Made available in DSpace on 2016-08-10T11:07:18Z (GMT). No. of bitstreams: 1 GLEIDE DE PAULA SANTOS.pdf: 878406 bytes, checksum: 6bc9182b8414db9c880191b44a826669 (MD5) Previous issue date: 2015-12-16 / This study aims to develop the processes and possibilities of inner understanding of inexpressible reality given by (i) memorialidade a diluted written in images, triggered by processes of literary consciousness, marked by surreal sensorialismo, built by the language flow and the free association mental in Bone Chest Pedro Nava; the process of understanding the work takes place in the act of its operation at the level of language itself, similar to the action of the mind that is not expressed in a linear fashion, triggering processes of consciousness veiled in surreal sensorialismo. What applies also to the stream of consciousness novels.The practice of writing as repetition has aroused academic interest since modernity, when authors such as James Joyce, Marcel Proust, Virginia Woolf and later in Brazil, Clarice Lispector, Guimarães Rosa, Osman Lins and other revolutionized the way basing their creative practice in aesthetic fragment. The rescue primeval texts, the movência fragments to the composition of a text "new" features a process of creating the literary style of Pedro Nava author. It can be seen that the Bones Chest wo rk is a continuum of his literary practice, its derealization, providing a textual transmigration ranging from fictional fragments to the romance. / Opresente estudo pretende formular os processos e as possibilidades da compreensão interior da realidade inexprimível dada pela (i)memorialidade de uma escrita diluída em imagens, desencadeada por processos da consciência literária, marcada pelo sensorialismo surreal, construída pelo fluxo de linguagem e pela livre associação mental em Baú de Ossos de Pedro Nava; o processo de compreensão da obra se realiza no ato de seu funcionamento a nível da própria linguagem, semelhante à ação da mente que não é expressa de modo linear, desencadeando processos da consciência velados pelo sensorialismo surreal. O que se aplica, também, aos romances de fluxo da consciência. A prática da escritura como repetição tem despertado o interesse acadêmico desde a modernidade, quando autores como James Joyce, Marcel Proust, Virginia Woolf e mais tarde no Brasil, Clarice Lispector, Guimarães Rosa, Osman Lins e outros revolucionaram a forma alicerçando sua prática criativa na estética do fragmento. O resgate de textos primevos, a movência de fragmentos para a Composição de um texto novo caracteri za um processo de criação do estilo literário do autor Pedro Nava.Pode-se constatar que a obra Baú de Ossos é um continuum da sua prática literária, de sua desrealização, proporcionando uma transmigração textual que vai dos fragmentos ficcionais até o romance.

[pt] A presente dissertação tem como objetivo investigar e estabelecer um elo entre três perspectivas teóricas a partir de Bartleby. A fórmula preferiria não abre caminho para muitas leituras: das mais revolucionárias até as mais niilistas. Em meio a tudo isso, verificou-se a necessidade de construir uma linha de investigação crítica altamente política. Para tanto, elencou-se três vertentes de investigação denominadas de fórmulas. A primeira das três é a fórmula da potência de Giorgio Agamben. A segunda é a fórmula da parresía de Michel Foucault. E a terceira é a fórmula do inexprimível de Gilles Deleuze. Partindo do presente para construir uma constelação de pensamento em torno de Bartleby, esta pesquisa visa ainda produzir ferramentas teóricas para pensar desafios estéticos, éticos e políticos do mundo contemporâneo. / [en] The present dissertation aims to investigate and establish a link between three theoretical perspectives from Bartleby. The formula I would rather not opens the way for many readings: from the most revolutionary to the most nihilistic. In the midst of all this, there was a need to build a highly political line of critical investigation. To this end, three lines of investigation called formulas were listed. The first of the three is Giorgio Agamben s Formula of Potency. The second is Michel Foucault s formula of parrhesia. And the third is Gilles Deleuze s formula of the inexpressible. Starting from the present to build a constellation of thought around Bartleby, this research also aims to produce theoretical tools to think about aesthetic, ethical and political challenges of the contemporary world.