This thesis examines Frost’s conception of poetry as the labor of human value. It investigates how Frost consciously shaped his notions of “sound of sense” and metaphor, which he deemed fundamental elements of poetic labor, in contradistinction to the Modernist poetics of Eliot and Pound. The author closely examines a representative sample of Frost’s poetry and prose as critiques of Modernist poetic theory and its implications for what Frost deemed the essential human function of poetry. The thesis will interest scholars studying strains of English poetic thought that developed concurrently with and against Modernist poetic thought. More broadly, it will interest those who seek a serious and thoughtful challenge to Modernist literary trends that prevail even today.

Generative music creates indeterminate systems from which music can emerge. It provides a particularly instructive field for problems of ontology, semiotics, aesthetics, and ethics addressed in poststructuralist literary theory. I outline how repetition is the ultimate basis of musical intelligibility and of memory in general. The extension of these abstractions beyond tonal music to sound in general is afforded by the concrete iterability of audio recording media. Generative systems delineate a music that is repeatable in principle and in certain qualities, though not in specific forms; a music that produces emergent complexities from novel combinations, retaining the potential to surprise. I study how noise is prevailingly presented as complementary to intention, and how music that complicates intention entails discourses of noise and purity. I compare competing narratives for the role of noise in the development of Western music under classical, avant-garde, and experimental traditions. Music functions across these narratives as a proxy for negotiation of individual and collective values, how order is imposed. Expression affirms the metaphysics of presence by averring the socially unmediated interiority of the subject. Experimentalists are skeptical toward expression, yet frequently insist on the asemiotic self-sufficiency of music. Generative musicians extend this animism, imputing living intelligence behind sounds. I further examine discourses surrounding creation and interpretation in the arts and human sciences, in particular how listening is a manner of composition. Poiesthesis is a play of materials as well as signs, facilitated by recording in a recombinant practice distinct from the encodings of notation and the approximate repetitions of aural tradition. Generative music deals in entities that are neither composition nor instrument, and yet both. The music market and the aesthetic field alike struggle to control the valuation of desubstantiated texts of generative systems, producing a kind of agoraphobia. As play is decentered from authorial intent, so must critical evaluation be. I critique the pervasive yet tacit Western notion that human technoculture plays out on a continuum from Africa to robotics, ciphers for bodily essence and intellectual autism. This cultural projection turns out to resonate throughout the history of Western music’s regard of self and other.

By grounding my work in this series of four essays in literary theory, but telling stories to which almost anyone can relate I hope to begin making the connection between sometimes heady academics and everyday working-class Americans. Only when learners understand their circumstances and the need for education, can they begin to take control of what they learn and how they employ that knowledge.

