Esta dissertação divide-se em 3 pates A 1a. tematiza a epistemologia bachelardiana e os conceitos que inauguraram uma nova forma de pensar a ciência no século XX. A 2a. tematiza a poética, evidenciando que também na sua reflexão sobre a arte o autor rejeitou a perspectiva tradicional que concebe a criação artísitica em continuidade com a percepção.Na 3a., discute a repercussão dos conceitos bachelardianos na socilogia, contribuindo para uma ciência do social que já não compreende a imaginação como subsidiária da experiência. / This dissertation is divided into three parts. The first one discusses bachelardian epistemology an the concepts that inagurated a new way of thinking scense in the 20th. century. The second part discusses poetics, pointin out that the author also rejected the traditional perspective that places artistic creation in continuity with perception in his reflection on art and literature. The third one discusses the repercussion of bachelardian concepts in sociology and the way this influence would contribute to a science of the social which no longer undertands imagination as a subsidiary of experience.

Esta pesquisa investiga a pessoalidade poética em Fernando Pessoa. A base do estudo é a estética da formatividade de Luigi Pareyson, da qual extraímos as principais categorias concernentes à hermenêutica literária. É uma investigação interdisciplinar, no tocante a seu arcabouço estético e literário, mas se trata inequivocamente de uma tese sobre literatura, pois a temática filosófica que é transversal ao todo da pesquisa esclarece e interpreta a pluralidade de poemas de Pessoa, em todos os tópicos da pesquisa, sem sustentar uma ideia ou a defesa de um ponto de vista específico. A pessoalidade é a noção estética segundo a qual toda a produção artística passa pela mediação ativa e criadora da pessoa, e isso é se aplica também ao esforço de despersonalização da arte. Não é por acaso que Pessoa rejeita a poética romântica, confessional: seu modo modernista de gerar poemas necessita de uma poética plural que, necessariamente, é sincera ou é representada como um fragmento, em cada heterônimo engendrado à maneira de um holograma de sua personalidade. E nisso mostra-se uma contradição: não se trata de personalidade, como, aliás, a maior parte dos críticos o registra, mas de personalidades (plural, portanto) que, remetidas ao seu criador, no ato poético, redundam na pessoalidade poética. O heterônimo Álvaro de Campos exprime poeticamente a pessoalidade inerente ao projeto pessoano: O que é fazer versos senão confessar que a vida não basta? (PC, Berardinelli, 86), denotando o cerne existencial e personal de qualquer projeto que envolve uma autoria. Em termos teóricos, a pessoalidade na impessoalidade, consequência da historicidade de todo fazer humano, é a compreensão de que quaisquer propósitos, ainda que deliberadamente objetivos, são sempre regulados uma pessoa que os concebe. Não menosprezamos a função pedagógica dos estudos literários, e por isso demonstramos, interpretativamente, que a literatura é imprescindível para a formação da personalidade humana: unicamente através dos caminhos críticos e estéticos é possível a Educação atender aos desafios contemporâneos. / This research investigates the poetic personality in Fernando Pessoa. The basis of the study is the aesthetics of formativeness of Luigi Pareyson, from which we draw the main categories concerning the literary hermeneutics. It is an interdisciplinary research, with regard to its aesthetic and literary framework, but it is clearly a thesis on literature, because the philosophical theme that cuts across the whole of research clarifies and interprets the plurality of individual poems in all topics of the research, without sustaining an idea or defense of a specific point of view. The personality is the aesthetic notion that all artistic production passes through the active and creative mediation of a person, and we apply this to depersonalization effort of authors. It is no coincidence that Pessoa rejects the romantic and confessional poetry: his modernist way of generating poems needs a plural poetic that necessarily is sincere or is represented as a fragment in each heteronym engendered in the manner of a hologram of his personality. In addition, it appears to be a contradiction: there is not a personality, as indeed most of the critical records, but personalities (plural, therefore), related to its creator, then the poetic act become poetic personality. The heteronym Álvaro de Campos poetically expresses the personality inherent in the Pessoas aim: \"What is do verses but to confess that life is not enough?\" (PC, Berardinelli, 86), denoting the existential and personal core of any project that involves \"authorship\". In theoretical terms, the personality in impersonality (a result of the historicity of all human doing is the understanding that any purpose, even deliberately objectives), have always a person who conceives them. Do not underestimate the pedagogical function of literary studies, and so demonstrate, interpretively, that literature is essential for the formation of human personality: only through the critical and aesthetic ways can the Education meet contemporary challenges.

