Made available in DSpace on 2017-07-10T18:55:35Z (GMT). No. of bitstreams: 1 Antonio Guizzo.pdf: 1582188 bytes, checksum: 27681cd71a75eb357b0fdac9d739c1e3 (MD5) Previous issue date: 2014-02-18 / The current research focused on reflections and analysis about Claudia Roquette-Pinto lyric, from the purpose that the work of art is composed by four dimensions, the writer, society, work and imaginary, engendered on a dialogue in which synthesis does not exist, but a complementary relation, an indissoluble junction of opposites. Using this perspective, this search scrutinize the writer s lyric, composed on a border zone between modern economic social order saturation, guided by the planned utilization of the resources and by nature domination, and the post-modern insurgency of an ecological order, that privileges the actual fruition of this resources. From this dualism, we delineate, as a general objective, to comprehend how the constitutive dimensions of the work of art guide and establish senses on the writer poetic work. In order to achieve the proposed objective, the research was sustained by theoretician purposes of Gilbert Durand figurative structuralism, and its unfoldings on Jean Burgos and Maria Thereza de Queiroz Guimarães Strongoli assertions; on body, society and alterity relation, investigated by Michel Maffesoli and Zygmunt Bauman; by Bakhtin and Edward Wilson questions about language and consciousness, also on subjectivity and literary work of Dominique Combe, Paul Ricoeur, Alfredo Bosi, Antonio Candido e Theodor Adorno. This research, thus, uses the bibliography method, by a perspective that dialogues with phenomenology, sociobiology and figurative structuralism, also taking into consideration some hermeneutical considerations, discipline that analyzed the lyric of Claudia Roquette-Pinto, contemporary poet. As a result of this investigation process, we intend to conciliate the resulting analysis of the four constitutive dimensions of the work of art, using the complementary principle (not excluding coexistence of the opposites), not searching a totalizing synthesis of the perceptions derived from the writer poetic, but the description of plural senses emanated of a poetic making that creates itself in an historical moment when different social orders coexist and multiple communities are established by an esthetics ethics / A pesquisa ora apresentada focalizou-se em reflexões e análises sobre a lírica de Claudia Roquette-Pinto, partindo do pressuposto de que a obra artística é constituída por quatro dimensões, autor, sociedade, obra e imaginário, que se engendram em um diálogo no qual não há síntese, mas uma relação de completariedade, de união indissolúvel de contrários. Neste contexto, perscrutamos a lírica da autora, constituída em uma zona de fronteira entre saturação da ordem social moderna econômica, orientada pelo aproveitamento planejado dos recursos e pela dominação da natureza, e a insurgência pós-moderna de uma ordem ecológica, na qual se privilegia a fruição destes recursos no presente. A partir dessa dualidade, traçamos, como objetivo geral, compreender como as dimensões constitutivas da obra de arte orientam e estabelecem sentidos na obra poética da autora. Na perspectiva de alcançar o objetivo proposto, sustentamos a pesquisa nos pressupostos teóricos do estruturalismo figurativo de Gilbert Durand, e seus desdobramentos nas considerações de Jean Burgos e Maria Thereza de Queiroz Guimarães Strongoli; na relação entre corpo, sociedade e alteridade, observada por Michel Maffesoli e Zygmunt Bauman; e nas questões levantadas sobre linguagem e consciência por Bakhtin e Edward Wilson, e sobre autor e obra literária por Dominique Combe, Paul Ricoeur, Alfredo Bosi, Antonio Candido e Theodor Adorno. Trata-se, portanto, de uma pesquisa bibliográfica, pautada em uma perspectiva que dialoga com a fenomenologia, sociobiologia e estruturalismo figurativo, atentando, também, a algumas considerações da hermenêutica, que se propôs a analisar a Lírica da poeta contemporânea Claudia Roquette-Pinto. Como resultado desse processo de investigação, buscamos conciliar as análises resultantes das quatro dimensões constitutivas da obra artística sob o princípio da completariedade (coexistência não excludente dos opostos), objetivando não uma síntese totalizadora das percepções colhidas da poética da autora, mas a descrição da pluralidade dos sentidos emanados de um fazer poético que se forma em um momento histórico de coexistência de diferentes ordens sociais e múltiplas comunidades estabelecidas por uma ética da estética

Dante Alighieri foi poeta medieval que escreveu para a mulher versos amorosos em um período de profunda misoginia. Muitas são as presenças femininas nas suas poesias da fase lírica anterior à criação da Divina Comédia. Este estudo centra com especial atenção a visão que o poeta constrói da mulher durante a sua fase experimentalista e de escambo poético com amigos da escola poética florentina, o doce estilo novo, apontando que a linguagem e a visão da mulher são construídas durante esse período e estão presentes também na composição da Comédia, em particular no Inferno, Canto V, onde figura Francesca da Rimini, e no Purgatório com Matelda. Estas mulheres fazem com que o poeta recorde os pressupostos da escola poética fundada com seus jovens amigos. / Dante Alighieri was a medieval poet who wrote his lines to the woman living during a very deeply misosynist age. There is a lot of feminine presence in his juvenile lyric poetry´s creation, before the Divina Commedia. This work focuses especial attention to the construction of the role playing of the women during his exprementalist fase with his florentines youthful friends of dolce stil nuovo, pointing for the language and the representations of women continuous presents in his magnum opus, showing that language as the vision of the women, both contructed during this period, presents on the Cantic V, Inferno, with Francesca da Rimini and, on the Purgatorio with Matelda. This woman brings the memories of the beginning of Dante´s school founded with his friends.

O presente estudo visa à análise e interpretação da criação poética de Mário de Andrade ligada às questões do negro em sua época. Ancora-se na análise e interpretação de três poemas em que se pode identificar diferentes representações na chave do losango negro, isto é, o negro como um dos elementos que compõem a veste do poeta arlequinal. Os poemas: Reconhecimento de Nêmesis, de 1926 e publicado em 1941, que guarda as questões do sujeito lírico relacionadas ao conteúdo mestiço do artista, no campo individual; Poemas da Negra, de 1928, que representam o momento no qual o sujeito lírico entra em comunhão com a musa negra e a eleva ao um plano cósmico, igualando o eu poético e a mulher; e Nova canção de Dixie, escrito em 1944 e de publicação póstuma, que manifesta o profundo incômodo do poeta com a violenta prática racista nos Estados Unidos da América da primeira metade do século XX. Além desses três textos contemplados no corpus, servem à análise as parcelas referentes ao tema, encontradas no conjunto da criação do escritor publicada e inédita, incluindo manuscritos em sua marginalia e matrizes de sua criação, associadas ou não a notas marginais. Esta pesquisa entende que, na multiplicidade poética de Mário de Andrade, há um sujeito lírico negro e, outro, solidário com o negro que abordam, e ultrapassam, denúncias do preconceito de cor e discussões dos conteúdos negros do poeta, para alcançar também referências ao negro na esfera da arte e do amor, enquanto felicidade, beleza e completude. De acordo com o pensamento adorniano, este trabalho busca analisar, em um universo individual, na construção particular de uma linguagem, a expressão de uma voz poética que, muitas vezes, mantém uma relação com o sujeito coletivo1. O estudo apoia-se em conceitos nas áreas da Teoria Literária, Crítica Genética, Estudos Culturais, Psicanálise, assim como nos estudos sobre o negro nas áreas de História, Sociologia e Antropologia. / This study aims to analyze and interpret Mário de Andrade\'s poetic creation linked to black issues in his time. It is grounded on the analysis and interpretation of three poems in which one can identify different representations in the key of Losango Negro, eg the black as one of the elements that make up the vest of the arlequinal poet. The poems: \"Reconhecimento de Nêmesis from 1926 and published in 1941, which keeps the issues of lyrical subject-related to the mestizo artist content, at the individual field; \"Poemas da Negra\", 1928, representing the time in which the lyrical subject enters into communion with the black muse and raises it to an ethereal plane, equaling the poetic self and the woman; and \"Nova Canção de Dixie\", written in 1944 and published posthumously, which expresses the deep nuisance of the poet with the violent racist practice in the first half of the twentieth century in the United States. In addition to these three texts included in the corpus, the plots on the topic are considered in the analysis, which were found at the writer\'s both published and unpublished work, including manuscripts in his marginalia and dies of his creation, associated or not with marginal notes. This research considers that at the poetic multiplicity of Mário de Andrade, there is a black poetic self and a lyrical subject who are supportive/empathic with the black they represent, transpassing the denouncement of color prejudice and discussions regarding the poet\'s black content, to also achieve references to black in the sphere of art, love as happiness, beauty and completeness. According to Adorno\'s thought, this paper analyzes at a single universe, in the particular construction of a language, the expression of a poetic voice that often maintains a relationship with the collective subject. The study draws on concepts in the areas of Literary Theory, Genetic Criticism, Cultural Studies, Psychoanalysis, as well as studies on the black in the fields of history, sociology and anthropology.

Cette étude se consacre à l’avènement du Je anti-lyrique dans la poésie italienne des années soixante. C’est à ce moment que la pensée post-métaphysique peut se dire assimilée par la culture italienne, qui y trouve une nouvelle clef de lecture de l’expérience de la guerre et du miracle économique. C’est aussi la période où le réel, cru et changeant, fait irruption dans l’expérience artistique. Elio Pagliarani, Mario Luzi et Vittorio Sereni nous ont parus des représentants emblématiques de cette nouvelle posture du sujet poétique. Nous avons étudié leurs ouvrages des années soixante par le biais de trois catégories principales : la mise en question du Je, le rapport entre le Je et le monde, le rapport entre le Je et les autres. Cette articulation nous a permis d’une part de suivre les trois étapes principales de la reformulation anti-lyrique du Je (face à lui-même, face au monde et face aux autres), et d’autre part de reconnaître une progression dans la perte de l’identité lyrique traditionnelle. Le poète, ayant perdu la consolation métaphysique, commence à rechercher la vérité dans le monde physique ; il comprend ensuite que la vérité des choses est éphémère et que toute unité est brisée ; et il donne enfin la voix à d’autres personnages, dans l’effort de comprendre ce questionnement polyphonique qui est désormais la véritable voix du monde et du poète lui-même. / This research focuses on the rise of the anti-lyrical I in the Italian poetry of the Sixties. This was the time when the post-metaphysical philosophy had been fully assimilated by the Italian culture, which started using it as a new reading key to under- stand WW2 experience and the so-called economic miracle. This was also the time when the raw and ever-changing real broke into the artistic experience. Elio Paglia- rani, Mario Luzi and Vittorio Sereni seemed to us emblematic representatives of this new poetic subject's posture. We studied their poems from the Sixties under three main categories: the questioning of the I, the relationship between the I and the world, and the relationship between the I and the others. This structure allowed us firstly to follow the three main stages of the anti-lyrical reformulation of the I (confronted to himself, to the world and to the others) and secondly to recognize a progression in the loss of the traditional lyrical identity. Aware of the loss of any metaphysical consolation, the poet begins to seek the truth inside the physical world; he the realizes that even objects/things bear a fleeting truth and that any unity is broken; and he finally gives voice to other characters in the effort to understand the polyphonic questioning which has become by now the real voice of the world and of the poet himself.

S’inscrivant dans le tournant éthique survenu il y a peu en théorie littéraire, cette étude analyse la relation entre éthique et poésie moderne, avançant que les implications éthiques de ces textes ne sont pas seulement enrichies par, mais aussiindissociables de l’emploi créatif et non-conventionnel de la langue rencontré dans ce courant. La majorité des articles consacrés à la critique éthique se concentrent sur la transmission explicite de valeurs morales par le biais de romansou de nouvelles – sans tenir compte de la complexité linguistique renfermée par l’énoncé lyrique – ou assimilent l’éthique de la littérature, de façon très généralisée, à des phénomènes purement esthétiques à l’instar de l’expérience textuelleémanant de l’altérité ou de l’indécidabilité – et contournent de ce fait les préoccupations éthiques concrètes de chacun des textes. Dans le but d’atteindre une compréhension plus nuancée de la relation entre éthique et poésie (moderne), je propose d’envisager la parole lyrique comme un lieu de révélation du monde ouvrant de nouvelles perspectives sur les questions éthiques qui restent voilées ou dissimulées dans le discours ordinaire. Cette idée a été développée par MartinHeidegger et Paul Ricoeur, qui, dans leurs écrits sur l’art et la littérature, se penchent sur la manière dont les textes poétiques rompent avec les contraintes du discours institutionnel et rendent au langage son pouvoir expressif originel. [etc.] / Situated in the context of the recent ethical turn in literary theory, this study examines the relationship between ethics and modernist poetry, arguing that the ethical implications of these texts are not only enriched by, but also inseparable from, the creative, unconventional use of language typical of this genre. The majority of studies in the field of ethical criticism either focus on the explicit transmission of moral values in novels and short stories, while ignoring the linguistic complexity at the heart of lyric utterance, or equate the ethics of literature, in a very generalized way, with purely aesthetic phenomena such asthe textual experience of alterity or undecidability, thereby bypassing the concrete ethical concerns of individual texts. In order to attain a more nuanced comprehension of the relationship between ethics and (modernist) poetry, I propose to view lyric language as a site of world-disclosure opening up new perspectives on ethical issues that remain veiled or hidden in ordinary speech. This idea has been elaborated by Martin Heidegger and Paul Ricoeur, whose writings on art and literature engage with the ways in which poetic texts break the constraints of institutionalized discourse and return language to its original, expressive power. [etc.]

« Lyrisme : jeu qui lie et délie les noms et les corps – tous les noms et tous les corps. Son terrain est celui de la vie et de la mort entrelacées, un festin offrant formes, déformations, transformations. Sa matière est l’air, souvent irrespirable, son milieu est l’image, parfois invisible, sa réalité est la voix, presque inaudible. » L’exposition Tamis Lyrique, préparée et prolongée par l’ouvrage éponyme, présente un ensemble d’œuvres déployant une pratique lyrique et spéculative de la photographie, au croisement de diverses formes et disciplines : composition et montage, caractérisation topographique et récit filmique, écriture et installation. Certaines œuvres sont extraites des travaux récents accomplis au cours de l’élaboration de la thèse (photographies de Cherbourg, et le livre La ville que nous voyons ; L’air de l’accordéon, film co-réalisé avec Fanny Béguery en Corrèze). Dix pièces diverses parleurs sujets et leurs formes (vues photographiques, assemblages, objets, séquence de film) sont inédites. Quelques œuvres, plus anciennes, complètent cet ensemble, faisant l’objet de développements écrits particuliers dans le livre Tamis lyrique et permettant de repérer des variations ou d’apprécier une épaisseur temporelle des processus qui structurent le travail. / “ Lyricism is binding and unbinding names and bodies,playing in between all of the names and the bodies. Itsground is made of life and death together interweaved :a feast offering forms, deformations, transformations. Its material is the air, often unbreathable, its milieu is the image, invisible sometimes, its reality is the voice,almost inaudible.” The exhibition Tamis lyrique and the eponymous book present a group of works of art stemming from a lyric and speculative experience of photography, interbreeding diverse forms: tableau and montage, topographical characterization and filmic sequencing, writing and installation. Some of the works were produced during the doctoral thesis elaboration period, such as the photographs taken in Cherbourg, along with the book La ville que nous voyons, or the film L’air de l’accordéon, codirected with Fanny Béguery in Corrèze. Ten other various works are previously unseen. Some more works are older and were the subject of specific writings in the book Tamis lyrique, or enable to perceive variations or to appreciate a temporal density in the construction of the work.

Submitted by Luis Ricardo Andrade da Silva (lrasilva@uefs.br) on 2016-07-01T00:34:15Z No. of bitstreams: 1 DISSERTA??O DE MESTRADO MAYARA NOVAIS.pdf: 1198538 bytes, checksum: e49cc485a6b4a6831bb0411b89bf554a (MD5) / Made available in DSpace on 2016-07-01T00:34:15Z (GMT). No. of bitstreams: 1 DISSERTA??O DE MESTRADO MAYARA NOVAIS.pdf: 1198538 bytes, checksum: e49cc485a6b4a6831bb0411b89bf554a (MD5) Previous issue date: 2016-06-02 / This study aimed to analyze the present memory and melancholy ipresent in some poems byn Ruy Espinheira Filho, taken from books Poesia Reunida e In?ditos (1998), Elegia de Agosto e outros poemas (2005), Sob o c?u de Samarcanda (2009), Livro de can??es e in?ditos (2011) e Viagem e outros poemas (2011). The choice of these works was due to the fact that they have almost all the poems published by the author to the present year of the dissertation. The methodology used was analysis of form and content of some poems in order to realize that despite the common sense to believe in nostalgia mode memory idea, the poems of the Bahian poet analyzed go the opposite way to that vision, revealing the pain that the past still dating, and even specific bibliographic research about the related topics in this thesis, in this case, memory and melancholy in the work of Ruy Espinheira Filho and poetry, especially contemporary. The lyrical I do not want to relive the past tense, but recognizes that their identity is formed from their experiences. We know that the past is never returned or revived in the present as it was, but the memory can be recovered, albeit selectively, forgetting and / or adding elements a time that no longer remains. The lyrical poems in the analyzed reveals a human frailty, has the death as the only sure, but not to have a past and settled back to him through the memories, even if for this need to suffer again. He feels stuck in the past, for this be your life or unresolved issues, which are still present. In reflecting on the losses obtained in time, the lyrical subject feels self-absorbed, becoming a being melancholy and therefore memoirist. / O presente estudo tem por objetivo analisar a mem?ria e melancolia presente em alguns poemas de Ruy Espinheira Filho, retirados dos livros Poesia reunida e in?ditos (1998), Elegia de Agosto e outros poemas (2005), Sob o c?u de Samarcanda (2009), Livro de can??es e in?ditos (2011) e Viagem e outros poemas (2011). A escolha dessas obras se deu pelo fato de representarem praticamente todos os poemas publicados pelo autor at? o presente ano da defesa da disserta??o. A metodologia utilizada foi an?lise de forma e conte?do de alguns poemas, a fim de perceber que apesar de o senso comum acreditar na ideia de mem?ria de modo saudosista, os poemas do poeta baiano analisados v?o no caminho oposto a essa vis?o, revelando as dores que o passado ainda remonta, e ainda pesquisa de bibliogr?fica espec?fica acerca dos temas relacionados nessa disserta??o, no caso, a mem?ria e a melancolia na obra de Ruy Espinheira Filho bem como na poesia, em especial a contempor?nea. O eu l?rico n?o deseja reviver o tempo pret?rito, mas reconhece que sua identidade se constitui a partir de suas viv?ncias. Sabemos que o passado nunca ? devolvido ou revivido no presente tal como foi, mas pela mem?ria ? poss?vel resgatar, ainda que de forma seletiva, esquecendo e/ou acrescentando elementos um tempo que n?o mais permanece. O eu l?rico nos poemas analisados revela uma fragilidade humana, tem a morte como ?nica certeza, mas por n?o ter um passado bem solucionado volta a ele, por meio das recorda??es, ainda que para isso necessite sofrer novamente. Ele se sente preso ao passado, por este constituir sua vida ou por quest?es mal resolvidas e que continuam presentes. Ao refletir sobre as perdas obtidas com o tempo, o sujeito l?rico se sente ensimesmado, tornando-se um ser melanc?lico e, portanto, memorialista. / Funda??o de Amparo ? Pesquisa do Estado da Bahia - FAPESB

The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.

Borges entiende la poesía como el diálogo de un yo con el mundo, pero a la vez, y en particular desde los años veinte, como una nueva forma épica que hemos denominado "nueva épica-lírica-preformativa-de instantáneas", donde lo íntimo y lo general, el sentimiento y lo racional, lo sensorial y lo cognitivo se conjugan transcendiendo en su espíritu cualquier tipo de definición genérica.

Ehrenmitglied Volker Braun war der Erste. Ihm folgten 54 weitere Lyrikerinnen und Lyriker, die mit ihrer Unterschrift ihre Verbundenheit mit der Leipziger Lyrikbibliothek bekunden. Die Petition richtet sich an potentielle Bücherstifter (vorrangig Dichterkolleginnen und -kollegen sowie Verlage) und desgleichen auch an die Entscheidungsträger der Kommunalpolitik. Zwei primäre Ziele sind mit dieser Aktion verbunden: Einerseits soll der Bekanntheitsgrad der Leipziger Lyrikbibliothek erhöht werden. Denn obwohl Trägerverein und Lyrikbibliothek im nächsten Jahr ihr 20-jähriges Bestehen feiern, ist der Sammelauftrag der Bibliothek über die Messestadt hinaus noch zu wenig bekannt. Andererseits soll die Lyrikbibliothek perspektivisch eine personelle und finanzielle Stärkung erfahren.