas que se enroscan sobre nuestra garganta. Vivir es conocer, quién conoce hace arder su fuego interior y de ese incendio que se esparce por el mundo florecen nuevos soles. Es el ascenso de una montaña que tiene la cima rodeada por nubes que la convierten en un abismo alegremente incierto. Algunos se quedan describiendo las figuras de algodón, espejismos que confunden la sed con la fuente. Otros se maravillan calculando la distancia que los separa de las alturas, hasta que la nieve inunda de blancura sus venas. Los primeros instantes todos ven senderos que el asombro insinúa, pero antes de dar los primeros pasos las explicaciones de los expertos los desdibujan, contestan antes de la pregunta atando torpemente los cabos sueltos de lo desconocido. Y la montaña azul sigue ahí. No tocamos el suelo, deambulamos por la playa del pensamiento, como náufragos varados en mares de papel. Existimos en una realidad que se pone disfraces para invitarnos a descubrirla entre sus ondulaciones. Sólo hay que comenzar la travesía, el espíritu es el único equipaje necesario. Conocer no es correr desesperados buscando refugios de las tormentas, es avanzar desnudos de certeza hasta el cielo azul, permitiendo que la bocanada de aire fugaz sea la respuesta para seguir adelante en las encrucijadas del camino. Frente a la perspectiva de conocer como acontecer de la experiencia, trayecto sin pasos determinados que conduce a la verdad que libera, la reflexión sobre escritura y lectura adquiere gran relevancia. La expresión escrita está tan integrada a nuestras vidas que leemos como ciegos: “Transformadas en golosinas, las obras son literalmente deglutidas, ya que no gustadas, por lectores apresurados y distraídos” advierte Octavio Paz en el prólogo a Las Enseñanzas de don Juan: Una forma yaqui de conocimiento. El lector se ha vuelto incapaz de reflexionar el eco de las palabras en su interior, compara las visiones del autor con lo que enmarca el catalejo gastado de su mirada, sin considerar nuevos itinerarios para su aventura. El sujeto no advierte la imposibilidad de leer la inabarcable cantidad de libros existentes, ni de contener dentro de si las múltiples posibilidades que se originan en los textos. Seguir las pistas para explicar esa trama infinita es obsesionarse por explicar un laberinto, olvidando el secreto que abriga en el centro. En cada conversación sale a relucir el filo cortante del saber, como un sable separa el camino de amigos que se vuelven cada vez más taciturnos. Hemos domesticado a las palabras, ahora son mordazas para darle voz definida al pensamiento. Transformadas en jaulas donde encerramos a las cosas, podemos dedicarnos a los asuntos que creemos importantes. Julio Cortázar las llamó, atrincherado tras uno de sus personajes, las perras negras Como él, muchos han tratado que vuelvan a ser jarrones que contengan océanos, estallando para devolvernos la visión del mar que ahogamos con inútil precisión. Y es que son mecanismos de relojería misteriosa, no todo encaja a primera vista, ni para el relojero. Sus raíces se hunden insondables, cada vez que tiramos de una de ellas nos trae imágenes lejanas. Es necesario escuchar el silencio que anida pájaros entre los espacios del abecedario.