This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a relatively narrow corpus of core texts: Mallarmé’s Igitur (c. 1867-70) and Un Coup de dés (1897); Apollinaire’s “Zone” (1912) and various of his calligrammes; Maeterlinck’s early one-act plays—L’Intruse (1890), Les Aveugles (1890), and Intérieur (1894); and Jarry’s Ubu roi (1896) and César-Antechrist (1895). The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé’s Un Coup de dés and Apollinaire’s calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality (the experience or condition of the betwixt and between) is implemented in an analysis of character and diegetic space as constructed in Jarry’s Ubu roi and Maeterlinck’s one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes—the subjectivisation of space and the spatialisation of the subject —manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire and Jarry, but in the period’s poetry and drama more generally.

This monographical work describes the life and work of the poet and translator Josef Hiršal in a chronological way. It is a reason why the work has two main part A, B. The first part A. Life and work of Josef Hiršal maps the importatnt bibliography moments, which had main influent on forming Hiršal's personality and work. Part two B. Bibliography of Josef Hiršal contains multi-layered bibliography of Josef Hiršal. This part try to catch and segment in a several sections Hiršal's literary produciton in all area.

Esta pesquisa traz as reflexões sobre a imagem do corpo, que surgiram no decorrer do percurso artístico, utilizando a cerâmica como principal meio de expressão poética. Trabalhando com diversas técnicas de modelagem, pintura e impressão em cerâmica, desenrolam-se reflexões sobre o corpo - principalmente sobre o meu próprio e minhas experiências, sensações e sentimentos / This research brings reflections about the body image, which appeared during the artistic process, using ceramic as the primary means of poetic expression. Working with various modeling techniques, painting and printing on ceramics, unfold reflections about the body - mostly on my own and my experiences, sensations and feelings.

In this analytical research paper, the notions of narrator and narration in poetry are discussed in order to identify why the terminology in this particular genre is considered as problematic by most theorists. In its theoretical section, this paper focuses on Philippe Lejeune’s autobiographical and biographical pacts, and shows the limits of the two reading contracts in the poetical genre. Then, on the background of Brian McHale and Stefan Kjerkegaard’s works on segmentivity, this paper explains the narrative process that can be found in the visual form of poetry. Finally, discussing Brian McAllister and Marie-Laure Ryan’s works on narrativity, this study explains that a story is a mental image that the transposition to a media will transform in order to best represent according to its own limits. In its analytical part, and mirroring the theoretical part, this study focuses on identifying the narrator, the narrative process, as well as the degree of narrativity of four poems by David Diop, Charles Pennequin, Ilse Garnier and Pierre Garnier. Thoses poems, chosen on the ground that they are good representative examples of narrative poetry, lyric poetry and visual poetry, help test the theories in practice. The results show that in the narrative poem, although the identity of the narrator is hard to establish, the narrative process is clear and the degree of narrativity is high. In the lyric and visual poems on the other hand, even if the segmentivity theory helps ‘reconstruct’ the narration when linking words are missing, the difficulty to identify narrative events in the lyric poem and a story world in the case of the visual poetry makes the emergence of a story world, and in turn of a narrator, problematic.

Esta pesquisa traz as reflexões sobre a imagem do corpo, que surgiram no decorrer do percurso artístico, utilizando a cerâmica como principal meio de expressão poética. Trabalhando com diversas técnicas de modelagem, pintura e impressão em cerâmica, desenrolam-se reflexões sobre o corpo - principalmente sobre o meu próprio e minhas experiências, sensações e sentimentos / This research brings reflections about the body image, which appeared during the artistic process, using ceramic as the primary means of poetic expression. Working with various modeling techniques, painting and printing on ceramics, unfold reflections about the body - mostly on my own and my experiences, sensations and feelings.

[pt] A dissertação é uma tentativa de explorar caminhos de investigação da palavra poética que permitiram sua liberação de formatos estritos, como o processo iniciado por: Um lance de dados jamais abolirá o acaso de Mallarmé; a noção que Haroldo de Campos resgata do poeta-calígrafo, do pensamento do livro total, o livro como um objeto; e a estética da ruína identificada por Walter Benjamin no Barroco alemão. O campo de investigação é o de experiências poético-visuais que interrompem, criam deslocamentos ou obstruções na linguagem: manchas, infiltrações, junções, vestígios, ruínas, cicatrizes, colagens e apagamentos – procedimentos poéticos para permear o inaudito, o indizível, camadas e aberturas no objeto poema. Análise de três casos que se equilibram no limiar do poético e do plástico – Waly Salomão e seus Babilaques; Edgard Braga e seus poemas visuais; e Mira Schendel e suas Monotipias. A escrita da dissertação foi concebida em forma de ensaios e fragmentos, trazendo fotos e imagens-resquícios de cadernos e trabalhos feitos pelo autor ao longo do mestrado. São imagens que procuram ativar outros sentidos, sem obrigação explicativa, expositiva ou informativa, mas com uma relação direta e rizomática com a pesquisa. / [en] The thesis is an attempt to explore ways of investigating the poetic word that allowed their release of strict formats, such as the process initiated by: Un Coup de Dés Jamais N Abolira Le Hasard from Mallarmé; the notion that Harold of Campos rescues from the poet-calligrapher, from the thought of the total book, the book as an object; and the aesthetic of ruins identified by Walter Benjamin in the german baroque. The field of investigation is that of poetic-visual experiences that interrupt, create displacements or obstructions in the language: stains, infiltrations, joints, traces, ruins, scars, collages and erasures –– poetic procedures to permeate the unprecedented, the tacit, layers and gaps in the poem object. Analysis of three cases that balance on the threshold of poetic and plastic –– Waly Salomão and his Babilaques; Edgard Braga and his visual poems; and Mira Schendel and her monotipes. The writing of the dissertation was worked in the form of essays and fragments, bringing photos and imagesremnants of notebooks and works done by me throughout the master s process. They are images that seek to activate other senses, without explanatory, expository or informative obligation, but with a direct and risomatic relation with this research.

This research aims to map some of the ways letters design become structural constituent, by means of an expressive use of printing configuration, that is, through a skillful arrangement of printing elements, and, sometimes, by the determiners from Augusto de Campos s expressiveness of poems. To accomplish this study, it is relevant to do, before the analysis, a historical-conceptual contextualized path of printing as well as its implications with the ideogram conception, understood according to Ernest Fenollosa, via Ezra Pound. This printing route is found in Augusto s work from his first books (we can call this production as pre-concrete) to his definitely concrete poems, reaching his most recent production, which allows us a coherent glimpse and, at the same time, a rare mobility on Brazilian literature. / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Esta pesquisa se destina a mapear alguns modos como, por meio de um uso expressivo das configurações tipográficas, isto é, através de um inventivo arranjo dos elementos tipográficos, os desenhos das letras transformam-se em constituintes estruturais e, por vezes, determinantes da expressividade dos poemas de Augusto de Campos. Para tanto, precede as análises um percurso de contextualização histórico-conceitual da tipografia bem como de suas implicações com o conceito de ideograma, como entendido por Ernest Fenollosa, via Ezra Pound. Essa diretriz tipográfica se faz presente, na obra de Augusto, desde seus primeiros livros (quando então podemos chamar sua produção de pré-concreta) até seus poemas efetivamente concretos, alcançando sua produção mais recente, o que nos deixa entrever uma coerência e, ao mesmo tempo, uma mobilidade raras na literatura brasileira.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-25T11:46:27Z No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-25T13:31:30Z (GMT) No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5) / Made available in DSpace on 2017-05-25T13:31:30Z (GMT). No. of bitstreams: 1 luisclaudiocostafajardo.pdf: 6131532 bytes, checksum: 38b2eb1d694660bb15f044a642b482aa (MD5) Previous issue date: 2014-04-30 / Esta tese sustenta a hipótese de que o Neoconcretismo e o Poema/Processo, movimentos artísticos e poéticos brasileiros, introduziram conceitos estéticos capazes de fundamentar uma abordagem crítica para a poesia eletrônica. Tal abordagem baseia-se na identificação de três pontos fundamentais comuns entre os movimentos citados e os poemas eletrônicos: a fusão entre os signos verbal e visual na poesia, o corpo físico do espectador como agente na fruição estética e a participação do leitor em processos de criação poética. A investigação teórica realiza-se através da análise de poemas eletrônicos de autores brasileiros e portugueses. Nesta perspectiva, são investigadas as relações destas experiências poéticas eletrônicas com poemas visuais representantes das vanguardas artísticas europeias do início do século XX e com os movimentos pós-concretistas no Brasil, mais especificamente, o Neoconcretismo e o Poema/Processo. O corpus é formado por experiências poéticas eletrônicas de Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman e Rui Torres. / This doctoral dissertation tries to prove the hypothesis that Neoconcretism and Process Poetry, Brazilian artistic and poetic movements, introduced aesthetic concepts capable of justifying a critical approach to electronic poetry. This approach is based on identifying three fundamental common points between the aforementioned movements and electronic poems: the encounter between the verbal and visual signs in poetry, the physical body of the viewer as agent in aesthetic fruition and the reader´s participation in the creating poetic process. The theoretical research was carried out through the analysis of some Brazilian and Portuguese electronic poems. From this perspective, we attempted to investigate the relationships between the poetic experiences with electronic visual poems which represent the European avant-garde movements of the early twentieth century and the post-concretists movements in Brazil, more precisely Neoconcretism and and Process Poetry. The corpus is made up by some electronics poetic experiences created by Erthos Albino de Souza, Fernando Nabais, Giselle Beiguelman, and Rui Torres.

Orientador: Luise Weiss / A biblioteca do IA acompanha 2 DVD-R / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T02:45:00Z (GMT). No. of bitstreams: 1 Cardoso_SilviaHelenadosSantos_D.pdf: 204143936 bytes, checksum: 8684d797a1436e3233a9c041032a67bb (MD5) Previous issue date: 2011 / Resumo: Estrada, Paisagem e Capim - Fotografias e Relatos no Jalapão é uma pesquisa em Poética Visual constituída por viagens - como deslocamento e experiência estética - ao cerrado jalapoeiro, no interior do Estado do Tocantins. A fotografia digital e as anotações se constituem como expressão e desenvolvimento do percurso processual do trabalho realizado. As referências teóricas e visuais contaram com a Antropologia como essência, metodologia e inserção no campo de pesquisa e a Arte como espaço de reflexão e criação para o caminho poético. Diferentes questionamentos surgiram ao longo do desenvolvimento do fazer artístico e acabaram por delimitar o trabalho. Nesta pesquisa, arte, natureza e cultura tornam-se pares no processo de registro e percepção da intuição criativa fotográfica, enfatizando assim, o caráter de "work in progress". Um Livro de Fotografias e um DVD sonorizado com 170 imagens são apresentados como processo e resultado do trabalho poético / Abstract: Road, Landscape and Grass - Photographs and Reports in the Jalapão is a research in Poetic Visual consisting of travels - such as displacement and aesthetic experience - to the brazilian savannah, in the State of Tocantins/BR. The digital photography and the written summary notes are as expression and development of the proceedings of the visual work done. The theoretical and visual references counted with the Anthropology as well as essence, methodology and insertion in the field of research, and the Art to be a space for reflection and creation for the poetic way. Different questions have arisen in the course of the development of artistic making and ultimately define the work. In this research, art, nature and culture have become parts in the process of registration and perception of the creative intuition photographic, emphasizing the character of "work in progress". A book of photographs and a DVD with sound and 170 images are presented as a process and outcome of the research poetic / Doutorado / Artes Visuais / Doutor em Artes

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T21:19:17Z (GMT). No. of bitstreams: 1 Tosin_Giuliano_M.pdf: 8654138 bytes, checksum: 452fd5c864b8c74c43bde384b55379e4 (MD5) Previous issue date: 2003 / Resumo: Esta dissertação de mestrado apresenta um percurso histórico da poesia experimental que vai desde a Grécia Antiga até os dias de hoje, dando destaque aos principais movimentos artísticos e poéticos do século XX, entre eles os mais recentes, que utilizam meios de realização vinculados às tecnologias eletrônicas e digitais. Através do emprego da teoria semiótica, sobretudo a concebida por Charles S. Peirce, propõe-se a interpretar alguns princípios da poesia experimental e aprofundar-se na teoria da tradução intersemiótica, desenvolvida por Julio Plaza. Baseada nesta teoria, somada a fundamentos da teoria da informação, procura analisar a dinâmica dos processos pelos quais poemas visuais e verbais feitos em suportes convencionais (impressos) foram traduzidos para novas tecnologias / Abstract: This study presents a historical retrospective of experimental poetry that comprehends the period from Ancient Greece to present production, focusing on the main artistic and poetic movements of the 20th century, among them the most recent ones, which utilize electronic and digital technologies. Through the application of the semiotical theory, especially Charles S. Peirce¿s theory, it attempts to interpret some fundaments of experimental poetry and, afterwards, going into the theory of intersemiotical translation, developed by Julio Plaza. Based on this theory along with fundaments of the theory of information, the study aims to analyse the dynamics of the processes in which visual and verbal poems made in conventional media (print) have been translated into new technologies / Mestrado / Multimeios / Mestre em Multimeios