El presente estudio es fruto de una reflexión y análisis acerca de la producción del escritor brasileño Autran Dourado teniendo en cuenta el diálogo que se establece con la obra del autor español Miguel de Cervantes, sumándose la preocupación por encontrar las correspondencias no solo temáticas sino también poéticas de estos dos autores. Se inicia con un breve recorrido histórico y literario, presente en la formación de ambos autores, con la perspectiva de delinear un rasgo común entre ellos, es decir, el de escritores críticos. A su vez, esta aproximación desencadena el estudio de lo que habría sido la biblioteca cervantina de Autran Dourado. Por otro lado, se llevó a cabo el levantamiento de la fortuna crítica del escritor brasileño tomando como foco, sobre todo, los trabajos académicos sobre su obra y teniendo en cuenta cuarenta años de incesante labor de producción. A partir de estos datos, se vuelve fundamental el análisis del diálogo intertextual establecido entre las obras de los dos autores, con la inquietud de destacar coincidencias temáticas y procedimientos similares en la construcción de personajes, como en el caso de la trilogía perteneciente a la saga familiar de los Honório Cota de Autran Dourado y Don Quijote de la Mancha de Miguel de Cervantes y, por otro lado, las inquietudes poéticas de ambos autores a partir de un estudio sobre sus respectivos procesos de reescritura. / This study is the result of a reflection and analysis about the production of the Brazilian writer Autran Dourado highlighting the dialogue that it establishes with the work of the Spanish author Miguel de Cervantes, searching not only for thematic but also for poetic correspondences between both writers. It starts with a brief historic and literary trajectory present in their works aiming at delineating a common characteristic shown by them, that of critic writers. This comparison leads to the study of Autran Dourado´s Cervantine library. On the other hand, a research on the criticism on Autran Dourado´s complete work was carried out, focusing mainly on the academic studies about his work taking into consideration his 40 year literary production. Regarding such data, the analysis of an intertextual dialogue established between the works by Dourado and Cervantes becomes fundamental, distinguishing the thematic coincidences and similar proceedings in the construction of their characters, as in the trilogy centered in the saga of Honório Cota´s family by Autran Dourado and Don Quijote de La Mancha by Miguel de Cervantes, as well as the poetic anxiety of both authors starting from a study about their re-writing processes.

Esta pesquisa trata dos processos que envolvem a experiência performática e os fluxos entre memória, resistência e criação no âmbito do entrecruzamento de culturas. Parte-se da instauração de interlocuções no contexto das aldeias indígenas Guarani da capital de São Paulo que, apesar das dinâmicas de contato com a metrópole, ainda mantêm vivos seu idioma e práticas ritualísticas tradicionais. O eixo de reflexão se volta para a percepção de possíveis fricções, intersecções e contaminações poéticas deflagradas neste contato. Performance é aqui compreendida com ênfase na experiência, como campo relacional. Ritual e Arte, e seus respectivos meios e processos, aproximados pela perspectiva da experiência liminar proposta por Victor Turner, são postos em deslocamento numa ruptura entre as fronteiras de distintos gêneros de performance cultural. À luz dos Estudos da Performance e da Antropologia da Performance é sugerida uma apreensão do intervalo entre culturas distintas, como um entre-lugar potencialmente transformador, gerador de novos sentidos. / This research deals with the processes which involve the performatic experience and flows between memory, resistance and creation within the crossing of cultures. It starts with the establishment of dialogues in the context of Guarani Indian villages from the capital of Sao Paulo that, despite the dynamic contact with the metropolis, still keep alive their language and traditional ritual practices. The axis of reflection goes to the perception of possible intersections and poetic contamination deflagrated in intercultural contact. Performance is understood here with emphasis on experience, as a relational field in the proposition of the meeting with the -other culturally different?. Ritual and Art, and their respective environments and processes, approximated by the perspective of liminal experience, proposed by Victor Turner, are put on the move on a rupture between the boundaries of different kinds of cultural performance. In light of Performance Studies and Anthropology of Performance is suggested an apprehension of interval between different cultures, as a potentially transformative in-between place, generating new meanings.

O texto versa inicialmente sobre campos, ou o que denomina protocampos da arte contemporânea em um recorte que observa as interações entre arte e tecnologia, arte sonora e performance, para propor questões sobre novos suportes de representação e reterritorialização nas artes, em relação aos conceitos de campos expandidos. Posteriormente discute a escrita sobre arte e a produção de conceitos no campo, para finalmente apresentar duas experiências práticas nas quais tentou-se aplicar ideias de hibridismo pela via dos processos e poéticas. / The text is initially about fields, or what it calls protocampos of contemporary art in a cut that observes the interactions between art and technology, sound art and performance, to propose questions about new supports of representation and reterritorialization in the arts, in relation to the concepts of expanded arts fields. Later he discusses writing about art and the production of concepts in the field, to finally present two practical experiences in which attempts were made to apply ideas of hybridity through processes and poetics.

