This essay aims to understand how meaning and materiality work in four picture books from the 00s and 10s; Gittan och gråvargarna by Pija Lindenbaum, I skogen by Eva Lindström, Vem ser Dim? by Maria Nilsson Thore and Vi blåste bort ibland by Viveka Sjögren. The essay uses two theoretical works about picture books: Bilderbokens pusselbitar by Maria Nikolajeva and Modernismens bilder – Den moderna bilderboken i Norden by Elina Druker. Questions to lead the analysis are: How can text and picture be understood as materiality? How can meaning be understood as a material-discursive phenomenon? How can reading and meaning be understood as performative processes? The chapter “Diffractions: Differences, Contingencies, and Entanglements That Matter” from Karen Barad’s book Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning provides help to understand diffraction as a metaphor and methodological attitude. Eve Kosofsky Sedgwick’s understanding of knowledge as performative in the book Touching Feeling – Affect, Pedagogy, Performativity is used to understand the picture book as an act of knowledge and meaning, and reading as a performative process where human involvement cannot be overlooked. The essay problematizes the theoretical texts about picture books by taking on different parts of the picture book’s form and drawing examples from the four chosen picture books. Parts that are examined are divisions of signs in semiotics (and in the picture book theory), the picture book’s limits between for instance framework and content, fiction and reality, and book and reader, mimesis and the analytical problems with looking for truth, the impact of the picture book’s size and shape, and lastly illustration techniques and the influence that illustrator, materiality and reader have on the book. The essay shows how different involvements affect the meaning that is created in the picture book, how solid delimitations of different kinds can be problematic, and how words such as picture, text, paratext and content should be treated gently and consciously. Different ways of breaking with methods and thoughts of habit are presented, for instance by using Barad’s concept of diffraction. The essay ends by emphasizing the complexity that follows meaning, materiality and reading, the responsibility it demands of us and how picture book theory sometimes simplifies analysis. This essay stresses the importance of questioning how the methods and words we use affect what is possible to understand, but not in the sense that we should read in a paranoid and closed way, but rather open minded and with room for failures, reconsiderations and other ways forward. / Syftet med denna uppsats är att förstå hur mening och materialitet hänger ihop i fyra bilderböcker från 00- och 10-tal; Gittan och gråvargarna av Pija Lindenbaum, I skogen av Eva Lindström, Vem ser Dim? av Maria Nilsson Thore och Vi blåste bort ibland av Viveka Sjögren. Uppsatsen går i dialog med de bilderboksteoretiska verken Bilderbokens pusselbitar av Maria Nikolajeva och Modernismens bilder – Den moderna bilderboken i Norden av Elina Druker. Frågor för att leda undersökningen är som följer: På vilket sätt är text och bild materialitet? Hur kan mening förstås som materiellt-diskursivt fenomen i bilderböckerna? Hur kan läsning och mening förstås som performativa processer? Avsnittet ”Diffractions: Differences, Contingencies, and Entanglements That Matter” ur Karen Barads verk Meeting the Universe Halfway – Quantum Physics and the Entanglement of Matter and Meaning fungerar som hjälp för att förstå diffraktion som metafor och metodologisk hållning. Eve Kosofsky Sedgwicks förståelse av kunskap som performativ i verket Touching Feeling – Affect, Pedagogy, Performativity används för att förstå bilderboken som ett görande, och läsningen som en performativ process där mänsklig inblandning inte kan förbises. Uppsatsen problematiserar de bilderboksteoretiska verken genom att ta sig an olika aspekter av bilderbokens form samt exemplifiera detta med hjälp av det skönlitterära materialet. Områden som vidrörs är semiotikens (och bilderboksteoretikernas) indelning av tecken, bilderbokens gränser mellan bland annat ramar och innehåll, fiktion och verklighet samt verk och läsare, mimesis och sanningssökandets analytiska problem, bilderbokens påverkan av storlek och format, samt slutligen illustrationstekniker och den inverkan illustratör, materialitet och läsare har på verket. Uppsatsen visar på hur olika inblandningar påverkar den mening som skapas i bilderboken, hur fasta gränsdragningar av olika slag kan anses problematiska, samt hur begrepp som till exempel bild, text, paratext och innehåll bör behandlas varsamt och medvetet. Olika sätt att komma runt upptrampade metodologiska tillvägagångssätt och tankespår presenteras, bland annat med hjälp av Barads diffraktionsbegrepp. Uppsatsen avslutas med att betona den komplexitet som följer med mening, materialitet och läsning, det ansvar detta avkräver oss och hur bilderboksteorin ibland fungerar förenklande i analyser. Denna uppsats lyfter vikten av att ifrågasätta vad de metoder och ord vi använder egentligen gör med vad som är möjligt att förstå, men inte i den mening att vi bör läsa misstänksamt och stängt, utan snarare öppensinnat och med utrymme för misslyckanden, omprövningar och andra vägar vidare.