[pt] O presente estudo analisa os aspectos comunicativos da visualidade de personagens de curta-metragens de animação contemporâneos brasileiros, empregando recursos oferecidos pela Semiologia. O cinema de animação é uma arte que tomou contornos na virada do século XX. Junto à indústria cultural, consolidou inúmeras personagens na memória de espectadores em todo o mundo. Contudo, os altos custos de produção das obras animadas obrigam muitos artistas a realizarem seus filmes independentes no formato de curtas metragens. Devido à brevidade dos filmes, esses criadores empregam repetidamente tipos e caricaturas como personagens principais, apresentando-os sob a forma de signos de fácil reconhecimento pela maioria dos espectadores. Esta pesquisa parte da hipótese de que a visualidade das personagens de obras cinematográficas de animação breves é um sistema projetado (intencionalmente ou não) para transmitir ao espectador mensagens de compreensão praticamente imediata a respeito da narrativa apresentada e dos conceitos personificados pelas personagens no curto intervalo de tempo em que elas estão em cena. Com base no levantamento de sessenta principais personagens apresentadas nos filmes brasileiros premiados no festival Anima Mundi em suas doze primeiras edições (1993-2004), esta dissertação investigou os estereótipos existentes nas produções recentes do cinema de animação brasileiro. Em seguida, buscou delinear maneiras com que os elementos visuais que os constituem atuam no processo de significação das personagens animadas, articulando-se enquanto uma linguagem visual específica. Para realizar tal investigação, os procedimentos metodológicos adotados tomaram por fundamentos os estudos de Semiologia de Roland Barthes e o conceito de atributos das personagens desenvolvido por Vladimir Propp. / [en] This paper analyses the communicative aspects of the look of contemporary Brazilian animation short movie´s characters, using resources from Semiology. Animation cinema became an art at the beginning of the 20th century. With the cultural industry, it has cemented lots of characters in spectator´s memories around the world. However, the high expenses of animated movies´ production force many artists to produce their authorial animations as short movies. Due to the brevity of these movies, their creators repeatedly use types and caricatures as main characters, presented morphologically as signs that can easily be recognized by most of the audiences. This research considers the hypothesis that the look of characters from animated short movies is a system designed (intentionally or not) to communicate to the spectator messages of prompt comprehension concerned to the narrative shown and to the concepts personified by the characters in the short period of time in which they are acting. Based on the survey of sixty main characters from Brazilian awarded movies at the twelve first editions of Anima Mundi festival (1993- 2004), this dissertation investigated the existing stereotypes in recent Brazilian animation short movies. Then, it tried to outline ways in which the visual elements that constitute these stereotypes act in the signifying process of the animated characters, working together as a specific visual language. In order to carry out such investigation, the adopted methodological procedures were based on Roland Barthes´ Semiology and Vladimir Propp´s concept of characters´ attributes.

Ce travail se compose de deux parties. La première décrit et évalue, dans les premiers deux chapitres, l’interprétation du Décaméron de Boccace dans les travaux de Schlegel, Hegel, Lukács, Bakhtine et Auerbach. Ensuite, à partir de cette opération de comparaison, un troisième chapitre analyse des nouvelles perspectives interprétatives et historiques sur le roman, et pose les bases herméneutiques pour une nouvelle lecture du Décaméron.La deuxième partie aborde, dans un premier chapitre, la réécriture boccacienne de l’épisode de Paolo et Francesca de la Commedia de Dante (Enfer V). Dans le cadre de ce même chapitre, on analyse la théorie de la « fable » développée par Boccace dans les Genealogie deorum gentilium en montrant surtout les aspects liés aux d’allégorie, de connaissance et de consolation. À cela fait suite une analyse de la structure narrative du Filocolo et une hypothèse sur la fonction de l’épisode des « Questioni d’amore » dans l’économie globale de l’œuvre. Le deuxième chapitre propose une lecture du Décaméron qui prend appui sur la notion de « compassion » et qui offre une analyse du récit-porteur à partir d’instances éthiques et philosophiques. Les sous-chapitres centraux explorent les modalités de mise en jeu des croyances. Le chapitre se termine par une analyse de la notion de « fortune », sa théorisation et sa représentation dans le Décaméron. Le troisième chapitre est consacré à l’interprétation individuelle d’un groupe de cinq nouvelles (IV, 4 ; V, 1 ; II, 7 ; II, 9 ; X, 10). / This work is composed of two parts. In the first one, I critically analyze how Boccaccio was read by the main theorists of the novel (Schlegel, Hegel, Lukács, Bakhtine, Auerbach); once described individually, these authors are later confronted with each other. A third chapter deals with new perspectives in the theory of the novel, which provide the foundation for a new interpretation of Boccaccio’s Decameron.The second part is devoted to Boccaccio’s works in themselves. First, I analyze Boccaccio’s rewriting of the dantean episode of Paolo and Francesca (Inf. V). In the same chapter I also discuss Boccaccio’s theory of the fabula as it is developed in his Genealogie deorum gentilium, by focusing on crucial issues such as allegory, knowledge and consolation. I conclude the chapter with an inquiry on the Filocolo’s narrative framework; particular attention is devoted to the episode of the «Questioni d’amore» and to its functions in the economy of the whole work. The second chapter puts forward a new reading of the Decameron, based on the notion of ‘compassion’; I analyze the Decameron’s narrative framework on the ground of philosophical and ethical categories. I also explore how the beliefs’ device is shaped by Boccaccio; the chapter ends with an enquiry around the concept of fortune, its theorization and representation in the Decameron. The third and final chapter is devoted to the individual interpretation of five novellas (IV, 4; V, 1; II, 7; II, 9; X, 10).

