H.D.'s autobiographical novel HERmione is phenomenological in texture. It portrays both sides of a dynamic process: the individual "creates" the world by adjusting a "psychic lens," projecting a mental space in which objects can appear; yet at the same time, the world imposes itself on the sensing subject. The framework within which this dynamic process occurs is the body; as the novel portrays, the body is the site of juxtapositions and transformations as it comes into contact with the world. In this article, I discuss the ways in which H.D. explores the boundaries and intersections between the human body and the world around it. I will draw on several influential feminist critiques of the novel, exploring how these critiques illuminate the social and sexual forces at work behind Hermione's experiences, and I will in turn introduce phenomenological theory to expand upon the prevailing critical view of the novel. I assert that Hermione's body is both the setting and the subject of HERmione. Even as she is objectified by both specific individuals and by the social forces at work in her world, her body reacts in unique ways to counteract this tendency. Her body transforms, and her perceptions blur the lines between subject and object, person and thing. As Hermione begins to develop an understanding of the way she encounters the world, she also develops the ability to act within it. Her body becomes prosthetic, encompassing otherness and ultimately allowing her to move beyond the relationships and expectations which threaten to confine her in a solely "decorative" life.

[pt] Onde andará Hilda Hilst? Leitura crítica de Cantares do sem nome e de partida, discute a relação do adeus encenado nos poemas do seu último livro de poemas inéditos publicados com o efetivo gesto de anunciar a interrupção de mais de quarenta anos de publicações contínuas. Fundados e erguidos sob o signo da despedida, estes poemas demarcam a matriz da poesia ocidental, seu contexto histórico, como território para alianças e transgressões éticas e estéticas. Subvertendo a ausência que funda e mobiliza a criação de textos nas tradições em questão, a Lírica Trovadoresca e a Fábula Mística, Hilda Hilst constrói esta ausência. A partir da ausência construída pelos poemas de Cantares do sem nome e de partida, pelo anúncio do fim de novas publicações, um deslocamento de lugar enunciativo da autora deflagra na cena cultural um espaço paradoxal: fechado e aberto (fechado na medida em que define a obra como acabada, aberto na medida em que a autora pode se referir a sua atividade de escritora e à sua obra com a distância crítica do passado). Este novo espaço criado, propício à emergência de vozes políticas, ao mesmo tempo em que viabiliza a circulação deste texto e também dos outros textos de Hilda Hilst (até então pouco conhecidos pelo público leitor não especializado por conta do tipo de distribuição mercadológica que tiveram), também coloca em questão os critérios de seleção e distribuição do mercado editorial. / [en] Where is Hilda Hilst? Critical reading of Cantares do sem nome e de partida, discusses the relation of farewell staged in poems of her last book of inedited poems published with the effective gesture to announce the interruption of more than forty years of continuous publications. Founded and built under the sign of parting, these poems delineate the matrix of occidental poetry, its historical context, as a territory for alliances and for ethical and aesthetic transgressions. Subverting the absence that establishes and mobilizes the creation of texts in the traditions in question, the Troubadours lyric and the Mystics fable, Hilda Hilst constructs this absence. From the absence built by the poems of the Cantares do sem nome e de partida, and starting at the announcement of the end of new publications, a shift of the author s place of enunciation in the cultural scene triggers a paradoxical space: closed and opened (closed in the measure where she defines her work as finished, opened in the extent where the author can mention its activity of writer and its literary pursuits with in the critical distance of the past). This new space created, propitious to emergency of politics voices, at the same time it allows the circulation of this text and also from other texts by Hilda Hilst (until then barely unknown by non-specialist readers on account of the type of marketing distribution that they had), also it places in question the criteria of election and distribution of the publishing market.

