Made available in DSpace on 2016-04-28T19:58:53Z (GMT). No. of bitstreams: 1 Elcio Silva Nunes Basilio.pdf: 2097768 bytes, checksum: 840ae3c4e307535749c1f674b010ad98 (MD5) Previous issue date: 2014-09-17 / The present research is a comparative study between the novel Lavoura arcaica, by Raduan Nassar, and the homonym film, as well as the observation of the process of intersemiotic translation between literature and cinema. It also aims to establish the relation of poetical expressivity and the representation of love. The analyses is organized in three chapters, starting with the investigation of the evolution of the concept of poetics in literature and the way it is presented in the novel. In the second chapter, the study of love expression is associated with poetry, trying to show how both love and poetry surpass a relation of form and content. By the end, the third chapter consists in the analyses of the audiovisual recreation of the novel, making parallels between the artistic possibilities of both types of language. The theory of poetic was based on authors such as Aristotle, Jakobson, Shklovsky, Valéry and Octavio Paz. The last one, along with Roland Barthes, Georges Bataille, Denis de Rougemont and Plato, guided the parallel traced between love and poetry. André Bazin and Luis Buñuel brought the essential concepts to the cinematographic theory and furthermore in the idea of cinema of poetry: Pier Paolo Pasolini and Andrei Tarkovsky had their writings more cautiously explored. Leyla Perrone-Moisés and Ismail Xavier, for their respective studies about the work of Raduan Nassar and Luiz Fernando Caravalho, were two critic that guided our interpretation / O presente trabalho é um estudo comparado entre o romance Lavoura Arcaica, de Raduan Nassar, e o filme homônimo de Luiz Fernando Carvalho, e a observação do processo de tradução intersemiótica entre literatura e cinema. Busca também relacionar a expressividade poética com a representação do sentimento amoroso. A análise se faz ao longo de três capítulos, começando pela investigação da evolução do conceito de poética dentro da literatura e sua forma de evidenciação no romance. No segundo capítulo, o estudo da expressão amorosa é relacionado ao da poesia, intentando-se demonstrar em que medida amor e poesia ultrapassam uma relação meramente de forma e conteúdo. Por fim, o terceiro capítulo consiste na análise da recriação audiovisual do romance, traçando paralelos entre as possibilidades artísticas dos dois tipos de linguagem. A reflexão teórica sobre poética tomou por base autores como Aristóteles, Jakobson, Chklovski, Valéry e Octavio Paz. Este último, ao lado de Roland Barthes, Georges Bataille, Denis de Rougemont e Platão, orientou a relação traçada entre amor e poesia. André Bazin e Luis Buñuel trouxeram os conceitos básicos no que concerne à teoria cinematográfica, e mais a fundo na ideia de cinema de poesia: Pier Paolo Pasolini e Andrei Tarkovski foram cineastas que tiveram seus escritos remetidos. Leyla Perrone-Moisés e Ismail Xavier, por suas respectivas análises da obra de Raduan Nassar e Luiz Fernando Carvalho, são os críticos que guiaram a leitura desta dissertação a respeito do livro e do filme

La crítica de arte escrita por el poeta, narrador y ensayista José Lezama Lima proporciona una triple perspectiva. Observa tanto en los ensayos compilados en La visualidad infinita, como en los artículos de la revista Orígenes el diálogo entre las corrientes artísticas internacionales y una pintura vanguardista cubana, reflexiona sobre elementos propios de la labor plástica y teje un continuo contrapunto entre la poesía y la pintura. Este encuentro entre los dos quehaceres artísticos, donde la imagen juega un rol fundamental, desdoblándose en el par imago visible-pictórica e imago invisible-poética, es el eje desde el cual pueden pensarse los planteamientos críticos de este autor sobre ambas manifestaciones estéticas, el pintor René Portocarrero y los procedimientos y técnicas de la composición pictórica. Si la crítica de arte hace parte de una poética lezamiana, un análisis acerca del modo de esta continuidad se constituye en el centro del presente proyecto de investigación. Nuestro propósito es analizar la percepción de la historia en estas dos artes, la prolongación entre los elementos del sistema poético y las propuestas acerca de la pintura en los dos ensayos extensos Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX y Homenaje a René Portocarrero. Como se trata de un estudio que parte de la literatura hacia las artes visuales, nos interesa el modo (o las operaciones) en los que desde el discurso de este escritor se asume el texto pictórico, la obra plástica. De esta manera, incursionamos en los planteos de disciplinas como la ecfrasis o en el desarrollo histórico de la frase horaciana Ut pictura poesis, una