Esta dissertação faz uma análise formal do romance brasileiro contemporâneo O grifo de Abdera (2015) para pensar a desestabilização desta forma através da incorporação de uma história em quadrinhos e da utilização da cultura de massa. Por meio do close reading, a obra é estudada através de três níveis de leitura, correspondentes aos três personagens principais do livro sendo eles o protagonista Oliver Mulato, o narrador Mauro Tule Cornelli e o próprio autor encenado, Lourenço Mutarelli uma vez que estes se entrelaçam e se confundem através do enfraquecimento da hierarquia entre real e ficção. Os artifícios literários que o livro propõe, porém, não impedem o trabalho sobre a forma, especialmente no que concerne o narrador, o ponto de vista, o tradicional tema do duplo e a reflexão acerca da incomunicabilidade do romance. A noção de precedência da imagem sobre o real observável nas imagens poéticas, imagens extraídas da cultura e imagens do consumo no livro faz com que a possibilidade de representações do mundo material seja posta em dúvida e passe a dar lugar a uma construção coletiva, que perde lastro no real e é permeada da repetição de lugares-comuns e de clichês (BAUDRILLARD, 1991; JAMESON, 1995b). Uma vez manejadas, essas categorias colocam em questão a própria noção de criação autoral para um autor que, vindo do cenário dos quadrinhos, tem uma filiação literária alternativa e parece buscar a própria inserção no meio através de um tom provocativo e, por vezes, agressivo com relação ao ambiente acadêmico e a tradição literária. A oscilação entre o querer e o não querer participar deste meio afirma, enfim, Lourenço Mutarelli como um escritor de uma veia lateral da literatura contemporânea. / In this dissertation a formal analysis of the contemporary Brazilian novel O grifo de Abdera (2015) is done, so as to think the destabilization of the aforementioned form, through the incorporation of comics and the usage of mass culture. By means of close reading, the work is studied in three levels of reading, which correlate to the three main characters the protagonist Oliver Mulato, the narrator Mauro Tule Cornelli and the author himself, but staged, Lourenço Mutarelli insofar as they intertwine and become muddled through the weakening of the hierarchy between reality and fiction. The literary devices the novel proposes, however, do not hinder the work on form, specially in regards to the narrator, the point of view, the tradicional theme of the double and the reflection on incommunicability of the novel. The notion of the image\'s precedence over the observable reality in poetic images, images from culture and images from consumption in the novel puts the possibility of material world representation in check and gives way to a collective construction, which loses its link with reality and is filled with repetition of commonplaces and clichés (BAUDILLARD, 1991; JAMESON, 1995b). Once dealt with, these categories question the notion of authorship itself for an author whose comic book background gives him an alternative literary affliliation, and he seems to search for his own insertion through a mocking and, sometimes, aggresive tone towards academia and literary tradition. This oscillation between wanting and not wanting to belong to this field claims, therefore, Lourenço Mutarelli as a writer in a side vein of contemporary literature.

Cette thèse aborde des pratiques performatives contemporaines qui détournent les représentations conventionnelles des Premières Nations d'Amérique du Nord, pour dénoncer ou déjouer les clichés qui leur sont associés, pour exprimer ou évoquer l'amérindianité de manière critique et créative, et pour mettre en place une représentation personnelle et non conventionnelle du sujet amérindien. Les œuvres ici étudiées ont été réalisées dans les trente dernières années et sont issues principalement de l'art de performance (performance art) mais aussi des arts visuels et de la poésie, parfois combinés sous un mode interdisciplinaire. Ce corpus réunit, à la manière d'un commissariat d'exposition, des œuvres choisies parmi le travail de douze créateurs principalement (mais pas exclusivement) amérindiens : KC Adams, Lori Blondeau, Yves Boisvert, Jimmie Durham, Marvin Francis, Coco Fusco, Guillermo Gomez-Pena, Edgar Heap of Birds, Terrance Houle, James Luna, Kent Monkman et Josée Yvon. La diversité de leurs pratiques respectives permet de dresser un éventail varié des différentes possibilités de détournement des stéréotypes liés aux Premières Nations. La réflexion menée avec ces œuvres se situe dans un croisement entre les théories de la performance (performance studies), les études culturelles (cultural studies) et l'étude des Premières Nations (native studies). Elle est