Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Trajetória do grupo de literatura Totem, que se formou na cidade mineira de Cataguases e, no período dos anos de 1960 a 80, projetou sua obra no seu estado, atingiu muitas regiões do país e chegou ao exterior, por meio da edição de jornais, cartões-poemas, revistas e livros, bem como através de volumosa correspondência. Sua contribuição, principalmente na área da poesia experimental e da abertura para outros grupos, procurou sempre a pesquisa e a reformulação da linguagem poética. Buscou-se aqui o registro da experiência de uma equipe de jovens poetas, da qual participou o autor desta dissertação, e que, a partir de uma cidade do interior de Minas Gerais, conseguiu se situar bem no meio desse caldeirão de idéias que teve início na década de 60. / The trajectory of Totem literature group, formed in Cataguases, a small town located in Minas Gerais, Brazil. From the 1960s to the 1980s, Totem circulated its work in this State, reached a lot of parts of the country and abroad, through newspapers issues, poem-cards, magazines and books, as well as a great amount of correspondence. Its contribution, specially in the area of experimental poetry and the opening of other groups, Totem was always focused in poetry language reformulation and research. This paper aimed to record the experience of a group of young poets to which the author of this thesis belonged, describing how from that small town in Minas Gerais that group succeeded in including itself among the other groups and ideas of the early 1960s.

Made available in DSpace on 2014-12-17T15:08:34Z (GMT). No. of bitstreams: 1 RenatoMC_DISSERT.pdf: 3451650 bytes, checksum: ef8851a3986204d90a935d71c8b0fbbd (MD5) Previous issue date: 2013-05-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The development of digital technologies has opened up a new niche for artistic production. It began to emerge artworks that could only happen in the digital context. In this study, we investigated the syntax of defining digital poetry, recognized internationally as one of the possibilities of this new artistic practice, and how happens the meaning during the reading process. As research corpus, we chose the poem "Birds Still Warm From Flying", by american poet Jason Nelson. And we structure our analysis looking through three perspectives: the digital poem as a game; as the evolution of experimental trends of twentieth-century poetry; and as a representation of Rubik`s Cube, a famous three-dimensional puzzle from the 1970`s. Initially, we made some considerations about the construction of digital poetry as a hypermedia artwork, looking through convergence and hybridization of artistic and media languages. Then, we saw some similarities between Nelson`s poem and electronic games, based on our critical observations about the concept of interactivity. Subsequently, we wrote a historical overview about the poetic experimentation in the twentieth century, bringing examples of sound poetry and visual poetry as evidence that the birth of digital poetry is also the result of the evolution of these experiments. Finally, we use the Charles Sanders Peirce`s semiotics to analyze the signs that give references able to make us recognize the Rubik`s Cube in "Birds Still Warm From Flying" / Com o desenvolvimento das tecnologias digitais, inaugurou-se um novo nicho para a produ??o art?stica, quando come?aram a surgir obras que s? poderiam ser realizadas no contexto digital. Neste trabalho, investigamos a sintaxe definidora da poesia digital, reconhecida internacionalmente como uma das possibilidades desse novo fazer art?stico, e o modo como se d? a produ??o de sentido durante o processo de leitura. Como corpus de pesquisa, escolhemos o poema Birds Still Warm From Flying , do poeta digital americano Jason Nelson e estruturamos nossa an?lise sob tr?s perspectivas: o poema digital enquanto jogo; enquanto evolu??o de tend?ncias experimentais da poesia do s?culo XX; e enquanto representa??o do Cubo de Rubik, quebra-cabe?a tridimensional conhecido tamb?m como cubo m?gico. De in?cio, foram feitas considera??es a respeito da forma??o da poesia digital enquanto obra de arte em hiperm?dia, a partir da converg?ncia e hibrida??o de linguagens art?sticas e midi?ticas. Em seguida, tecemos semelhan?as entre o poema de Nelson e os jogos eletr?nicos, principalmente com base em observa??es cr?ticas sobre o conceito de interatividade. Posteriormente, realizamos um panorama hist?rico sobre a experimenta??o po?tica no s?culo XX, trazendo exemplos da poesia sonora e da poesia visual como evid?ncias de que o nascimento da poesia digital tamb?m ? fruto da evolu??o desses experimentos. Por ?ltimo, utilizamos a semi?tica de Charles Sanders Peirce para analisar os signos que d?o refer?ncias capazes de nos fazer reconhecer o Cubo de Rubik em Birds Still Warm From Flying

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Trajetória do grupo de literatura Totem, que se formou na cidade mineira de Cataguases e, no período dos anos de 1960 a 80, projetou sua obra no seu estado, atingiu muitas regiões do país e chegou ao exterior, por meio da edição de jornais, cartões-poemas, revistas e livros, bem como através de volumosa correspondência. Sua contribuição, principalmente na área da poesia experimental e da abertura para outros grupos, procurou sempre a pesquisa e a reformulação da linguagem poética. Buscou-se aqui o registro da experiência de uma equipe de jovens poetas, da qual participou o autor desta dissertação, e que, a partir de uma cidade do interior de Minas Gerais, conseguiu se situar bem no meio desse caldeirão de idéias que teve início na década de 60. / The trajectory of Totem literature group, formed in Cataguases, a small town located in Minas Gerais, Brazil. From the 1960s to the 1980s, Totem circulated its work in this State, reached a lot of parts of the country and abroad, through newspapers issues, poem-cards, magazines and books, as well as a great amount of correspondence. Its contribution, specially in the area of experimental poetry and the opening of other groups, Totem was always focused in poetry language reformulation and research. This paper aimed to record the experience of a group of young poets to which the author of this thesis belonged, describing how from that small town in Minas Gerais that group succeeded in including itself among the other groups and ideas of the early 1960s.