Esta dissertação investiga os modos de representação da realidade no romance Homem em queda, do norte-americano Don DeLillo. O método utilizado é a análise interpretativa de trechos chaves do romance que possam representar a arquitetura de toda a narrativa, ao modo de Erich Auerbach. Escritos do teórico Fredric Jameson acerca do inconsciente político e da questão temporal na pós-modernidade se somam a teorias de Karl Marx (alienação) e Guy Debord (sociedade do espetáculo) para auxiliar a leitura sócio-histórica do romance. / This master\'s thesis investigates the representation of reality in the novel Falling Man, by Don DeLillo. The method is the interpretative analysis of key excerpts of the novel which may represent the whole architecture of the narrative, following the steps of Erich Auerbach. Writings by Fredric Jameson about the political unconscious and temporality in postmodernity as the theories of Karl Marx (alienation) and Guy Debord (society of the spectacle) helped us leading a socio-historical reading of the novel.

Esta tese dedicase ao estudo enunciativo das rasuras presentes no manuscrito de Esaú e Jacob, conservado na Academia Brasileira de Letras, por meio do qual se pretende problematizar os mecanismos de construção do sentido da obra e da ironia em Machado de Assis. Para tanto, partese da análise do binômio aqui denominado de o manuscrito da ficção e a ficção do manuscrito. No primeiro eixo, apresento uma descrição críticogenética do manuscrito do referido romance e de alguns dos demais manuscritos do autor contendo marcas de algum trabalho de escrita para, em seguida, lançarme na análise enunciativa das rasuras operadas no manuscrito, observando de que maneira ocorre uma problemática construção da voz narrativa e do agenciamento discursivo das vozes, apoiandome mormente nas teorias de Émile Benveniste e de Jacqueline AuthierRevuz. No segundo eixo, na esteira sobretudo das análises de Abel Barros Baptista e de JoséLuis Diaz, dedicome ao estudo do autor ficcional, buscando observar em que medida tal recurso romanesco delineia uma complexa imagem autoral e define uma postura enunciativa que inviabiliza a percepção do autor como garantia do sentido do romance e, consequentemente, da ironia, desestabilizando a significação de forma ampla, mas fazendo com que seja recolocada a questão do corpo e da voz da literatura, além de permitir uma possível abertura em direção a novas partilhas do sensível, tal como indica Jacques Rancière. / This thesis is devoted to the enunciative study of the deletions present in the manuscript of Esau and Jacob, preserved in the Brazilian Academy of Letters, whereby I intend to question the mechanisms of meaning construction and the mechanisms of irony in the work of Machado de Assis. For this purpose, an analysis is based on the binomial denominated, here, the manuscript of fiction and the fiction of the manuscript. In the first part, I present a description from a genetic criticism perspective of the referred novels manuscript and other manuscripts from the same author containing signs of a certain working of writing. I proceed to the enunciative analyses of the deletions done in the manuscript, observing how a problematic construction of the narrative voice and a discursive arrangement of the voices occur, basing myself mainly on Émile Benveniste and Jacqueline AuthierRevuzs theories. In the second part, following chiefly Abel Barros Baptista and JoséLuis Diaz analyses, I dedicated myself to the study of the fictional author, aiming to examine to what extent this fiction resource delineates a complex authorial image and defines an enunciative posture that makes infeasible the authors perception as the guaranty of the meaning of the novel and, consequently, the irony. This unbalances the signification widely, but reestablishes the matter of the body and the voice of literature and also enables a possible path towards new distributions of the sensible as Jacques Rancière suggests.

