Junia De Castro Magalhães Alves (original) (raw)

Papers by Junia De Castro Magalhães Alves

We shall be friends as long as you obey me."' The locale of reference in each of these plays is p... more We shall be friends as long as you obey me."' The locale of reference in each of these plays is particular: the United States in Toys in the Attic; Brazil in Jorginho o Machão. A French American middle-class house of another generation in New Orleans (the Berniers) and a typically 1969-70 provincial middle-class Brazilian family (no last name is given, symbolic of any given name) are their human UmWelte1 or theatrical stages.

Estudos germânicos, Dec 31, 1986

Vateh on the Rhine (1941) and The aearehing xíind (1943) were both molded from Lillian Hellman's ... more Vateh on the Rhine (1941) and The aearehing xíind (1943) were both molded from Lillian Hellman's radical opposition to the totalitarism of Mussolini and Hitler.Neither of these two politically committed plays supplies a convincing guidance to the bewildered war years. Yet they both demonstrate the protest of the dramatist (and the audience who applauded them) against Fascism and Nazism. RESUMO Vateh on the Rhine (1941) e The aearehing wind (1913) foram fruto da oposição radical da teatrologa Lillian Hellman ao totalitarismo de Mussolini e Hitler. Essas peças, de cunho clara mente político, não veiculam soluções, mas sim o protesto da au tora (e da platéia que a aplaude) contra o Fascismo e o Nazismo.

Estudos germânicos, Dec 31, 1981

Aletria: Revista de Estudos de Literatura, Dec 31, 2000

A volta de Moliere ao teatro de rua ]únia de Castro Magalhães Alves Unicentro Newton Paiva Lúcia ... more A volta de Moliere ao teatro de rua ]únia de Castro Magalhães Alves Unicentro Newton Paiva Lúcia Trindade Valente RESUMO Este trabalho investiga o procedimento intertextual como elemento orgânico na construção da peça Um Moliere imaginário, do Grupo Galpão de teatro de rua, em Minas Gerais, Brasil. PALAVRAS-CHAVE intertextualidade, Moliere, Grupo Galpão Le devoir de la Comédie étant de corrige r les hommes en les divertissant, j'ai cru que, dans l'emploi ou je me trouve, je n'avais rien de mieux à faire que d'attaquer par des peintures ridicules les vices du siecle. Molifhe Premier placet au Roi, sur la comedie du Tartuffe A peça Um Moliere imaginário estreou em Tiradentes no dia 8 de março de 1997. Logo em seguida, após apresentar-se em Curitiba durante o VI Festival de Teatro dessa cidade em 15 de março de 1997, foi encenada pela primeira vez em Belo Horizonte, na Praça Governador Israel Pinheiro (Praça do Papa), aos 12 de maio, como parte da programação do III Encontro das Américas. Nesse mesmo ano, depois de percorrer diversas regiões brasileiras, participou em Caracas, na Venezuela, do 20º Festival Internacional de Teatro; em Santiago do Chile, do Festival de Teatro ENE; e, em Portugal, da 20ª Edição do Festival de Expressão Ibérica, na cidade do Porto. O espetáculo marca os 15 anos do Grupo Galpão de teatro de rua e a estréia de Eduardo Moreira, um dos seus fundadores, como diretor. O texto em português baseia se na tradução de Edla van Steen da comédia Le malade imaginaire, de Jean-Baptiste Poquelin. 1 A dramaturgia é de Carlos Antônio Leite Brandão (Cacá Brandão).

Veredas: Revista da Associação Internacional de Lusitanistas, Dec 1, 1999

A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitali... more A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. Harmada: a "fulminância" na escrita de um texto contemporâneo Autor(es):

