[pt] Este projeto se propõe a estudar o percurso feito por dois realizadores de cinema – um brasileiro, Carlos Reichenbach, e um argentino, Alberto Fischerman. Ambos partiram dos movimentos da chamada contracultura dos anos 60 e 70 e, poucos anos mais tarde, estiveram envolvidos com produções de pretensões notadamente comerciais e de forte apelo popular. Portanto, o estudo trata dos contextos em que essa produção se realizou e se estende à recepção crítica tida pelos filmes. Ao observar estes filmes e sua crítica, o estudo propõe duas questões. Primeiro: em que medida estes realizadores, mesmo realizando obras inseridas no esquema de produção mercantil da indústria de cinema, trouxeram aos filmes marcas de seu percurso, adicionando doses de transgressão e ironia aos contextos francamente vulgares. Em seguida, analisar como se deu o movimento da crítica diante destas obras apelativas e transgressoras. Para isso, a comparação entre os contextos de dois diferentes países pode enriquecer a análise. / [en] This project analyzes the works of two filmmakers – the Brazilian Carlos Reichenbach, and the Argentinian Alberto Fischerman. Both have made their first films linked to counterculture movements of the 60s and 70s. A few years later, both of them became involved with exploitation productions. This study looks into the historical contexts in which these productions took place. It will also analyze the way both features were received by film critics. By focusing on these two films and the critical film writing they inspired, this study proposes two questions. First: If these directors, even when doing their exploitation works, have embedded in their productions doses of transgression and irony, which turned upside down what was originally an openly vulgar context. We will also look into the way the critics reacted to this subversive exploitation. In order to better grasp this reception by film pundits, a comparison between the two distinct contexts of Brazil and Argentina can enrich the analysis.

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Il est souvent arrivé que, par le passé, les scientifiques affirment l'existence d'objets inobservables dont ils rejettent aujourd'hui l'existence. Quelle leçon tirer de ce fait ? On est tenté d'en conclure que les méthodes qu'emploient les scientifiques pour connaître l'inobservable ne sont pas fiables, de sorte que cette connaissance serait située hors de leur portée. Cette thèse identifie et rejette deux présupposés qui conduisent à cette conclusion, à savoir que la méthode de l'hypothèse serait la seule manière de produire des connaissances des inobservables, et que cette méthode se déploierait de manière instantanée. Si, au contraire, les modalités concrètes de l'activité expérimentale et la dimension diachronique de la recherche théorique sont prises en compte, chacun de ces deux présupposés doit être rejeté comme abstrait. La connaissance des effondrements théoriques passés légitime alors la croyance en la vérité des théories actuelles. / History of science presents us with numerous cases in which scientists conclude that an unobservable entity previously posited as real actually does not exist. What the lesson is to be drawn from this fact ? One is tempted to draw the conclusion that the methods employed by scientists to produce knowledge of unobservable objects are not reliable: gaining this knowledge would be beyond their reach. This thesis identifies and rejects two presuppositions that lead to this conclusion: that the method of hypothesis is the only way to produce knowledge of unobservables and that it can be employed in an instantaneous manner. On the contrary, if the concrete modalities of the experimental activity and the diachronical dimension of theoretical research are taken into account, each of these two presuppositions appear to be too abstract and should be rejected. Knowledge of past theoretical collapses then legitimates the belief in the truth of current scientific theories.

[pt] Poéticas da Complexidade: o lugar contemporâneo e os limites da Arquitetura entre Arte e Paisagem analisa trabalhos de arte/arquitetura que, participando do chamado campo ampliado, após os anos 1960, partem de uma relação com o sítio para re-instaurar a paisagem. As obras estudadas se diferenciam das posturas arquitetônicas contextualistas que, em defesa do lugar como permanência, propuseram uma recuperação historicista do passado. As poéticas da complexidade expõem o lugar contemporâneo através de um tipo de abordagem que considera a multiplicidade, a incerteza, a incompletude, a ambiguidade, a contradição e os fluxos em devir. Também redefinem o lugar da arte/arquitetura no campo da cultura, em um deslocamento passado-futuro, e propõem uma revisão dos modos de operação artística. A tese busca entender os processos contemporâneos e a redefinição dos limites da arquitetura como um movimento de autocrítica em direção ao experimentalismo das artes como forma de questionar o formalismo, o funcionalismo e a representação da noção de estabilidade. Assim, pontos em comum são explorados: a apropriação de imagens do cotidiano, a abordagem conceitual, discursiva e ficcional da arte, a noção de processo e a problematização da autoria, a experiência fenomênica e espaçotemporal, a abertura ao acontecimento e a performance. Este estudo afirma que dois movimentos estão em processo: a aventura da reinvenção da paisagem como campo ativo – imagético, fenomênico, discursivo e performático, e da reinvenção dos mediums artísticos a partir de poéticas diferenciais que assumem a complexidade contemporânea. / [en] Complexity Poetics: the contemporary topos and the limits of Architecture in between Art and Landscape analyzes works of art and architecture that, taking part in the expanded field, after the 1960´s, are intertwined with the sites, to refound the landscape. This thesis investigates the contemporary places as a contextual practice which considers the multiplicity, the incertitude, the ambiguity, the contradiction and the transformations to come. These works establish a critical revision of modernism as well as of the contextualism which defended place as permanence, proposing a historicist recuperation of the past. On the contrary, complexity poetics discuss the place of art/architecture in the contemporary cultural expanded field, in a shift past-future, and propose a revision of art’s operational modes. This study is an attempt to understand the contemporary processes and the re-definition of architecture’s limits as a movement of self-criticism towards experimentalism in arts, that goes against formalism, functionalism and the representation of stability. Points of common that stand out: the appropriation of everyday images and signs, the conceptual, discursive and fictional character of art, the notion of process, the phenomenal and spatial-time experience, the événement and the performance. This study asserts a two-way movement: the ongoing adventure of the reinvention of landscape as an active field - imagistic, phenomenal, discursive and performatic, and the reinvention of artistic mediums through differential poetics which assume contemporary complexity.

