Made available in DSpace on 2016-04-28T19:58:42Z (GMT). No. of bitstreams: 1 Claudia Cristina Coimbra.pdf: 897590 bytes, checksum: c8a01d68f05dbd54022fbd06367449f2 (MD5) Previous issue date: 2011-10-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation proposes to analyze Belvedere, poetic anthology of Chacal. The objectives are to show in the perspective taken by I lyrical, poetic aspects of resistance in the lyricism of Chacal, as well as reflect on the poetic devices of this resistance. To achieve these objectives, was selected the following issue: how the Chacal's poetry reveals production demonstrating the strength of his generation? How is the relationship between modernism of 22 and the so-called "marginal poetry" of the poetry of Chacal? For treatment of the problem, we select the hypoteses -as resistance poetry the poetic chacaliana reflect the angustias and the wishes of his generation; the poetic chacaliana, to engage in dialogue with the modernism of 22 objective, a relationship between literature and life and points to a lyric poetic. The theoretical foundation about the resistance relies on the conceptions of Alfredo Bosi, the critical concepts in, Antonio Candido, Heloísa Buarque de Hollanda and Hugo Friedrich. Among the conclusions, emerge: the poetry chacaliana acts as resistance to repressive society and homogenizing, acting as front this resistance can retrieve; the marks of modernism of 22 incorporate his poems dose of lyricism / Esta dissertação se propõe a analisar Belvedere, antologia poética de Chacal. Tem como objetivos evidenciar, na perspectiva assumida pelo eu lírico, aspectos de resistência poética no lirismo de Chacal, assim como refletir sobre os recursos poéticos dessa resistência. Para atingir tais objetivos selecionou-se o seguinte problema: Como a poesia de Chacal revela uma produção que evidencia a resistência de sua geração? Como se reveste a relação entre modernismo de 22 e o denominado caráter marginal da poesia de Chacal? Para tratamento do problema, selecionou-se as hipóteses: como poesia de resistência, a poesia chacaliana reflete as angústias e os desejos de sua geração; ao empreender diálogo com o modernismo de 22, objetiva uma relação entre literatura e vida e aponta para uma poética lírica. A fundamentação teórica acerca da resistência se apóia nas concepções de Alfredo Bosi, os conceitos críticos em textos de Antonio Candido, Heloísa Buarque de Hollanda e Hugo Friedrich. Entre as conclusões, ressaltam-se: a poesia chacaliana atua como resistência à sociedade repressiva e homogeneizante, como frente de atuação dessa resistência recupera as marcas do modernismo de 22 e incorpora em seus poemas certa dose de lirismo

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.