Spelling suggestions: "subject:"[een] GEORGES BATAILLE"" "subject:"[enn] GEORGES BATAILLE""
41 |
Le théâtre de l’accord. Le spectateur d’une scène a-dialectique, partenaire d’un acteur de la mise en question / The theatre of agreement. Spectators of an a-dialectical stage as partners of actors in the questioning processAufort, Frédérique 12 January 2012 (has links)
Basée sur l’hypothèse que le théâtre est susceptible d’intervenir sur le « vivre-ensemble » des hommes, cette étude prend la mesure du bouleversement à l’œuvre sur les scènes théâtrales françaises contemporaines pour définir théoriquement ses potentialités. À cette fin, elle construit des correspondances entre deux objets : le rapport acteurs-spectateurs à l’œuvre dans quinze spectacles contemporains (2005-2008) et certains textes philosophiques de Georges Bataille et Michel Foucault. De l’« archéologie du présent » de Naissance de la biopolitique au geste de la « dépense » de La Part maudite, les deux philosophies, qui se complètent l’une l’autre, s’inscrivent en réaction à un « vivre-ensemble » fondé sur l’utilité et le jeu des intérêts particuliers. L’étude analyse de façon répétée un élément constitutif d’un ou de plusieurs spectacles pour ensuite le corréler à un point spécifique des deux pensées a-dialectiques. La réflexion s’élabore en trois étapes : la scène, le spectateur, l’acteur. Au fur et à mesure, un théâtre prend forme, fondé sur la co-existence des contraires et dévolu à la communication, qui, un temps, rompt l’isolement des êtres séparés. En conclusion, l’étude dégage les effets de fragilisation auxquels ce théâtre soumettrait notre mode d’organisation politique. La thèse comprend en annexe dix-neuf entretiens avec les artistes des spectacles du corpus. / This research is based on the hypothesis that drama could potentially influence the « being together » among people. It measures the big change taking place in French contemporary theatres in order to define theoretically its capacities. The study aims at finding links between two notions : the actor-spectator relationship in fifteen contemporary performances (2005-2008) and philosophical texts by Georges Bataille and Michel Foucault. From the « archeology of the present » in Naissance de la biopolitique to the act of « spending » in La Part Maudite, these two philosophies which add one to the other stand as a reaction to a « being together » based on usefulness and the intervention of private interests. This study analyses repeatedly one element of one or several performances and correlates them to a specific point in the two a-dialectical thoughts. It has three parts : the stage, le spectator, the actor. A theatre gradually takes shape, based on the co-existence of opposites and dedicated to communication which puts an end to the isolation of separate beings for a while. At the end, the study highlights the fact that this theatre could undermine our political organisation. This thesis includes nineteen interviews with the artists from the performances of the corpus.
|
42 |
Bataillova l'expérience intérieure jako událost krajnosti lidské existence / Bataille's L'expérience intérieure as an Event of Extremity of Human ExistenceŠimek, Adam January 2019 (has links)
The presented study takes up the problem of Bataille's impossible testimony of the impossible. This endeavor represents a wider contextual framework for a project of this thesis which proposes a way of laying down the foundation for a philosophical reading of Bataille's L'expérience intérieure by developing some key moments of his anthropology. Bataille's thought is introduced as the dynamics of a gesture of testimony (or a witnessing) which testifies to the difference du sens as it is being incorporated in the movement of writing (écriture) into the texts of La Somme Athéologique. Since these texts oftentimes resist a direct philosophical treatment, this essay discusses the possibilities of a philosophical approach to Bataille. Such discussion results in setting up the necessary limitations of an adequate philosophical attitude towards Bataille's thought while leaving its problematic quality in play. Then the narrower framework of this essay is put into work in an attempt to achieve an understanding of key parts of The Inner Experience through a philosophical analysis of Bataille's concept of humanity.
