Thesis (PhD)--Macquarie University, Division of Humanities, Department of English, 2005. / "March 2002". Bibliography: p. 324-344.

This essay documents a year of exploring how to continue to be creative, experimental and intuitive within an art institution. It provides a context and thus academic shelter for a non-linear, experimental process of making drawings, sculpture and site-specific work. The essay has three layers; the contextual document, images which show the process of making, as well as a narrative written in experimental poetry which describes the embodied process of making through collaged journal writing. The images are interspersed through the essay, while the poetry provides an alternative narrative and is printed on the back pages of the essay. ‘Building’ is used as an active metaphor for the creative process, as well as buildings as sites for research and installation of adaptive sculptures. Building as a metaphor for unchanging narratives will be contrasted with artists whose work challenges the unitary nature of a functional building through their interventions. Using the body to make meaning is discussed in a feminist context, as an alternative this model to linear, rational thinking. This also questions and problematizes the heroic male artist body. Performing the making through a female body will be discussed and issues of privacy and proximity covered. A potential solution to these issues will be explored in using abstraction to create active meaning, thus implicating the body of the audience as well as the artist.

Thesis (Ph.D.)--Tufts University, 2005. / Adviser: Modhumita Roy. Submitted to the Dept. of English. Includes bibliographical references. Access restricted to members of the Tufts University community. Also available via the World Wide Web;

A poesia de Paulo Leminski (1944/1989), escrita no Brasil entre os anos 60 e 80 do século XX, revela uma constante atitude de experimentação que abre caminhos para o questionamento da relação entre pensamento, mundo e linguagem. Ao refazer a trajetória do autor e analisar o modo de criação de seus jogos de linguagem, pretendo revelar a lógica de sua poética, voltada para a materialidade do signo lingüístico. Como poeta e ficcionista, redator publicitário, letrista de música, crítico e tradutor, a matériaprima e o objeto de Leminski é sempre a linguagem verbal em suas mais variadas dimensões. Nesse período, entre os anos 60 e 80, em que as teorias sobre os signos e sobre o discurso começam a dominar os estudos literários, a poética metalingüística e reflexiva de Leminski surge como um campo de experiência de limites ainda não testados ou pouco testados por outros poetas. O conceito da poesia como texto literário, como expressão de uma linguagem escrita, veiculada em livros e destinada a um público erudito, passa a ser também por ele questionado. Para Leminski, a poesia faz parte da semiótica, do mundo dos signos que engloba todas as outras formas de manifestações artísticas, de informação e de comunicação. Poesia é também linguagem gráfica, sonora e verbal, que busca uma lógica própria para expressar pensamentos e formas de vida. Esta pesquisa vai focalizar alguns aspectos da teoria da linguagem e da teoria literária evidenciados, em diversos níveis, na prática poética leminskiana. São questões pertinentes ao contexto de diferentes correntes contemporâneas de pensamento que apontam a linguagem como o lugar privilegiado em que se dá a atuação do sujeito e a criação dos sentidos. / The poetry of Paulo Leminski (1944-89), written in Brazil between the 1960s and the 1980s, displays a constant attitude of experimentation that opens up possibilities for questioning the relationships between thought, world and language. By retracing the development of his career as a writer and analyzing the ways in which he created his language games, I set out to discover the logic of his poetics and its links to the materiality of the linguistic sign. As a poet and author of fiction, but also as a producer of advertising copy, song lyrics, literary criticism and translations, Leminski always took verbal language in its many different dimensions as his object and raw material. In the period discussed (1960s, 70s and 80s), when theories of signs and discourse predominated in literary studies, Leminski developed his metalinguistic and reflexive poetics as a field for experiencing and experimenting with limits that other poets had not yet tested at all or only very marginally. He also questioned the concept of poetry as literary text, as the expression of a written language conveyed in books to a learned audience. For Leminski poetry was part of semiotics, of the world of signs that encompasses all other forms of art as well as information and communication. Poetry is visual language and sound as well as verbal language, pursuing its own logic to express thoughts and life forms. My research focuses on some aspects of the theory of language and of the literary theory evinced at various levels by Leminskis poetic practice. The questions raised are pertinent in the context of different contemporary currents of thought which consider language a privileged field for the operation of the subject and the creation of meaning.

Marcada pela exploração de suas próprias estruturas e condições de possibilidade, a obra de Waly Salomão (1943-2003) embaralha as fronteiras entre campos de produção, sob o signo do proteiforme. Entre meandros e amálgamas, suas práticas heterodoxas de composição operam um questionamento radical do estatuto do texto poético na contemporaneidade. Esta tese analisa as relações que se estabelecem entre escritura, gesto e vocalidade na poesia de Waly Salomão, especialmente nos livros Me segura queu vou dar um troço (1972) e Gigolô de bibelôs (1983), e nas performances poético-visuais, realizadas entre 1974 e 1977 e reunidas em catálogo da exposição Babilaques: alguns cristais clivados (2007). Por meio da leitura e análise dos poemas, bem como de ensaios e entrevistas do autor, pretende-se discutir a especificidade da enunciação walyana nos entremeios dos contextos tecnoculturais a partir dos quais se projeta e contra os quais se insurge. / Marked by the exploration of its own structures and the conditions of its possibility, the work of Waly Salomão (1943-2003) blurs the boundaries between production fields under the insignia of protean. Among meanders and amalgams, his heterodox compositional practices operate a radical questioning of the status of the poetic text in contemporaneity. This thesis analyzes the relationships established between writing, gesture, and vocality in Waly Salomão poetry, particularly in the books Me segura queu vou dar um troço (1972) and Gigolô de bibelôs (1983), and in the visual-poetic performances between 1974 and 1977, collected in the catalog of the exhibition titled Babilaques: alguns cristais clivados (2007). Through reading and analyzing the poems, as well as the authors essays and interviews, I discuss the particularity of the Walyan enunciation amid the techno-cultural contexts from which it protrudes and against which it insurrects.

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The thesis deals with the history of Czech artistic translation in general and with the diachronic examination of Josef Hiršal's translation method in the area of translation poetry from German in particular. In the sixties Josef Hiršal alongside with his life and artistic partner Bohumila Grögerová was the main promoter and initiator of experimental poetry in Czechoslovakia. He devoted to experiment not only in his own work but also in translation. It was to his merit that Czech readers could familiarize themselves with the work of current foreign experimental poets, both in anthologies and in independent collections. Speaking of German language area he was consistent in translating Ernst Jandl, Hans Carl Artmann and Helmut Heißenbüttel. The practical part of this work is dedicated to the analysis of translation of selected poems of the mentioned trio using the hermeneutical approach. Hiršal translated from the whole range of other languages (using language cooperation), thanks to which he left a remarkable trace in the history of Czech translation from the second half of the twentieth century. Interestingly enough, his contribution to translation has not yet been subjected to critical analysis. The thesis aims to cover at least partially Hiršal's translation work, specifically in the area of...

Cette thèse a pour objet la recension, la description et l'analyse de la poésie visuelle de Joan Brossa (1919-1998), considéré comme l'un des grands représentants de la poésie expérimentale de la deuxième moitié du XXe siècle. Combinant les techniques des arts plastiques et de la littérature, ce corpus constitue une forme d’expression spécifique, difficile à définir et à circonscrire, mais qui occupe une place centrale dans l’œuvre du poète. La poésie visuelle s’inscrit dans l'évolution de la poésie d'avant-garde, du début du XXe siècle à l'art contemporain. C’est en retraçant cette histoire que nous pourrons justifier la méthode et les critères retenus pour établir le catalogue qui comprend plus d'un millier d'œuvres. Nous serons alors en mesure de proposer une définition du poème visuel, qu’il se présente de manière isolée, ou dans les recueils pour lesquels Brossa les a conçus à l'origine.Etant dépourvu de texte, le poème visuel peut-il s’expliquer par son contexte ? Rien n’est moins sûr, car ici le contexte est un matériau prélevé directement sur le « réel sociologique », pour parler avec les Nouveaux Réalistes parisiens, dont les préoccupations sont très proches de celles du poète catalan. L’examen de son œuvre visuelle permet ainsi d’éclairer sa poétique dans son ensemble. Pour Brossa, la poésie n'est pas ou n’est plus exclusivement littéraire. Son objectif principal, tant comme écrivain que comme plasticien, est d'observer la réalité avec la réalité, de l'avoir entre les mains, et de la présenter sur le papier d'une manière non pas neutre, mais retenue, afin de donner au regardeur le loisir d'entrer en scène : la page est un cadre qui ne fournit nul cadrage. / This PhD dissertation is dedicated to the review, the description and the analysis of the visual poetry of Joan Brossa (1919-1998), who is considered one of the most representative figures of the experimental poetry movement of the second half of the 20th century. This corpus combining fine arts and literature techniques is a unique form of expression which is hard to define and circumscribe, but which is central to the work of the poet. Visual poetry is an integral part of the evolution of avant-garde poetry, from the early 20th century to contemporary art. Tracing this history allows us to justify the method and the criteria chosen to establish the catalogue of over a thousand works. This leads us to offering a definition of the visual poem, whether presented in isolation or within the collections of poems Brossa originally created them for. Deprived of a text, can the visual poem be explained through its context? Nothing is less certain because in this case the context is some material directly removed from the “sociological real”, to refer to the New Realists in Paris whose concerns were very similar to the Catalan poet’s. Examining his visual works therefore sheds light on his poetry as a whole. According to Brossa, poetry is not, or no longer is, exclusively literary. His main objective, as a writer and as an artist, is to observe reality with reality, to hold it in his hands and to present it on paper in a way that is not neutral but controlled in order to allow the beholder to enter the scene: the page is a frame with no framing.

This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artists’ artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artists’ individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde. Chapter 1 traces Mayakovsky’s response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovsky’s participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poet’s solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate others’ voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poet’s metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000. Chapter 2 highlights Karel Teige’s response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovsky’s politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teige’s artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of “image poetry,” which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused form—the typophoto, which was integrated into the experimental multimedia book ABCs (1926). The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language.