Submitted by LUCIA QUINTILIANO null (luciaquintiliano@hotmail.com) on 2016-08-19T15:50:32Z No. of bitstreams: 1 Lúcia quintiliano_Imagens além ponte.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) / Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-08-23T17:12:21Z (GMT) No. of bitstreams: 1 quintiliano_l_me_ia.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) / Made available in DSpace on 2016-08-23T17:12:21Z (GMT). No. of bitstreams: 1 quintiliano_l_me_ia.pdf: 8189476 bytes, checksum: 8f8da22a999afcddba76227fbf041295 (MD5) Previous issue date: 2016-06-28 / Enquanto “ser-com-os-outros”, consequentemente somos feitos de camadas, de afecções de outros corpos sobre os nossos corpos. Refletir a produção artística individual e coletiva resultantes destas afecções é o propósito desta dissertação, que tem como base reflexiva as inter-relações desenvolvidas dentro de projetos artísticos relacionais que trazem em sua constituição a presença sensível e corporal do outro, em que a arte é a intermediadora das relações humanas. Projetos artísticos – nos quais ora sou a artista propositora, ora a artista colaboradora – como em Ultramar-Ilha Diana (2013), de autoria de Maurício Adinolfi, e em Invasão (2013-2015) e Tramas (2011-2015), proposições autorais. Apresento ainda as produções artísticas individuais resultantes deste processo de alteridade. / As “being-with-others”, hence we are made of layers, of affections from other bodies on our own bodies. Reflect the individual and collective artistic production result of these affections is the purpose of this dissertation, which has at its basis the reflective inter-relationships developed inside of the relationals art projects that brings in their constitution the sensitive and corporal presence of the other, in which the art is mediator of human relations. Art projects – in which sometimes I am the artist proponent, sometimes I am the artist collaborator – as in Ultramar-Ilha Diana (2013), authored by Maurício Adinolfi, and in Invasão (2013-2015) and Tramas (2011-2015), my own propositions. I also present individual artistic productions resulting from this otherness process.

Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.

The purpose of this study is to investigate the pedagogic implications of Being in dramatic and poetic works. Chapter 1 shows the writer's concern that Being, separated from being, is forgotten in a scientific-technological education, Dramatic and poetic studies are in danger of being unfolded in the bracketings of science and technology. Man's suffering at the technology includes loneliness, boredom, frustration and An urgent need arises to develop the pupil's technological capacity and skill, and to actualise his potential, as long as Being is deconcealed. A technology-based education system, mainly for blacks, based on Japan, is being considered. Influenced by science and technology, verbal and nonverbal aspects are separated in drama and poetry. These aspects are integrated in drama and poetry encountered in action, as poetic thinking unites Being and being. Computer education, like writing, focuses on and teievision emphasises nonverbal factors. If pupils participate in drame, their actions are authentic. Mere spectators act inauthentically. A scientifically-influenced literary critic separates the play's parts and ignores nonverbal qualities. / Educational Studies / D. Ed. (Philosophy of Education)

The concept of the unknown captivated medieval theologians, mystics, lovers, and travelers for centuries, and yet literary scholars too readily reduce this topos to a romance trope. "Unknowing the Middle Ages" reconsiders the grounds of late-medieval literary discourse by showing how canonical Middle English literary texts eschew the historical knowledges that informed them and, instead, affirm impossibility as a productive site for a literary poetics. My dissertation identifies what I call a "poetics of unknowing" as an important component of a budding late-medieval literary discourse that offers a way to discuss not only what can be known, but also that which exceeds exegetical, geographic, historical, and sensory comprehension. "Unknowing the Middle Ages" makes its argument through four chapters, each of which focuses on a narrative tradition extending at least five hundred years. Each chapter follows a figure---Herod the Great, Prester John, the Pearl, and Criseyde---from the texts that established their axiological significance to their appearances in Middle English texts, which attempt to unknow these figures. In their Middle English narratives these figures negotiate between an inherited religious ethics and an intellectual context compelled increasingly by that which eludes comprehension. In each case, material concerns regarding the unknowable infiltrate the formal composition of the text itself, and resonate at the level of a literary ethics. The "poetics of unknowing" that inhabit these texts reveal an epistemology less encumbered by the practical demands of clarity to which other modes of medieval writing are beholden, and also---perhaps of interest to scholars of modern literature and contemporary theory---refute the critical tendency to view the epistemological valorization of the unknown as a distinctly modern phenomenon. / text

