Orientadora: Ana Maria Domingues de Oliveira / Banca: Telma Maciel da Silva / Banca: Antonio Roberto Esteves / Resumo: O estudo busca analisar relações estéticas entre Literatura e Cinema, mapeadas nas narrativas dos escritores Ilka. B. Laurito e João Antônio. Partindo do recorte de uma obra de cada autor, a proposta analítica consiste em considerar procedimentos da cinematografia e características da imagem cinematográfica como passíveis de serem aplicadas à construção do texto literário. Do estudo da coleção de cartas intercambiadas pelos dois escritores durante mais de três décadas, chegou-se à constatação de um contato intenso dos autores com a estética do cinema, e de uma postura crítica de ambos que relacionava as artes pensando-as desde o seu processo de criação. Partindo desta assertiva, o estudo desenvolve uma análise desde a crítica literária que busca entender a estética cinematográfica como parte componente da malha formal da narrativa dos livros Parque de Diversões, de Ilka B. Laurito e Sete vezes rua, de João Antônio / Abstract: The present study intends to analyse the aesthetics connections between Cinema and Literature, mapped upon the narratives of Ilka B. Laurito and João Antônio. Having cuts from each author work as a start, the analytical propose consists in considering the cinema procedures as well as the characteristics of the cinema image as possible to be applied to the building of the literary text. From the study on the letters exchanged between both authors for over three decades it was possible to state the intense contact both had with the cinema aesthetics, also it is possible to understand the critical attitude from both of them, relating the arts since its creational process. Having that said, the study develops an analysis since the Literary critics intending to understand the cinema aesthetics as a component in the narrative formal fabric on Parque de Diversões, from Ilka B. Laurito and Sete vezes rua, from João Antônio / Mestre

<p> This dissertation constructs a philosophy of perception that creates what I call a &ldquo;perceptive ontology of objects.&rdquo; This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel&rsquo;s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call &ldquo;the mimesis of sensation.&rdquo; This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. &ldquo;The moment,&rdquo; a temporality distinct from the present, the modernist works of authors like Mallarm&eacute;, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative. </p><p> These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. A totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity&mdash;Baudelaire, Bergson, Benjamin, and Deleuze, and others&mdash;who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20^th-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known. </p><p> Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality&mdash;available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarm&eacute;, Woolf, Joyce, and Kafka reveal relationships between what I call modernism&rsquo;s &ldquo;moments&rdquo; and the receding totality of the object. </p><p> Chapter 1 of the dissertation argues that a relationship exists between Mallarm&eacute;&rsquo;s reception of impressionism and the poet&rsquo;s linguistic theory. Here I examine Mallarm&eacute;&rsquo;s writings on the impressionist <i> plein air</i> technique in his essay, &ldquo;The Impressionists and &Eacute;douard Manet&rdquo; (1876). <i>Plein air</i> means more for Mallarm&eacute; than just painting outdoors. Air, in Mallarm&eacute;&rsquo;s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism&rsquo;s more conventional referential representation. I argue that Woolf creates <i> another type of realism</i> through her experiments with time. Importantly, I break from the work of 20^th-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf&rsquo;s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call &ldquo;the mimesis of sensation.&rdquo; (Abstract shortened by ProQuest.) </p><p>

錢澤紅. / 目錄頁頁碼有誤, 頁碼271應為261. / 論文(哲學博士)--香港中文大學, 2004. / 參考文獻 (p. 238-260). / 中英文摘要. / Mu lu ye ye ma you wu, ye ma 271 ying wei 261. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Qian Zehong. / Zhong Ying wen zhai yao. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2004. / Can kao wen xian (p. 238-260).

No description available.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 159-171). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 159-171). Also available on the Internet.

No description available.

No description available.

Thesis (Ph. D.)--University of Canterbury, 2008. / Typescript (photocopy). Includes bibliographical references (leaves 322-356). Also available via the World Wide Web.

Thesis (doctoral)--Magadh University, 1981. / Text in English, appendices in Sanskrit. Includes bibliographical references (p. 332-356).