Relevant bibliographies by topics / Myth of Don Juan

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  2. Dissertations / Theses
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Academic literature on the topic 'Myth of Don Juan'

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Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Myth of Don Juan"

1

Wirth, Andrzej. "The Don Juan Myth Radiantly Transformed." Performing Arts Journal 15, no. 1 (January 1993): 42. http://dx.doi.org/10.2307/3245796.

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Sobennikov, Anatoly S. "Myth of Don Juan and Don Juan like a Psycho in the Drama of A.P. Chekhov’s “Fatherlessness”." Proceedings of Southern Federal University. Philology 2020, no. 2 (June 22, 2020): 18–26. http://dx.doi.org/10.18522/1995-0640-2020-2-18-26.

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In A.P.Chekhov’s drama «Fatherlessness» great attention is paid to the myth of Don Juan and its psychotype. The system of characters in literary context is studied in gender psychology aspect as well. In this process a violation of gender stereotypes and roles, feminity of male characters and masculinity of female ones is noted. The author opposes a scientific knowledge about a woman and a man with romantism in relations between the sexes in literature. It is declared that «Fatherlessness» is the first step to a new art antropology: the old socio-moral principal of typing gives place to a new one – individualization. Attempts of characters to identify themselves with «heroes» in living own life in accordance with literary images are discredited with the author’s irony. In the personal existence of the characters, in behavior men and women only their individual features become decisive and meaningful.
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Aguirre, Mercedes. "History and Myth in After the Death of Don Juan." Journal of the Sylvia Townsend Warner Society 15, no. 1 (December 1, 2014): 77–90. http://dx.doi.org/10.14324/111.444.stw.2014.07.

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Gournay, Aurélia. "Réécrire Don Juan au XXe siècle : entre hybridité et intermédialité, nouveaux modes d’exploitation d’un mythe." Quêtes littéraires, no. 6 (December 30, 2016): 118–27. http://dx.doi.org/10.31743/ql.220.

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The contemporary rewritings of Don Juan’s myth highlight several forms of hybridity and illustrate the stakes involved. The hybridation affects in the first place the sources of the myth since the authors appeal to numerous intertextual references. But the successive transpositions of the mythical scenario also lead to a generic hybridity. This intermediality has a reflexive dimension: it raises the question of the limits of language to talk about the myth and abolishes the frontier between fiction and critical speech.
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KIM SEONYI. "Don Juan Myth in the Joseon Dynasty: Focused on the Analysis of Don Juan Tenorio vs. the Film ≪Untold Scandal≫(2003)." Korean Journal of Hispanic Studies 9, no. 2 (November 2016): 57–87. http://dx.doi.org/10.18217/kjhs.9.2.201611.57.

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Sumeli Weinberg, M. Grazia. "The myth of Don Juan and feminine sensibility: a new turning point?" Journal of European Studies 26, no. 2 (June 1996): 141–51. http://dx.doi.org/10.1177/004724419602600202.

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Eaton, Sara, and Ian Watt. "Myths of Modern Individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe." Sixteenth Century Journal 28, no. 2 (1997): 530. http://dx.doi.org/10.2307/2543467.

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McConnell, Frank, and Ian Watt. "Myths of Modern Individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe." Rocky Mountain Review of Language and Literature 50, no. 2 (1996): 210. http://dx.doi.org/10.2307/1348249.

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9

한택수. "La présence féminine dans le mythe de Don Juan - dans Dom Juan de Molière et Don Giovanni de Mozart -." Etudes de la Culture Francaise et de Arts en France 27, no. ll (February 2009): 713–35. http://dx.doi.org/10.21651/cfaf.2009.27..713.

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Diasio, Nicoletta. "La fin de Don Giovanni." Articles 20, no. 2 (July 9, 2008): 32–36. http://dx.doi.org/10.7202/018331ar.

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Résumé Par l’analyse de deux « entrées en scène » du libertin, celle du Don Giovanni de Mozart et Da Ponte (1787) et celle de The Rake’s Progress de Stravinsky et Auden (1951), l’article pointe les transformations du rapport à la mort et aux morts en Europe. Ces deux opéras représentent aussi l’apogée et le déclin du mythe de Dom Juan et de cette connexion entre le thème de l’inconstance amoureuse et celui de l’offense et de l’invitation au mort.
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Dissertations / Theses on the topic "Myth of Don Juan"

1

Bezerra, Paulo Victor [UNESP]. "Apontamentos acerca das vicissitudes da subjetividade no mito de Don Juan." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/97595.

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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)
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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
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
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Bezerra, Paulo Victor. "Apontamentos acerca das vicissitudes da subjetividade no mito de Don Juan /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/97595.