reflexión que evidencia la antigüedad del lazo entre ambas disciplinas estéticas e, igualmente, demuestra su actualidad, ya que en las dos últimas décadas asistimos a la multiplicación de estudios dedicados a este vínculo tanto en el ámbito anglosajón como en algunos sectores de la crítica literaria en lengua española / The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes in the essays collected in La visualidad infinita as well as in the articles of the journal Orígenes the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works and weaves a continuous counterpoint between poetry and painting. This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama´s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research. Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX and Homenaje a René Portocarrero. As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writers discourse, the pictorial text, plastic work is assumed. In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence Ut pictura poesis, a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we have seen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language

Para se descobrir uma poética do Cancioneiro Geral de Garcia de Resende é necessário que se analise a Compilação não somente pelo seu conteúdo, mas principalmente pela sua forma, constituída de ritmo, de rima e de métrica, e, sobretudo, de estruturas estróficas e de recursos retóricos. Esta Tese propõe definir uma ars poetica implícita na Compilação levada a cabo por Garcia de Resende, que, de 1449 a 1516, reuniu poemas, registrando neles uma época denominada Pré-Renascimento. Através de seis grupos de formas a balada, o vilancete, a esparsa, a trova, a cantiga e os poemas de formas mistas, uma inovação do Compêndio e através do estudo dos artifícios retóricos empregados pelos poetas palacianos, é possível vislumbrar uma poética que não foi proposta por Resende em seu Prólogo, diferentemente do que ocorreu com os cancioneiros castelhanos da mesma época. No entanto, através dos paradigmas encontrados no que se pode denominar amor pela forma daqueles poetas, e através dos gêneros cultivados por eles, percebe-se, também, uma poética no Cancioneiro resendiano. / In order to find out a poetics of Garcia de Resendes Cancioneiro Geral it is necessary to analyze the songbook not only through its content, but mainly through its form, constituted of rhythm, rhyme, metric and, above all, its stanza structure and rhetoric recourses. The purpose of this thesis is to define an implicit ars poetica of the compilation organized by Garcia de Resende, who collected poems from 1449 to 1516, registering in it an age called pre-Renaissance. Through six groups of forms ballads, vilancetes, esparsas, trovas, cantigas and poems of mixed forms, an innovation of the compendium and through the study of rhetoric artifices employed by the court poets, it is possible to catch a glimpse of a non proposed poetics by Resende in his Prologue, unlike what occurred with the Castilian cancioneros of the same epoch. However, through the paradigms found in what could be called love of the form by those poets, and through the genders they cultivated, it is possible to realize a poetics that characterizes Resendes songbook.

This thesis establishes a phenomenology of desire in Anne Carson’s novel-in-verse Autobiography of Red. It examines how desire constructs the self in the text and how it positions it in relation to its surrounding world. The self’s status in the text is read through Gilles Deleuze and Felix Guattari’s understanding of desire and their concepts becoming and deterritorialisation as explicated in Anti-Oedipus and A Thousand Plateaus. These concepts are used to map the transformative power of desire in Autobiography of Red and provide an approach through which to understand the tenuous nature of self in the text. It reveals desire not as located solely in the relation between the text’s protagonist Geryon and Herakles, but as a movement that animates and constructs the text. It reads the “red” of the title, the presence of the volcano, of lava, as essential to the text, mapping how the force of desire positions the self and undoes the notion of a phenomenal “background”. Deleuzian desire has linguistic implications and the thesis further extends the use of becoming and deterritorialisation to understand Carson’s poetics and the text as the site that gives rise to a phenomenology of desire. The text is deterritorialised and Carson articulates a way of relaying experience beyond the representative mode. The thesis offers a reading of Autobiography of Red with a Deleuzian theory of desire, which is a new approach in Carson scholarship. As such it hopes to open up both the poetic text and theoretic text to new understandings and create points of departure for further research.