The main objective of this work consisted in establishing a wide interlocution among the several subjects involved with the sense productions about the Brazilian Cinema, taking the notion of modern as the reference for discussion. The analyses of texts and books produced by moviemakers and movie critics allowed the vision of articulated aspects which sustain the Modern Brazilian Cinema and it also allowed the problematization of the production places considering a specific speech and the implications produced by its institution as a regime of true. In order to confront the predominant explicative model in the historiography of Brazilian Cinema, movies and texts about the movie experimentalism highlighting the ones produced in the 1970s in the city of Teresina (PI) were used. This genre allowed, according to our point of view, the establishment of a new reading possibility of the Brazilian Culture of the 1960s and 1970s. Considering the conceptual aspect, this work aimed the benefits proposed by the post-structuralistic analyses of scholars as Michel Foucault, Hayden White, Keith Jenkins, among others. / O principal objetivo deste trabalho consistiu em estabelecer uma ampla interlocução entre os vários sujeitos envolvidos com as produções de sentido sobre o Cinema Brasileiro e que tomam a noção de moderno como ponto de discussão. A análise de textos e livros produzidos por cineastas e críticos de cinema permitiu enxergar os pontos de articulação que dão sustentação ao chamado Cinema Brasileiro Moderno, ao mesmo tempo em que permitiram problematizar os lugares de produção de uma dada discursividade e as implicações geradas pela sua instituição enquanto regime de verdade. Para confortar com o modelo explicativo predominante na historiografia do Cinema Brasileiro, foram utilizados filmes e escritos do chamado experimentalismo fílmico, de uma forma destacada aqueles produzidos nos anos 1970 na cidade de Teresina (PI). Este gesto permitiu, a nosso ver, estabelecer uma nova possibilidade de leitura da Cultura Brasileira dos anos 1960/1970. Do ponto de vista conceitual, o trabalho procurou se beneficiar maximamente das análises pós-estruturalistas de pensadores como Michel Foucault, Hayden White, Keith Jenkins, entre outros. / Doutor em História