Esta pesquisa envolveu a realização de um trabalho de arte o conjunto de vídeos intitulado Programa e, paralelamente, de uma reflexão teórica. A reflexão tomou o Programa como objeto, procurando compreendê-lo, mas ela também constituiu instrumento do Programa, conduzindo as formalizações. Ao dedicar-se à investigação da área de Poéticas visuais, às dificuldades da reflexão sistemática sobre uma obra em andamento e às especificidades da fala do artista sobre o próprio trabalho, enunciou, para o trabalho que então se iniciava, as condições do contexto em que ele iria se produzir. Descrevendo um procedimento geral reincidente nos meus trabalhos, a reflexão apontou-lhe um repertório de operações. Ela foi movimento interno do Programa nas considerações sobre o campo que ele elegeu como objeto: as propagandas de televisão, e sobre aqueles que surgiram de modo incidental, como o vídeo. Também o foi na discussão de cada um dos esquetes que foi esboçada antes da finalização do trabalho e orientou algumas últimas decisões. Depois do trabalho pronto, procurou-se rever e aprofundar os conceitos que vinham sendo utilizados, bem como submeter o Programa a uma apreciação mais distanciada. / This research involved the production of an art work the set of videos entitled Programa [Program] and, simultaneously, of a theoretic reflection. The reflection took the work as its object, trying to comprehend it, but it also constituted an instrument of this work, guiding its formalizations. The reflection was initially dedicated to the investigation of the postgraduate concentration area called Visual poetics, as well as to the difficulties of a systematized conceptual apprehension of an ongoing art work and to the specificities of the artists talks about his own work. In this manner it enunciated, for the work that was, then, getting started, the conditions of the context in which it would be produced. Describing a general procedure that was recurrent in the authors recent works, the reflection unveiled, to the new work, a repertoire of operations. The reflection was an internal movement of Programa while considering the field it had elected as its object: TV propaganda. This was also the case while considering those objects that appeared incidentally, such as the video. In the discussion of each one of the sketches discussion that was outlined before the videos were finished the reflection was also an internal movement as it oriented the last decisions. After the art work was finished, an attempt was made to review and deepen the concepts that had been used, as well as to submit Programa to a more distanced appreciation.

Este trabalho aborda processos de produção de obras de arte, partindo de uma investigação sobre a paisagem e suas manifestações no cotidiano. Sob forma de manual, reúne procedimentos e conceitos que auxiliam na produção de trabalhos de arte contemporânea, tais como instruções ilustradas e um glossário de termos e fundamentos importantes para a discussão sobre o tema. Apresenta reflexões sobre a paisagem que abrangem desde sua constituição como fenômeno moderno até os processos de reificação e dissolução no cotidiano, pelos quais passa na contemporaneidade. / This work approaches processes of artworks production, starting from an investigation on the landscape and its manifestations in everyday life. In the form of manual it brings together concepts and procedures that assist in the production of contemporary art works, such as illustrated instructions and a glossary of terms and important theoretical foundations for the discussion on the topic. It presents reflections on the landscape which ranges from its establishment as a modern phenomenon to the reification processes and dissolution in everyday life, through which passes in contemporaneousness.

This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism. Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun.

This study explores relationships between second language acquisition (SLA), poetic language, and embodied cognition and its connection to second language speakers’ linguistic self-formation, or their distinct ways of speaking and thinking. In particular, this study examines processes by which second language (L2) learners’ subjective realities are constructed and demonstrates that these processes are inherently poetic, emerging from a combination of the constraining structures of the language system and second language speakers’ phenomenological experiences. The context of the study is a poetry-making activity the researcher designed and took place in the English Department Writing Center at California State University, San Bernardino. Data was collected from a total of four participants through video and audio recordings of the poetry-making activities. Data analysis incorporated multimodal methods associated with conversation analysis and intertextuality. Findings demonstrate that poetic features the L2 participants deploy are crucial to their sense-making and linguistic self-formation. The author encourages readers to consider the importance of creativity and self-expression in second language learning as it occurs in social activity.

In this article I explore the work of Lorine Niedecker, a poet not conventionally associated with disability studies, in order to flesh out an account of the function of visual disability in midcentury poetics and praxis. To do this I read Niedecker’s formative sequence “For Paul,” the late long poem “Wintergreen Ridge,” and other poems, through deformative practices in the belief that such an engagement shows how Niedecker’s hybrid objectivist praxis can be integrated with critical models of disability studies. Such an integration is then bodied forth in what I’m calling a “nystagmic poetics.” In such a poetics, the physical eye unseats ableist models of untroubled optical agency, such as those found in imagist and objectivist poetry, and extends the relevance of its revised understanding of visual modality to all bodies. Thus nystagmic poetics responds to the call to substantially address the fact of disability and to consider whether a more fully imagined poetics of partial sight is a productive critical lens for thinking about literature.