La poésie de Hilda Hilst est une réponse à temps. Cette thèse montre comment le problème de la finitude est fondamental dans Hilda Hilst. Amour, la mort, la recherche du sacré, l'obscénité et la folie, tous les thèmes récurrents dans Hilda Hilst, pointez sur les «heures plus aigus", fléau du poète lyrique existentielle. Avec une production qui s'étend sur plus de 45 ans, Hilda Hilst laissé une contribution importante, principalement en raison de la complexité des images qui mobilise, il est possible d'identifier trois formes distinctes de la temporalité: l'ordre chronologique, l'éternel retour et le temps avant le temps, les deux dernières, tentatives pour échapper à la faim incurable de Chronos. La méthodologie consiste à examiner la littérature sur l'auteur et des thèmes abordés et l'analyse de la poésie en mettant l'accent sur des images qui correspondent à temps. Eliade, Bachelard, Durand et Paz sont parmi les principaux membres d'un cadre théorique pluridisciplinaire. / A obra poética de Hilda Hilst é uma resposta ao tempo. A presente tese demonstra como o problema da finitude é fundamental nessa poesia. O amor, a morte, a busca do sagrado, a loucura e a obscenidade, todos temas recorrentes em Hilda Hilst, apontam para as “agudíssimas horas”: flagelo lírico-existencial da poeta. Com uma produção que se estende ao longo de 45 anos, Hilda Hilst deixou uma importante contribuição, principalmente pela complexidade das imagens que mobiliza, em que é possível identificar três formas distintas de temporalidade: a cronológica, o Eterno Retorno e o Tempo Antes do Tempo, as duas últimas, tentativas de fuga da irremediável fome de Chronos. A metodologia consiste na revisão da bibliografia a respeito da autora e dos temas que suscita e na análise da obra poética com ênfase às imagens que remetem ao tempo. Eliade, Bachelard, Durand e Paz estão entre os principais integrantes de um quadro teórico multidisciplinar.

La poésie de Hilda Hilst est une réponse à temps. Cette thèse montre comment le problème de la finitude est fondamental dans Hilda Hilst. Amour, la mort, la recherche du sacré, l'obscénité et la folie, tous les thèmes récurrents dans Hilda Hilst, pointez sur les «heures plus aigus", fléau du poète lyrique existentielle. Avec une production qui s'étend sur plus de 45 ans, Hilda Hilst laissé une contribution importante, principalement en raison de la complexité des images qui mobilise, il est possible d'identifier trois formes distinctes de la temporalité: l'ordre chronologique, l'éternel retour et le temps avant le temps, les deux dernières, tentatives pour échapper à la faim incurable de Chronos. La méthodologie consiste à examiner la littérature sur l'auteur et des thèmes abordés et l'analyse de la poésie en mettant l'accent sur des images qui correspondent à temps. Eliade, Bachelard, Durand et Paz sont parmi les principaux membres d'un cadre théorique pluridisciplinaire. / A obra poética de Hilda Hilst é uma resposta ao tempo. A presente tese demonstra como o problema da finitude é fundamental nessa poesia. O amor, a morte, a busca do sagrado, a loucura e a obscenidade, todos temas recorrentes em Hilda Hilst, apontam para as “agudíssimas horas”: flagelo lírico-existencial da poeta. Com uma produção que se estende ao longo de 45 anos, Hilda Hilst deixou uma importante contribuição, principalmente pela complexidade das imagens que mobiliza, em que é possível identificar três formas distintas de temporalidade: a cronológica, o Eterno Retorno e o Tempo Antes do Tempo, as duas últimas, tentativas de fuga da irremediável fome de Chronos. A metodologia consiste na revisão da bibliografia a respeito da autora e dos temas que suscita e na análise da obra poética com ênfase às imagens que remetem ao tempo. Eliade, Bachelard, Durand e Paz estão entre os principais integrantes de um quadro teórico multidisciplinar.