Réputée pour son obscurité, la poésie de Friederike Mayröcker n’est cependant pas hermétique. Bien au contraire, la poétesse développe une œuvre ouverte d’une extrême densité,multipliant les possibilités d’interprétation. Elle réalise une écriture du dialogue, fondée sur l’alliance de tendances opposées ainsi que sur l’intertextualité et l’intermédialité, créant des textes en mouvement. L’étude des poèmes rédigés entre 1939 à 2003, au cœur de ce travail, révèle alors successivement toute l’importance de l’union entre l’inspiration et le calcul, le rêve et le montage,l’autobiographie et la poétique, voire la poétologie, la poésie de la nature et la poésie engagée,enfin la littérature, les arts et la musique. Quête du « texte total », ancrée dans la modernité par rapport à laquelle elle se situe, la poésie de Friederike Mayröcker tente de rendre son autonomie à la langue sans renoncer pour autant à toute forme de lyrisme. Ainsi se distingue-t-elle des productions du Groupe de Vienne, auxquelles on l’associe néanmoins fréquemment, et occupe une place si particulière dans le paysage littéraire germanophone de la deuxième moitié du XXe siècle. / Renowned for its obscurity, Friederike Mayröcker’s poetry ishowever not abstruse. On the contrary, the poetess develops an open work, extremely dense, whichmultiplies the interpretative possibilities. She elaborates a dialogical writing, based on thecombination of contraries as well as on intertextuality and intermediality, creating texts that areconstantly on the move. The poems that are the heart of this study, written between 1939 and2003, show therefore the great importance of the union, respectively, between inspiration andcalculation, dream and montage, autobiography and poetic, indeed poetology, nature poetry andmilitant poetry, finally literature, art and music. In search for the « total text », a search rooted inthe modernity vis-à-vis which it positions itself, Friederike Mayröcker’s poetry tries to liberatelanguage without renouncing all lyrical form. In this it distinguishes itself from the works of theVienna Group, to which it has been nevertheless frequently associated, and hence takes a quietparticular place in the German-speaking literary scene of the second half of the twentieth century.

Made available in DSpace on 2016-04-26T18:15:23Z (GMT). No. of bitstreams: 1 Pablo Souza de Villavicencio.pdf: 4929271 bytes, checksum: 19e7a39f44cb5c6dac1e2f1e61ed0f5a (MD5) Previous issue date: 2015-12-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This doctoral thesis analyses the contemporary audiovisual trend called cinema installation. It examines a few projects dealing with the relationship between space, audiovisual and spectator (interactor) that make up artistic environments. Equally, it emphasises the building of a space in body movements and interactors gestures, such as the audiovisual temporality and interactivity, focusing on man-machine interface. Cinema installations can include: a) the "multi-screen cinema", invented by Abel Gance, with the film Napoleon (1927); b) immersive environments, e.g., Stan Vandereek s Movie-drome (1963-65), c) immersing and interactive environments, e.g., Jeffrey Shaw s Place Ruhr (2000). Some concepts discussed in this study are: the database as a particuliar cultural form of digital media, the spatial editing, replacing sequential editing from traditional cinema (Manovich); the transcinema (Maciel) and the on-going cinema (Parente). Claire Bishop s art installation; Katja Kwastek s aesthetics of interactivity in digital art,; and Frank Popper s artistic environments and aesthetic-technological logic are also investigated. During the archaeological reading path of cinema installation the origins of immersive environments are considered from a Virtual Art perspective (Grau).The method comprises: a) literature review of texts that discuss poetical forms in interactive audiovisual environments; b) critical discussion of networking concepts that help elaborating the definition of cinema installation; c) research, selection and mapping of works, according to the proposed mapping poetry of Lucia Leão; d) analysis of selected works. The results achieved through the research were: critical reading of the concepts and proposals related to the language of audiovisual and interactive installations, and of expanded cinema (Youngblood); developing a concept of cinema installation; cartography of experimental projects named as cinema installation poetry ; analysis of projects; and finally / A presente tese de doutorado propõe e analisa uma tendência audiovisual contemporânea que denominamos: cineinstalação. Analisamos projetos que problematizam as relações entre espaço, audiovisual e espectador (interator), que compõem os ambientes artísticos. Privilegiamos as construções do espaço nos deslocamentos corporais e na gestualidade dos interatores, tal como, as temporalidades do audiovisual e a interatividade, enfocando a relação humano-máquina. As cineinstalações compreendem: a) o cinema multitelas, inventado por Abel Gance, no filme Napoleão (1927); b) os ambientes imersivos, por exemplo, o Movie-drome (1963-65), de Stan VanDerBeek; c) ambientes imersivos e interativos, por exemplo, Place Ruhr (2000), de Jeffrey Shaw. Alguns conceitos discutidos na tese são: o banco de dados como forma cultural característica das mídias digitais; a montagem espacial, que substitui o modo sequencial de montagem do cinema tradicional (Manovich); os transcinemas (Maciel) e o cinema em trânsito (Parente); a arte da instalação de Claire Bishop; a estética da interatividade na arte digital, de Katja Kwastek; e os ambientes artísticos e a lógica estético-tecnológica, de Frank Popper. E no trajeto de leitura arqueológica das cineinstalações, buscamos as origens dos ambientes imersivos, a partir da ideia de Arte Virtual (Grau). A metodologia compreende: a) revisão bibliográfica de textos que discutem as poéticas em ambientes audiovisuais interativos; b) discussão crítica da rede de conceitos que estão em diálogo para a formulação do conceito de cineinstalação; c) pesquisa, seleção e mapeamento de obras, segundo a proposta de cartografia de poéticas de Lucia Leão; d) análise de obras selecionadas. Os resultados alcançados em nossa pesquisa foram: leitura crítica dos conceitos e propostas relacionadas com a linguagem das instalações audiovisuais e interativas, e do cinema expandido (Youngblood); a construção do conceito de cineinstalação; cartografia de projetos experimentais que denominamos como poéticas da cineinstalação; análise dos projetos