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Cette thèse de littérature comparée a pour objectif de mettre en rapport des œuvres habitées par l’Histoire, et d’interroger les représentations littéraires du corps face à l’épreuve extrême de l’enfermement. Le but de cette recherche, qui se déploie en trois temps, est de questionner la nature humaine à travers le prisme de l’écriture face à l’expérience bouleversante des camps de concentration et d’extermination nazis pendant la Seconde Guerre mondiale, en mettant en parallèle des œuvres tant de témoignage que de fiction, qui puisent leurs ressources chacune dans le réel et le fictionnel, dans un jeu de vases communicants.Plus précisément, dans le cadre de la première partie, nous nous concentrons sur la manière dont l’expérience-limite de l’être se manifeste dans ces récits : la confusion identitaire et la déshumanisation y bousculent la représentation du corps, le mettent en doute. Ce doute s’inscrit dans le langage même : comment raconter ce qui paraît inimaginable ? Dans cette deuxième partie, nous mettons l’accent sur l’aspect indicible de l’évènement, et réfléchissons aux contournements, aux déplacements que peut offrir la littérature pour dire ce qui semble, au premier abord, inénarrable. Les images et symboles créent de nouvelles formes littéraires. Ces analyses nous permettent de développer enfin la thématique de ce que nous appelons l’écriture organique, qui se compose et s’articule autour de la corporéité. Langage et corps se superposent dans une dynamique architecturale. Écrire laisse une trace. L’écriture engendre. La littérature serait alors le terrain fécond d’une renaissance, de l’écriture d’un homme nouveau, à jamais métamorphosé par l’expérience concentrationnaire. / This thesis of comparative literature aims to relate pieces inhabited by history and to question literary representations of the body in the face of the extreme hardship of confinement. The aim of this research, which unfolds in three parts, is to question human nature through the prism of writing when confronted with the traumatic experience of concentration camps and Nazi exterminations in the Second World War, by paralleling pieces, factual and fictional, which draw their ressources from both reality and fiction like interconnecting vessels. More specifically, as part of the first section we concentrate on the way the limit-experience of being manifests itself in these accounts. The confusion of identity and the dehumanization disrupt the representation of the body, thus impeaching it.This doubt fits into the language itself : how does one tell the unimaginable ? In the second section we focus on the inexpressible aspect of the event and reflect on the diversions, the displacements that literature can offer to say what, at first, seems indescribable. Imagery and symbolism create new forms of literature.This analysis allows us to develop the theme that we call organic writing, which is composed of and articulates itself through corporeity. Language and body superpose themselves in an architectural dynamic. Writing leaves a trace. Writing gives rise to new forms. Literature would therefore be the fertile soil of revival, the writing of a new human being, forever metamorphosed by the concentration camp experience.

This study performs a reading of Wittgenstein’s thought that integrates his sometimes sidelined remarks on aesthetics and belief, and emphasises consideration of language use on the level of practice. It analyses the many ways that Wittgenstein engages with the inexpressible or the limits of expression through comparison with poetry as a practice. The potential of a Wittgensteinian method of literary analysis concentrating on grammatical structures, exemplary forms of expression and quotidian meaning-making is shown by viewing several poets’ work in connection with specific forms of the inexpressible. This thesis consists of three parts. The first chapter surveys previous applications of Wittgenstein to aesthetic appreciation and analysis, and considers common interpretations of his earlier and later work. Incorporating a wide range of Wittgenstein sources allows a new reading to emerge that gives appropriate weight to his hitherto under-researched writings. This reading is tested in Chapters 2-5, in each case studying a poet or poets alongside a philosophical text or topic. Chapter 2 uses the negative theology of Pseudo-Dionysius to probe the ineffable; through Cora Diamond’s resolute reading of the Tractatus, Kei Miller’s ‘Church Women’ series and John Burnside’s intimate ineffable of ‘Parousia’, a grammatical understanding of inexpressibility emerges. Chapter 3 compares John McDowell’s minimal realism in Mind and World with Wallace Steven’s Supreme Fiction, demonstrating how Stevens’ – and Wittgenstein’s – rich conception of experience can close off a number of philosophical lacunae. Chapter 4 concentrates on the poetry of Jorie Graham, whose conception of the self is saturated with language. Parallels with Wittgenstein’s methodology are drawn, and some reminders issued to curb the excesses of postmodern accounts of subjectivity. The focus in Chapter 5 moves to the use of cartographical metaphor in Philosophical Investigations and Kei Miller’s poetry. The constraints of specific discourses on our thinking are examined, together with poetry’s potential for laying bare or reinvigorating the pictures by which we navigate. Finally, Chapter 6 discusses a selection of poetic projects completed alongside my research, to extend the reading of Wittgenstein into the area of creative practice. This thesis demonstrates Wittgenstein’s prolonged engagement with the limits of expression and with poetry, as well as the profit of a Wittgensteinian approach to poetry. It thereby questions a number of current responses to Wittgenstein’s work, and displays its own original creative outcomes.