|
43 |
A Lesson in Mourning: The Evolution of the English Anti-ElegyBennett, K. Matthew 01 May 2022 (has links)
This thesis analyzes the evolution of the anti-elegy originating with Thomas Hardy’s elegiac sequence in memory of his wife Emma; Poems of 1912-1913. Using French post-structuralist Georges Bataille’s The Accursed Share as a theoretical lens, Hardy’s anti-elegies are analyzed and rhetorically connected to English war poet Siegfried Sassoon’s anti-elegies. Hardy’s anti-sentimentality, fatalistic outlook on death, and rejection of the Christian afterlife seeps into the language of Sassoon’s war poems which serve as a protest to the dehumanizing effects of late capitalism witnessed during the First World War. Hardy and Sassoon’s anti-elegies, with their hyper-focus on the elegized body, are corrupted by capitalism to diminish the human body into a interchangeable, unhuman cog; fully understood as Bataille’s “thing.” The anti-elegy, distorted by capitalism, creates the possibilities necessary for Randall Jarrell’s “The Death of the Ball Turret Gunner” which protests humanity’s objectification under capitalism while creating the ultimate anti-elegy for the anti-elegy.
|
44 |
Giftets värde : Apotekares förståelse av opium i Sverige, 1870-1925 / The Value of Poison : The understanding of opium among Swedish pharmacists, 1870-1925Berg, Daniel January 2016 (has links)
Before the regulation of opium as a “narcotic” in Sweden in 1923, opium was not regulated for its intoxicating properties and was freely available. But not in any kind of shop. Opium was legally available only through the pharmacies. This thesis explores how this free availability of a narcotic was understood by its traders, the pharmacists. The title of this thesis – The Value of Poison – indicates how opium could be conceptualized both as a safe, everyday remedy essential to keep freely available and as a drug of intoxication. As a poison it could be articulated as a matter of primarily pharmacological, not moral or medical, concern. This also gave the pharmacists, with their special knowledge of pharmaka (drugs, poisons), an autonomous space of knowledge free from the ever more intruding “medical gaze”. But, in order to articulate this kind of understanding of opium, another kind of knowledge was needed to be acknowledged: that of the user. In this articulation a “sensus communis” was tied in with a broader cultural knowledge of drugs. Problems with opium were focused on the danger of acute poisoning, not recreational intoxication. Concepts that could have problematized this kind of use were rearticulated as problems either of illegitimate trade, unregulated markets and advertising or of draconian regulation by greedy or sloppy doctors. These rather opposite elements were made equivalent through the articulation of ignorance in both cases, thus further emphasizing the special knowledge of the pharmacist. The thesis locates a process of contradiction that contributes to the eventual diminishing of the discourse of poison towards the end of the period. The pharmaceutical knowledge that guaranteed the discourse was based on a “pharmaceutical gaze” on pharmaka. It pierced through the drug to identify its constituent parts. In this process it was promised that the different effects of opium would be separated. “Narcotic” could be a by-product, to be discarded or controlled, without dispensing of other therapeutic effects. With this ever deeper knowledge of opium, knowledge in the pharmacies was made insufficient for the full understanding or opium, and so too was that of the traditional user. The era of opium as a poison was over. / Före den första särlagstiftningen om narkotika i Sverige 1923 reglerades inte opiumets rusgivande egenskaper. Drogen var fritt tillgänglig i handeln. Men inte i vilken butik som helst. Opium kunde bara köpas lagligt på landets apotek. Den här avhandlingen undersöker hur denna fria tillgänglighet av narkotika förstods av droghandlarna själva, apotekarna. Titeln pekar på hur opium på en och samma gång kunde tänkas som en säker husmedicin vars tillgänglighet var avgörande för folkhälsan och som en rusgivande drog. Som ”gift” artikulerades det som en i första hand farmakologisk angelägenhet, inte en moralisk eller medicinsk. När de talade på detta sätt upprättade apotekarna, genom sin särskilda kunskap om farmaka, ett eget rum för sitt vetande, fritt från läkarnas allt mer genomträngande ”kliniska blick”. Men för att kunna artikulera denna förståelse av opium krävdes också att en annan typ av kunskap vidkändes: brukarens. Genom denna artikulation knöts brukarnas ”sensus communis” samman med en bredare kulturell kunskap om droger. De av opiumets problem som lyftes fram handlade om akut förgiftning, inte rekreationellt rusbruk. De begrepp som hade varit möjliga att användas för att problematisera denna senare form av bruk reartikulerades: antingen förpassades de till den olagliga handeln, de oreglerade marknaderna och reklamen, eller också till de drakoniska regleringarna som giriga och slarviga läkare stod bakom. Apotekarna artikulerade dessa båda helt motstående element som ekvivalenta genom en brist på kunskap, vilket i sin tur ytterligare stärkte deras egen kunskapsmakt. Avhandlingen lokaliserar även en processande motsägelse som sker när giftets diskurs tynar bort vid slutet av den undersökta perioden. Den farmaceutiska kunskap som underbyggde diskursen vilade på en ”farmaceutisk blick” på farmaka. Denna genomborrade drogämnet för att avslöja dess beståndsdelar. Genom denna process utlovades att opiumets olika effekter skulle kunna skiljas från varandra. ”Narkotikan” kunde ses som en bieffekt, som kunde kastas åt sidan eller kontrolleras separat, utan att opiumets kvarvarande terapeutiska effekter minskade. Denna allt djupare kunskap medförde att de enskilda apotekarnas eget vetande på apoteken inte räckte till för att fullt ut förstå opium, och därmed bröts även samartikulationen med brukarnas kunskap. Tidseran när opium var ett gift tog därmed slut under mellankrigsperioden.