Esta tese trata do romance de Machado de Assis e da reflexão sobre o gênero do romance e suas possibilidades narrativas ficcionalizadas em sua obra. Pretende-se analisar as diferentes propostas narrativas empregadas pelo autor que, após encaminhar discussões sobre a literatura brasileira, intervindo criticamente e propondo alternativas de abordagem aos autores de sua geração, em ensaios como \"Notícia da atual literatura brasileira instinto de nacionalidade, de 1873, e \"A nova geração, de 1879, passou a ficcionalizar a sua reflexão sobre o gênero romanesco em seus romances, sendo o conjunto de obras pós-1881 o que mais radicaliza o processo. A Crise do título se refere ao período da década de 1870, quando Machado buscou uma espécie de conciliação com o gênero romanesco, uma conciliação conflituosa em busca de um público e em desacordo com os modelos adotados; Destruição se refere à série de romances iniciada com Memórias Póstumas de Brás Cubas. Pretende-se analisar a obra romanesca em contraste e sintonia com a produção ficcional da década de 1870, por meio de um recorte sincrônico ao momento de publicação dos romances. O objetivo é apreender, a partir disso, a sua visão problematizadora do gênero. / This dissertation refers to Machado de Assis novel, his reflection on the novel genre and the fiction narrative presented on his work. It seeks to analyze the writer`s different narrative proposals. Machado de Assis led the discussions about the Brazilian literature through critical interventions and offered alternative approaches to the author from his generation on his essays Notícia da atual literatura brasileira instinto de nacionalidade (1873) and A nova geração (1879). Afterwards, the author began to render into fiction his reflections about the novel genre, especially on his opus after 1881. The Crisis on the title denotes the 1870s when Machado sought to come to terms with the novel genre, though a conflicted conciliation seeking an audience and disagreeing with the set models. Destruction refers to the novel series beginning with Posthumous memoirs of Bras Cubas. This study analyzes the novel comparing and contrasting the production of fiction in the 1870s using a synchronic frame from the novels publishing times. Based on that, the aim is to learn his problematizing perspective on the genre.

Esta tese trata do romance de Machado de Assis e da reflexão sobre o gênero do romance e suas possibilidades narrativas ficcionalizadas em sua obra. Pretende-se analisar as diferentes propostas narrativas empregadas pelo autor que, após encaminhar discussões sobre a literatura brasileira, intervindo criticamente e propondo alternativas de abordagem aos autores de sua geração, em ensaios como \"Notícia da atual literatura brasileira instinto de nacionalidade, de 1873, e \"A nova geração, de 1879, passou a ficcionalizar a sua reflexão sobre o gênero romanesco em seus romances, sendo o conjunto de obras pós-1881 o que mais radicaliza o processo. A Crise do título se refere ao período da década de 1870, quando Machado buscou uma espécie de conciliação com o gênero romanesco, uma conciliação conflituosa em busca de um público e em desacordo com os modelos adotados; Destruição se refere à série de romances iniciada com Memórias Póstumas de Brás Cubas. Pretende-se analisar a obra romanesca em contraste e sintonia com a produção ficcional da década de 1870, por meio de um recorte sincrônico ao momento de publicação dos romances. O objetivo é apreender, a partir disso, a sua visão problematizadora do gênero. / This dissertation refers to Machado de Assis novel, his reflection on the novel genre and the fiction narrative presented on his work. It seeks to analyze the writer`s different narrative proposals. Machado de Assis led the discussions about the Brazilian literature through critical interventions and offered alternative approaches to the author from his generation on his essays Notícia da atual literatura brasileira instinto de nacionalidade (1873) and A nova geração (1879). Afterwards, the author began to render into fiction his reflections about the novel genre, especially on his opus after 1881. The Crisis on the title denotes the 1870s when Machado sought to come to terms with the novel genre, though a conflicted conciliation seeking an audience and disagreeing with the set models. Destruction refers to the novel series beginning with Posthumous memoirs of Bras Cubas. This study analyzes the novel comparing and contrasting the production of fiction in the 1870s using a synchronic frame from the novels publishing times. Based on that, the aim is to learn his problematizing perspective on the genre.

