'The Artist Will Be Present' explores objects as traces that stem from performed actions, and my body in performance. Part-sculptural objects, video and sound act as performance documents that expand on notions of the ‘live’ encounter. Interest lies in how we get to objects: process in variance to product or closure. And the question of how the body/s of the audience becomes participatory is at the forefront of these operations. From this viewpoint the exegesis aims to broaden existing scholarship on performativity, liveness and the part-sculptural object, exploring the manners in which various cultural practices act to animate objects. I reconsider the Euro-American genealogies of performance/body art (Bruce Nauman, Lygia Clark, Ann Hamilton et al.) in relationship to contemporary art practices in Australia and New Zealand (Alicia Frankvich, Carolyn Eskdale et al.) through the lens of late 19th-and early 20th-century writing on sympathetic magical action. A legacy of cultural anthropology dealing with magic (that was privileged in establishing grounding aspects of structural linguistics) circulates around the British anthropologist Stanley J. Tambiah whose thinking on persuasive analogy in ritual performance draws a crucial link between J. L. Austin’s performative utterance and James George Frazer’s notion of sympathetic magic. From such a perspective the operations of sympathetic mimesis—involving ambivalent similitude and contagion—are discussed in terms of performative and persuasive illocutionary force. This offers another model for articulating an authentic performative document as an encounter with the ‘live.’ A phenomenological method of enquiry, including Maurice Merleau-Ponty’s concept of the chiasm,—along with notions of mimetic incongruence—crucially tease out relationships between the live and the performance document and aim at resisting subject/object dichotomies whereby concepts of embodiment and indeterminate play between artist, objects and audiences are activated. Applied to contemporary debates on performance and ‘objects out of action,’ part objects and images are transformed as partial ‘subjects’: metonymically part of larger wholes as trace (substitution) and contagious contact (liveness). What is lacking in the operations of sympathetic mimesis is precisely what ‘draws out’ the body/s of the audience as they desire closure in object and duration. As these questions turn on the body of the artist/self and the audience/participant in performative installation practice, I offer an analysis of bodies in ritual exchange (donor/donee); subjects and objects as transformers: relations of force over form—liminal, reversible and redolent of lack—that emphasise encounter in difference to recognition. This is to speak of, in the words of Lygia Clark: “Tactile shocks to liberate the body.”

My project offers a set of comparative close readings of texts by E.T.A. Hoffmann and Honoré de Balzac. Balzac’s early fiction, I contend, grapples with questions relating to the representational practice of mimesis through an explicit engagement with Hoffmann’s work. Hoffmann’s fiction, in turn, proves itself repeatedly to contain the traces of a proto-realist tendency, through its playful interventions into the staging of narrative creation. The contribution of my project to scholarship is twofold. First, it offers comparative readings of texts that have not yet been drawn together, hoping to re-adjust the common ascriptions of ‘Romanticism’ and ‘Realism’ to Hoffmann and Balzac respectively, and to identify a new complication in the relationship of those generic categories. Second, it articulates a new account of mimesis. By drawing on the work of twentieth-century theorists such as Erich Auerbach, Walter Benjamin and Merleau-Ponty, it shows that ‘mimesis’ refers not merely to the imitation of an object, but rather to the reproduction of a particular sensory experience of that object. This perspective on mimesis allows me to unfold new readings of the two authors. How is life compromised in the name of fiction, of the artwork? This question recurs compulsively in Hoffmann’s tales, figured in repeated and near-repeated scenarios in which the everyday is pitted against an ideal or delusional alternative. When Balzac imitates or repeats this mimetic question in the works I consider, it is invariably figured in the image of Hoffmann, called upon as a fictional co-author or authorial double, or as a para-textual element, often in highly visual terms. The thesis thus addresses what I have come to term the ‘stakes of mimesis’. If a particular compromise, or particular stakes, are involved in the creation of fictions, for Balzac those stakes are drawn in distinctly Hoffmannesque terms. The thesis is structured according to the conviction that the relationship between the two writers is not simply a linear one of filiation or influence, but one led by a more complicated sense of imitation. To this end, I take to task the conventional figure of the narrative ‘line’ and follow it through various Romantic and modernist complications. My first chapter, ‘Chiasm’, works as a conceptual introduction to the readings, tracing a particular account of literary mimesis from Plato to Maurice Merleau-Ponty. The four subsequent chapters each read a pair of texts by Hoffmann and Balzac alongside one another. Chapter Two, ‘Line’, focuses on the arabesque lines of Der goldne Topf and La Peau de chagrin. Chapter Three, under the emblem ‘Trope’, examines the paper identities of characters in Die Abenteuer der Sylvester-Nacht and Le Colonel Chabert. Chapter Four, ‘Figure’, considers the delusional artist figures and ekphrastic narrative frameworks of Der Artushof and Le Chef-d’œuvre inconnu. Finally, Chapter Five, ‘Cross’, examines questions of inheritance between Die Elixiere des Teufels and L’Élixir de longue vie. In unfolding these emblematic figures as models of reading, I seek new ways of thinking about the relationship between these two authors, and about the act of comparative reading.