également nourrie par des travaux issus de la sémiologie, de l'histoire de l'art, des études littéraires et de l'anthropologie. Cette recherche interdisciplinaire aborde dans un premier temps (chapitre 1) la construction symbolique de l'amérindianité, qui se trouve élargie et défigée par les pratiques performatives abordées dans cette thèse. Trois œuvres de performance sont ensuite analysées de manière détaillée : The Artifact Piece (1987) de James Luna (chapitre 2), Two Undiscovered Amerindians (1992-1994) de Coco Fusco et Guillermo Gomez-Pena (chapitre 3) et Putting the Wild back to the West (2004-2010) de Lori Blondeau et Adrian Stimson (chapitre 4). Le chapitre 5 étudie quant à lui une sélection d'œuvres artistiques et littéraires, qui possèdent une forte dimension performative, parmi le travail des autres artistes et écrivains mentionnés plus tôt. L'analyse de ces pratiques performatives se montre particulièrement attentive à la tension entre stéréotype et subjectivité, de même qu'entre violence et ironie. Elle vise à démontrer qu'il est possible, en détournant les signes qui évoquent les Premières Nations de manière conventionnelle et reconnaissable, d'exprimer autrement l'amérindianité. Ces détournements affectent la perception des Premières Nations chez le spectateur et permettent de disconvenir des idées reçues à leur sujet. Ils mettent également en œuvre une amérindianité performative qui s'incarne par une attitude ironique, inscrivant l'expression identitaire et culturelle dans une dynamique qui remet en mouvement la représentation et la signification. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Stéréotype, Performance, Détournement, Représentation, Premières Nations, Pratiques performatives, Cliché, Convention, Disconvenance, Performativité, Amérindianité, Trickster.

Orientador: Susana Oliveira Dias / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T08:29:34Z (GMT). No. of bitstreams: 1 Camara_AlineGastardeliTavaresda_M.pdf: 27040536 bytes, checksum: 08ac988aa65823d0d5d44ee36488e48e (MD5) Previous issue date: 2012 / Resumo: Jornalismo. Literatura. Academia. Representatividade. Realidade. Modelo. Ficção. Pensamentos que preenchiam este papel-dissertação antes mesmo da escrita começar. Inspirada pelo conceito de clichê, do filósofo Gilles Deleuze, busquei entrar dentro dos clichês que ocupam a escrita, seja na academia, no jornalismo ou no jornalismo literário. Tentei convocá-los todos, mas não para apagá-los, negá-los, destruí-los. Busquei uma adesão sem resistência, para fazer uma luta com os clichês, e não contra eles. A academia, clichê da escrita que se faz modelo, o padrão a ser sempre seguido. Seria possível escrever uma dissertação que não se prendesse a esses modelos? Pass(e)ando por trabalhos que investem em outra(s) escrita(s) acadêmica(s), busco discutir possibilidades de experimentação da escrita desde dentro dos limites da academia. O jornalismo, que ao investir na possibilidade de representação completa e fiel da realidade, tornou-se o próprio clichê. Como pensar o jornalismo sem submetê-lo a um modelo de julgamento da verdade? Apresento, então, o conceito de ficção como uma possibilidade do jornalismo abrir-se para a multiplicidade e complexidade da realidade. O jornalismo literário, que viu na literatura a resposta para todos os problemas, salvação para os males do jornalismo, mas acabou reduzindo-a a listas de regras, um modelo a ser seguido, um adjetivo, um sobrenome de status do jornalismo. Como pensar (n)essa escrita que nasce do encontro entre jornalismo e literatura? Apostando que a literatura teria a potência de desterritorializar o jornalismo (literário), discuto como alguns artefatos do jornalismo têm investido em uma escrita que se efetua entre a ficção e o riso, tirando o jornalismo (literário) de seus eixos, colocando-o em uma terceira margem, onde ele começa a fabular a si e ao mundo. E por trás destas perguntas e pensamentos, uma outra pergunta não parava de pulsar: se habitamos uma civilização dos clichês, podemos nos livrar deles? Ao ver na escrita um problema de pesquisa que precisava ser experimentado e vivenciados nos (des)encontros, tentei responder esta pergunta em uma conversa com textos que investem na criação e experimentação, que não negam os clichês, mas surgem desde dentro deles, apostando em outras possibilidades de escrita / Abstract: Journalism. Literature. Academy. Representativeness. Reality. Model. Fiction. Thoughts that filled this paper-dissertation even before I started to write it. Inspired by the concept of cliché, of the philosopher Gilles Deleuze, I tried to get inside of clichés that fills the writing, whether in academia, journalism or literary journalism. I attempted to convene all of them, but not to delete them, deny them, destroy them. I looked for and adhesion without resistance, to make a fight with clichés, and not against them. The academy, cliché of the writing as a model, the standard to be always followed. It would be possible to write a dissertation that is not stuck to these models? Passing through some works/books that invest in other(s) academic writing(s), I try to discuss possibilities for writing experimentation from within the boundaries of academy. The journalism, that invest in the possibility of represent the reality completely and faithfully, and became its own cliché. How to think the journalism without submitting it to a model of judgement of the truth? I presented, then, the concept of fiction as a way to open the journalism to the multiplicity and complexity of reality. The literary journalism, that thinks literature is the solution to all its problems, the salvation for the journalism's ills, but eventually reduced the literature to a list of rules, a model to be followed, an adjective, a status surname to journalism. How to think this writing that comes from the encounter between journalism and literature? Gambling on literature would have the potency to deterritorialize (literary) journalism, I discuss how some journalism's artifacts have been investing in this writing which takes place between fiction and laugher, taking journalism out of its axis, placing it in a third margin, where it begins to fabulate itself and the world. And behind these questions and thoughts, another question did not stop to pulsate: if we inhabit a civilization of clichés, can we escape from them? Facing the writing as a research problem which needed to be experimented and experienced in the (dis)encouters, I tried to answer this question in a conversation with texts that invest in the creation and experimentation that does not deny the clichés, but arise from within them, betting on others possibilities of writing / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural

[EN] Editions Marques Abreu (Porto, 1898-1958) is a doctoral investigation project focused in the photographic and graphic work of José Antunes Marques Abreu, in which we intended to clarify his pioneering and visionary contribute to the development of photography, the photography and graphic industries and the printed edition in Portugal, through the topics, the processes and the techniques. The photography work and the editions Marques Abreu are a landmark reference in the analysis and the critical reflexion in the field of photography and graphic arts in Portugal, between the end of the 19th century and the first half of the 20th century. He connected photography to the graphic arts on common topics, customs and traditions and heritage was a constant in his graphic work. Marques Abreu was one of the photographers and photoengravers who contributed the most for the development and improvement of these arts in Portugal. The implantation of photography in Oporto was at that time doing his first steps and the processes of engraving were being implanted with some ignorance. It is to this man we owe the art of well photographing, editing and printing with artistic and technological quality. Marques Abreu was a multitalented professional as an investigator, teacher, typographer, printer, businessman and above all a great photoengraving master. / [ES] Ediciones Marques Abreu (Oporto, 1998/58) es un proyecto de investigación doctoral centrado en la obra fotográfica y gráfica de José Antunes Marques Abreu, pensada para explicar su contribución pionera y visionaria en el desarrollo de la fotografía, las industrias gráficas, y la edición impresa en Portugal, a través del tratamiento de los temas, los procesos y las técnicas. El trabajo fotográfico y las ediciones de Marques Abreu es un punto de referencia en el análisis y la reflexión crítica en el campo de la fotografía y las artes gráficas en Portugal, entre el final del s. XIX y la primera mitad del s. XX. Vinculando la fotografía a las artes gráficas con temas comunes, costumbres y constante patrimonio inusual en la obra gráfica. Marques Abreu fue uno de los fotógrafos y fotograbadores que más contribuyeron al desarrollo y mejora de estas artes en Portugal. La implementación de la fotografía en Oporto en esos momentos empezaba a dar los primeros pasos, y los procesos de estampación se aplicaban con cierta ignorancia, y éste será el autor que contribuya definitivamente al arte de la fotografía, la edición y la impresión con calidad artística y nivel tecnológico. Marques Abreu fue un polifacético profesional tras haber sido, investigador, profesor, tipógrafo, impresor, editor, empresario y, sobre todo, un gran maestro de fotograbado. / [CAT] Edicions Marques Abreu (Porto, 1998/58) és un projecte de recerca doctoral centrat en l'obra fotogràfica i gràfica de José Antunes Marques Abreu, pensada per a explicar la seua contribució pionera i visionària en el desenvolupament de la fotografia, les indústries gràfiques, i l'edició impresa a Portugal, a través del tractament dels temes, els processos i les tècniques. El treball fotogràfic i les edicions de Marques Abreu és un punt de referència en l'anàlisi i la reflexió crítica en el camp de la fotografia i les arts gràfiques a Portugal, entre el final del s. XIX i la primera meitat del s. XX. Vinculant la fotografia a les arts gràfiques amb temes comuns, costums i constant patrimoni inusual en l'obra gràfica. Marques Abreu va ser un dels fotògrafs i fotogravadors que més van contribuir al desenvolupament i millora d'aquestes arts a Portugal. La implementació de la fotografia a Porto en aqueixos moments començava a donar els primers passos, i els processos d'estampació s'aplicaven amb certa ignorància, i aquest serà l'autor que contribuís definitivament a l'art de la fotografia, l'edició i la impressió amb qualitat artística i nivell tecnològic. Marques Abreu va ser un polifacètic professional després d'haver sigut, investigador, professor, tipògraf, impressor, editor, empresari i, sobretot, un gran mestre de fotogravat. / Fernandes Pinheiro Da Silva, MDG. (2016). Edições Marques Abreu (Porto, 1898-1974) [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/63233 / TESIS

La présente étude revient sur le concept de théâtralité souvent employé à propos du Satyricon pour tenter d’enpréciser les manifestations et les modalités. Car derrière l’apparente simplicité du terme et la banalisation de sonemploi à propos de cette oeuvre, se cache une pluralité de procédés. La théâtralité du Satyricon revêt trois formes.Elle se définit spontanément comme la réutilisation de codes propres aux genres dramatiques comiques auxquelsPétrone emprunte situations, thématiques et procédés linguistiques. Cette théâtralité première est complexifiéepar son ancrage dans un univers narratif orienté, dont les préoccupations recoupent celles du genre satirique. Lerecours à des éléments théâtraux dessine les contours d’une société excessive et inauthentique, et se voit doncfiltrée par le topos du monde décadent : cette théâtralité seconde devient le moyen d’exprimer l’outrance desindividus et de leurs comportements. Et c’est précisément parce que dans le monde du Satyricon les valeurstraditionnelles sont caduques que la littérature classique est obsolète. S’ouvre alors la voie à une théâtralitétroisième, intrinsèquement liée à la parodie. Elle est principalement portée par la voix du narrateur, chez qui lapratique excessive de la déclamation a entraîné une projection systématique dans un au-Delà fictionnel. Lafracture existant désormais entre la réalité et sa perception a une double conséquence : d’une part toutes lessituations du quotidien s’assimilent à des représentations de scènes littéraires de référence ; d’autre part elledéconstruit la littérature traditionnelle en en exhibant les clichés. Cette théâtralité permet à Pétrone de renouvelerla littérature et de jeter les bases du genre romanesque. / The present study reexamines on the concept of theatricality often used about the Satyrica to try to specifyappearances and methods. For behind the visible simplicity of the term and the everyday acceptance of its use inrelation to this work, there hides a plurality of processes. The theatricality of the Satyrica takes on three forms. Itdefines itself spontaneously as the re-Use of codes particular to the funny dramatic genres from which Petroniusborrows situations, themes and linguistic processes. This first theatricality is complicated by its anchoring in adirected narrative universe, whose concerns it shares with those of the satiric genre. The falling back on theatricalelements outlines an excessive and inauthentic society, and thus sees itself filtered by the decadent world topos.And it is exactly because in the world of the Satyrica the traditional values are null and void that classicalliterature is obsolete. The way is then opens to the third theatricality, intrinsically connected to parody. It ismainly carried by the voice of the narrator, to whom the excessive practice of declamation entailed a systematicprojection to a fictional otherworld. The fracture existing from now on between reality and its perception has adouble consequence: on the one hand all the situations of everyday life can be reduced to representations ofliterary reference scenes ; on the other hand it deconstructs the traditional literature through clichés. Thistheatricality allows Petronius to renew literature and to lay the foundations for the novelistic genre.

Cette thèse est consacrée à l’œuvre abondante et originale de l’écrivain contemporain Éric Chevillard. Son objet est de cerner l’isotopie du cliché dans l’écriture chevillardienne où le rapport à la littérature passe essentiellement par la manipulation des stéréotypes, des topoï et des idées reçues. Ainsi, la contestation de la banalité apparaît comme une des constantes majeures de ses textes. Pour en signaler les caractéristiques et les modalités principales, le travail s’organise autour de trois axes : le rôle du cliché verbal dans l’organisation stylistique du récit, puis l’observation de sa dimension intertextuelle à travers le cliché citationnel qui dénonce la banalisation de la référence littéraire, et, enfin, la remise en question de la doxa qui régit la société moderne. Cette triple manipulation du cliché définit la posture singulière d’Éric Chevillard au sein du champ littéraire contemporain fondée sur les notions de l’écart, de la distance ironique et du rejet du réalisme prosaïque en littérature. Le dernier mouvement de l’étude vise à démontrer qu’au delà de sa propre fiction, le cliché est mobilisé par le Chevillard critique comme un des critères essentiels de la qualité littéraire que ce soit sur son blog, L’Autofictif, ou dans sa chronique hebdomadaire dans Le Monde des livres. C’est là que le cliché acquiert véritablement la valeur isotopique dans la mesure où sa contestation assure la cohésion de l’œuvre entière. / This PhD thesis is devoted to the prolific and original work of the contemporary writer Éric Chevillard. Its subject is to define the isotopy of cliché in Chevillard's writing, in which the relationship to literature mostly goes through the manipulation of stereotypes, topoi and accepted ideas. Thus, questioning the banality appears like one of the major constants of his texts. In order to indicate the characteristics and main modalities, the work is organized around three axis: the role of verbal cliché in the narrative stylistic organization, then the observation of its intertextual dimension through the cliché of quotation which denounces the trivialization of literary reference, and, finally, the questioning of the doxa ruling modern society. This triple manipulation of cliché defines Éric Chevillard singular position in a contemporary literary field based on notions of gap, ironical distance, and rejection of prosaic realism in literature. The last movement of the study aims at demonstrate that, beyond its own fiction, the cliché is being called on by Chevillard-critique as one of the essential criteria of literary quality, both on his blog, L’Autofictif, or in his weekly column in Le Monde des livres. This is where the cliché truly acquires the isotopic value insofar as its contestation provides the entire work cohesion.

Submitted by Maicon Juliano Schmidt (maicons) on 2015-07-07T18:24:03Z No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) / Made available in DSpace on 2015-07-07T18:24:03Z (GMT). No. of bitstreams: 1 André Campos Silva.pdf: 2838135 bytes, checksum: 2872728d2a874e2b7e29377031d7f44d (MD5) Previous issue date: 2014-01-31 / CNPQ – Conselho Nacional de Desenvolvimento Científico e Tecnológico / A pesquisa busca problematizar o uso do clichê no cinema, entendendo-o como um processo comunicacional que ajuda contribuir com a compreensão da forma e do conteúdo dos filmes. O foco do estudo recai sobre os clichês, presentes no subgênero de terror slasher, por meio de conexões com o arquétipo da sombra. Três eixos conceituais basilares organizam o trabalho: filmes terror, forma e conteúdo estéticos, processo de construção e narrativas dos personagem dos filmes de terror. As poucas pesquisas específicas sobre os clichês no cinema nos levaram à utilização de autores de diversas vertentes, entre eles estão os pesquisadores do campo da comunicação e do audiovisual como Eco, Mcluhan, Xavier, Aumont, Bordwell. Também participaram da construção teórica estudiosos de narrativa como Candido, Mckee, Campos, Field. O campo da filosofia em sua ligação com a vertente estética foi igualmente importante com Kant, Szondi e Burke. A pesquisa empírica se deu sobre uma coleção de seis filmes do subgênero slasher produzidos entre 1979 e 1984, a partir dos quais foi realizada uma análise em três etapas que visaram um mapeamento dos clichês de medo encontrados no corpus. A tese afirma que o clichê faz parte da instituição cinema, bem como, constitui a linguagem cinematográfica e se compõe a partir de certo grau de mobilidade. No que se refere às lógicas que constituem o clichê de medo em filmes de terror slasher fica evidenciada a presença do sublime nos 18 clichês encontrados. Eles se organizam na forma-conteúdo de maneira a estabelecer uma forte característica de valorização do espaço-tempo de incerteza dentro da estrutura dramática, colocando em destaque a ideia de ameaça. / The research aim problematize the use of cliché in film , considering it as a communication process that helps contribute to understanding the form and content of the films . The focus of the study is on the clichés present in the slasher subgenre of horror, through connections with the archetype of the shadow. Three basic conceptual axes organize work: horror movies, fashion and aesthetic content, the construction process of the characters and narratives of horror movies. The few specific studies on the clichés in movies led us to the use of authors from various aspects, among them are researchers in the field of communication and audio visual as Eco, McLuhan, Xavier, Aumont, Bordwell. Also participated in the theoretical construction of narrative as Candido, Mckee, Fields, Field. The field of philosophy in its connection with the aesthetic aspect was also important to Kant, Burke and Szondi. The empirical research took place over a collection of six films of the subgenre slasher produced between 1979 and 1984, from which performed was analysis in three steps aimed at mapping the clichés of fear found in the corpus. The thesis argues that the cliché movie is part of the institution as well, is the cinematic language and is composed from a certain degree of mobility. With regard to the logic that constitute the cliché of fear in horror movies slasher is evident the presence of the sublime in the 18 cliches found. They are organized in the form-content in order to establish a strong feature of appreciation of space - time uncertainty within the dramatic structure, highlighting the idea of threat.

The study elucidates the relation of Tom Stoppard's play Rosencrantz and Guildenstern Are Dead to Hamlet on the one hand and to the Theatre of the Absurd on the other. The two plays chosen to represent the Theatre of the Absurd are Samuel Beckett1 s Waiting for Godot and Harold Pinter* s The Caretaker. Since Stoppard is admired as a master craftsman of language, the emphasis is on his use of language. The extent to which the use of the cliché characterizes the three absurd plays is examined. It is found that the language area covered by the term cliche is not clearly defined and that the term is not uniformly applied. The inquiry centres on finding features, such as repetition, music-hall passages and "ready-made" language, that could explain why the dialogue in the three plays might appear cliche-ridden and on comparing the three plays in respect of these features. 　 The study further draws parallels between Stoppard's play and Waiting for Godot in the use of various techniques, such as misunderstandings, anticlimax and afterthought. It is found that there is often a conscious adoption by Stoppard of Beckett's techniques. To clarify the relation of Stoppard's play to Hamlet various aspects of the two plays are studied. These aspects include changes introduced into stereotyped expressions, punning, the use of parody and the handling of two specific motives, madness and death. Parallels are found in spite of the fact that several centuries separate the two plays, not least in respect to style, technique and language. / digitalisering@umu

This diploma thesis focuses on language cliché in contemporary TV news. The aim of the theoretical part is to define the term cliché, specify its key features and describe language of the TV news. The analytical part focuses on finding and describing language clichés in the analysed material, which consists of TV news texts from three different Czech TV stations. The analysed material is restricted on preselected period of time. The chosen material is acquired from Newton Media archive, and the descriptions of particular clichés are accompanied by frequency and collocation data from language corpus SYN2015. The core of this diploma thesis is systematic definition of the term cliché and the linguistic analysis of particular clichés that can be found in contemporary TV news.

Recent scholarship on conceptual writing has turned to the role of affect in poetry. Critics such as Calvin Bedient claim that by using appropriated text and appealing to intellectual encounters with poetry based around a central “concept,” conceptual writing diminishes or even ignores affect. Bedient in particular is concerned with affect's relationship with political efficacy, a relationship I call “æffect.” I make the case that because of its use of appropriated material, we must examine the transformation from source text to poetic work when discussing affect in conceptual writing. Kenneth Goldsmith's Seven American Deaths and Disasters, which consists of transcriptions of audio recordings made during and immediately following major American tragedies, involves a specific kind of affective transformation: the cliché. I discuss what makes a cliché, especially in relation to affect, before turning to Sianne Ngai's Ugly Feelings and her concept of “stuplimity.” Stuplimity is an often ignored and not easily articulated affect that arises from boredom and repetition. Stuplimity is critical for Seven American Deaths and Disasters, especially for the “open feeling” that it produces in its wake. This uncanny feeling indicates a changing tide in conversations about conceptual writing. Rather than focus on the affect of æffect, we should instead turn to the effect. / text