What is metaphor and how do we learn to think analogically? Education by Metaphor explores these questions from two perspectives: poetics and curriculum theorizing. Through this discursive inquiry, I develop arguments and hypotheses on the origins, mechanics, and educative possibilities of metaphor, often by drawing from Zwicky’s philosophical work and interviews I conducted with six Canadian writers. I sought conversations with these writers because the works they publish display deft and provocative analogical play. I wanted to know what they know about metaphor, and how they came to know such things, and how these ideas inform their critical, artistic, and pedagogical practices. I also asked for their thoughts on particular discursive conflicts and metaphoric models, and I asked them about their curricular experiences, both formal and otherwise. Excerpts from these transcripts are interwoven throughout the manuscript, according to their connections with the topics at hand. The first chapter of this dissertation traces metaphor’s discursive history and delineates its conflict with philosophy. From that foundation, I critique contemporary models for metaphor that stem from Black’s and Richards’ theorizing; after explaining why they are ill-suited to poetic terrain, I develop a less reductive model. Much of this work informs subsequent chapters, hence its preliminary positioning. In the second chapter I approach metaphor anthropologically and advance hypotheses for how we, as a species, might have come to think metaphorically. These hypotheses emphasize empathy and anthropomorphism, two important notions nested within the inner-workings of analogical thought. In turn, these hypotheses inform the third chapter’s explorations of poetic and ontological attention. This theoretical work reveals concepts integrally related to metaphor’s emergence, for example aesthetic experience, defamiliarization, and the interplay of pattern and anomaly. In the fourth chapter, I revisit these concepts from a more empirical perspective and use comments from my interviewees to illuminate intersections amongst play, pedagogy, and analogical thought. Lastly, the fifth chapter asks, what good is the study of metaphor? I respond to this question by addressing metaphor’s imaginative, ethical, and educational consequences. / Thesis (Ph.D, Education) -- Queen's University, 2013-02-19 12:13:38.213

<p>Few symbols of 1950s-1960s America remain as central to our contemporary conception of Cold War culture as the iconic ranch-style suburban home. While the house took center stage in the Nixon/Khrushchev kitchen debates as a symbol of modern efficiency and capitalist values, its popularity depended largely upon its obvious appropriation of vernacular architecture from the 19th century, those California haciendas and Texas dogtrots that dotted the American west. Contractors like William Levitt modernized the historical common houses, hermetically sealing their porous construction, all while using the ranch-style roots of the dwelling to galvanize a myth of an indigenous American culture. At a moment of intense occupational bureaucracy, political uncertainty and atomized social life, the rancher gave a self-identifying white consumer base reason to believe they could master their own plot in the expansive frontier. Only one example of America’s mid-century love affair with commodified vernacular forms, the ranch-style home represents a broad effort on the part of corporate and governmental interest groups to transform the vernacular into a style that expresses a distinctly homogenous vision of American culture. “Other than a Citizen” begins with an anatomy of that transformation, and then turns to the work of four poets who sought to reclaim the vernacular from that process of standardization and use it to countermand the containment-era strategies of Cold War America.</p><p>In four chapters, I trace references to common speech and verbal expressivity in the poetry and poetic theory of Charles Olson, Robert Duncan, LeRoi Jones/Amiri Baraka and Gwendolyn Brooks, against the historical backdrop of the Free-Speech Movement and the rise of mass-culture. When poets frame nonliterary speech within the literary page, they encounter the inability of writing to capture the vital ephemerality of verbal expression. Rather than treat this limitation as an impediment, the writers in my study use the poem to dramatize the fugitivity of speech, emphasizing it as a disruptive counterpoint to the technologies of capture. Where critics such as Houston Baker interpret the vernacular strictly in terms of resistance, I take a cue from the poets and argue that the vernacular, rooted etymologically at the intersection of domestic security and enslaved margin, represents a gestalt form, capable at once of establishing centralized power and sparking minor protest. My argument also expands upon Michael North’s exploration of the influence of minstrelsy and regionalism on the development of modernist literary technique in The Dialect of Modernism. As he focuses on writers from the early 20th century, I account for the next generation, whose America was not a culturally inferior collection of immigrants but an imperial power, replete with economic, political and artistic dominance. Instead of settling for an essentially American idiom, the poets in my study saw in the vernacular not phonetic misspellings, slang terminology and fragmented syntax, but the potential to provoke and thereby frame a more ethical mode of social life, straining against the regimentation of citizenship.</p><p>My attention to the vernacular argues for an alignment among writers who have been segregated by the assumption that race and aesthetics are mutually exclusive categories. In reading these writers alongside one another, “Other than a Citizen” shows how the avant-garde concepts of projective poetics and composition by field develop out of an interest in black expressivity. Conversely, I trace black radicalism and its emphasis on sociality back to the communalism practiced at the experimental arts college in Black Mountain, North Carolina, where Olson and Duncan taught. In pressing for this connection, my work reveals the racial politics embedded within the speech-based aesthetics of the postwar era, while foregrounding the aesthetic dimension of militant protest.</p><p>Not unlike today, the popular rhetoric of the Cold War insists that to be a citizen involves defending one’s status as a rightful member of an exclusionary nation. To be other than a citizen, as the poets in my study make clear, begins with eschewing the false certainty that accompanies categorical nominalization. In promoting a model of mutually dependent participation, these poets lay the groundwork for an alternative model of civic belonging, where volition and reciprocity replace compliance and self-sufficiency. In reading their lines, we become all the more aware of the cracks that run the length of our load-bearing walls.</p> / Dissertation

The writings of Göran Tunström (1937 – 2000) are closely linked with his birthplace, Sunne in Värmland. His four ’Sunne Novels’, De heliga geograferna (1973; ’The Holy Geographers’), Guddöttrarna (1976; ’The Goddaughters’), Juloratoriet (1983; The Christmas Oratorio, 1995) and Tjuven (1986; ’The Thief’) form the subject of this thesis. The focus is on the novels as an entity, an &apos;epic universe&apos;, a micro-/macrocosmos, examined from five different aspects: space, time, literary models, poetics and ethics. The first part of the thesis concentrates on Sunne, and both the inward and outward significance of place. Topographical descriptions and place-names use physical surroundings as their starting point, but here the analysis is structured phenomenologically, on what Gaston Bachelard calls ’topoanalysis’: i.e. Sunne is seen both subjectively and objectively. In the second part the significance of the time dimension in its epic configuration is examined. The hypothesis is that there is a typological structure in the Sunne novels corresponding to the Genesis and Apocalypse of the Bible. The third part looks at the significance of the work of two writers, Selma Lagerlöf and Lars Ahlin, whose production can be seen as literary models. The fourth part considers the poetics of the Sunne novels. The main issue is narratological and discusses the kind of prose used, the various literary patterns, genres, motifs and rhetorical figures that appear, and the sorts of meaning created thereby. An expression often used throughout the Sunne novels is &apos;turning round&apos;: a trope implying transgression, recognition, identification and perception, awareness, and knowledge. In these novels different literary and mythical traditions are interwoven using various narratological devices. The relation to tradition may be described as parody. The fifth and last part of the thesis looks at the narrator and the ethical discourse in the Sunne novels. It considers both the relation between the narrator and his creativity in terms of self-examination and identity, and the ethical question as to how one ought to live. Elements of the philosophy of existence can characteristically be related to the work of Lars Ahlin and Søren Kierkegaard. The ethical analysis is based, as with Martha Nussbaum, on the fundamental question as to how one becomes, and remains, a true and living person. By investigating the relation between subject and object in creative, artistic practice, contact with reality is obtained as well as truth and individuality. The confessional element in the narrative context points towards this and also contributes to the therapeutic character of the novels. The relation between imagination and reality resolves itself into an acceptance of &apos;both - and&apos;. &apos;Humour&apos; as an attitude to life means the ability to accommodate a &apos;both-and&apos; stance without losing perception and consciousness and also leads to self-fulfilment and fellowship. / Akademisk avhandling för avläggande av filosofie doktorsexamen fredagen den 21 november år 2003 kl. 13.15 i Lilla hörsalen, Humanisten, Göteborgs universitet, Renströmsgatan 6, Göteborg.

This study examines the presence of poetic form in First and Second Generation New York School Poetry. Because New York School writing—where its existence is conceded—seems formless, it has yet to be viewed under a formal lens. Therefore, this study is the first of its kind. In what follows, works by Frank O’Hara, Ted Berrigan, Alice Notley and Ron Padgett are contextualized and closely read for form, with an attention to the shaping propensity of inhabited spaces. While it is agreed that the external environment has the potential to influence shapes and forms of writing, domestic spaces also offer parameters which are traceable onto the page. New York School poets lived in and wrote from alternative domestic spaces—untidy, disordered, congested apartments in downtown New York City. The forms of their poems are accordingly untraditional. New York School stanzas often take on the contours of these spaces, becoming linguistic rooms riddled with the tensions of indoor urban life. After outlining New York School poetry and addressing contemporaneous urban theories, this study asks: what role does the space of writing have on the shape of writing? More specifically, are New York City apartments reflected in the forms of New York School poems? Through close-reading and formal analysis, it becomes possible to affirm that New York School Poetry is formal, and that its form is distinctive in that in its variances, it makes it possible for the tensions and dynamics of living within the constraints of inner urban spaces to be fully pronounced and inflected. This is a study of the formal representations of those inflections.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thèse réalisée en cotutelle avec l'Université Paris IV-Sorbonne / Cette thèse vise à suggérer l’existence d’un partage d’une théorie poétique commune entre l’école d’Aristote d’une part et le grammairien Aristarque de Samothrace d’autre part. À partir d’un examen des textes et des fragments de la critique littéraire hellénistique, deux aspects fondamentaux de la poétique péripatéticienne font l’objet d’une comparaison avec Aristarque, soit : 1) la prise de position interprétative qui tient compte de la nature fictionnelle du discours poétique et le soustrait aux critères de vérité traditionnellement imposés par les lecteurs anciens, notamment à l’intérieur de la tradition allégorique ; et 2) la reconnaissance de l’autonomie relative du contenu de l’œuvre poétique face à l’auteur, particulièrement dans le rapport qu’entretient ce dernier avec ses personnages. / This thesis sets out to examine two points of contact in the poetics of the Peripatetics and Aristarchus, namely : 1) the exegetical attitude that takes account of the fictionality of poetry, thus exempting it from the constraints of truthfulness that ancient readers traditionally imposed on it, especially within the allegorical tradition; 2) the perception of the content of a work of poetry as being autonomous from its author, especially with regard to the relation between the poet and his characters.