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Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-02-16Bitstream added on 2014-06-13T20:39:35Z : No. of bitstreams: 1 alves_ws_me_sjrp.pdf: 976060 bytes, checksum: 991c3e098ced7a121131dba982503767 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Esta dissertação analisa o trabalho de experimentação formal com a linguagem dos mass media operada nos romances Boquitas pintadas (1969), do escritor argentino Manuel Puig, e Onde andará Dulce Veiga? (1990), do escritor brasileiro Caio Fernando Abreu. Tais romances se vinculam à trajetória de autoquestionamento da própria linguagem narrativa que, de certo modo, a literatura latinoamericana desenvolve desde os movimentos vanguardistas, nas primeiras décadas do século XX, e intensifica ao longo das fases de criação literária do boom de produção e de comercialização da narrativa latinoamericana, a partir dos anos 50-60 do século XX, aproximadamente (MONEGAL, 1968; RAMA, 2005). Pela mobilização consciente que ambos os romances fazem de procedimentos escriturais, textos, gêneros textuais e gêneros literários vinculados tanto à própria literatura quanto à linguagem dos mass media, que os agenciam com fins mercadológicos, suas narrativas se tornam representativas de dois momentos distintos da última fase de desenvolvimento do boom da literatura latinoamericana – o chamado pós-boom. Por meio de procedimentos escriturais que transpõem outras linguagens para o campo da escrita literária, as narrativas expressam uma concepção ampla do fazer literário, das contribuições formais que os mass media e sua linguagem podem oferecer à narrativa contemporânea e da função social que podem exercer na literatura latinoamericana: possibilidade de avaliação e questionamento dos códigos, símbolos e valores que constituem os mitos da sociedade de consumo, na América Latina. Boquitas pintadas e Onde andará Dulce Veiga? potencializam, então, no corpo de sua linguagem, uma leitura crítico-paródica (HUTCHEON, 1985; 1991) da história social a que sua produção literária se vincula, ao mesmo tempo em que recuperam linguagens (como a linguagem cinematográfica... / This dissertation examines the work of formal experimentation with the language of the mass media developed in the novels Boquitas pintadas (1969), by the Argentinian writer Manuel Puig and, Onde andará Dulce Veiga? (1990), by the Brazilian writer Caio Fernando Abreu. These novels are linked to the path of self-questioning in the narrative language itself, which somehow is carried out by Latin-American literature since the avant-garde movements in the early decades of the twentieth century, and it is intensified during the process of creative writing of the ―Boom‖ in Latin American narrative production and commercialization during the 1950s and 1960s, approximately (MONEGAL, 1968; RAMA, 2005). Considering, in both novels, the conscious mobilization of writing procedures, texts, text genres and literary genres, related to literature itself and to mass media language, which manage them with market purposes, their narratives become representatives of two distinct moments in the last phase of the development of the ―Boom‖ in Latin American literature - the so-called ―post- Boom‖. By means of writing procedures, which transpose other languages into the field of literary writing, the narratives express a broad conception of literature, formal contributions of the mass media and its language can offer to contemporary narrative and, the social function that they can represent for Latin American literature: the possibility of questioning and evaluation of codes, symbols and values which form the myths of consumer society in Latin America. Therefore, Boquitas pintadas and Onde andará Dulce Veiga? enhance a critical and parodic reading (HUTCHEON, 1985, 1991) of social history to which the literary production is attached to and, at the same time, they recover languages (as film language) and narrative genres (as feuilleton or serial novels) which are significant... (Complete abstract click electronic access below)

Although the natural philosophy of Margaret Cavendish is eclectic and uncustomary, it offers an important critique of contemporary scientific methods, especially mechanism and experimentalism. As presented in Observations upon Experimental Philosophy and Blazing World, Cavendish's natural philosophy incorporates rationalistic and subjective elements, urging contemporary natural philosophers to recognize that pure objectivity is unattainable through any method of inquiry and that reason is essential in making sense and use of scientific observation. In addition to its scientific implications, Cavendish's three-tiered model of matter presents interesting sociopolitical associations. Through her own use of metaphor and her theoretical fusion of matter and motion, Cavendish confronts the masculinist metaphors and implications of mechanism. Through the dramatization of her model of matter in the narrative Blazing World, Cavendish exposes the theoretical failings of contemporary methods and legitimizes her alternative to pure experimentalism. By envisioning a new planet to place the utopia of Blazing World, Cavendish actively uses the rational functions of the mind, showing that reason and rational matter are above all else in natural philosophy. Although Cavendish's scientific theory in some ways promotes the participation of women in natural philosophy, it becomes complicated as she simultaneously reinforces her social biases and urges a traditional class system with a monarchical government. Cavendish actively separates the gender constraints in philosophical inquiry from the social limitations placed on the lower classes to promote herself and other aristocratic women in the pursuit of natural philosophy, urging that the rational realm, where all sexes are equal, should govern scientific investigation.

This thesis explores different genres and modes of writing in short stories of the contemporary Indian author Uday Prakash, such as magical realism, the fantastic, regionalism, postcolonial and postmodern writing. It poses the question: “In which literary genre should Uday Prakash’s writings best be categorised?” The study is based on a reading of Prakash’s collection, 10 Pratinidhi kahāniyāṃ – Ten Representative Stories, consisting of ten stories of the author’s own choice. Critics have often understood Uday Prakash as a writer of magical realism. This thesis, however, argues that the author fits better in the category of the fantastic since his narratives often are characterised by the “hesitation” before the supernatural, a central feature of this literary mode. The thesis further suggests that regionalism is present in his writings in the portrayal of both the rural and urban landscapes of India. Above all, Prakash portrays a “public landscape,” in which India as a whole is reflected in the local—rural or urban—regions he depicts and in which any Indian can identify himself. The postmodern perspective is also prevalent in his writings, evident through literary tropes such as metafiction, historiographic metafiction, intertextuality, self-reflexivity and extended use of metaphor. Central to his writing is a social or postcolonial critique. Together his stories write an alternative national history of India, focusing on the subaltern and the downtrodden, depicting how the old colonial structure and oppression have now re-emerged among the elite and political leadership of independent India. I have, in this thesis, understood Uday Prakash as a postcolonial experimentalist (uttaropaniveśvādī prayogvādī), standing in the tradition of the prayogvād of the 20th-century Hindi literary field since the characteristics of his authorship are the concoction of multiple literary modes or genres, the breaking with traditional forms of narration and the formation of creative and original narratives, all in the service of social and civilisational criticism.