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Orientador: José Sterza Justo
Banca: Luiz Carlos da Rocha
Banca: José Artur Molina
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
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
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3

Gournay, Aurélia. "Don Juan en France au XXe siècle : réécritures d'un mythe." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00975274.

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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.
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Fiorentino, Marie-Pierre. "Individualisme et conventions dans le mythe de Don Juan." Aix-Marseille 1, 1996. http://www.theses.fr/1997AIX10011.

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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.
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Scilletta, Catherine. "La figure du commandeur dans le mythe de Don Juan." Paris 10, 1986. http://www.theses.fr/1986PA100064.

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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
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
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Ribeiro, Lilian dos Santos Silva. "Don Juan e a construção de um mito em \'El burlador de Sevilla\'." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8145/tde-31012008-103723/.

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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.
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.
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Ranocchia-Brémond, Lydie. "Le Mythe de Don Juan dans la littérature du XXe siècle." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375951116.

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Mauro, Tereza Cristina. "Entre a descrença e a sedução: releituras do Mito de Don Juan em Álvares de Azevedo e em Castro Alves." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-06112014-150017/.

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Esta dissertação destina-se ao estudo do diálogo travado pelos poetas românticos Álvares de Azevedo (1831 - 1852) e Castro Alves (1847 - 1871) com o mito de Don Juan. Tal abordagem tem por escopo captar de que maneira as transformações sofridas na concepção do mito na passagem da lírica amorosa de Azevedo para a de Castro Alves são reflexo das distintas abordagens do sentimento amoroso por ambos os poetas, que vacilava entre o amor extremamente idealizado e o desejo carnal, relacionado à descrença e ao sarcasmo na obra do primeiro, enquanto que na obra do segundo a presença do referido mito teria uma contribuição decisiva para uma vivência amorosa mais plena. O exame aprofundado da apropriação do mito, fundamentado na visão de mundo instaurada pelo Romantismo, permite rever em novas bases a dita renovação (conceito sempre discutível quando posto à luz dos mitos e preceitos postos em circulação pelos românticos em contexto europeu) atribuída ao tratamento dispensado ao amor e à mulher na lírica de Castro Alves, sem ter de recorrer a filiações anacrônicas, como a de realismo avant la lettre. Tal exame permite também fundamentar a inserção do poeta baiano no sistema literário de então, a partir de uma análise interna dos poemas que abordam o mito em questão, evidenciando diálogos e tensões no confronto com o tratamento dado a esse tema comum à lírica do poeta baiano e à geração anterior, cuja figura de proa é Álvares de Azevedo
This dissertation aims to study the dialogue undertaken by the romantic poets Álvares de Azevedo (1831 - 1852) and Castro Alves (1847 - 1871) with the myth of Don Juan. This approach has the purpose to verify how the transformations undergone in the design of the myth in the passage of Azevedos lyric for that of Castro Alves are result of the different approaches of love for both poets, which vacillated between highly idealized love and carnal desire, related to disbelief and sarcasm in the work of the first, while the presence of the myth in the second would have a decisive contribution to a fuller experience of love. Detailed examination of the appropriation of such a myth, based on the worldview introduced by Romanticism, allows review on a new basis the said renewal (concept always debatable when put in the light of the myths and precepts put into circulation by the romantics in the European context) assigned to treatment dispensed to a woman in the lyric of Castro Alves, without resorting to anachronistic affiliations, such as realism avant la lettre. This detailed examination allows also support the insertion of Castro Alves in the literary system of then, from an internal analysis of the poems that address the myth in question, revealing dialogues and tensions in comparison with the treatment of this common theme in the lyric of Castro Alves and the previous generation, whose figurehead is Álvares de Azevedo
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Goloubinova-Cennet, Ekaterina. "Le mythe de Don Juan dans la littérature russe des XIXe et XXe siècles." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20010.

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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
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NASCIMENTO, ANGELI ROSE DO. "RÉFLEXIONS À PROPOS DES EXPÉRIENCES DE LECTURE ET QUELQUES CONTRIBUTIONS DU MYTHE DE DON JUAN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2007. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=10338@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
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.
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.
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Books on the topic "Myth of Don Juan"

1

Don Juan, le révolté: Un mythe contemporain. Paris: Écriture, 2009.

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Watt, Ian P. Myths of modern individualism: Faust, Don Quixote, Don Juan, Robinson Crusoe. Cambridge [England]: Cambridge University Press, 1996.

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Le mythe de Don Juan et la comédie de Molière. Paris: A.-G. Nizet, 1986.

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Sobre la identidad europea: Los mitos literarios de Don Quijote, Fausto, Don Juan y Zaratustra. Madrid: Biblioteca Nueva, 2008.

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Arias, José Rafael Hernández. Sobre la identidad europea: Los mitos literarios de Don Quijote, Fausto, Don Juan y Zaratustra. Madrid: Biblioteca Nueva, 2008.

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Ballester, Gonzalo Torrente. Don Juan. 8th ed. Barcelona: Destino, 1995.

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Don Juan. London: Phoenix, 1996.

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Byron, Byron George Gordon. Don Juan. Sioux Falls: NuVision Publications, 2003.

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Byron, Byron George Gordon. Don Juan. London: Penguin Books, 2004.

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Azorín. Don Juan. Madrid, España: Biblioteca Nueva, 2002.

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Book chapters on the topic "Myth of Don Juan"

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Hawkes, David. "Faust and Don Juan." In The Faust Myth, 113–38. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230603424_5.

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Megale, Teresa. "L’ombra di Don Juan Tenorio sulla scena barocca partenopea: indizi d’archivio e canoni drammaturgici." In Studi e saggi, 205–18. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.13.

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This paper highlights archival evidence and dramaturgic mythemes in order to reconsider the historiographical issues related to the XVIIth-century theatrical reception of El burlador de Sevilla y convidado de piedra outside of Spain. Among the crossroads of theatrical practices alive in XVIIth-century Naples, Don Juan underwent a rapid process of assimilation and transformation. The chronology of its Neapolitan debut at the Teatro di San Bartolomeo is re-examined in this paper, while unfolding some new and possible scenarios interweaving history and dramaturgy, the stage and the historical political events of the Kingdom of Naples during the first decades of the XVIIth century. This study examines the Mediterranean basis consolidating the myth of Don Juan – the character with «feet made of wind» (Garboli) – and defining its dramaturgic status all around Europe.
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Soufas, C. Christopher. "Don Juan and Don Juan Tenorio." In Subject, Structure, and Imagination in the Spanish Discourse on Modernity, 141–55. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137532862_9.

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Soufas, C. Christopher. "Don Juan." In Subject, Structure, and Imagination in the Spanish Discourse on Modernity, 75–84. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137532862_5.

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Schmidt, Arnold Anthony. "Don Juan." In Byron and the Rhetoric of Italian Nationalism, 141–77. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230107823_5.

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Smeed, J. W. "Don Giovanni." In Don Juan, 22–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153726-2.

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Smeed, J. W. "Hoffmann′s Influence." In Don Juan, 45–63. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153726-4.

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Smeed, J. W. "Links with Faust." In Don Juan, 75–90. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153726-6.

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Smeed, J. W. "Don Juan as a Type." In Don Juan, 116–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153726-9.

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Smeed, J. W. "The Legendary Framework." In Don Juan, 127–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003153726-10.

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Conference papers on the topic "Myth of Don Juan"

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M. Crisostomo, Mildred. "Who Created the Myth Called Crissot: A Criticism of Criticisms about Juan Crisostomo Soto and his Alang Dios! from 1932 to 2013." In Annual International Conference on Language, Literature and Linguistics. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-3566_l315.89.

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Jiménez Castillo, Pedro, and José Luis Simón García. "El ḥiṣn de Almansa (Albacete): fortificaciones y poblamiento." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11551.

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The ḥiṣn Almansa: fortifications and settlementsBecause of its spectacular location and its good state of conservation, the image of the castle of Almansa has been widely reproduced in publications of informative and even tourist purpose. The building is the result of construction, remodeling, plundering, demolition, blasting and restoration processes, carried out over more than eight centuries, although the current aspect is essentially that of the castle remodeled by Don Juan Pacheco, Marquis of Villena, in the fifteenth century, that camouflage or suppress those made previously, whether taifa, almohad or feudal. In this paper we are interested in the castle (ḥiṣn) of Almansa in Islamic times, but not strictly from the architectural point of view but its history as a central element that organized an administrative district or iqlīm. In this sense, Almansa offers very relevant research possibilities, because we know exactly the delimitation of its district in almohad times thanks to the Castilian documentation after the conquest, we have some data from the Arabic texts and, above all, we have of a very detailed archaeological information from intensive field surveys. Therefore, we will study the different types of castral buildings, fortresses and towers, as well as settlements –farmhouses, hamlets and shelters– in order to get information about the evolution of the modes of occupation and exploitation of the territory between the eleventh and thirteenth centuries, which will be modified throughout the feudal period, becoming a rare case in the scientific literature to date.
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