|
45 |
L'usage de l'œuvre, un autre paradigme artistico-littéraire de la deuxième révolution industrielle jusqu'à nos jours : Marcel Proust, Georges Bataille, Pascal Quignard / The Way of the artwork, another artistic-literary paradigm from the second industrial revolution to the present day : Marcel Proust, Georges Bataille, Pascal QuignardGauthier, Rodolphe 17 September 2018 (has links)
Il s'agit, en prenant comme jalons l’œuvre de trois auteurs symptomatiques, Marcel Proust(1871-1922), Georges Bataille (1897-1962) et Pascal Quignard (1948), d'étudier l'évolution de la place et du rôle de l’œuvre d'art dans la littérature depuis la deuxième révolution industrielle jusqu'à nos jours. Ce travail interroge donc les données structurelles, socio-économiques et politiques, qui constituent l'agencement d'une production artistique, mais aussi les évolutions dans les rapports sujet/objet, la définition de l'art, l’étude de tropes spécifiques, la préférence d'un mouvement descendant à un mouvement ascendant (transcendantal), l'expérimentation comme fondement cognitif, la préférence d'une posture d'étant-au-monde à la notion d'être-au-monde, l'abandon de l'idéalisme et de la métaphysique pour l'élaboration d'autres régimes ontologiques mais aussi épistémologiques. Ces éléments composent ce que nous pouvons appeler un paradigme de l’ombre, paradigme mineur par rapport à un paradigme majeur, dominant, coercitif. / This thesis deals with the work of three symptomatic authors, Marcel Proust (1871-1922),Georges Bataille (1897-1962) and Pascal Quignard (1948), as milestones, in order to studythe evolution of the place and the role of the piece of art in literature since the second Industrial Revolution until today. This work therefore questions the structural,socioeconomic and political data, which constitute the agency of an artistic production, but also evolution in the subject-object relations, definition of what art is, specific tropes,preference of a downward movement to an ascending (transcendental) movement,experimentation as a cognitive foundation, the preference of a position of being-in-theworld to the notion of being-in-the-world, the abandonment of idealism and metaphysics for the development of other ontological regimes. These elements compose what we can call a paradigm of the shadow, a minor paradigm compared to a major, dominant and coercive one.
|
46 |
[pt] DA CARNIGRAFIA / [fr] DE LA CARNIGRAPHIEJULIA KLIEN 21 June 2023 (has links)
[pt] Esta tese se move sob o peso de uma palavra. Também se pode dizer que é
movida por certa força extensora e que deseja esticar ou pulverizar uma palavra.