This thesis is concerned with understanding sport theory based on art theory. In so doing, in extending their relationship, a deeper appreciation of both may result. In turn, this may enhance our lives. While postmodern theories of art somewhat devalue the rarefied status of art, at the same time art’s openness is particularly well appointed to understanding other aesthetic domains. Scholarly attention to the so-called aesthetics of the everyday of which sport is an example, is a relatively recent paradigm shift that attempts to give philosophical weight to common, ordinary experiences as aesthetic. Art as the paradigm case of aesthetic experience is therefore useful in illuminating such experiences, one of which is sport. The results of this study are: Like art, sport idealises in its desire for perfection. Like art, sport is a second-order mimetic activity that is autonomous and reflects extra-aesthetic concerns. The implications of the postmodern language turn for art, namely detotalising and/or meaninglessness can be applied to sport. Drawing from Wittgenstein, art and sport are culturally embedded within institutional frameworks and quite simply are learnt ways of thinking and doing. Expressive theories of art were introduced which, it was found, has resonance with sport, as it can be similarly described as an expression of “aesthetic ideas”, to use Kant’s phrase. The artistic formalist perspective and the realization of form led to describing sport as aesthetically beautiful in many ways. One might apply Zangwell’s moderate aesthetic formalism to sport where formal qualities, representation and content co-exist, thus somewhat combining the above conclusions. An analysis of this kind suggests that sport may derive its meaning from an artistic perspective, at least in theory. At the same time, though not the primary focus of this thesis, one might describe the relationship between art and sport as an oscillation, if at times a dialectic, in which case boundaries between them inevitably become more complex. It is conceivable that within that complexity/struggle/play there can be self- realization and world-bettering. It is also conceivable that this is a result of the emergence of a new sub-discipline, namely sports art. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Esta dissertação analisa a representação da ambição no romance O pai Goriot, de Honoré de Balzac. A partir da análise da descrição do protagonista desta obra, Eugène de Ratignac, buscamos, com este conceito, expandir a compreensão da mimesis operada por Balzac, em diálogo com a tradição crítica iniciada com Platão e Aristóteles e revista por Erich Auerbach, e com as outras obras do escritor francês compostas no começo da década de 1830, especialmente Eugênia Grandet. / This dissertation analyzes the representation of ambition in the novel O pai Goriot (Father Goriot), by Honoré de Balzac. From the analysis of the description of the protagonist of this work, Eugène de Ratignac, we aim, with this concept, expand the understanding of how Balzac operated his mimesis, in dialogue with the critical tradition started with Plato and Aristotle and reviewed by Erich Auerbach, and the other works of the French writer, mainly Eugênia Grandet, composed in the early 1830s.

Em Machado de Assis, a representação da realidade é desfigurada através da forma literária marcada pelo binômio precisão versus imprecisão. Essa desfiguração surge na representação do cotidiano sério e trágico (elementos constitutivos do Realismo moderno, segundo Erich Auerbach) que, no Brasil, são afetados pela mescla de percepções de ordem política, econômica e religiosa, causando uma falta de posicionamento social claro. O presente trabalho tem a intenção de analisar o romance Dom Casmurro (obra que possui um narrador comprometido tanto pelo discurso jurídico quanto pelo discurso religioso) à luz do método que Auerbach desenvolveu para compreender a forma como é apresentada a condição humana através do tempo, especialmente nas obras Figura (1944) e Mimesis (1946), a fim de demonstrar como se dá a representação da realidade em um país periférico e pautado por valores arcaicos, gerando a quebra da seriedade e o afastamento da precisão realista. / In Machado de Assis work, the representation of reality is disfigured through the literary form determined by the precision vs. imprecision binomial. Such disfiguration emerges from the representation of the serious and tragic everyday (constitutive elements of Modern Realism, according to Erich Auerbach), which in Brazil is affected by the miscellany of political, economic and religious perceptions, causing an absence of a clear social positioning. The current work intends to analyze the novel Dom Casmurro (story that has a committed narrator both for the juridical speech and the religious one) making use of the method Auerbach developed to comprehend the form the human condition is present through time, specially in the works Figura (1944) and Mimesis (1946), in order to demonstrate the representation of reality in a peripheral country ruled by archaic values, generating the break of seriousness and the dismissal of realist precision.

