Made available in DSpace on 2014-06-11T19:29:50Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-03-11Bitstream added on 2014-06-13T20:20:14Z : No. of bitstreams: 1 paulinojunior_j_me_assis.pdf: 515440 bytes, checksum: 06e1d330c5483f056dc028fc22d894ac (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O principal assunto desta dissertação é a técnica narrativa cut-up, desenvolvida e empregada pela primeira vez no gênero romance em 1959, pelo escritor norte-americano William Burroughs, em sua obra-prima Naked Lunch. O processo da técnica consiste na sobreposição e justaposição de fragmentos textuais de diferentes teores. Esse processo é similar a alguns artifícios usados pelas Vanguardas, principalmente a “escrita automática” dos surrealistas. A intenção fundamental é conceder novos e inusitados significados às palavras e sentenças e, ao mesmo tempo, envolver o leitor num esforço cognitivo. Além disso, o escritor aponta a linguagem enquanto suporte ideológico, e assim revoga o sistema aristotélico presente nela. Os capítulos de abertura contêm uma exposição ampla a respeito da Beat Generation, um importante grupo literário surgido no período pós-guerra nos Estados Unidos. Os membros ligados à Geração militaram numa outra noção referente à vida intelectual e artística, e criaram obras guiadas nesse sentido. William Burroughs foi o mentor intelectual deles. A Beat Generation está incluída numa tradição literária norte-americana que começa com Thoreau e Whitman, uma tradição de enfrentamento social e estético. / The main subject of this research is the narrative technique called cut-up, developed and employed in the novel genre by American writer William Burroughs, for the first time in 1959, in his masterpiece Naked Lunch. The process of the technique consists in the superposition and juxtaposition of textual fragments with different purports. This process is similar to some artifices used by Vanguards, mainly the automatic writing by surrealists. The principal intention is to concede new and unusual meanings to the words and sentences, and, at the same time, to involve the reader in a cognitive effort. Besides, the writer notes the language while ideological bearer, and thus revokes the aristotelian system present in it. The opening chapters contain an ample exposition about the Beat Generation, an important literary group that arose at post-war period in the United States of America. The members linked to the Generation were engaged in another notion concerning artistical and intellectual life, and they created works guided in this sense. William Burroughs was their intellectual mentor. The Beat Generation is included in a literary tradition, in the U.S.A., that starts with Thoreau and Whitman, a tradition of social and esthetical struggle.

L’analyse des processus de création de l’écrivain américain William Burroughs et de l’artiste brésilien Cildo Meireles construit deux figures exemplaires de l’artiste en tant que sujet politique. Les choix faits par ces deux artistes pendant le processus de réalisation de leurs œuvres déclarent en effet leur position face à la littérature, à l’art et à la réalité. Ils les construisent en tant que sujets-artistes et produisent des rencontres qui (re) configurent l’espace artistique. Ils renouvellent les pratiques de création. Nous étudions ces processus avec pour outils différentes notions théoriques. Outre celle de la politique, qui, selon Jacques Rancière, est le processus de l’égalité ; celle du sujet, définie par Alain Badiou, comme une construction qui se produit quand un événement arrive ; et celle de choix qui, selon Slavoj Zizek, ne laisse pas intacte la subjectivité du sujet. Nous essayons ainsi de définir le caractère politique des choix faits par ces deux artistes et de mettre en évidence l’idée de l’art et de la politique que leurs œuvres mobilisent.Nous étudions le processus de création de Burroughs, de son premier roman jusqu’à la découverte du cut-up et l’écriture de son texte Last Words. Nous analysons le processus de création des œuvres de Meireles : Insertions dans les circuits idéologiques, œuvre qui se constitue dans un processus en marche ; et Le sermon sur la montagne : Fiat lux. Construction d’une situation : transformation d’un espace en une bombe potentielle.Malgré leurs différences, ces œuvres ont une procédure de réalisation similaire, une sorte de travail tabulaire, de collage d’éléments hétérogènes. / The analysis of the creation process of both Americain writer Willam Burroughs and Brazilian artist Cildo Meireles construct two exemplary figures of the artist as political subject. The choices made by these artistes during the process of realization of their works declare indeed their position on literature, art and reality. Their choices construct them as artists-subjects and produce encounters that (re) configure the art space. They renew the creative practices. We study these processes with some theoretical tools: such as the notion of politics which according to Jacques Rancière, is the process of equality; the notion of subject, defined by Alain Badiou as a construction that is produced when an event happens; and the notions of choice which, according to Slavoj Zizek, does not leave intact the subjectivity of the subject. Thus we try to define the political nature of the choices made by these artists and to highlight the idea of art and politics that their works mobilize. We study the process of creation of Burroughs, from his first novel until his discovery of cut-up technique and the writing of his text Last Words. We analyze the process of creation of Meireles’s works: Insertions into Ideological Circuits, a work that is established as a running process and The Sermon on the Mount: Fiat Lux that is the construction of a situation. It is the transformation of a space into a potential bomb. Despite their differences these works have a similar implementations procedures a kind of a tabular work, a collage of heterogeneous elements.

In this thesis, the practice of Chaos magick and the practice and mythology of Discordianism are compared to different subversive techniques used in internet culture and specifically in internet trolling. Chaos magick is described from the sigil-making of Austin Osman Spare through the playbacks of William S Burroughs to contemporary practitioners. The Chaos magick practices unveiled in this investigation are compared to practices in internet culture and specifically internet trolling through avariety of different themes, from memes to doxing to the chaos of apophenia.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts in Engiish. / This dissertation grapples With the activity of critical production. It answers not to an interpretation which would constitute the writer within the institutionalised category of effect and object of knowledge, but rather to an explosion, a proliferation of critical paths at the limit of the doxa: a veritable labyrinth. The terms of my title open up a methodological field within which I enact the play of associations, contiguities, relations among four texts: The Name of the Rose, lost. in the Funhouse, The Naked Lunch and 'The library of Babel'. The terms themselves disseminate across the text argument in citations, references, echoes. The labyrinth is used throughout as a trope which deconstructs its own performance within the text. Legends are myths, inscriptions on maps, legenda or "things for reading" (through an etymological supplement), "lesser libraries." Barthes cites the biblical words of the man possessed by demons: "My name is Legion for we are many" and demonstrates how the demonlacal plural brings with it fundamental changes in reading strategies. The notion of the demoniacal plural is used to problernatlse the debates around subjectivity. The belief in unitary, rational selfhood is debunked and the subject is Seen to be plural, irreducible, heterogenous. Subjectivity is further problernatlsed by demonstrating the slippage among the labyrinthine multiplicity of discursive positions occupied by readers: the monoloqlcal models of meaning developed from each reading position constantly shift. The discursive position recuperated and sanctioned by the Law or the institution is impossible to maintain as Subjects are seduced by language into confrontation with other positions through their continuous renarnings of each other. Subjectivity and discursive positioning form .their own labyrinthine intentionality. The argument then moves towards an exploration of the current calculation of the subject for the writer. (Distinctions between author and critic begin to collapse here since meaning is shown to be governed by neither). The reading\writing subject strolls in a vast labyrinth of text - a postmodern flaneur who frustrates the work of exegesis by enacting the play of the signifier. The line traced by this hypothetical traveller does not engender a definitive theoretical or discursive map of the domain but rather a contingent and highly provisional, backward turning path. The demoniacal plural is also used to problematise notions of an original and innovative critical voice which "speaks" the dissertation. The logic regulating the argument is the already-written, The dissertation plavs with each text (both critical texts and fictions) looking for a practice which reproduces them but in another place. My imagined (ideal?) reader wmtreat the argument as that Which. lt was not simply meant to be,will. follow.the argument and be seduced by it: an echoing. structure with dead ends, wrong turns, false entrances fictitious exits; misleading threads and deceptive lines, / AC 2018

Thus far, the novel Naked Lunch has not been discussed from the aspect of critical animal studies, nor has it been connected to the theories of Michel Foucault. This essay however, argues that these diverse fields could be connected through the use of the simians that are frequently employed in Naked Lunch. By analyzing the metaphorical role of the simian, the structure of the normalization process can be revealed. Therefore the simian’s metaphorical role becomes to reveal the different stages character goes through in that process and ultimately revealing its negative effects. They also prove to employ the role of abnormality which normalization wants to subtract from the human in order to render her docile. By applying the power mechanisms such as signals, the concept of panopticism and the theory of the docile body to specific passages where simians are highly prominent, the claim of this paper can be demonstrated. Besides Foucault, the theories of Robin Lydenberg are also used consistently throughout the essay due to her valuable observations such as the struggle between body and mind.

No description available.

Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthique. / This thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience.

No description available.

La partie création des Variations Burroughs ou l'équation de Dieu emprunte à l'autofiction comme genre et, par sa structure, à la pratique du fragment. C'est sur le mode de la confidence que la narration offre deux voix qui s'entrelacent ; la première dans un glissement intimiste et vulnérable vers l'enfance, le passé et ses traces archivées, la seconde dans un présent qui témoigne, à travers la rupture amoureuse, de son rapport au langage et au monde. L'une et l'autre se soudent autour de l'indéfectible fil qui lie la vie à l'écriture. La partie réflexion aborde ce qui du lien mère / fille a pu engendrer le désir d'écrire et de quelle manière ce phénomène s'articule au fil des Variations. Dans cette perspective, livres, lecture et écriture sont perçus comme des espaces potentiels de rapprochement et / ou d'éloignement, et l'archive poétique – en l'occurrence la boîte et ses variantes au cœur des Variations Burroughs – comme un puissant élément générateur de sens. L'ensemble trouve sa résolution autour des notions de territoires identitaire et littéraire.