Fundação de Amparo a Pesquisa do Estado de Minas Gerais / The present work accomplishes a systematic study about the composition of lyrical subject of Hilda Hilst in her work Cantares (2004). In order to develop this research, the methodology used was a combination of analysis and observation of the forementioned Hilst s book. Then some theoretical considerations were taken about who and how the subject is built in Hilst`s poems. By following Hilst s poetry one could face three relevant questions about her lyrical persona: the detection of a lyrical subject that recognizes himself as somebody constructed from his belonging to the other, out of him or as the self projected out of other self; the displacement of his identity by using a mask, and finally the ability of creating itself again, of thinking and constituting itself by means of the image and the word. Therefore this dissertation is organized in three chapters The being-beyond: the double face in Hilda Hilst s poetry , The self and the other behind the mask and The images and the word in Hilda Hilst s poetry in which the discussions proposed above are developed, revealing the building of a multiple and plural subjectivity. / O presente trabalho realiza um estudo sistemático sobre a composição do sujeito-lírico na obra Cantares (2004) da escritora Hilda Hilst. Para desenvolvimento desta pesquisa utilizou-se um método que, partindo da análise e observação da obra, permitiu tecer algumas perspectivas teóricas a respeito de quem é e como se constitui tal sujeito nas poesias hilstianas. Este trilhar nas poesias de Hilst permitiu o levantamento de três relevantes questões sobre a persona lírica da autora: a detecção de um sujeito-lírico que se sabe como alguém construído a partir de seu pertencimento ao outro, externo a ele ou o como o eu projetado fora de si; o deslocamento de um eu para uma máscara e, por fim, um reinventar-se, pensar-se e constituir-se por meio da palavra e da imagem. Tal trajetória culminou na estruturação de três capítulos O ser-além: as faces do duplo na poesia hilstiana , O eu e o outro por trás da máscara e O ser-imagem-palavra na poesia hilstiana nos quais são tratadas, respectivamente, estas três discussões, mostrando a constituição de uma subjetividade que é múltipla e plural. / Mestre em Teoria Literária

La poésie de Hilda Hilst est une réponse à temps. Cette thèse montre comment le problème de la finitude est fondamental dans Hilda Hilst. Amour, la mort, la recherche du sacré, l'obscénité et la folie, tous les thèmes récurrents dans Hilda Hilst, pointez sur les «heures plus aigus", fléau du poète lyrique existentielle. Avec une production qui s'étend sur plus de 45 ans, Hilda Hilst laissé une contribution importante, principalement en raison de la complexité des images qui mobilise, il est possible d'identifier trois formes distinctes de la temporalité: l'ordre chronologique, l'éternel retour et le temps avant le temps, les deux dernières, tentatives pour échapper à la faim incurable de Chronos. La méthodologie consiste à examiner la littérature sur l'auteur et des thèmes abordés et l'analyse de la poésie en mettant l'accent sur des images qui correspondent à temps. Eliade, Bachelard, Durand et Paz sont parmi les principaux membres d'un cadre théorique pluridisciplinaire. / A obra poética de Hilda Hilst é uma resposta ao tempo. A presente tese demonstra como o problema da finitude é fundamental nessa poesia. O amor, a morte, a busca do sagrado, a loucura e a obscenidade, todos temas recorrentes em Hilda Hilst, apontam para as “agudíssimas horas”: flagelo lírico-existencial da poeta. Com uma produção que se estende ao longo de 45 anos, Hilda Hilst deixou uma importante contribuição, principalmente pela complexidade das imagens que mobiliza, em que é possível identificar três formas distintas de temporalidade: a cronológica, o Eterno Retorno e o Tempo Antes do Tempo, as duas últimas, tentativas de fuga da irremediável fome de Chronos. A metodologia consiste na revisão da bibliografia a respeito da autora e dos temas que suscita e na análise da obra poética com ênfase às imagens que remetem ao tempo. Eliade, Bachelard, Durand e Paz estão entre os principais integrantes de um quadro teórico multidisciplinar.

[pt] Esta tese reflete sobre o estatuto contemporâneo da voz no cinema a partir do tratamento a ela dispensado em um recorte de trabalhos audiovisuais cujos procedimentos artísticos singulares convidam à investigação — em especial no que tange ao que se tem reconhecido como manifestações espectrais da voz acusmática. O trabalho se compõe de três ensaios complementares, que investigam de que maneiras e com que efeitos estético-políticos as produções em exame subvertem formas historicamente calcificadas de destituir a palavra de qualquer corporeidade, o que inclui a materialidade da voz. Com esse horizonte, o estudo se debruça sobre as seguintes criações: A paixão de JL (2016), de Carlos Nader; Hilda Hilst pede contato (2018), de Gabriela Greeb; Imagem e palavra (2018), de Jean-Luc Godard; e Vaga carne (2019), de Grace Passô e Ricardo Alves Jr. Por atenção aos modos como esses filmes trabalham e pensam a matéria vocal, distinguem-se e exploram-se três manifestações interligadas da voz acusmática: (1) propomos pensar como vocobiografias espectrais os tratamentos dados por Nader e Greeb aos arquivos de voz de Leonilson e Hilst, com destaque para os movimentos que se ali desdobram entre presença e ausência, indivíduo e coletivo, ficção e realidade; (2) derivamos a noção de um vozerio tátil dos procedimentos com que Godard atende ao imperativo pensar com as mãos, que abre Imagem e palavra, no plano da miríade de vozes ali convocadas; e por fim, (3) refletimos sobre a invenção de uma voz polimorfa no média-metragem de Grace Passô e Ricardo Alves Jr., que, disparado por encenação (2016) e livro (2018) homônimos de autoria da atriz e dramaturga, tem como surpreendente protagonista uma voz com o poder de transitar por diferentes matérias. Mostra-se como, ao mobilizarem a materialidade da voz por diferentes caminhos e com diferentes ênfases, os filmes estudados agem no sentido de deslocar modos arraigados – e passivos – de escuta. / [en] This thesis reflects on the status of the voice in contemporary cinema by examining a selection of audiovisual works whose unique artistic procedures invite investigation — especially with regard to what has been recognized as spectral manifestations of the acousmatic voice. The work is composed of three complementary essays, which investigate how and with what aesthetic-political effects these productions subvert historically calcified forms of depriving the word of any corporeality, notably of the materiality of the voice. With this horizon, the study delves into the following creations: JL s passion (2016), by Carlos Nader; Dead ones, do you live? (2018), by Gabriela Greeb; The image book (2018), by Jean-Luc Godard; and Dazed flesh (2019), by Grace Passô and Ricardo Alves Jr. By attending to the ways in which these films work with and think about the vocal matter, we distinguish and explore three interconnected manifestations of the acousmatic voice: (1) we propose to think about the treatments given by Nader and Greeb to the voice archives of Leonilson and Hilst as spectral vocobiographies, with emphasis on what evolves in between presence and absence, individual and collective, fiction and reality; (2) we derive the notion of a tactile buzz from the singular ways in which Godard combines the myriad of voices he summons, as yet another means to respond to the imperative that opens the film, namely, to think with the hands; and finally, (3) we reflect on the invention of a polymorphous voice in the medium-length film by Grace Passô and Ricardo Alves Jr., which, triggered by homonymous staging (2016) and book (2018) by Passô, has as its surprising protagonist a voice with the power to transit through different subjects. I show how, by mobilizing the materiality of the voice through different paths and with different emphases, the studied films act in order to displace entrenched — and passive — modes of listening.

During the 1980s, the government of Great Britain, led by Margaret Thatcher, promoted a political and economic ideology known in the demotic as the Thatcherite Enterprise Culture. This set of beliefs and actions included an encouragement of hard work, thrift, self-responsibility, and self-employment, as well as legislating for the support of small firms, privatisation, free markets and a strong - but minimal - central state. Behind the Enterprise Culture lay a religious paradigm, explicitly called upon by its chief creators, including Margaret Thatcher. The thesis builds an ideal-type of the Thatcherite Enterprise Culture, following a Weberian methodology, to form the major object of study. The work aims to discover whether the ideal-type under analysis is theologically coherent, and whether it can justifiably claim to be a continuation of Christian thought in this area. This thesis examines the development of Western European philosophy and theology as it relates to the key aspects of the Thatcherite Enterprise Culture, beginning with the Ancient Greeks and concluding with the Victorian Age of Enterprise. The historical review demonstrates that the Thatcherite Enterprise Culture is generally discontiguous with the tradition of religious thought, and in some instances is essentially in direct contradiction with important aspects of the tradition, such as the significance of the Incarnation. A review of the theological works of the Thatcherite Enterprise Culture and its critics adds to the findings of the historical examination, indicating further flaws and contradictions within Enterprise Theology. Critics of Enterprise Theology are found to be much more consistent with mainstream Christian Theology.

My dissertation examines the correlations between the natural and supernatural, agency and authority, and meaning and language in the work of the modernist American writers H.D. (Hilda Doolittle) and Djuna Barnes. Using the psychoanalytic theory of Jacques Lacan, Melanie Klein, and Nicholas Abraham and Maria Torok, I argue that the different kinds of spectral and otherworldly figures that appear in these works – ghosts, the living dead, divinities, individuals who are also amorphous multiplicities – correlate to the modes of negation of parental imperatives that structure the language-use of their authors. I contrast H.D.‘s and Barnes‘s visions of the relation of language to meaning and the personal to the social using Lacan‘s delineation of the different modes of psychic negation that enable or disable language use: repression, disavowal, and foreclosure. According to this model, H.D.‘s work evidences foreclosure: a mode of thought and language that fails to differentiate words, thoughts, and people from one another. This incapacity endangers the psyche with the hallucinatory return of or haunting by what cannot be symbolized. In contrast, Barnes‘s work suggests disavowal, and her language renders experience in distorted forms. She repudiates power figures and the unspeakable meanings associated with them, but her work portrays the spectral, surreptitious return of these figures and meanings. Writing that witnesses or stages a return to a state of non-difference between symbol and symbolized, as Barnes‘s and H.D.‘s work does, calls for different interpretative and methodological strategies than those usual in literary criticism. To read such work primarily as symbolic communication is to lose perspective on the structures of thought and language that it grapples with. A perspective that is rigorous and radically different from the works‘ own is necessary to produce readings of it that make symbolic ―sense,‖ though it is unable to fully account for experiences that are not conceivable. To this end, I describe ―disorders,‖ types of thought and language that psychoanalysis implicates in interminable human suffering, without drawing conclusions about the range of experiences that might be concurrent with asymbolic or anti-symbolic thought and writing. / Graduate / 2019-08-31 / 0298 / 0591

In the canon of twentieth century American poetry, "long poems" or "anti-epics" or epic poems represent a formidable genre. Defining epic poetry has proved difficult in our modern era, and the possibility that women might write epics is not often considered. This study includes a review of the literature that may define the epic genre and of the literature that contributes to our understanding of a tradition of women's poetry in American literature. The review of both issues--possible epic poetry and women's poetic tradition--is a necessary prerequisite for considering the argument that H.D.'s iielen in Eavpt and Gwendolyn Brooks's In the Mecca are twentieth century epics. With the focus on a female heroine, on personal and interpersonal values, and on a reconsideration of cultural lieroism, these poems are important literary contributions in addition to being "revised" epics.A revision of the epic signifies that the poet has found a way to accomplish individual expression in this familiar genre, a genre characterized by narration, cultural themes that may be didactic, and multiple voices for the poet. H.D. and Brooks have revised the genre of epic poetry in unusual ways. H.D. has taken a legendary figure, Helen of Troy, and made her the primary speaker and the seeker of truth. Instead of the classical glorification of war, Helen's quest includes a renunciation of war and a reconsideration of the ways we know ourselves and our history. Brooks has made an "unknown" black woman the center of her urban epic. Mrs. Sallie's quest, initiated by the real search for a missing daughter, becomes a quest for the meaning of family, community, and selfhood.Revising the genre was a unique process for both H.D. and Brooks, and studying Helen and Mecca together emphasizes the diverse traditions--literary and nonliterary--that may elucidate our understanding of each poem. Moreover, only refers to a "a genre revised" by H.D. and Brooks not only refers to a revision of epic poetry but to poetry as a whole. Each woman created her own blend of "traditions and individual talent" in order to produce Helen in Egypt and In the Mecca. / Department of English