Este ensaio estuda a invenção retórico-poética do poema épico Vila Rica, lido como uma composição que emula o costume da escrita das epopéias gregas, latinas e modernas, especialmente a Farsália de Lucano e a Henriade de Voltaire, atualizando, pelo intermédio do pensamento das preceptivas de Francisco José Freire, filtradas pela postura crítica de Voltaire, que deprecia a importância de muitas regras convenientes ao decoro do gênero épico. A epopéia de Cláudio Manuel da Costa é entendida como um exercício prático de poesia, orientado para o ensinamento da instrução moral e para a admiração do deleite poético, retratadas na atitude ideal do chefe militar português de uma encenação da história da pacificação das terras mineiras, produzindo uma gênese mítica heróica para a pátria mineira, buscando a perpetuação da memória na posteridade, seguindo o exemplo da poesia épica retratada no mundo hispano-colonial, no chamado Siglo de oro, que encena a descoberta e a pacificação das colônias pelos europeus, aplicando um estilo sublime na reinvenção de uma ação entendida como heróica. Ao realizar este movimento, permanecendo inédito por muito tempo, e pouco divulgado por séculos, o poema Vila Rica agrega uma fortuna crítica que se divide entre a apologia e o vitupério do texto, que representa o topos do utópico, na medida em que a paisagem retratada difere evidentemente daquela encontrada na Arcádia e nas margens do rio Mondego, mais adequadas à figuração do exemplar locus amoenus, da poesia idílica de Teócrito. Ao mesmo tempo, realiza a mitificação da história pela superposição de diversos fatos históricos, apresentados no Fundamento Histórico, encenados como tópicos da morte e do amor, orientando e evidenciando o caráter de valorização da glória dos feitos dos representados do reino português num herói portador da perfecta eloquentia, contra um suposto domínio da lei natural pelos nativos do Estado do Brasil, reinventando a história na agregação de uma glória poética a ser reconhecida ou inventada numa sociedade hierárquica que encena a si mesma num teatro de imagens e discursos. Exclui-se a subjetividade de um sujeito em conflito consigo próprio pela melancolia da paisagem rochosa, buscando-se a glória, além da tradição, demonstrando a honra da moral católica da sociedade colonial luso-brasileira no empenho da elucidação da história. / This essay studies the rhetorical-poetical invention of the epic poem Vila Rica, read as a composition that emulates the written custom of the greek, latim and modern epics, especially the Pharsalia of Lucan and the Henriade of Voltaire, bringing up to date, by the intermediacy of the thought of Francisco José Freire\'s precepts, filtered by the critical position of Voltaire, that depreciates the importance of many convenient rules to the decorum on the epic genus. The epic of Cláudio Manuel da Costa is understood as a practical exercise of poetry, guided by the teaching of a moral instruction and in favor of the admiration of a poetical delight, portrayed in the ideal attitude of the Portuguese military head as a representation of the mining lands pacification\'s history, producing a mythical heroic source for the mining country, searching the upholding of the memory in the posterity, following the example of the epic poetry portrayed in the Hispanic-colonial world, in the so called Siglo de oro, that represents the discovery and the pacification of colonies by Europeans, applying a sublime style in the re-invention of an action understood as heroic. When carrying through this movement, remaining unknown for a long time, and little divulged for centuries, the poem Vila Rica supports a critical history that is divided between praise and vituperation of the text, which represents the topos of utopian, taking into account that the portrayed landscape differs evidently from that one joined in the Arcadia and in the edges of the Mondego river, adjusted to the picture of the pattern locus amoenus, of the idyllic poetry of Theocritus. At the same time, it carries through turning the History into a myth, by the overlapping of various historical events, presented in the Fundamento Histórico, figured as topics of the death and of love, guiding and evidencing the estimation\'s character on the glory of the Portuguese kingdom\'s representatives\' actions in a hero carrying a perfecta eloquentia, against a belief in the natural law\'s domain on the State of Brazil\'s natives, re-inventing History in the aggregation of a recognized poetical glory, or to be invented in a hierarchic society that stages itself in a theater of images and speeches. It is abstained the subjectivity of a being in conflict with himself caused by the melancholy of the rocky landscape, searching the glory, further than tradition, demonstrating the moralistic catholic\'s honor in the Portuguese-Brazilian colonial\'s society, persistencing in the explanation of History.