A presente dissertação visa analisar os conceitos de mimesis e tragédia nas diferentes abordagens dos filósofos Platão e Aristóteles. O problema principal que condiciona a análise é a relação entre, de um lado, as obras de arte e, de outro, a realidade e os juízos morais. Esse problema é estudado através de uma análise dos principais textos nos quais os respectivos filósofos elaboraram suas reflexões sobre o tema, a saber, os livros II-III e X da República de Platão e A Poética de Aristóteles. Nessas diferentes obras vemos progressivamente a elaboração da primeira reflexão ocidental sobre a atividade artística em geral, com ênfase especial sobre a poesia trágica. A polêmica platônica em torno da mimesis e da tragédia tem por objetivo servir de pano de fundo para a compreensão da tese aristotélica de que a ação poética é distinta da ação tal como estruturada na vida, e, isso, em função da prioridade “ontológica” concedida à ação trágica com relação aos caracteres. A tese platônica relativa à arte, é de que a mimesis está na origem da perversão da alma intelectiva e racional capaz de estabelecer a verdade a partir da rememoração da Forma transcendente. Como a tragédia é a imitação da aparência visível das coisas, o que o poeta faz é absorver a coisa sensível em uma imagem parcial, isto é, um pequeno pedaço da coisa, visto que ela, quando sustentada unicamente pela posição do olhar do artista, estilhaça-se em uma multiplicidade cambiante de imagens que essa mesma coisa pode fornecer. É apenas a Forma transcendente que pode bloquear essa proliferação incessante de imagens que distorcem a imagem absoluta das virtudes e da verdade. Ao contrário, em Aristóteles, não vemos nada dessa redução da intriga (mythos) trágica aos conceitos discursivos ou aos valores estáveis éticos. Ao estabelecer o mythos como princípio formal da tragédia, Aristóteles subordina as demais partes constituintes da tragédia à ação enquanto disposição dos fatos em sistema. Assim, caracteres, discursos racionalmente articulados, espetáculo, etc., situam-se em uma posição secundária e subordinada correspondente ao princípio material, deixando-se, dessa maneira, determinar-se pela estrutura simultaneamente lógica e emocional da tragédia. Isso tem como consequência interditar a redução e a imobilização da tragédia em juízos morais enfáticos. / This thesis aims to analyze the concepts of mimesis and tragedy in the different approaches of the philosophers Plato and Aristotle. The main problem which makes the analysis is the relationship between, on one hand, works of art and, on the other, reality and moral judgments. This problem is studied through an analysis of texts in which their philosophers developed their thoughts on the subject, namely, books II-III and X of Plato's Republic and Aristotle's Poetics. In these various works gradually we build the first Western reflection on the artistic activity in general, with special emphasis on the tragic poetry. The controversy around the Platonic mimesis and tragedy aims to serve as the backdrop for understanding the Aristotelian view that the action as structured in life is distinct from the poetic action, and this, according to the priority "ontological" given the tragic action in relation to the characters. The Platonic theory on art is that mimesis is the origin of the perversion of the intellect and rational able to establish the truth from the transcendent form of remembrance. As the tragedy is the imitation of the visible appearance of things, what the poet does is absorb the sensible thing in a partial image, ie, a small piece of it, since she sustained only when the position of the artist's eye, shatters into a multiplicity changing images that that same thing can provide. In the transcendent Form is assigned the role of this interdict ceaseless proliferation of images that distort the image absolute virtues and truth. In contrast, in Aristotle, we see nothing that reduction of the tragic plot (mythos) to the concepts or discursive ethical values stable. In establishing the mythos as a formal principle of tragedy, Aristotle makes the other constituent parts of the tragedy to action as the facts available in the system. Thus, characters, speeches rationally articulated, performance, etc., lie in a secondary and subordinate position corresponding to the material principle, leaving themselves in this way be determined by the tragic structure both logical and emotional. This has the effect of banning the reduction and immobilization of the tragedy in emphatic moral judgments.