Fragmentos: Revista de Língua e Literatura Estrangeiras, 2002

Aletria: Revista de Estudos de Literatura, Dec 31, 2000

Estudos germânicos, Dec 31, 1984

The Autumn Garden and Toys in the Attic are probably the most mature plays ever written by Miss H... more The Autumn Garden and Toys in the Attic are probably the most mature plays ever written by Miss Hellman. They, as well as The Little Foxes and Another Part of the Forest, belong to the Southern cycle family dramas and, as such, deal specifically with the Southern background and way of 1ife. The Autumn Garden intertwines the lives of several couples, long-time "guests" at Constance Tuckerman's summer resort home, her living. Sophie, Constance's French niece, helps her with the housework. Among the guests are Nick Denery (Constance's girlhood love) and his wife Nina, General Ben Griggs and his wife Rose, Carrie Ellis (her mother Mrs. Mary Ellis) and her son Frederick, Sophie's fiance. No all iance is entirely successful, Nina despises Nick for his philandering, but need his company. Ben does not love Rose, but decides to go on living with her because it is easier and because he pities her. Frederick relies on an homosexual relationship with a man called Payson in order to escape from his mother Carrie's possessiveness. Sophie blackmails Nick after the neighbors find out that he has slept in her room. She wants the money to return to Europe. Constance discovers that she should have married Crossman, but that it is now too late. Little changes: the characters only become more aware of their realities. Toys in the Attic is set in the Berniers house in New Orleans. As the action begins Julian Berniers is returning back home with his .143. wife, Lily. Anna and Carrie, his sisters, receive them effusively, but the fact that he is now rich disappoints them. They would rather have him dependent upon them for the rest of their lives. Lily suspects that he has married her for her fami1y's money. Only Albertine Prine, Lily's mother, rejoices over Julian's success. The climax comes when Lily learns that Julian has extorted money from a powerful lawyer, whose wife had been Julian's lover. In a fit of jealousy and despair she informs against her husband. Warkins, the lawyer, has Julian spanked and robbed. As the play ends Julian is again dependent upon Lily and his sisters' money. These plays differ from the Hubbard sequence in that they stress mood. In their own ways they show the social phenomena of their time more through characters than through plot and action. The Little Foxes and Another Part of the Forest present Miss Hellman's protest against the exploitation of man and land. She now changes her thesis to the more personal theme that existence is only meaningful in action. The psychological atmosphere carries the message. The scene and the season suggest the tension which manifests itself in the conflicts between the characters. Situations are shown, nothing is explained, nothing is proved. The dynamics of plot and action gives way to the statics of mood and idea. The change in method and theme provokes an equally meaningful change in language. The dialogues are less abrupt, more subtle, less obvious, more loosely constructed. There is a tendency to lyricism and" as a consequence, a movement from the objective to the symbolic, as, for example, when Lily remembers her wedding day and her feelings connected with it: "(smiling, suddenly uplifted, happy). Did it rain? I don't remember. It was all days

Aletria: Revista de Estudos de Literatura, Oct 31, 1995

Júnia de Castro Magalhães Alves UFMG ABSTRAIT This essay analyses Leilah Assunção's post-modern p... more Júnia de Castro Magalhães Alves UFMG ABSTRAIT This essay analyses Leilah Assunção's post-modern play, a Kuka de Kamaiorá, which was written in 1973 but only staged ten years later. A careful reading of the dramatic text reveals some ideological confrontation among different sociopolitical strata in Brazil.

Revista do Centro de Estudos Portugueses, Dec 31, 1996

Estudos germânicos, Dec 31, 1985

Although The Children's Hour and Days to Come are apparently different plays, and although the fi... more Although The Children's Hour and Days to Come are apparently different plays, and although the first was a great suecess and the latter a tremendous failure when first produced, they both treat very definite moral and social issues. The Children's Hour (1934) and Days to Come (1936) reflect the I930's. Meredith Erling Ackley notes that "Many of the members of the Theatre Union, the federal Theatre Project, the Theatre Collective and the Group Theatre Iooked forward to an American theatre whose stage would become a platform for agitation and propaganda promoting social awareness and reform". Their plays are often artistically immature, demagogie and stereotyped. Miss Hellman, though not affiliated with any of these collective organizations is perhaps best thought of as one of the "Survivors of tho Depression", together with 2 CIifford Odets and Irwing Shaw." These writers fought for social justice. Miss He IIman's particular fight is to rebeI,' in her plays, against the social system where human relationships become objects for salc. Both The Children's Hour and Days tu Come condemn those who cannot comprchond human motives, feelings, tenderness, and fricndship. These plays are art, but they are also soei ological documents. When The Children's Hour was revived in 1952 during the McCarthy purges, notes E. Ackley, "most of the reviewers concentrated on tho relevance of the play" and its conclusion that shows "how calamitously the 4 upright people of the world ... can blunder". In Days to Come,

Estudos germânicos, Dec 31, 1982

Eliot's plays follow the basic pattern of sin-expiationcommunion. Muxdzx in thz Cathedxal and Thz... more Eliot's plays follow the basic pattern of sin-expiationcommunion. Muxdzx in thz Cathedxal and Thz Family Rzunion are cast in a religious context and the characters hope for communion through suffering and in the afterlife. Thz Cocktail Paxty, Thz Coniidzntial Clzxk and The E-dde* Statziman are cast in a secular context and the characters seek to integrate themselves through action, rather than through martyrdom. From The Cocktail Paxty on, the dramatization of the characters' integration reveals Eliot*s shift from transcendental to earthly concerns. That shift influences his choice of literary genre and approach to character, plot, diction and style. The distinction