Que potencialidade ainda mantém a poesia concreta? O que pode permitir que essa poética continue intervindo no presente? Restabelecendo o vínculo com as tendências construtivas que surgem no Brasil da metade do século XX e tomando a poesia concreta como referência multidimensional, evidenciamos alguns conflitos inscritos nas políticas estéticas e no seu projeto político para propor outra genealogia que não se baseia somente na sua análise formal, mas que busca entender como essa estética radical penetra no social, na rua, no cotidiano, nos meios de comunicação e reverbera nas redes artísticas alternativas. Indicamos também algumas discussões que tentaram constituir e delimitar a poesia concreta, contrapostas às suas derivas, que subvertem definições e enquadres temporais designados pela historiografia literária. Assim, a primeira parte apresenta um panorama macropolítico no qual esta e outras produções se inscrevem para, nos capítulos seguintes, apontar formas de resistência micropolíticas. / What potentiality still remains concrete poetry? What can allow it to continue to intervene in the present? By re-establishing their link with constructive art tendencies emerged in Brazil since 1950s, and taking concrete poetry as a multidimensional experience, we expose some of the conflicts inscribed in the politics of aesthetics of concrete poetry political project to put forward a different genealogy which is not based on its formal analysis only. Rather, how those radical aesthetics pervades the social structure, the public sphere, the common and the mass communication medium, echoing through the alternative artistic networks. We also point out some discussions that have been attempting to constitute or demarcate concrete poetry in an opposite way of its motives that subvert definitions and bring down the temporal frame of literary historiography. In this way, the first section proposes a macro-political panorama of this poetry production, in the following sections, some different ways of micropolitical resistance are emphasized.

O objetivo deste trabalho, num primeiro momento, foi extrair das 65 cartas que João Guimarães Rosa remeteu à sua tradutora para o inglês, Harriet de Onís, durante a tradução de Sagarana, as linhas gerais que configuram sua poética. Um breve panorama da gênese e da recepção deste livro, seguidos pelos comentários às mencionadas cartas, abriu nossa pesquisa. Depois disso realizamos uma análise do conto Conversa de bois, oitava narrativa de Sagarana, enriquecida pelas declarações do escritor na referida correspondência em torno do seu processo de criação. Para complementar a análise e esclarecer certas questões relativas à técnica compositiva do autor não tratadas especificamente em sua poética, recorremos a alguns conceitos-chave de pensadores de diferentes tradições que, embora desenvolvidos em épocas distintas, encontram seu lugar nesse estudo do universo heteróclito criado por JGR. Uma atenção especial foi dada ao Formalismo Russo (Roman Jakobson (1896-1982), Viktor Chklóvski (1896- 1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) cujos preceitos muitos deles em consonância com a poética rosiana foram uma referência válida para a metodologia de nossa análise. / The first, aim of this work was to draw the general lines that establish João Guimarães Rosas poetics from the 65 letters the author sent to his translator Harriet de Onís, during her English translation of Sagarana whose brief genetic and receptive panorama, together with Rosas epistolary remarks, open our research. After that, we performed an analysis of the short story Conversa de bois, Sagaranas eighth narrative, taking into consideration the mentioned writers informations about his creative process. To enlighten the analysis and clarify certain questions related to the author´s compositional technique, we made use of some key-concepts of thinkers from different traditions, which, in spite of belonging to different periods, found their place in this work about the heteroclite universe created by JGR. A special attention was given to Russian Formalism (Roman Jakobson (1896-1982), Viktor Chklóvski (1896-1984), Iuri Tyniánov (1894-1943) e Ossip Brik (1888-1945)) whose precepts many of them in consonance with Rosas poetics were a valid reference for the methodology of our analysis.