The main theme of this dissertation is to define an image as a visual experience. The human interaction is described by the author himself as a perception of the image, which serves as an information unit that could be presented as a possibility, example and pattern for the individual. There is an emphasis on the process of perception itself and on the way of interaction of an individual emphasizing the context of social learning and imitation in this text. The analysis of the principles of this interaction leading into introduction of the partial interactive models covering these processes is formed by the essential plane. The structure of the thesis is divided into ten main chapters in which the author tries to introduce a category of perception, a definition of the image and imitation as a tool of cultural transmission, presentation of the units of this transmission, the process of the interaction itself and analogous example of the fundamental role that a person in this interaction holds. There are also three analogies of these roles, which refer to the anthropological universal interaction describing the man as a gatherer and hunter. Their main purpose is to illustrate the form of a human experience better. Finally, there are reflections on the topic above. The possibilities and results, which...

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Made available in DSpace on 2016-04-28T19:59:03Z (GMT). No. of bitstreams: 1 Luis Simoes.pdf: 768787 bytes, checksum: 7d0e5a20642677af92419244e3fcff21 (MD5) Previous issue date: 2007-05-29 / Secretaria da Educação do Estado de São Paulo / This monograph deals with the limits between the literary entity named lyrical self , created by an author, and the real world entity that created the text who is the poet himself. For such a task we chose as an object for this research one of the most popular texts from Brazilian Poetry: Marília de Dirceu written by Tomas Antonio Gonzaga in the late XVIII century. The choice of this work was motivated not only for its popularity among poetry readers, but especially because we believe that in this text the limits or boundaries between the lyrical self and the poet are so fragile that even the autobiographical features of the author are now projected on to the lyrical self in a kind of narcissistic mirror. However, one of the most essential characteristics of Arcadian Poetry (Arcadismo) is the pastoral convention where the poet pretends to be a "shepherd" that gives voice to this fictional entity instead of his true self and his personal biography. That is one of the reason why Gonzaga's text represents a breakthrough from the traditional thinking of Arcadian Poetry. From a methodology of theoretical investigation into the concepts of language, discourse and literature, we try to understand the construction of the poem, its lyricism and how through the literary mimesis the alterities of the poetical text are established. All these are fundamental to the understanding of Arcadian Poetry. With these theoretical considerations and a brief research into the origins of Arcadian Poetry and its manifestations in Portugal and Brazil we tried to verify our hypothesis in the lyric poems created by Gonzaga. The result made us realize that the Arcadian canons were in fact followed in part of the work especially when the lyrical self as the character called Dirceu idealizes a happy world with his beloved Marília. Nevertheless, when Gonzaga is arrested suspected of taking part in Inconfidência Mineira and he has to write in prison, both the poet and the "shepherd" are now intermingled with each other reflecting the mutual dependency that both have and thus making the boundaries between fiction and reality even more delicate / A dissertação que ora apresentamos preocupou-se em averiguar como se estabelecem os limites fronteiriços entre a entidade literária que é o eu lírico , criação de um autor, e a entidade do mundo real, criadora do texto, que é o poeta. Para tanto, escolhemos como objeto de pesquisa um dos textos mais populares da poética brasileira: o livro de poemas líricos Marília de Dirceu, escrito por Tomás Antonio Gonzaga, em finais do século XVIII. A escolha de tal obra foi-nos motivada não só por sua popularidade entre os leitores de poesia, mas também porque acreditamos que nela o limite entre o eu lírico e o poeta se torne bastante tênue, a ponto de traços autobiográficos do autor se projetarem na figura do eu lírico , num espelhamento narcísico. Uma vez que no Arcadismo um dos traços marcantes é a convenção pastoril e o poeta, fingindo-se de pastor , concede voz a uma entidade ficcional em que se apagam a sua identidade e sua biografia pessoal, o texto de Gonzaga representaria uma ruptura aos cânones do período. A partir de uma metodologia de investigação teórica sobre conceitos relativos à linguagem, ao discurso e à literatura, procuramos entender melhor a construção da poesia, do seu lirismo e de como, através da mimese literária, se estabelecem as alteridades no texto poético, conhecimentos fundamentais para trabalharmos com a poesia árcade. Com tais levantamentos teóricos e uma breve pesquisa sobre a formação do Arcadismo e suas manifestações em Portugal e no Brasil, partimos para a verificação de nossas hipóteses nas liras de Gonzaga. O resultado deste trajeto acadêmico, aqui apresentado, nos levou a perceber que os cânones árcades se cumprem em parte na obra, quando o eu lírico , na figura do pastor Dirceu, idealiza um mundo feliz com sua amada Marília. No entanto, quando Gonzaga é preso, como suspeito de participação na Inconfidência Mineira, ao escrever suas liras na masmorra, poeta e pastor se imbricam numa única entidade que passa a refletir relações de mútua dependência, tornando a fronteira entre a literatura e a realidade cada vez mais imprecisa

Notre hypothèse de travail est la suivante : sous le couvert d’un pacte de fausseté et de jeu, Baudelaire met en œuvre le passage vers une poésie qui, pour s’interroger désormais profondément sur elle-même (fondements, référents, métamorphoses, essence et nécessité), exige et engendre sans cesse son foyer propre de vérité, au-delà de tout système. Ainsi, à la différence de ses prédécesseurs, le poète ne fait plus porter principalement son attention, ses efforts, ses doutes et soupçons, sur la portée lisiblement et socialement constructive de ce qu’il écrit, mais sur le rapport entre une apparence poétique ou artistique qui se tient (la figure, l’image) et le tréfonds de l’homme, soit un certain effondrement. La perspective esthétique et morale que nous cherchons donc à définir dans l’œuvre baudelairienne interroge le lien de la parole avec celui qui l’émet d’une part, et celui qui la reçoit d’autre part : la mise en cause de la langue en tant que vecteur effectif est donc posée, ainsi que la recherche anxieuse qui l’accompagne. À la fois nés et déjà distanciés du Romantisme, ce nouveau point de mire et cette réflexivité libèrent, exacerbent et menacent le poétique : c’est ainsi qu’à travers les motifs de l’hypocrisie, du mensonge, du masque, et de l’art lui-même, le poète défie cet idéal au fur et à mesure qu’il l’initie, tout en vivant une véritable passion poétique dans laquelle il s’investit et se consume, corps et esprit, non sans une forme d’intégrité. Tels sont les paradoxes envisagés. En quels termes peut-on parler de vérité poétique dans l’œuvre de Baudelaire ? En extrait-il l’idée vers un déploiement et une postérité assurément fertiles, ou bien l’étouffe-t-il dès sa source dans la clairvoyance qui le caractérise ? Une telle lucidité peut-elle travailler contre l’authenticité du geste artistique ? Où, quand et comment se joue donc le vrai du poème ? Pourquoi et vers quoi ? En quoi l’œuvre trouve-t-elle à travers ce fil une cohérence particulièrement éclairante en tant qu’initiatrice de la modernité ? Mais également, avec quelles limites ? Comment et pourquoi le sens poétique peut-il et doit-il échapper au souci dialectique, donc se jouer pareillement des travestissements et de toute adhérence systématique - notamment d’une fidélité à toutes les évidences de gravité ? Il s’agit donc de tenter de comprendre en quoi le poétique, à partir de Baudelaire, et conséquemment à son travail, dans les transports et substitutions qu’il suppose, dans son improuvable et sa mystification, mais également dans la rigueur qui le caractérise, peut-être mis est en rapport avec le vrai, non pas selon des systèmes constants extérieurs et préalables, mais selon des entrées, des perspectives interférant avec la parole créatrice, notamment avec l’expérience de l’inspiration, de la composition, et de la lecture du symbole. Puisque telle vérité ne peut évidemment pas être posée comme un théorème ou axiome positivement prouvés et applicables, elle ne sera donc pas envisagée à travers un prisme théorique et philosophique précis, mais bien confrontée méthodiquement à la littérarité du texte, au poème, en ce qu’il présente et initie une forme d’existence intrinsèque, dont l’originalité et le paradoxe seraient précisément de ne pas être positive, au sens d’appuyée sur quoi que ce soit de préjugé, où tendue à dessein vers un objectif prescrit. / Our working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective.

Notre travail se propose d'analyser les formes et les fonctions que peut revêtir le paysage dans un corpus de textes épiques posthomériques. Les Argonautiques d'Apollonios de Rhodes et leur réécriture tardive anonyme, les Argonautiques Orphiques, les Posthomériques de Quintus de Smyrne, la Prise d'Ilion de Triphiodore et les Dionysiaques de Nonnos de Panopolis nous offrent un champ d’investigation fructueux pour analyser les représentations littéraires du paysage de manière transhistorique. Nos textes opèrent une première transformation du paysage épique archaïque qui est d'abord l'image du monde avec laquelle il se confond (adéquation posée entre bouclier, île et monde) en détachant de cette équation le paysage pour lui conférer une plus grande autonomie. Le monde devient une mosaïque de paysages autonomes qui gagnent en épaisseur du fait qu'ils se chargent d'une dimension identitaire. La polymorphie du paysage donne alors sa texture mouvante au monde des Grecs : c'est la dimension plastique et artiste que le texte de poésie épique emprunte pour mettre en mots ces images du monde qui révèle les formes du paysage épique. Une diversité de schèmes paysagers émergent et ouvre l'intertexte littéraire à l'hétérogénéité des formes artistiques. De cette fusion de processus et de formes naît une singularité bien antique de perception et de traduction du paysage : la merveille. Paysage et merveille s'entremêlent étroitement au point de se substituer l'un à l'autre : c'est là une définition possible du paysage antique à partir de la période hellénistique. Mais le paysage ainsi identifié et construit appartient aussi au monde dont il contribue à imager la forme. Il est clairement localisé d'un point de vue géographique : image vivante d'une partie du monde il lui offre son identité par ses caractéristiques topiques singulières. Il est une forme d'identification régionale et confine au vernaculaire. Le paysage devient un instrument de promotion intellectuelle et culturelle. Entre diversité formelle et singularité locale, le paysage voyage entre fiction et réel : ses modalités de construction empruntent au littéraire et à l'artistique et s'étendent ensuite grandeur nature. Le genre épique, marqué par l'intertextualité innovante, fait du paysage l'image même du processus de transposition et d'adaptation. Manifestation de l'exercice d'une subjectivité antique singulière puis collective, instrument de mesure du travail de l'imaginaire à l’œuvre dans les processus complexes de réception littéraire et culturelle, le paysage antique entre transmission et invention, s'ouvre à l'expérience quotidienne et sociale. Son existence antique est effective. / The undertaking of this work is to analyze the forms and functions that the landscape can take in a corpus of posthomeric epic texts. The Argonautica of Apollonius of Rhodes and its late anonymous rewriting The Orphic Argonautica, the Posthomerica of Quintus Smyrnaeus, the Ilioupersis of Triphiodorus, and The Dionysiaca of Nonnus Panopolitanus provide us with a fruitful field of investigation for the analysis of the literary representations of the landscape as transhistorical. Firstly, our texts operate one transformation of the archaic epic landscape that is first the image of the world with which it merges (the conformity placed between shield, island, and world) by separating the landscape from this equation and giving it greater autonomy. The world is a mosaic of autonomous landscapes that gain texture as they take on a dimension of identity. The polymorphism of the landscape then gives its moving texture to the world of the ancient Greeks : the plastic and artist dimension is borrowed by the Epic text to put into words the images of the world, which reveal epic landforms. A variety of landscape patterns emerges and opens the literary intertext to the heterogeneity of artistic forms. From this fusion of process and forms, a singularity arises, a singularity particularly antique of the perception and the translation of the landscape : wonder. Landscape and wonder mingle so narrowly as to substitute one for the other : this is a possible definition of the ancient landscape from the Hellenistic period. But the landscape as thus identified and constructed also belongs to the world the image of which it contributes to form. It is clearly localized in a geographical perspective : the landscape becomes a vivid picture of the world and the former offers the latter its identity by its unique topical characteristics. It is a form of regional identification and it is sometimes confined to the vernacular. The landscape becomes an instrument for intellectual and cultural promotion. Between formal diversity and local singularity, the landscape travels between fiction and reality : its construction methods borrow from the literary and artistic and then extend to nature. The epic genre, characterised by innovative intertextuality, makes the landscape the image of the process of transposition and adaptation. As a manifestation of the exercise of a singular and then a collective ancient subjectivity, the landscape is an instrument for measuring the unfolding of the imagination at work in the complex process of literary reception and cultural transmission ; the ancient landscape between transmission and invention, opens itself up to the everyday and social experience. Its ancient existence is effective.

This study explores the crisis of representation in black South African protest and ‘post’-apartheid literature. Conversant with the debates on the crisis of representation in black South African protest literature from the 1960s to the late 1980s, the dissertation proposes a re-reading of the ‘crisis’ by locating it in the black writer’s struggle for an aesthetic with which to express the existential crisis of blackness. I contend that not only protest but also contemporary or ‘post’-protest black South African literature exhibits a split or fractured mode of writing which is characterised by the displacement/unheimlichheid produced by colonialism and apartheid, as well as by the contentious nature of that which this literature endeavours to capture – the fraught identity of blackness. In my exploration of the split or double narratives of Mongane Serote’s To Every Birth Its Blood, K. Sello Duiker’s Thirteen Cents, and Kopano Matlwa’s Coconut, I examine the representation of blackness through the themes of violence, trauma, powerlessness, failure, and unhomeliness/unbelongingness – all of which suggest the lack of a solid foundation upon which to construct a stable black identity. This instability, I ultimately argue, suggests a move beyond an Afrocentric perspective on identity and traditional tropes of blackness towards a more processual, fluid, and permeable post-black politics.

The theme of the dissertation submitted is the novel Devil Guardian, whose author is a Mexican writer Xavier Velasco. This dissertation is the very first theoretical work in the Czech environment, devoted to the above-mentioned piece of literature published in 2004. In a sense, Devil Guardian represents a characteristic Mexican novel of the early 21st century, combining tradition and novelty in a surprising and original manner. A significant feature of the contemporary Mexican literature is a departure from the theme of Mexicanity, generally from a programmatic indulging in so-called national literature. Velasco's novel is an exemplary, however, not only piece of literature proving that the literary break-up with Mexico is neither an exclusive nor a dominant attribute of the contemporary Mexican fiction. In Devil Guardian Velasco focuses his mind on the theme of personal and national identity, which he treats in a considerably nontraditional manner, giving an ironical turn to speak to a hypermodern girl moving in the globalized world. The dissertation is divided into six parts. The first part "Originality Rooted in Tradition" refers to Devil Guardian ensuing the tradition of Mexican novel and innovating it. The second part "Xavier Velasco" briefly introduces the author's life and work. The issues...

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L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performance. / Performance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists.