Made available in DSpace on 2016-08-29T14:12:13Z (GMT). No. of bitstreams: 1 tese_5869_Thiago Brito Correta - dissertação completa.pdf: 804544 bytes, checksum: f6c66d627c280f35df2c73b61e6f90a5 (MD5) Previous issue date: 2014-07-25 / Essa pesquisa investiga a obra de Hans-Ulrich Gumbrecht e tenta produzir a partir de então, uma biográfica intelectual do autor. A partir daí proponho uma interpretação do lugar que Gumbrecht ocupa nas humanidades atualmente, apresentando suas influências e produções de conceitos originais, tais como presença e stimmung. Destaco também as possibilidades teóricas que sua obra oferece ao trabalho do historiador como reflexão no campo da filosofia da história, além de verificar qual a natureza da tensão epistemológica presente também nas obras de Gumbrecht. Por fim tento esboçar uma arqueologia de sua singular compreensão sobre a temporalidade pós-moderna

Die geesteswetenskappe, en spesifiek letterkunde en literatuurstudies, loop toenemend deur onder kritiek oor die relevansie van letterkunde in die 21ste eeu. Die letterkundige Hans Ulrich Gumbrecht reken egter dat die probleem nie is dat fiksie irrelevant geword het nie, maar dat die suiwer hermeneutiese manier waarop letterkunde gelees word, gelei het tot ’n reduksionistiese beskouing van letterkunde. Gumbrecht reken dat dit moontlik is om taal op so ’n wyse aan te wend dat dit die leser weer nader kan bring aan die wêreld waarvan hy grootliks verwyderd voel. Hierdie konsep noem hy die “produksie van teenwoordigheid”, en hy identifiseer sewe wyses waarop taal kan funksioneer om só ’n “teenwoordigheidseffek” te bewerkstellig. Marlene van Niekerk se Die sneeuslaper word in hierdie studie ondersoek deur gebruik te maak van Gumbrecht se konsep van die “teenwoordigheidseffek” van ’n literêre teks. Die “produksie van teenwoordigheid” word egter in ’n spanning teenoor die hermeneutiese aspek, die betekenis of interpretasie, en teenoor die “sosiale betrokkenheid” van letterkunde ondersoek – ’n spanning wat deurgaans in Van Niekerk se oeuvre teenwoordig is. Gumbrecht se voorstel om die “teenwoordigheidseffek” van ’n teks te ondersoek, lei daartoe dat Die sneeuslaper gelees kan word as ’n bydrae tot die breër besinning oor die rol en relevansie van letterkunde, kuns en kunskritiek in ons samelewing, en die manier waarop kunswerke ervaar word. Benewens Gumbrecht se idee van teenwoordigheidsproduksie, sal daar ook aangesluit word by Wolfgang Iser se “werkingsestetika” waarvolgens hy aandui dat literêre tekste “strukture uit die werklikheid” neem en herrangskik om daardie strukture op ’n vars en nuwe wyse in die literêre teks te belig. In die proses word tekortkominge of probleme van hierdie “strukture” uit die buite-tekstuele wêreld duidelik. Met behulp van Iser se teorie, word aangedui hoe Van Niekerk in die vier verskillende verhale die leser dwing om bestaande, hermeneutiese aannames oor die letterkunde en literêre tekste te heroorweeg. Die idee dat tekste betekenis moet inhou, sluiting moet bied of noodwendig sosiopolitieke betrokkenheid moet toon word uitgedaag. In ruil ondersoek Van Niekerk eerder die mate waartoe ’n benadering wat gerig is op die “estetiese ervaring” van literêre tekste, voorafopgestelde idees en aanvaarde strukture kan belig ten einde die leser se persepsies oor daardie strukture te wysig. Daar sal aangedui word hoe Van Niekerk taal aanwend om ook ’n teenwoordigheidseffek te bewerkstellig, en in die proses die leser, soos wat Gumbrecht voorstel, vir ’n oomblik “tot stilstand dwing”. / The role and potential relevance of the humanities, specifically of literature and literary criticism in the 21st century, has been increasingly called into question. Literary theorist Hans Ulrich Gumbrecht suggests that the problem is not that fiction has become irrelevant. Rather it is the exclusively hermeneutic way in which literature is read, that leads to a reductionist view of literature. Gumbrecht argues that it is possible to apply language in such a way that it could again bring the reader closer to the world to which the reader feels increasingly distant. He calls this concept the “production of presence”, and identifies seven ways in which language functions to create a “presence effect”. In this dissertation, Gumbrecht’s concept of the "presence effect" of literature will be applied to analyse Marlene van Niekerk’s Die sneeuslaper. The production of presence is, however, analysed in a tension with the hermeneutic aspect, the meaning or interpreation of literature, and literature that engages with social and political realities – a tension which is often present in Van Niekerk’s oeuvre. Gumbrecht’s theory of the “presence effect” of literature, opens up the possibility to read Die sneeuslaper as a contribution to a broader reflection on the way in which art is experienced, and on the role and relevance of literature, art and art criticism at the start of the 21st centuary. Apart from Gumbrecht’s concept of the production of presence, this study will rely on Wolfgang Iser’s reception theory in which he indicates how literary texts can rearrange structures from the world in order to highlights those structures in a new way. Hence, the deficiencies or problems of those “structures” become clear to the reader. Iser’s theory is used to indicate how the Van Niekerk forces the reader to reconsider existing hermeneutic perceptions on literature and literary texts. These include perceptions that texts should necessarily have meaning, that it should provide closure, or that it should be a socially or politically engaged text. Van Niekerk investigates an approach that is focused on the “aesthetic experience” of a literary text, and how such an approach could highlight preconceived ideas about existing and assumed structures about art and society in order to alter the reader’s perceptions of those structures. This study shows that Van Niekerk applies language in such a way that it leads to a presence effect which, as Gumbrecht suggest, forces the reader to experience a “moment of intensity”. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Unit for Creative Writing / MA / Unrestricted

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2018-02-01T20:28:20Z No. of bitstreams: 1 DISS_2013_Angela Mastella Coradini.pdf: 8478850 bytes, checksum: c2866f4afe4db7878e1592fb50f8f588 (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-02-02T14:25:09Z (GMT) No. of bitstreams: 1 DISS_2013_Angela Mastella Coradini.pdf: 8478850 bytes, checksum: c2866f4afe4db7878e1592fb50f8f588 (MD5) / Made available in DSpace on 2018-02-02T14:25:09Z (GMT). No. of bitstreams: 1 DISS_2013_Angela Mastella Coradini.pdf: 8478850 bytes, checksum: c2866f4afe4db7878e1592fb50f8f588 (MD5) Previous issue date: 2013-06-14 / A proposição de produção de presença (GUMBRECHT 2010), a noção de Stimmung (GUMBRECHT 2009) e o Heavy Metal Cristão (HMC) são os pilares desta dissertação. A tensão presente na estética, nos shows, nos ambientes e na música do HMC direciona-nos a um lugar onde elementos cristãos e profanos coexistem. Nos shows de Heavy Metal Cristão, a maior expressão do gênero musical, as sonoridades, as cores, os cheiros, as temperaturas, os objetos, as expressões faciais e corporais mesclam-se compondo uma Stimmung (atmosfera) peculiar de pulsação e tensão sacro-profana. Propomo-nos a pensar, nesta dissertação, os movimentos de “desinterdição de mundanidades” realizados por algumas vertentes do cristianismo e que permeiam o HMC; a expansão das materialidades que delimitam o HMC; e a Stimmung que toca e envolve os corpos. / Proposition production of presence (Gumbrecht 2010), the notion of Stimmung (Gumbrecht 2009) and Heavy Metal Christian (HMC) are the pillars of this dissertation. The tension in the aesthetic, the shows, the environments and music of the HMC directs us to a place where Christians and secular elements coexist. In Christian Heavy Metal concerts, the greatest expression of the musical genre, the sounds, the colors, the smells, temperatures, objects, facial expressions and body mingle composing a Stimmung (atmosphere) peculiar pulse and tension sacral profane. We propose to think this dissertation movements "of desinterdição mundanities" performed by a few strands of Christianity and that permeate the HMC, the expansion of materiality that delimit the HMC, and Stimmung that touches and engages the bodies.

Made available in DSpace on 2016-04-18T12:03:19Z (GMT). No. of bitstreams: 1 000478143-Texto+Completo-0.pdf: 1123459 bytes, checksum: c5f14968bd73ab5ba5d2bf16032b4bca (MD5) Previous issue date: 2016 / Our proposal is initially to illuminate the notion of dwelling as the articulation of the heideggerian thought around the question of the human essence, and doing it from the specific horizon of the late writings of Heidegger, that from the 50’ and 60’. The central problem consists in investigating on a plan essentially practical of reflection what properly means to dwell, that is, to raise the question about the meaning and even the possibility of an effective realization of dwelling from our proper everyday life. Our path starts from the heideggerian diagnosis about the improper condition of the contemporary man and goes in the direction of a reading of dwelling as the resolution to this problem as a path to the appropriation of human essence. Along with the question about the way to achieve this appropriate condition from our everyday life, the thesis to be defended is that this way finds itself in the experience of art as the experience of truth, the moment when we should to strike up a fruitful dialogue with the aesthetic thought of Hans Ulrich Gumbrecht and his notion of presence. At the end, our hypothesis of work is that the poetic dwelling can be read as a task to be assumed individually, as a constant exercise of searching the appropriation of itself. At the end of our path, the question of the human essence should to achieve a more large scope from the recognition of the body as an integrant part of its semantic content, while dwelling should arise as a transformed posture in the relation with the world, a posture of releasement when the dweller simply leaves the things to repose on themselves. The poetic dwelling should be then articulated as the task of the appropriation of the human essence. / Nossa proposta é a de incialmente iluminar a noção de habitar como a articulação do pensamento heideggeriano em torno à questão da essência humana, e de fazê-lo a partir do horizonte específico dos escritos tardios de Heidegger, aqueles entre as décadas de 50 e 60. O problema central consiste em investigar num plano essencialmente prático de reflexão o que significa propriamente habitar, isto é, levantar a questão quanto ao sentido e mesmo à possibilidade de uma realização efetiva do habitar a partir de nosso próprio cotidiano. Nosso percurso parte do diagnóstico heideggeriano quanto a uma condição imprópria do homem contemporâneo e segue em direção a uma leitura do habitar como a resolução para este problema enquanto caminho para a apropriação da essência humana. Junto à pergunta acerca do modo de alcançar essa condição apropriada a partir de nosso próprio cotidiano, a tese a ser defendida é a de que este caminho se encontra na experiência da arte enquanto experiência da verdade, momento em que devemos travar um profícuo diálogo com o pensamento estético de Hans Ulrich Gumbrecht e a sua noção de presença. Por fim, nossa hipótese de trabalho é a de que o habitar poético pode ser lido como uma tarefa a ser assumida individualmente, como um exercício incessante de procura pela apropriação de si. Ao fim de nosso percurso, a questão da essência humana deve alcançar um escopo mais largo a partir do reconhecimento do corpo como parte integrante de seu conteúdo semântico, bem como o habitar deve emergir como uma postura transformada na relação com o mundo, uma postura de serenidade em que o habitante simplesmente deixa que as coisas repousem em si mesmas. O habitar poético deve então ser articulado como a tarefa da apropriação da essência humana.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-18T11:19:42Z No. of bitstreams: 1 DIS_SABRINA_RUGGERI_COMPLETO.pdf: 1123459 bytes, checksum: c5f14968bd73ab5ba5d2bf16032b4bca (MD5) / Made available in DSpace on 2016-04-18T11:19:42Z (GMT). No. of bitstreams: 1 DIS_SABRINA_RUGGERI_COMPLETO.pdf: 1123459 bytes, checksum: c5f14968bd73ab5ba5d2bf16032b4bca (MD5) Previous issue date: 2016-03-02 / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / Our proposal is initially to illuminate the notion of dwelling as the articulation of the heideggerian thought around the question of the human essence, and doing it from the specific horizon of the late writings of Heidegger, that from the 50? and 60?. The central problem consists in investigating on a plan essentially practical of reflection what properly means to dwell, that is, to raise the question about the meaning and even the possibility of an effective realization of dwelling from our proper everyday life. Our path starts from the heideggerian diagnosis about the improper condition of the contemporary man and goes in the direction of a reading of dwelling as the resolution to this problem as a path to the appropriation of human essence. Along with the question about the way to achieve this appropriate condition from our everyday life, the thesis to be defended is that this way finds itself in the experience of art as the experience of truth, the moment when we should to strike up a fruitful dialogue with the aesthetic thought of Hans Ulrich Gumbrecht and his notion of presence. At the end, our hypothesis of work is that the poetic dwelling can be read as a task to be assumed individually, as a constant exercise of searching the appropriation of itself. At the end of our path, the question of the human essence should to achieve a more large scope from the recognition of the body as an integrant part of its semantic content, while dwelling should arise as a transformed posture in the relation with the world, a posture of releasement when the dweller simply leaves the things to repose on themselves. The poetic dwelling should be then articulated as the task of the appropriation of the human essence. / Nossa proposta ? a de incialmente iluminar a no??o de habitar como a articula??o do pensamento heideggeriano em torno ? quest?o da ess?ncia humana, e de faz?-lo a partir do horizonte espec?fico dos escritos tardios de Heidegger, aqueles entre as d?cadas de 50 e 60. O problema central consiste em investigar num plano essencialmente pr?tico de reflex?o o que significa propriamente habitar, isto ?, levantar a quest?o quanto ao sentido e mesmo ? possibilidade de uma realiza??o efetiva do habitar a partir de nosso pr?prio cotidiano. Nosso percurso parte do diagn?stico heideggeriano quanto a uma condi??o impr?pria do homem contempor?neo e segue em dire??o a uma leitura do habitar como a resolu??o para este problema enquanto caminho para a apropria??o da ess?ncia humana. Junto ? pergunta acerca do modo de alcan?ar essa condi??o apropriada a partir de nosso pr?prio cotidiano, a tese a ser defendida ? a de que este caminho se encontra na experi?ncia da arte enquanto experi?ncia da verdade, momento em que devemos travar um prof?cuo di?logo com o pensamento est?tico de Hans Ulrich Gumbrecht e a sua no??o de presen?a. Por fim, nossa hip?tese de trabalho ? a de que o habitar po?tico pode ser lido como uma tarefa a ser assumida individualmente, como um exerc?cio incessante de procura pela apropria??o de si. Ao fim de nosso percurso, a quest?o da ess?ncia humana deve alcan?ar um escopo mais largo a partir do reconhecimento do corpo como parte integrante de seu conte?do sem?ntico, bem como o habitar deve emergir como uma postura transformada na rela??o com o mundo, uma postura de serenidade em que o habitante simplesmente deixa que as coisas repousem em si mesmas. O habitar po?tico deve ent?o ser articulado como a tarefa da apropria??o da ess?ncia humana.