La crítica de arte escrita por el poeta, narrador y ensayista José Lezama Lima proporciona una triple perspectiva. Observa tanto en los ensayos compilados en La visualidad infinita, como en los artículos de la revista Orígenes el diálogo entre las corrientes artísticas internacionales y una pintura vanguardista cubana, reflexiona sobre elementos propios de la labor plástica y teje un continuo contrapunto entre la poesía y la pintura. Este encuentro entre los dos quehaceres artísticos, donde la imagen juega un rol fundamental, desdoblándose en el par imago visible-pictórica e imago invisible-poética, es el eje desde el cual pueden pensarse los planteamientos críticos de este autor sobre ambas manifestaciones estéticas, el pintor René Portocarrero y los procedimientos y técnicas de la composición pictórica. Si la crítica de arte hace parte de una poética lezamiana, un análisis acerca del modo de esta continuidad se constituye en el centro del presente proyecto de investigación. Nuestro propósito es analizar la percepción de la historia en estas dos artes, la prolongación entre los elementos del sistema poético y las propuestas acerca de la pintura en los dos ensayos extensos Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX y Homenaje a René Portocarrero. Como se trata de un estudio que parte de la literatura hacia las artes visuales, nos interesa el modo (o las operaciones) en los que desde el discurso de este escritor se asume el texto pictórico, la obra plástica. De esta manera, incursionamos en los planteos de disciplinas como la ecfrasis o en el desarrollo histórico de la frase horaciana Ut pictura poesis, una reflexión que evidencia la antigüedad del lazo entre ambas disciplinas estéticas e, igualmente, demuestra su actualidad, ya que en las dos últimas décadas asistimos a la multiplicación de estudios dedicados a este vínculo tanto en el ámbito anglosajón como en algunos sectores de la crítica literaria en lengua española / The writings about art criticism from the poet, narrator an essayist José Lezama Lima provides a triple perspective. Observes in the essays collected in La visualidad infinita as well as in the articles of the journal Orígenes the dialogue between the international artistic movements and an avant-garde Cuban painting, reflects on elements pertaining to plastic works and weaves a continuous counterpoint between poetry and painting. This encounter of the two artistic endeavors, where image plays a fundamental role, unfolding in the pair imago visible-pictorial and imago invisible-poetic, is the axis from which one can understand the Lezama´s critical proposals about the history of both aesthetic manifestations, the painter René Portocarrero and the methods and techniques of the pictorial composition. If art criticism is part of a lezamian poetic, an analysis regarding the character of this continuity constitutes the center of this research. Our objective is to analyze the historic perception in these two arts, the continuation between the elements of the poetic system and the approaches about painting in the two extensive essays Paralelos. La pintura y la poesía en Cuba en los siglos XVIII y XIX and Homenaje a René Portocarrero. As it pertains to a study that begins in literature and moves to visual arts, we have interest in the mode (or procedures) in which from this writers discourse, the pictorial text, plastic work is assumed. In this way, we make an incursion into the disciplines posed, like ekphrasis or in the historic development of the horatian sentence Ut pictura poesis, a reflection that demonstrates equally the antiquity of the tie between both disciplines as well as its topicality, since in the past two decades we have seen the proliferation of studies dedicated to this bond not only in the English speaking world, but also in some areas of the literary criticism in Spanish language

Ce travail étudie l’écriture de l’histoire et de la fiction mythologique à la Renaissance, à partir du mythe des origines troyennes des Français. Notre corpus est centré sur les Illustrations de Gaule et singularitez de Troye (1511-1513) de Lemaire de Belges, fresque généalogique qui comprend en son cœur le récit mythologique des amours de Pâris et de la guerre de Troie, que nous avons replacé dans un vaste réseau intertextuel comprenant notamment les œuvres de Bouchet, Thenaud, Helisenne de Crenne et Ronsard. La singularité des Illustrations en fait un observatoire privilégié des relations entre l’histoire et la fiction poétique à la Renaissance, permettant d’analyser les différents degrés d’intégration de la fable dans un discours de nature historiographique, sur les plans poétique, rhétorique et stylistique. Nous avons d’une part retracé l’histoire du mythe troyen entre la fin du Moyen Âge et la fin de la Renaissance, de façon à mesurer le renouvellement auquel a procédé Lemaire et l’influence que son œuvre a exercée au XVIe siècle ; nous avons d’autre part analysé le traitement différencié qu’il réserve à la mythologie à l’intérieur de l’œuvre, montrant que le mythe y est à la fois l’objet d’une quête des origines et un récit vraisemblable qui tend vers la fable ; enfin, étudiant les évolutions rhétoriques et stylistiques entre les différentes parties, nous avons mis en évidence la tension entre l’exigence de propriété du discours historiographique et l’élaboration d’une prose « poétique » nouvelle, haute en « couleurs de rhétorique » et en partie artificielle. L’œuvre nous donne ainsi accès à l’imaginaire historique et poétique de la Renaissance. / This dissertation studies historical writing and mythological fiction in the Renaissance, taking its starting point in the myth of the Trojan origins of the Franks. Although centered upon Lemaire de Belges’s Illustrations de Gaule et singularitez de Troye (1511-1513), a grand genealogical fresco containing the legendary narratives of the loves of Pâris and of the Trojan War, the corpus extends to a vast intertextual network that includes the works of Bouchet, Thenaud, Helisenne de Crenne, and Ronsard. The uniqueness of the Illustrations is such that it allows us to observe and analyze with conspicuous acuity the interactions, at the time of the Renaissance, between history and poetic fiction. In particular, it enables us to measure the extent to which fiction may be merged with historical narrative, and to articulate the distinctive features of the two writing styles from poetic, rhetorical, and stylistic points of view. On the one hand, we consider the history of the Trojan myth from the Middle Ages to the end of the Renaissance. On the other, we analyze the special treatment reserved for mythology within the work, showing that the Trojan myth is both a quest in search of the true origins of a people and a plausible narrative embellished in highly imaginative prose. Finally, observing the differences among the various parts of the work, we shed light on the tension between a neutral and matter-of-fact style of the sort required by historical writing and a newly invented “poetic prose” enriched with rhetorical devices and freshly crafted expressions. The Illustrations is thus seen to open an exceptional window upon the historical and poetic worlds of the Renaissance.

Axios é a seqüência de xilogravuras produzidas em suporte de mdf com uma única goiva em V que pretende ampliar a reflexão a respeito do corpo humano como temática expressiva, incluindo imagens gravadas e a reflexão teórica a respeito desse processo e a criação do sentido, reconstruindo parte daquilo que o artista precisa dizer a si mesmo para iniciar a aventura de manifestações poéticas por intermédio do diálogo entre a gravura e o observante. / Axios is a sequence of xylographs produced on mdf support with only one V-form gouge; through which we mean to expand the reflection about the human body as an expressive theme, and which includes engraved images and theoretical reflection concerning this process as well as the creation of meaning process; reconstructing, through the dialogue between the engraving and the observer, part of that which the artist needs to say to himself to begin the adventure of poetic manifestation.