[pt] Este trabalho analisa a evidência da voz na poesia (seus usos e sua expressão) através de um conjunto de apresentações realizadas pela Subcena, um evento mensal de poesia e performance, ativo por dois anos consecutivos (2017-2019) e sediado no estúdio Audio Rebel, Rio de Janeiro. Essas performances estavam principalmente voltadas para experimentações sonoras, emissões de uma poesia vibracional, em que a construção do poema se faz junto à percepção do entorno. As situações evidenciaram o ato de poesia como uma leitura/invenção de si, em que corpo, voz, som e cidade estão inseridos no sentido do poema e passam a se reconfigurar em torno dele. É a partir de dinâmicas ficcionais operantes que a voz toma para si a estrutura do texto e, ao mesmo tempo, oferece sua sonoridade natural e/ou artificializada. Nesse jogo entre cena e encontro, o poema é uma comunhão que, presente de corpo a corpo, torna-se acionamento de um fluxo criativo decorrente do convívio. / [en] This dissertation analyzes the evidence of the voice in Brazilian poetry (uses and expressions) through a set of presentations made by Subcena, a monthly event of poetry and performance, active for two consecutive years (2017-2019) and hosted at Audio Rebel studio, Rio de Janeiro. These performances were mainly aimed at sound experimentation, emissions of vibrational poetry, in which the construction of the poem is done together with the perception of the environment. The situations evidenced the act of poetry as a reading/invention of the self, in which body, voice, sound, and city are inserted in the sense of the poem and reconfigure themselves around it. The voice based on fictional dynamics takes upon itself the structure of the text and, at the same time, offers its natural and/or artificialized sound. In this game between scene and meeting, the poem is a communion that, present from body to body, becomes the activation of a creative flow resulting from coexistence.

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison. / This dissertation proposes the emergence of a poetry of the threshold in experimental literature, tracing its development from the mid-twentieth century to the early twenty-first century. The notion of threshold poetry is premised on a theory of the neutral (Barthes, Blanchot) as that which is located beyond or between opposition or mediates. Chapter One retraces the concept of monotony in aesthetic theory, from the Romantic period, where it figures as the antithesis to changefulness or poetic tension, to the emergence of conceptual art in the twentieth century. Chapter One further examines the relationship of monotony to melancholy through an analysis of “The Anatomy of Monotony” by Wallace Stevens and alphabet by Inger Christensen. Chapter Two proposes a ‘poetry of the threshold’ through an analysis of four works of experimental, paratextually structured works of poetry: Louis Zukofsky’s index to “A”; Alan Halsey’s “Index to Shelley’s Death,” which comes after The Text of Shelley’s Death; Lisa Robertson’s Cinema of the Present; and Carolyn Bergvall’s multimedia work Via. Chapter Three retraces the politics of neutrality in translation theory. Against the oppositional logic of original versus translation, it hypothetically proposes the realization of a ‘third’ or threshold text, which also serves to disrupt the familiar narratives of appropriation, absorption and assimilation that efface the difference of the writing subject. It examines the hybrid work Secession with Insecession by Chus Pato and Erin Moure as an example of threshold poetry. For both Maurice Blanchot and Roland Barthes, the neutral represents a potential third term that baffles the paradigm of oppositional thought. For Blanchot, the neutral is difference taken to the point of indifference and the opacity of transparency while Barthes’ desire for the neutral is for a lyrical utopia that is located beyond the constraints of purpose and marketability. The conclusion examines how the neutral corresponds to the conditions of freedom governing the creative principle of poiesis as the act of making without intention or purpose.

Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthique. / This thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience.