Made available in DSpace on 2014-12-17T15:06:53Z (GMT). No. of bitstreams: 1 JoseMTJR_DISSERT.pdf: 1250053 bytes, checksum: 1c2730a4bd584ab86c235050f38b5f11 (MD5) Previous issue date: 2011-09-23 / This dissertation aims at investigating the book Ariel (1965), written by Sylvia Plath, as a kind of performative and ritual poetry that fragments and reconstructs the personal experience, manipulating the memory of the autobiographical body as a way to rehearse and restore subjectivity. We propose that, in Ariel, the hyperbolic, transcendent and parodic transfiguration of real episodes, used as literary substance, corrupts and subverts the specular idea of a confessional truth usually related to the writer s work. Our objective is to examine signs of confluence between Sylvia Plath s poetry and performance art, departing from de idea that the spectacularization of the self, the exhibition of private rituals, the theatricalization of autobiographical circumstances and the undressing of one s craziness and vulnerability are mutual procedures to the poet and the perfomer. Simultaneously unfolding between the inside and the outside of the poem, Sylvia Plath s real suicide and the death and rebirth rituals performed in the literary text appear as symbolic elements that might reveal the performer s liminal space, where reality and representation coexist, and where the performative testimony does not frame only the real subject s body but also his/her infinite possibilities of being restored through art. / Esta disserta??o prop?e investigar a escritura do livro Ariel (1965), de Sylvia Plath, como um tipo de poesia perform?tica e ritual que fragmenta e reconstr?i a experi?ncia privada, manipulando a mem?ria do corpo autobiogr?fico como forma de ensaiar e restaurar a subjetividade. Nossa proposta assume que, em Ariel, a transfigura??o hiperb?lica, par?dica e transcendente de epis?dios reais, utilizados como mat?ria liter?ria, subverte e corrompe a id?ia especular de uma verdade confessional habitualmente relacionada ? obra da escritora. Nosso objetivo ? examinar pontos de conflu?ncia entre a poesia de Sylvia Plath e a performance art, partindo da id?ia de que espetaculariza??o do self, a exibi??o de rituais ?ntimos, a teatraliza??o de circunst?ncias autobiogr?ficas e o desnudamento da loucura e da vulnerabilidade do sujeito, s?o procedimentos comuns ? poeta e ao performer. Desdobrando-se simultaneamente entre o dentro e o fora do poema, o suic?dio real da poeta e os ritos de morte e ressurrei??o performados no texto liter?rio afiguram-se como elementos simb?licos capazes de revelar o espa?o liminar do performer, onde o real e a representa??o coexistem, e onde o testemunho perform?tico n?o emoldura apenas o corpo real do sujeito mas suas infinitas possibilidades de restaura??o atrav?s da arte.