The following pages are thoughts and ideas that go through my head when creating art that is intended to be seen, analyzed and somewhat understood by an audience. Though there are some aspects contained within that may touch directly on how I make sculpture on a practical and aesthetic level, my hope is that this document will function more as a work that will provide the reader with a sense of hope as it relates to art making, that while what we do as makers can often seem pointless, we must have some kind of faith that art can be useful, and we ought to try to make sense out of things if we can. If there is any reason at all why I continue to make things, beyond general foolishness or to prevent from being bored, it lies somewhere said or unsaid within this document. The title of this document, “Why the Ocean’s Near the Shore” comes from the song the Scarecrow sings in The Wizard of Oz “If I Only Had a Brain”, stating that if only he were smart enough he could tell Dorothy something meaningful like why this is the case; this may not be so impressive to someone with a brain, but for someone without, it is certainly profound.

Made available in DSpace on 2016-04-28T19:58:56Z (GMT). No. of bitstreams: 1 Gustavo Pizzicola.pdf: 3496523 bytes, checksum: a9ce6edcec3807ca96d1e693d16c5fc3 (MD5) Previous issue date: 2015-09-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation analyzes the relationship between the genre of epic romance and allegory in one of the works of Valêncio Xavier (2006), Rremembranças da menina de rua morta nua e outros livros. The corpus shows up by a cryptic way, cultivating a hybrid literature, composed of collages and clippings extracted from various types of media. The central problems of this dissertation were how the epic is retaken in the novels analyzed and if there is a possibility of an allegorical interpretation of these novels. The intention is to understand the procedures used by the author, with particular attention to the montage, articulating it with the characteristics of the epic, as conceived by Georg Lukacs. Next, the corpus is illuminated by the concept of allegory, in its relation to an idea of melancholy. The theoretical framework is founded in Georg Lukács, Walter Benjamin, Theodor Adorno, Serguiéi Eisenstein and Giorgio Agamben. As a result, we came to the conclusion that Valêncio Xavier recoves the epic genre principally by means of montage and citation, giving a new dimension to the novel genre and inscribing it in contemporary. In addition, the allegorical reading of the work in question can only to happen by means of an understanding of melancholy, pathos that pass the analyzed novels / Esta dissertação analisa as relações entre o gênero romance épico e a alegoria na obra Rremembranças da menina de rua morta nua e outros livros, de Valêncio Xavier (2006). O corpus se apresenta de maneira enigmática, cultivando uma literatura híbrida, composta de colagens e recortes extraídos dos mais variados tipos de suportes. Os problemas centrais desta dissertação foram de que forma o épico é retomado nos romances analisados e sobre a possibilidade de uma interpretação alegórica desses romances. Pretendeu-se então apreender os procedimentos utilizados pelo autor, dando atenção especial à montagem, para articulá-la com os traços da épica, conforme idealizada por Georg Lukács. O corpus passa a ser iluminado por meio do conceito de alegoria, em sua relação com uma ideia de melancolia. A fundamentação teórica balizou-se principalmente em Georg Lukács, Walter Benjamin, Theodor Adorno, Serguiéi Eisenstein e Giorgio Agamben. Como resultados, chegou-se a conclusão de que Valêncio Xavier, por meio principalmente da montagem e da citação, retoma o épico, redimensionando o gênero romance e inscrevendo-o no contemporâneo. Além disso, a leitura alegórica da obra em questão somente pode se dar por meio de um entendimento da melancolia, pathos que percorre os romances analisados

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This thesis aims to explore the relationships between dramatic texts and the Elizabethan topic of the humours. It covers Burton's Anatomy of Melancholy, Jonson's plays Every Man Out of His Humour and Every Man in His Humour, and Shakespeare's plays Hamlet and As You Like It. Each of these works provides a glimpse into society and its opinions specifically on melancholy, from its most basic and complex definitions to how it is perceived and addressed.

The flaneur (“stroller, dawdler, leisurer, idler”) is an aesthetic and historical figure that arose in nineteenth-century Paris as a by-product of metropolitan growth. Walter Benjamin brought the flaneur to the consideration of the twentieth-century philosophical thought by choosing the figure as his conceptual persona. The goal of this work is to answer the question “who is the flaneur?” in an expansive way, tracing this figure’s conceptual life from its origins, through the flaneur’s role in Benjamin’s thought, to its contemporary state of being dispersed into the multitude. Building on the works of Benjamin, Charles Baudelaire, Henri Bergson, Georg Simmel, Gilles Deleuze and Felix Guattari, Patrick Keiller, Julia Kristeva, A. Kiarina Kordela, Paulo Virno, Tiqqun and others, the flaneur serves as a prism to critically viewing contemporary phenomena. The scope of this work encompasses the prevalence of metropolitan life and experience, disintegration of authenticity and exceptionality, rapid production and appropriation of the surplus by Capital, perception of time and duration, commodity fetishism, increasingly general attunements of alienation, anxiety and melancholy. While investigating the realities and conditons of contemporary existence, one can producitvely turn to the flaneur and his contemporary forms revolutionary qualities: potential for resistance and weakness for recuperation. / Flaneur (“vaikštinėtojas, bastūnas, dykinėtojas“) – estetinė ir istorinė figūra, atsiradusi XIX a. Paryžiuje kaip metropolio plėtros šalutinis produktas. Walteris Benjaminas iškėlė flaneur į XX a. filosofinę mintį, pasirinkdamas šią figūrą savo „konceptualiuoju personažu“. Šio darbo tikslas – išplėstai atsakyti į klausimą „kas yra flaneur?“, sekant šios figūros konceptualų kelią nuo kilmės, per jos vaidmenį Benjamino apmąstymuose, iki dabartinės flaneur būklės, kurioje jis yra išskydęs į daugybę kaip pastarosios bruožas. Remiantis W. Benjamino, Charles‘io Baudelaire‘o, Henri Bergsono, Georgo Simmelio, Gilles‘io Deleuze‘o ir Felixo Guattari, Patricko Keillerio, Julios Kristevos, A. Kiarinos Kordelios, Paulo Virno, Tiqqun ir kitų darbais, flaneur pasitarnauja prizme, per kurią kritiškai žvelgiama į šiuolaikinius reiškinius: gyvenimą ir patirtį metropolyje, autentiškumo ir išskirtinumo suirimą, Kapitalo vykdomą intensyvią pertekliaus gamybą ir nusavinimą, laiko ir trukmės suvokimą, prekinį fetišizmą, vis labiau visuotines susvetimėjimo, nerimo ir melancholijos nuotaikas. Tiriant šiuolaikinės egzistencijos realijas, nuolat grįžtama prie flaneur ir jo dabartinių formų revoliucinių ypatybių: būdingo potencialo pasipriešinimui ir silpnybės rekuperacijai.

L’œuvre poétique d’Alfred Tennyson est cyclique. La répétition des mots, des thèmes et des personnages lui confère une dimension autoréférentielle. Le retour des refrains crée un effet de ressassement formel. Cette œuvre se concentre sur elle-même au point de s’affranchir des formes et des genres poétiques existants, à la recherche d’un langage qui lui est propre. L’écriture se prend elle-même pour objet et pour fin. La mélancolie au cœur de bien des poèmes devient un prétexte à écrire toujours plus car la dynamique de la sublimation mélancolique s’apparente au fonctionnement même du langage poétique, déploiement de signes autour d’un centre absent. Derrière la magie de la griserie du verbe, point pourtant le regard critique du poète qui se pose sur la société de son temps et se cristallise autour de la figure de la femme. Le texte poétique se redéfinit finalement comme un espace de différence où se donne à voir et à entendre la capacité (pro)créatrice d’une écriture « au féminin ». / Alfred Tennyson’s poetical work is cyclical. The recurrence of words, themes and characters confers a self-referential dimension on it. The return of refrains creates a sense of formal repetitiousness. As they concentrate on their own working, the texts free themselves from existing poetical forms and genres, looking for a language of their own. The recurring theme of melancholy becomes a pretext to keep writing: the sublimation of the impossible work of mourning reveals something of the essence of poetical language as the proliferation of signs around a void. The poet’s critical vision of his society nevertheless appears behind his delight in the resources of language as he focuses on feminine characters. The poetical text is finally redefined as a space of difference where the feminine (pro)creative power of Tennyson’s poetical language can be heard and seen.

The thesis examines the relationship between reprobation fears and melancholic illness in puritan culture over a period of approximately ninety years. Reprobation formed part of the Calvinist doctrine of double predestination, by which God had chosen a few for salvation (the elect), and many for destruction (the reprobate). When a person came to believe that they were reprobate, this could give rise to symptoms of fear and despair similar to those associated with melancholy (an imbalance of black bile believed to affect the brain). The thesis shows how puritans used explanations based on melancholy in order to explain how otherwise godly people came to doubt their election. The first chapter shows how the Calvinist physician, Timothy Bright, incorporated ideas from medieval scholastic and medical texts into his Treatise of melancholie (1586), in order to explain how physiological causes could be at the root of reprobation fears. The second and third chapters examine the religious context in which Bright was writing. The second chapter shows puritan ambivalence about pronouncing a person to be reprobate through an examination of responses to the death of the apostate, Francesco Spiera. The third chapter shows how the Elizabethan puritan clergy developed a form of consolation for those suffering from despair of salvation based on the medieval idea that melancholy was the ‘devil’s bath’. The fourth and fifth chapters show the importance of physiological explanations for despair in defending the reputations of the dying. When a godly person despaired on their death-bed, or committed suicide, this was blamed on a combination of forces external to themselves – melancholy and the devil. The final chapter shows how Robert Burton’s Anatomy of Melancholy adapted puritan ideas about despair, to be more acceptable in the context of growing resistance to the preaching of double predestination in the 1620s and 30s.

This thesis contains descriptions of works I have made over the last two years. These descriptions have been applied to support themes of melancholia, restraint, and indeterminacy, which serve as prevalent strains connecting recent work. A few stories are also shared in the way pieces come about through thinking and making.

L’identité en crise est le thème majeur des romans d’Isabelle Hausser, particulièrement dans les quatre romans suivants : ‘’Les magiciens de l’âme’’, ‘’Une comédie familiale’’, ‘’La table des enfants’’ et ‘’Le passage des ombres’’. Dans l’univers romanesque de cet auteur, les héros s’interrogent en permanence non seulement sur l’identité de leur entourage mais aussi sur la leur. Ils sont tombés dans une situation angoissante et très perturbée dans laquelle ils découvrent la destruction irrésistible de leur ancienne image d’eux-mêmes, celle dont ils ne doutaient jamais. A partir de ce moment là, la confiance dans l’unité de soi n’existe plus pour ces personnages. Plus que jamais, face à un monde instable et plein de doutes, ces hommes de notre temps ne ‘’sauront jamais toute la vérité’’. Ils sont condamnés à vivre avec la remise en question des certitudes. Alors, l’homme moderne devient parfois pitoyable et mélancolique. D’ailleurs, dans ses romans, Isabelle Hausser souligne remarquablement le processus de la prise de conscience par ses personnages de leur crise identitaire. Elle esquisse aussi l’espoir qu’ils ont de connaître un peu leur identité à travers l’amitié, la musique, et elle suggère une attitude raisonnable : accepter la vie telle qu’elle est. Cette idée pourrait être considérée comme une marque de sagesse dans l’œuvre mélancolique d’Isabelle Hausser. / The identity crisis is one of the major themes in the novels of Isabelle Hausser, particularly in these four novels '' The magicians of the soul'','' A family comedy'','' The kids' table’ 'and ''The passage of the shadows''. In the fictional universe of the author, her characters are continuously questioning both their identity and the world around them. They fall into a distressing situation and are upset when they discover the inevitable demolition of their former self-image, which they had never doubted before. From this moment, the confidence of these characters no longer exists. People face an unstable world full of doubts where they “will never know the whole truth” and they must live with “the knowledge that they have not understood”. So they become sometimes pitiful and melancholy. Moreover, in her novels, Isabelle Hausser remarkably emphasizes the process of understanding in her characters their identity crisis and the hope of recognizing their identity through friendship, music and especially the attitude of accepting life as it is. This idea could be considered as a little wisdom in the melancholy novels of Isabelle Hausser.