Estudos germânicos, Dec 31, 1987

This artlcle establishes a parallel among Mlss Hellman's eight original plays, focusing on one of... more This artlcle establishes a parallel among Mlss Hellman's eight original plays, focusing on one of her most recurrent themes: her characters' psychological needs and their often vain attempts to flee from their land, their history and themselves. RESUMO Este artigo estabelece um paralelo entre as oito peças da teatróloga americana Lillian Hellman, focalizando um de seus temas recorrentes: os anseios e frustrações de seus personagens, na tentativa vã de fugir de sua terra, de seu passado e de si mesmos. The well known 20th century American writer Lillian Hellman published, among other works, eight single-handed plays. Four of them The little foxes (1939), Another part of the forest (1946), The autumn garden (1951) and Toys in the attic (1960) interpret the American Southern way of life: the remaining four, The children's hour (1934), Days to come (1936), Watch on the Rhine (1941) and The scarching wind (1944) focus on the North. Although Miss Hellmans characters and setting vary from play to play, they both present recurrent traits meant to convey a recurrent theme: a longing for escaping. The action also comprises a series of events showing the characters' psychological needs and their often unsuccessful attempts to leave their land and background in search for new hopes. There are three main forms of escape. Two are unreal: a) to run away from either place or time or both; b) to attack through physical violence or emotional aggression. The third form is real; it is to return to the objective world left behind. To facilitate the development of this thesis, I have classified the plays into four different groups:

Estudos germânicos, Dec 31, 1982

The term 'realism' has been used in nany different ways. Thus, rather than assume or state a part... more The term 'realism' has been used in nany different ways. Thus, rather than assume or state a particular sense of the terá to be used in this discussion of Virginia Woolf, we shall here consider her work in the light of various epistemological problems arising from a philospphy which for both intrinsic and historical reasons seens relevant to her life and work-the philosophy of G.E. Moore. Our exploration of the particular forra of realisa to be found in Virginia Woolfs work will therefore lead us to consider problems of philosophy, literary criticism and techniques of fiction. We can, for the sake of convenience, discuss the philosophical aspects first. These in turn divide into questions of eplstemology and of metaphysicá but this paper will concentrate on the former since, it is hpped, a fuiler understanding of the writer's metaphysic-the view of reality she attempts to embody in her writing-will emerge through the discussion of the epistemological and criticai problems which preoccupied her. For, as we suggest here, this question of the nature of reality resolves itself in Virginia Woolf, into a constant exploration of the relation between, and the relative status of, consciousness and that which is externai to consciousness.

Estudos germânicos, Nov 30, 1980

Revista do Centro de Estudos Portugueses, 1986

Semiotic Society of America eBooks, 2001

Revista do Centro de Estudos Portugueses, 2000

Este ensaio estuda a ideologia do dandismo, originário da Inglaterra no século XIX, para focaliza... more Este ensaio estuda a ideologia do dandismo, originário da Inglaterra no século XIX, para focalizar, em Jacinto de Tormes, protagonista do romance A cidade e as serras, de Eça de Queiroz, as manifestações de superposição e semelhança – origem, aparência, comportamento político e social – com as do dândi baudelairiano. O trabalho demonstra que Jacinto apresenta uma identidade indubitavelmente portuguesa, e que não pode ser visto como um mero estereótipo do fenômeno em questão. This essay studies the ideology of dandyism – which emerges in the 19th century England – in order to analyze Jacinto de Tormes, the protagonist of A cidade e as serras by Eça de Queiroz. The analysis focuses on the manifestations of superposition and similarity of origin, appearance, political and social behavior revealed in Eça’s character and in the baudelairian dandy. The conclusion demonstrates that Jacinto presents an undoubted Portuguese identity, and that he cannot be seen as a mere stereotype of the dandy.

Estudos germânicos, Dec 31, 1986

Estudos germânicos, Dec 31, 1981

Aletria: Revista de Estudos de Literatura, Dec 31, 2000

Veredas: Revista da Associação Internacional de Lusitanistas, Dec 1, 1999

Fragmentos: Revista de Língua e Literatura Estrangeiras, 2002

Aletria: Revista de Estudos de Literatura, Dec 31, 2000

Estudos germânicos, Dec 31, 1984

Aletria: Revista de Estudos de Literatura, Oct 31, 1995

Revista do Centro de Estudos Portugueses, Dec 31, 1996

Estudos germânicos, Dec 31, 1985

Estudos germânicos, Dec 31, 1982

Estudos germânicos, Dec 31, 1987

Estudos germânicos, Dec 31, 1982

Estudos germânicos, Nov 30, 1980

Revista do Centro de Estudos Portugueses, 1986

Semiotic Society of America eBooks, 2001

Revista do Centro de Estudos Portugueses, 2000