Essa palavra se move sob o peso de algumas consistências – da carne – e indicia
um conjunto de perturbações: a carnificação do texto, o erotismo dos signos, a
textualidade refratária à coagulação da textualidade. Carnigrafia, eis o que a tese
tenta dizer. Para dizê-la, conta com um punhado de línguas: a língua de Francis
Bacon, a língua de Ana Hatherly, a língua de Henri Michaux, a língua de Mira
Schendel. Mais as línguas de Novalis, Roland Barthes, Tatsumi Hijikata, Herberto
Helder, Hilda Hilst, Antonin Artaud, Ghérasim Luca, Anne Carson, Emil Cioran,
Georges Bataille... Se, na esteira de Bataille, o espaço de uma tese deve hospedar
as tarefas (e não os sentidos) dos conceitos, ao entregar esta tese a uma palavra, eu
o faço mirando suas tarefas e buscando multiplicá-las. Dessa proliferação surgem
outras: propagam-se, por exemplo, as ponderações sobre a textura, a gestualidade
da escrita, e uma vontade de horizontalização passa a se impor. Numa tese que se
quer ela própria carnigráfica, convém aumentar sempre a superfície de contato; por
isso, a fragmentação pareceu inevitável e levou a dois modos que se alternam e
entremeiam: “Os aparentados da carne”, ensaio dividido em três partes – a carne do
corpo, a carne do signo, a carne da língua – e os quatro volumes de um dicionário
carnigráfico, composto por um ecossistema de verbetes. Esses dois modos
reciprocam, e é possível, até certo ponto, destrinchá-los: se o ensaio procura pensar
a carne, ou farejá-la, aliando-se aos artistas e autores excitantes da pesquisa, os
verbetes tentam espasmá-la, movendo-se sob o peso dessas poéticas, tanto quanto
de alguns temas e motivos, como a dança, o barroco, o jogo, a embriaguez, o desejo,
o anagrama. Pretendi espalhar verbetes e motivos e autores e temas e imagens e
conceitos para que tudo pontilhe a tese e aumente a sua extensão; perseguir, enfim,
a carnigrafia, lançá-la de vários jeitos, tocá-la com várias línguas. / [fr] Cette thèse se meut sous le poids d un mot. On peut aussi dire quil est mû
par une certaine force d extension et quil veut étirer ou pulvériser un mot. Ce mot
se meut sous le poids de certaines consistances – de la chair – et indique un
ensemble de perturbations : la carnification du texte, l érotisme des signes, la
textualité réfractaire à la coagulation de la textualité. La carnigraphie, c est ce que
tente de dire la thèse. Pour le dire, il a une poignée de langues : la langue de Francis
Bacon, la langue d Ana Hatherly, la langue d Henri Michaux, la langue de Mira
Schendel. Plus les langues de Novalis, Roland Barthes, Tatsumi Hijikata, Lydia
Davis, Herberto Helder, Ghérasim Luca, Anne Carson, Emil Cioran, Georges
Bataille... Si, après Bataille, l espace d une thèse devait accueillir les besognes (et
non les sens) des concepts, quand je livre cette thèse à un mot, je le fais en visant
ses besognes et en cherchant à les multiplier. Cette prolifération en génère d autres
: par exemple, des considérations de texture, des gestes d écriture, un désir
d horizontalisation commencent à simposer. Dans une thèse qui se veut
carnigraphique, il convient toujours d augmenter la surface de contact. Pour cette
raison, la fragmentation semblait inévitable et conduisait à deux modes qui
salternent et sentremêlent : Les parents de la chair , essai divisé en trois parties
– la chair du corps, la chair du signe, la chair de la langue – et les quatre volumes
d’un dictionnaire carnigraphique, composé d un écosystème d entrées. Ces deux
modes se répondent, et il est possible, dans une certaine mesure, de les démêler : si
l essai cherche à penser la chair, ou à la renifler, alliée aux artistes et auteurs qui
font vibrer la recherche, les entrées tentent de la réverbérer et se meuvent sous le
poids de ces poétiques, ainsi que quelques thèmes et motifs, comme la danse, le
baroque, le jeu, l ivresse, le désir, l anagramme. J avais l intention de diffuser des
entrées et des motifs et des auteurs et des thèmes et des images et des concepts afin
que tout parsème la thèse et augmente son extension ; poursuivre, enfin, la
carnigraphie, la lancer de diverses manières, la toucher avec plusieurs langues.
|
47 |
Le style dans le sang : étude de la scène de meurtre du gialloDuguay, Maxime 04 1900 (has links)
Cette étude porte sur un type de cinéma italien appelé giallo. Ayant connu une forte popularité au tournant des années 1970 auprès d’un public dit vernaculaire, ces thrillers horrifiques sont encore aujourd’hui réputés pour leurs scènes de meurtre sanglantes et spectaculaires mettant à l’honneur un assassin ganté. Ce mémoire se propose de faire le point sur ces séquences de meurtre et surtout d’expliquer la façon particulière avec laquelle elles sont mises en scène. Pour bien y parvenir, nous en fournissons tout au long des exemples et les soumettons à une analyse détaillée. Notre approche analytique se veut essentiellement formaliste. Il s’agit de déconstruire ces scènes violentes afin d’en révéler certains des rouages. Dans un premier temps, nous rappelons quelques notions fondamentales du cinéma gore et nous penchons sur la problématique que pose invariablement la représentation de la mort au grand écran. Ceci nous permet ensuite d’observer plus amplement comment les réalisateurs du giallo traitent ces scènes d’homicide sur un mode excessif et poétique. Enfin, le rapport érotique à la violence entretenu dans ces scènes est considéré. Cela nous donne notamment l’occasion de nous intéresser à la figure du mannequin (vivant et non vivant) et de voir de quelles manières les cinéastes peuvent par son entremise transmettre un sentiment d’inquiétante étrangeté. / This study aims to explore giallo, a specific type of Italian cinema. Very popular with a vernacular audience at the turn of the 1970s, these horrific thrillers remain notorious for their bloody and spectacular murder scenes showcasing a gloved killer. With this thesis, we seek to review these murder sequences with a focus on explaining the particular way in which they are staged, shot and edited. To fully achieve this, we provide examples from these scenes and submit them to a detailed analysis. Our analytical approach is essentially formalist. We wish to deconstruct these violent scenes and reveal some of their inner workings. At first, we recall some basic notions of gore cinema and look at the problems that the depiction of death on the silver screen invariably raises. This allows us to see how giallo filmmakers treat these murder scenes in an excessive and poetic mode. Lastly, the erotic aspect of violence presented in these scenes is considered. This gives us the opportunity to focus on the figure of the model/mannequin (living and non-living) and see how filmmakers can use it to transmit an uncanny feeling.
|
48 |
La pensée de Georges Bataille peut-elle constituer un apport pour les sciences de gestion ? : l’exemple de la gestion des risques psycho-sociaux dans les organisations. / Can George Bataille’s thinking be a contribution to management sciences ? : the example of the management of psychosocial risks in organisationsMarch, François de 10 December 2013 (has links)
L’objectif de ce travail est de questionner l’œuvre de l’écrivain français Georges Bataille (1897-1962) pour déterminer si elle permet ou non d’apporter de nouveaux points de vue ou de nouvelles voies de résolution des problèmes posés en sciences de gestion. Les textes sollicités sont d’abord les essais théoriques, mais aussi certaines œuvres de fiction. Ceux qui sont à l’origine de la notion de « dépense », centrale pour l’ensemble de l’œuvre, les articles correspondant aux diverses activités groupales dans les années 1930, les essais de La Somme Athéologique pendant la guerre et ceux de La Part maudite après-guerre sont examinés. On montre alors que les « notions » que ces textes mettent en jeu, qui témoignent d’une anthropologie déchirée (dépense productive / dépense improductive, homogène / hétérogène, souveraineté, communication, interdit / transgression, possible / impossible…), peuvent ouvrir des pistes de recherche dans de nombreux thèmes de sciences de gestion : le pouvoir, la culture d’entreprise, la criminalité dans les organisations, le changement organisationnel, le sens du travail, l’éthique, l’épistémologie, les rapports entre le management et les sociétés, la sexualité dans les organisations…Trois notions de Bataille (dépense, souveraineté, communication) sont ensuite sollicitées pour analyser en détail les problèmes posés par la « gestion » des risques psychosociaux. Huit cas d’organisations servent de support à l’analyse.Au final, la thèse conclut à la pertinence du recours à la pensée de Bataille pour conduire des recherches en management. / The goal of this thesis is to question the work of the French author Georges Bataille (1897-1962) to determine whether it can bring new points of view or new attempts at solving the issues raised by management sciences. The texts which were studied are primarily theoretical essays, but also some works of fiction. Those which are at the origin of the notion of “expense”, a central notion in the entire work, the articles which correspond to various group activities in the 30’s, the essays of La Somme Athéologique during the war, as well as those of La Part maudite, after the war, were also examined. We then show that the “notions” these texts illustrate, which reflect a torn anthropology (productive/unproductive expense, homogenous/heterogenous, sovereignty, communication, interdiction/transgression, possible/impossible…), can open fields of research in numerous topics associated with management sciences: power, corporate culture, crime within organisations, organisational changes, the meaning of work, ethics, epistemology, the relationship between management and societies, sexuality in organisations…Three of Bataille’s notions (expense, sovereignty, communication) are then called upon to analyse in detail the problems raised when managing psychosocial risks. Eight case studies of organisations back up the demonstration.Finally, the thesis concludes that it is pertinent to refer to Bataille’s thinking when conducting management research.