A presente dissertação visa analisar os conceitos de mimesis e tragédia nas diferentes abordagens dos filósofos Platão e Aristóteles. O problema principal que condiciona a análise é a relação entre, de um lado, as obras de arte e, de outro, a realidade e os juízos morais. Esse problema é estudado através de uma análise dos principais textos nos quais os respectivos filósofos elaboraram suas reflexões sobre o tema, a saber, os livros II-III e X da República de Platão e A Poética de Aristóteles. Nessas diferentes obras vemos progressivamente a elaboração da primeira reflexão ocidental sobre a atividade artística em geral, com ênfase especial sobre a poesia trágica. A polêmica platônica em torno da mimesis e da tragédia tem por objetivo servir de pano de fundo para a compreensão da tese aristotélica de que a ação poética é distinta da ação tal como estruturada na vida, e, isso, em função da prioridade “ontológica” concedida à ação trágica com relação aos caracteres. A tese platônica relativa à arte, é de que a mimesis está na origem da perversão da alma intelectiva e racional capaz de estabelecer a verdade a partir da rememoração da Forma transcendente. Como a tragédia é a imitação da aparência visível das coisas, o que o poeta faz é absorver a coisa sensível em uma imagem parcial, isto é, um pequeno pedaço da coisa, visto que ela, quando sustentada unicamente pela posição do olhar do artista, estilhaça-se em uma multiplicidade cambiante de imagens que essa mesma coisa pode fornecer. É apenas a Forma transcendente que pode bloquear essa proliferação incessante de imagens que distorcem a imagem absoluta das virtudes e da verdade. Ao contrário, em Aristóteles, não vemos nada dessa redução da intriga (mythos) trágica aos conceitos discursivos ou aos valores estáveis éticos. Ao estabelecer o mythos como princípio formal da tragédia, Aristóteles subordina as demais partes constituintes da tragédia à ação enquanto disposição dos fatos em sistema. Assim, caracteres, discursos racionalmente articulados, espetáculo, etc., situam-se em uma posição secundária e subordinada correspondente ao princípio material, deixando-se, dessa maneira, determinar-se pela estrutura simultaneamente lógica e emocional da tragédia. Isso tem como consequência interditar a redução e a imobilização da tragédia em juízos morais enfáticos. / This thesis aims to analyze the concepts of mimesis and tragedy in the different approaches of the philosophers Plato and Aristotle. The main problem which makes the analysis is the relationship between, on one hand, works of art and, on the other, reality and moral judgments. This problem is studied through an analysis of texts in which their philosophers developed their thoughts on the subject, namely, books II-III and X of Plato's Republic and Aristotle's Poetics. In these various works gradually we build the first Western reflection on the artistic activity in general, with special emphasis on the tragic poetry. The controversy around the Platonic mimesis and tragedy aims to serve as the backdrop for understanding the Aristotelian view that the action as structured in life is distinct from the poetic action, and this, according to the priority "ontological" given the tragic action in relation to the characters. The Platonic theory on art is that mimesis is the origin of the perversion of the intellect and rational able to establish the truth from the transcendent form of remembrance. As the tragedy is the imitation of the visible appearance of things, what the poet does is absorb the sensible thing in a partial image, ie, a small piece of it, since she sustained only when the position of the artist's eye, shatters into a multiplicity changing images that that same thing can provide. In the transcendent Form is assigned the role of this interdict ceaseless proliferation of images that distort the image absolute virtues and truth. In contrast, in Aristotle, we see nothing that reduction of the tragic plot (mythos) to the concepts or discursive ethical values stable. In establishing the mythos as a formal principle of tragedy, Aristotle makes the other constituent parts of the tragedy to action as the facts available in the system. Thus, characters, speeches rationally articulated, performance, etc., lie in a secondary and subordinate position corresponding to the material principle, leaving themselves in this way be determined by the tragic structure both logical and emotional. This has the effect of banning the reduction and immobilization of the tragedy in emphatic moral judgments.