A tese se dedica ao estudo das relações entre o poético e o político na escritura de Paul Valéry entre 1940 e 1945, anos arrasados pela segunda guerra e também os últimos da vida do escritor. O período estudado começa, assim, no verão de 1940, quando a França perde a batalha contra os alemães, Paris é ocupada pelos nazistas e Valéry, abrigado no norte do país, põe-se a escrever o terceiro Fausto que ele há tempos desejava compor. A pesquisa se estende até maio de 1945, pleno apogeu da Libération Française, quando o escritor publica em jornal gaulista (aquelas que [não] deveriam ser) as Ultima Verba do vencedor do conflito, e termina o poema em prosa LAnge depois de duas décadas de trabalho sobre esse texto. Seguindo a escritura diária dos cahiers de Valéry e as notas do curso de poïética ministrado pelo poeta no Collége de France naqueles anos, a tese busca apreender como as estratégias poéticas das obras analisadas Ultima Verba, LAnge e Mon Faust são concebidas para enfrentar os acontecimentos esmagadores daquele período. Com efeito, elas modulam recursos sensíveis, significativos e formais do ato poético, pondo em contradicção as forças heterogêneas do discurso e sua dicção, da voz e do pensamento (lógos e foné), ser e convenção, estabelecendo uma implicação recíproca do poético e do político: o poeta como político profundo, entre as majorités do som e do sentido. Essa implicação põe em jogo a autonomia e a soberania da linguagem poética, os modos de circulação do discurso numa sociedade democrática e o gesto do poeta frente às aporias do processo de escrita. Desse modo, procura-se menos revelar a política de suas escolhas (as vias que o escritor abre ou fecha; ainda que isso seja parte do problema, não é o principal) do que pensar na política de sua poética, perceptível na modulação das diferentes maneiras de ver que compõem o poema, uma modulação que cala ou interrompe, escuta ou prolonga suas hesitações. Assim, veremos que os dilemas da fiducia política e da ciência moderna elaborados nos brouillons do ciclo fáustico e nas notas do curso de poïética reencontram a hesitação prolongada, o inacabamento e infinitização contínua do ato poético, sempre em curso de driblar injunções fiduciárias e técnicas, num momento em que a Europa moderna tinha mais do que nunca carência de repensar os pactos, moedas, projetos e o próprio para, [vencedor, nesse] momento em curso na literatura e na comunidade. / The thesis aims to study the relations between the poetic and the political in the writings of Paul Valéry from 1940 to 1945, a time crushed by the war and the last years of the poets life. This study covers a period that goes from the summer of 1940 during the last weeks of the Battle of France, when Paris was occupied by the germans and the poet, sheltered in the countrys north, starts to write the third Faust that for a long time he wished to write up to may 1945, in the pinnacle of the Libération Française, when the writer publishes in a gaullist journal (those that should [not] be) the ultima verba of the wars winner, and completes, after two decades of writing labour, the prose poem LAnge. By following the the cahiers daily writings and the Collège de Frances course in poetics lesson notes of those years, we seek to understand the strategies conceived to confront the periods crushing events, specially in the analysed texts Ultima Verba, LAnge and Mon Faust. In fact, they modulate the aesthetic infinitys sensible, significant and formal resources in the contradiction of the heterogeneous forces of the discourse and its diction (its elocution), voice and thought (logos and phone), being and convention, thus establishing a reciprocal implication of the poetic and the political: the poet as a profound politician who works between the majorities of sound and sense. This implication reflects upon the poetic languages autonomy and sovereignty, the discourse circulation modes in a democratic society and the poets act in relation to the writing process issues. Thus, this gesture would be put in place less for revealing the politics in Valérys choices (the paths he opens or closes; this is also part of the problem, but it is not the main question) than for thinking about his poetics own politics, one deployed in the modulation of the different manners of seeing implicated in the poem, a modulation that silents or stops, listens or prolongs their hesitations. Then, we shall see that the fiducias politics and modern science dilemmas elaborated by the faustic cycle drafts and by the course in poetics lesson notes find theirselves in the company of the verse as prolonged hesitation, of the poetics act incompleteness and infinitization, always in the process of dribbling the fiduciary and technical injunctions, in a time when modern Europe had more than ever to rethink the pacts, currencies, projects and even the stop, [winner, in this] moment that had currency in literature and community.