|
49 |
Tränen in der modernen KunstSpiekermann, Geraldine 15 June 2012 (has links)
Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. / Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.
|
50 |
Sob o signo de Eros: o amor na poesia de PessoaSomenci, Fábio Alessandro 26 November 2008 (has links)
Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1
Fabio Alessandro Somenci.pdf: 479433 bytes, checksum: 0b8a547c86dc3f04a242505e47c8876d (MD5)
Previous issue date: 2008-11-26 / Secretaria da Educação do Estado de São Paulo / This dissertation has as initial aim to develop a study about the loving poetry
of Fernando Pessoa himself, of the heteronimous Alberto Caeiro, Ricardo Reis and
Álvaro de Campos, as well as to evidence the place occupied by the love theme in
his work, despite of being little studied by the majority of researches of pessoa s
poetic aventure.
Initiating with the exposition of the significant aspects of the poetic production
of the author himself and of the heteronimous, and passing, posteriously, to the
presentation of a synthetic reflection of the theories about love (Eros) and the
eroticism, developed by Plato and Georges Bataille, respectivily; the present study
culminates with the analysis of representative poems for the comprehension of the
theme.
Having as a central hub the work with the language accomplished by
Fernando Pessoa, this research aims to demonstrate the importance of the loving
theme in his poetry, as well as its indissociability with the entirety of the work or
heteronimic context that it belongs to.
Considering the fact that the love is a strenght that joins the individuals by
corporeal means leading them to the reproduction of bodies or animicus, leading
them to the reproduction of ideas, but being, in both cases, an experience that leads
to the improvement of the being, this study attempts to verify its form of presentation
in the poetry of Pessoa and its relation with other poetic themes.
Based on the analysis of the work through the perspective of the love theme,
this research also desires to demonstrate how the eroticism is strictly connected with
the poetry, through its corporeality, meanings and sensations that evokes, by means
of sound, ceremony, representation or imagination. Besides, there is an intimate
relation of the poetry with the words and of the eroticism with the bodies; the first
interrupts the simple communication and the second, the reproduction / Esta dissertação tem como proposta inicial desenvolver um estudo sobre a
poesia amorosa de Fernando Pessoa ele-mesmo, dos heterônimos Alberto Caeiro,
Ricardo Reis e Álvaro de Campos, bem como evidenciar o lugar ocupado pelo tema
do amor em sua obra, apesar de pouco estudado pela grande maioria dos
estudiosos da aventura poética pessoana.
Iniciando com a exposição de traços marcantes da produção poética do autor
ele-mesmo e dos heterônimos, passa, posteriormente, a dedicar-se à apresentação
de uma reflexão sintética das teorias sobre o amor (Eros) e o erotismo,
desenvolvidas por Platão e Georges Bataille, respectivamente; o presente estudo
culmina com a análise de poemas representativos para a compreensão do tema.
Tendo como eixo central o trabalho realizado com a linguagem por Fernando
Pessoa, esta pesquisa visa demonstrar a relevância do tema amoroso em sua
poesia, bem como sua indissociabilidade com o conjunto da obra ou contexto
heteronímico a que pertence.
Considerando-se o fato de o amor ser uma força que une os indivíduos pela
via corporal - levando-os à reprodução dos corpos ou anímica, levando-os à
reprodução de idéias, mas sendo, em ambos os casos, uma experiência que leva ao
aperfeiçoamento do ser, procura-se verificar sua forma de apresentação na poesia
pessoana e sua relação com outros temas poéticos.
A partir da análise da obra sob o ângulo do tema do Amor, o presente
trabalho visa também, demonstrar como o erotismo está estreitamente ligado à
poesia, através de sua corporalidade, dos sentidos e das sensações que evoca, seja
por meio do som, cerimônia, representação ou imaginação. Além disso, existe uma
íntima relação da poesia com as palavras e do erotismo com os corpos; a primeira
interrompe a mera comunicação e a segunda, a reprodução
|
Page generated in 0.0507 seconds