Made available in DSpace on 2016-12-08T16:52:06Z (GMT). No. of bitstreams: 1 PaulaRojasAmador2009.pdf: 1974150 bytes, checksum: 2895b01b886732e96569cce9c912a0a6 (MD5) Previous issue date: 2009-02-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has as its object the analysis of theatrical interpretation in anti-naturalists performances. It also studies the existence of some principles in the mask theater; marionette theater, and nô theater, such as: economy of means, focus, score of gestures and actions, neutrality, immobility and the relation of the actor with his energetic center, also known as gravity center. The study centers its analysis in two contemporaneous spectacles played in Brazil: Agreste directed by Márcio Aurélio and played by Cia. Razões Inversas in the year of 2004 in São Paulo-SP; and O Pupilo quer ser tutor´, written by the Austrian playwright Peter Handke and played by the Cia. Teatro sim... Por que não?! in the year of 2007 in Florianópolis-SC, under the direction of Francisco Medeiros. The research includes the concept of theatricality and its relations with the mimesis as concrete elements to discuss the interpretative work which distances itself from the naturalistic way of playing / A presente pesquisa tem como objeto a análise da interpretação teatral em encenações antinaturalistas. Também estuda a existência de alguns dos princípios presentes no teatro de máscara, no teatro de marionetes e no teatro nô, tais como: a economia de meios, o foco, a partitura de gestos e ações, a neutralidade, a imobilidade e a relação do ator com seu centro energético, também conhecido como centro de gravidade. O estudo centra suas análises em dois espetáculos contemporâneos encenados no Brasil: Agreste dirigido por Márcio Aurélio e encenado pela Cia. Razões Inversas, no ano de 2004 em São Paulo-SP; e O Pupilo quer ser tutor, peça do dramaturgo austríaco Peter Handke encenado pela Cia. Teatro sim... Por que não?! no ano de 2007, em Florianópolis-SC, sob a direção de Francisco Medeiros. A pesquisa incorpora o conceito de teatralidade e suas relações com a mimese como elementos concretos para discutir o trabalho interpretativo que se distancia do modo naturalista de atuar

Em Machado de Assis, a representação da realidade é desfigurada através da forma literária marcada pelo binômio precisão versus imprecisão. Essa desfiguração surge na representação do cotidiano sério e trágico (elementos constitutivos do Realismo moderno, segundo Erich Auerbach) que, no Brasil, são afetados pela mescla de percepções de ordem política, econômica e religiosa, causando uma falta de posicionamento social claro. O presente trabalho tem a intenção de analisar o romance Dom Casmurro (obra que possui um narrador comprometido tanto pelo discurso jurídico quanto pelo discurso religioso) à luz do método que Auerbach desenvolveu para compreender a forma como é apresentada a condição humana através do tempo, especialmente nas obras Figura (1944) e Mimesis (1946), a fim de demonstrar como se dá a representação da realidade em um país periférico e pautado por valores arcaicos, gerando a quebra da seriedade e o afastamento da precisão realista. / In Machado de Assis work, the representation of reality is disfigured through the literary form determined by the precision vs. imprecision binomial. Such disfiguration emerges from the representation of the serious and tragic everyday (constitutive elements of Modern Realism, according to Erich Auerbach), which in Brazil is affected by the miscellany of political, economic and religious perceptions, causing an absence of a clear social positioning. The current work intends to analyze the novel Dom Casmurro (story that has a committed narrator both for the juridical speech and the religious one) making use of the method Auerbach developed to comprehend the form the human condition is present through time, specially in the works Figura (1944) and Mimesis (1946), in order to demonstrate the representation of reality in a peripheral country ruled by archaic values, generating the break of seriousness and the dismissal of realist precision.

Esta dissertação analisa a representação da ambição no romance O pai Goriot, de Honoré de Balzac. A partir da análise da descrição do protagonista desta obra, Eugène de Ratignac, buscamos, com este conceito, expandir a compreensão da mimesis operada por Balzac, em diálogo com a tradição crítica iniciada com Platão e Aristóteles e revista por Erich Auerbach, e com as outras obras do escritor francês compostas no começo da década de 1830, especialmente Eugênia Grandet. / This dissertation analyzes the representation of ambition in the novel O pai Goriot (Father Goriot), by Honoré de Balzac. From the analysis of the description of the protagonist of this work, Eugène de Ratignac, we aim, with this concept, expand the understanding of how Balzac operated his mimesis, in dialogue with the critical tradition started with Plato and Aristotle and reviewed by Erich Auerbach, and the other works of the French writer, mainly Eugênia Grandet, composed in the early 1830s.