Robert Frost’s legendary description of “the sound of sense” to define his poetics has for decades sounded like little more than common sense. His idea is now taken to be fairly straightforward: the inflections of an utterance resulting from the tension between demotic speech and poetic form indicate its purport. However, our accepted notion of Frost’s formulation as simply the marriage of form and meaning misconstrues what is potentially revolutionary in it: if everyday speech and verse form generate tension, then Frost has described a method for mediating between reality, represented by speech, and art, represented by verse form. The merger is not passive: the sound of sense occurs when Frost “drag[s] and break[s] the intonation across the metre.” And yet Frost places speech and verse form in a working relationship. It is the argument of this dissertation that poets reckon with what is often understood as discord between poetry and reality by putting into correspondence forms of speech and the forms of poetry. The poets I examine–Seamus Heaney, Gwendolyn Brooks, Tony Harrison, and Lucille Clifton–are concerned with their positions in local communities that range from the family unit to ethnic, religious, racial, economic, and sexual groups, and they marshal forms of speech in poetic form to speak from those locales and to counter the drag and break of those located social and political realities. They utilize what I call their “local languages”–the speech of their particular communities that situates them geographically in local contexts and politically in social constructs–in various ways: they employ them as raw material; they thematize them; they invent idiosyncratic “local” languages to undermine expectations about the communities that speak those languages; they devise generalized languages out of standard and nonstandard constructions to speak not just to and from specific locations but to speak more broadly about human experience. How, these poets ask, can poetry respond to atrocities, deprivations, divisions, and disturbances without becoming programmatic or propagandistic and without reinforcing false preconceptions about the kinds of language suitable for poetry? They answer that question with the living speech of their immediate worlds.

This thesis sets off from an a priori hypothetical position that the universality of certain language features, particularly poetic expression, provides an opportunity for syncretism in the reading, analysis, explication, and interpretation of African literature, specifically oral poetry, our teleological point being the formulation of a syncretic approach. In the first chapter we undertake an overview of the debate which has been ensuing among 'African' critics in the search of an 'African' poetics. We proceed, in the second and third chapters, to undertake a study of two 'Western' schools of thought, namely Formalist-Structuralism and New Criticism, with a view to setting the critical theories and practice of some major protagonists of these schools of thought against sample readings of African oral poetry. In the fourth and fifth chapters we proceed to select and analyse some of the most prominent critics of African oral poetry, and undertake detailed case studies of their critical assumptions and practice, in retrospective comparison with the theoretical paradigms and practical readings dealt with in chapters two and three. In the sixth and final chapter we assess the syncretic approach suggested, together with its implications for the future research and teaching of African oral poetry. Our findings suggest that the case studies of critiques of African oral poetry reveal certain shortcomings which might have been strengthened by a perspicacious awareness of Formalist-Structuralist and New Critical methodology. From this postpriori perspective we suggest a syncretic approach which, in its sensitivity to the idiosyncratic features of African languages, will at the same time acknowledge, adopt and adapt sophisticated poetical analyses which have been developed by Western poetics. Our findings also suggest specific ways in which Western standards could be evaluated with a considerable degree of exactitude. We conclude by, inter alia, opening directions of research which could advance the debate towards an African poetics beyond doctrinaire wrangle, so that progress can be made through further close studies of other schools of thought and theories in order to assess their applicability and/or adaptability to African poetry and other genres. / Afrikaans and Theory of Literature / D. Litt et Phil (Theory of Literature)

Après avoir distingué trois aspects explicatifs propres au roman (aspects psychologique, social ou romanesque) et défini, grâce à eux, trois types de romans (romans de caractères, de mœurs ou d’intrigue), ce travail s’intéresse plus particulièrement au roman de mœurs à l’époque de la Restauration et de la Monarchie de Juillet. Héritant de toute une tradition, ce genre s’illustre particulièrement dans le roman historique à la Walter Scott, puis dans le roman contemporain des physiologies. Balzac, d’abord influencé par le roman de mœurs en tant que tel, développe dans La Comédie humaine une forme hybride (mêlant aspects social et psychologique, roman de caractères et roman de mœurs), que l’on peut appeler roman réaliste (on y note un surinvestissement du vraisemblable romanesque). Cette définition du réalisme n’aplanit en rien les différences entre tel ou tel auteur ; elle permet, au contraire, de prendre la mesure des poétiques bien particulières développées par des romanciers comme Stendhal, George Sand ou Champfleury. / After having distinguished three explicative aspects of the novel (the psychological, social and plot-driven aspects) and defined three corresponding types of novels (novels of characters, manners and plot), this work focuses on the novel of manners during the Bourbon Restoration and the July Monarchy. Heir to quite an old tradition, this genre is at its peak with the Scottian historical novel and the novel of contemporary manners of the 1820’s. Balzac, first influenced by the novel of manners, develops in The Human Comedy a hybrid form (combining social and psychological aspects, novel of characters and novel of manners), which we may call the realistic novel (characterized by an overloading of verisimilitude). This definition of realism does not erase the differences between the authors; it allows, on the contrary, to appreciate the specific poetics developed by Stendhal, George Sand or Champfleury.

Nesta tese de doutorado, analiso as obras Levantado do chão, Memorial do convento, História do cerco de Lisboa, O evangelho segundo Jesus Cristo, Caim, Ensaio sobre a cegueira, Ensaio sobre a lucidez, A caverna e Todos os nomes, de José Saramago. Meu objetivo é identificar, descrever e analisar elementos da poética de Saramago, de modo a apresentar o que Bakhtin chamou de “voz interior” do autor. Analiso os aspectos formais, a dimensão alegórica e os conteúdos das narrativas, classificando-as segundo sua relação com a história, a religião e a sociedade capitalista. Realizo uma leitura intertextual e alegórica, sustentada por aproximações entre literatura, historiografia, filosofia e discurso religioso. As análises enfocam personagens, ações e discursos, de modo a identificar suas funções estéticas e ideológicas no plano da significação. Considero as narrativas ficcionais metonímias do real. Nesse sentido, pretendo evidenciar como Saramago, nos textos situados num tempo pretérito, reelabora o passado e o discurso bíblico estabelecendo um diálogo com a referencialidade histórica do tempo presente; e, nos textos situados na contemporaneidade, como o autor alegoriza o mundo. A partir disso, reflito sobre o papel da literatura como agente de transformação social, considerando este aspecto uma dimensão fundamental da poética do autor. / In this thesis, I analyze the work of Jose Saramago considering its formal aspects, its allegorical dimension and its contents, classified according to their relation to history, religion and capitalist society. My goal is to identify, describe and analyze elements of Saramago’s poetics in order to present what Bakhtin called "inner voice" of the author, and reflect on the role of literature as an agent of social transformation. I realize an intertextual and allegorical reading, supported by similarities between the literature, history, philosophy and religious discourse. The analyses focus on the characters, actions and discourses in order to identify their aesthetic and ideological functions at the level of significance. I consider the novels as metonymy of real. Thus, I intend to show how Saramago elaborates the past and the biblical discourse by establishing a dialogue with the historical referentiality of the present and how the author allegorizes the world.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-08-27T18:51:13Z No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / Approved for entry into archive by Marly Santos (marly@ufba.br) on 2018-08-28T00:49:02Z (GMT) No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / Made available in DSpace on 2018-08-28T00:49:02Z (GMT). No. of bitstreams: 1 Dissertação final.pdf: 1186771 bytes, checksum: 36bc34689cf78f33dfbc1cab1699191e (MD5) / O objeto da dissertação é a poética do jornalista, poeta, escritor, diretor teatral, dramaturgo e cineasta Armand Gatti, tendo como critério norteador do presente trabalho sua atuação como dramaturgo. No universo de suas peças escritas e publicadas, me concentro naquelas que compõem o Pequeno manual de guerrilha urbana (1968), uma compilação de quatro peças curtas de temática política, escritas pelo autor durante e logo após os eventos de maio de 1968 na Europa. A partir das quatro peças que compõem o Pequeno Manual, comparo a produção gattiniana com a de dois outros autores, o alemão Bertolt Brecht e o brasileiro Augusto Boal, apresento uma amostra da produção dramatúrgica gattiniana - por meio da tradução integral do texto A máquina escavadora ou para entrar no plano de cerceamento da Colônia de Invasão Che Guevara - e demonstro os esforços do autor para prever a participação do espectador teatral desde o momento de escrita de seus textos. Através de suas teorias, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin e Umberto Eco são os principais autores que oferecem suporte para meu trabalho, em especial na análise das marcas paratextuais inscritas na escrita gattiniana e na relação de sua escrita dramatúrgica com a participação dos espectadores das encenações que dela resultam. / L'objet de ce travail est la poétique du journaliste, poète, écrivain, metteur en scène, dramaturge et cinéaste Armand Gatti. Les critères de orientation adoptés a cette étude sont son travail notamment aux textes théâtrales de cet artiste monégasque basée en France depuis 1924. Dans l'univers de ses écrits et pièces publiées je me concentre sur ceux qui composent Le Petit Manuel de Guérilla Urbaine (1968), une compilation de quatre pièces courtes de thème politique, écrites par l'auteur pendant et peu après les événements de mai 1968 en Europe. En utilisant les parties qui composent le Petit Manuel pour extraire un échantillon de la production de l’auteur, je compare ses oeuvres avec des deux autres hommes: l'allemand Bertolt Brecht et le brésilien Augusto Boal. Par ici je présent une traduction intégrale du texte La Machine Excavatrice – Pour entrer dans le plan de défrichement de la colone d'invasion Che Guevara afin de démontrer les efforts de l'auteur pour assurer la participation du spectateur à partir de la création de leurs textes. Par leurs théories, Anne Ubersfeld, Jean-Jacques Roubine, Luiz Fernando Ramos, J. Austin et Umberto Eco sont les principaux auteurs qui soutiennent mon travail, en particulier dans l'analyse des marques paratextuels de Gatti entrés par écrit et par rapport à leur dramaturgie.

In this thesis, I explore the ways the sensory experience of war is staged as a corporeal apprehension of space in the Hollywood war film. Placing an emphasis on films that foreground tactile, and sonic experience in combat as a key dimension of symbolic meaning in the depiction of war, I move beyond the emphasis on optics and weaponised vision that has largely dominated contemporary writing on war and cinema in order to highlight the wider sensory field that is powerfully evoked in this genre. In my conception of war cinema as representing a somatic experience of space, I am applying a term recently developed by Derek Gregory within the theoretical framework of Critical Geography. What he calls “corpography” implies a constant re-mapping of landscape through the soldier's body. Gregory's assumptions can be used as a connection between already established theories of cartographic film narration and ideas of (neo)phenomenological film experience, as they also imply the involvement of the spectator's body in sensuously grasping what is staged as a mediated experience of war. While cinematic codes of war have long been oriented almost exclusively to the visual, the notion of corpography can help to reframe the concept of film genre in terms of expressive movement patterns and genre memory, avoiding reverting to the usual taxonomies of generic texts. The thesis focuses on selected films exemplary of the aesthetic continuities and changes in American cinema's audio-visual representation of war (with each chapter centring on a specific military conflict and historical constellation): All Quiet on the Western Front (1930), Paths of Glory (1957), Objective, Burma! (1945), Fury (2014), Men in War (1957), The Boys in Company C (1978), Rescue Dawn (2006), and Zero Dark Thirty (2012).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research is based on a plastic practice, with the objective of construct a pictorial field through the operative concepts of accumulations and contrapositions. In its development, articulated plastic practice, based on notes made in diary of notes, with the theory, history and art criticism, and written in visual poetics. This research is established to investigate the principles that condition the instauration of my works. Thus, I begin to reflect the working documents, analyze the origin and formation of accumulations of pictorial material and its relationship with the experimental deviations, what and how the simulations and the real three-dimensional elements are opposed to the picture, coming to strategies, in which I investigate how the procedures of appropriation, collage, fusion of elements are used for work s construction. Still, do an analysis on my works, making comparisons with my previous productions, and the work of Iberê Camargo, Nuno Ramos, Leda Catunda, plus other artists with whom my work dialogues, in order to understand the developments of some procedures and my expressive intention. I conclude this study by answering the questions about the relationship and influences between painting and three-dimensional elements, and pointing possible ways to continuation of this work. / A presente pesquisa baseia-se na minha produção plástica, com o objetivo de construir um campo pictórico por meio dos conceitos operatórios de acúmulos e contraposições. No seu desenvolvimento, articulei a prática plástica, baseada em apontamentos realizados em um diário de anotações, com a teoria, a história e a crítica de arte, além de escritos em poéticas visuais. O estabelecimento dessa pesquisa se dá por meio da investigação aos princípios que condicionam à instauração das minhas obras. Assim, inicio a reflexão pelos documentos de trabalho, analiso a origem e a constituição dos acúmulos de matéria pictórica e suas relações com os desvios experimentais, quais são e como as simulações do real e os elementos tridimensionais se contrapõem ao pictórico, até chegar às estratégias, em que investigo como os procedimentos de apropriação, colagem, hibridizações e mestiçagens são utilizados na construção dos trabalhos. Empreendo ainda, uma análise sobre as minhas obras, estabelecendo comparações com minhas produções anteriores, e com o fazer de Iberê Camargo, Nuno Ramos, Leda Catunda, além de outros artistas com os quais o meu trabalho dialoga, a fim de se compreender os desdobramentos de alguns procedimentos e a minha intenção expressiva. Encerro essa pesquisa respondendo às questões em torno das relações e influências entre a pintura e os elementos tridimensionais, e apontando possíveis caminhos para a sequência desse trabalho.

Comment l'expérience de la liberté devient-elle sensible? L'expérience esthétique peut-elle nous former à la liberté ? En critiquant les Lumières, et pour en sauver le geste initial, Friedrich Schiller est l'un des premiers penseurs à avertir ses contemporains des contradictions inhérentes à la liberté. Notamment dans les « Lettres sur l'éducation esthétique de l'homme » écrites en 1795, il pointe le danger d'un totalitarisme inhumain, opéré au nom de la Raison. Aux yeux de Schiller, l'aspiration à la liberté est fondée sur l'éducation du sentiment; et réciproquement, la culture du sentiment se fonde sur l'expérience de la liberté, dont l'expression est la beauté. Ce jeu d'aller-retour est un fil conducteur dans la pensée schillérienne et la manifestation typique du rapport entre autonomie et réciprocité. En prêtant attention à la langue de Schiller, il apparaît que le dialogue vivant est à la source de ses théories esthétiques qui privilégient la forme épistolaire. La correspondance entre Schiller et Goethe montre de manière exemplaire comment dans l'amitié chacun se forme au contact de l'autre à travers une poétique du dialogue. L'hypothèse selon laquelle l'adresse est constitutive de la pensée se trouve confirmée dans les lettres Kallias, dont l'objet est la définition du beau ainsi que la valeur de l'œuvre d'art. Par ailleurs, la maturation de l'individu et la question de son rôle au sein de la société se déploient dans le roman d'apprentissage. La visée de ce travail est de restituer la valeur d'une éducation esthétique aujourd'hui, de considérer ses enjeux politiques et sa portée éthique - de réhabiliter, en quelque sorte, le portrait de l'Aufklärer comme type humain. / How does the experience of freedom become sensible? What part does the aesthetic experience play in creating our freedom? By criticizing the Enlightenment, and to save its initial gesture, Friedrich Schiller is one of the first thinkers to warn his contemporaries about the contradictions inherent in freedom. Particularly with his "Letters on the aesthetic education of man", written in 1795, he highlights the danger of an inhumane totalitarianism undertaken on behalf of reason. For Schiller, the aspiration to freedom is based on the education of feeling; and reciprocally, the cultivation of feeling is based on the experience of freedom, that finds its expression in beauty. This interplay is a recurrent theme in Schiller's thought and a typical manifestation of the relation between autonomy and reciprocity. By paying attention to Schiller's language, it seems that lively dialogue is the source of his aesthetic theories that favor the epistolary form. The correspondence between Schiller and Goethe is an exemplary case of friendship that gives birth to each other's autonomy through a poetic of dialogue. The hypothesis that the address is constitutive in the thought is confirmed by the Kallias letters, exchanged with Komer. Their abject is the definition of beauty and the value of works of art. Furthermore, the maturation of an individual, and the question regarding his role in society, is developed in the Bildungsroman. The aim of this present work is to reproduce the value of the project of an aesthetic education for today, to consider its political and ethical significance -ta re-establish, in a way, the portrait of the Aufklärer as a human type.

Submitted by Valquíria Barbieri (kikibarbi@hotmail.com) on 2017-12-20T20:34:54Z No. of bitstreams: 1 DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5) / Approved for entry into archive by Jordan (jordanbiblio@gmail.com) on 2018-01-26T12:13:04Z (GMT) No. of bitstreams: 1 DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5) / Made available in DSpace on 2018-01-26T12:13:04Z (GMT). No. of bitstreams: 1 DISS_2013_Renata Carvalho Oliveira Zambom.pdf: 5796774 bytes, checksum: b28a2fc2bda5d931519af2badd0655fa (MD5) Previous issue date: 2013-08-09 / Esta pesquisa realiza uma análise da atual produção artística em Mato Grosso relacionando às características do tempo presente e suas implicações no modo de fazer artístico, sobretudo aqueles que no estado apresentam em seu fazer a utilização de materiais não convencionais e novos formatos. De caráter descritivo, apresenta discussões acerca do tempo e da arte contemporânea, realiza um breve histórico da produção artística mato-grossense de sua fundação até a atualidade, apresenta os artistas que inserem em seus trabalhos a pesquisa e experimentação estética de novos modos de fazer e materiais e ainda apresenta elementos pertinentes à poética destes artistas, através de visitas aos ateliês e entrevistas realizadas com os artistas selecionados. A dinâmica da produção artística observada apresenta características e alterações em seu fazer relacionadas diretamente às alterações nos modos de vida, produção, consumo e informação da atualidade inseridas na pesquisa estética de cada artista, que à seu modo, introduz elementos retirados do contexto sócio cultural. / This research makes an analysis of the present artistic production in Mato Grosso, relating the present time characteristics and it’s implications in the way of artistic doing, mostly those that in the State shown in its doing use of non-conventional materials and new formats. In a descriptive disposition, presents discussions about time and contemporary art, make a brief history of the mato-grossense artistic production and it’s founding to the present, introduce the artists who insert into your job the research and esthetic experimentation of new ways of doing and materials and even shown elements relevant to the poetic of these artists, through visit to the studios and interviews with those selected artists. The artistic production dynamics noted presents characteristic and alterations in its way of doing, related directly to the alterations of life-style, production, consumption and actuality information inserted in the esthetic research of each artist, that in its way, introduces elements derivated from the socio-cultural context.

Né à Chicago dans les années 80, le slam apparaît désormais comme un phénomène poétique majeur en France où il tend à être médiatisé et emblématisé par Grand Corps Malade. Au-delà de l’effet de mode et d’un mot dont le sens original - le plus souvent ignoré - mérite assurément d’être explicité, c’est un slam aux contours mouvants, un objet poétique non identifié, qui constitue l’objet de cette thèse. S’il s’avère donc nécessaire de cerner ses points d’ancrage (traditions de poésie orale, relations avec la chanson, le rap), notre propos vise à explorer les enjeux du slam et sa portée en termes néopoétique, néologique et didactique. Il se définit comme poésie orale-aurale, vocale et vivante, et c’est précisément dans le dispositif – les dispositifs – qui le fondent plus que dans les formes très variées qu’il peut revêtir que réside son essence. D’après son fondateur, le slam est « intégrateur » et vise une démocratisation de la poésie. En tant que tel, il est ouvert (alors même que le sens premier du verbe to slam peut être traduit par « claquer la porte ») à une langue actuelle, appréhendée dans toutes ses dimensions et variations (inter et interlinguales). Le slam fait feu de tous lieux, de tous mots, et les slameurs aiment à jouer avec une langue plurielle : démarche colludique dans laquelle ils impliquent un public prêt à entrer dans cette danse avec les mots. A travers ce nouveau positionnement d’auteur-animateur, le slameur se fait tribun et œuvre en faveur d’une libération du verbe susceptible d’ouvrir de nouveaux horizons lexicaux : de fait, la néologie prolifère autour et au cœur du slam. Notre étude en détaille les formes (matrices lexicogéniques) et les fonctions dans un tel contexte. Afin de mettre en lumière les traits d’une poétique en devenir, nous avons approfondi l’œuvre de trois slameurs (Mots Paumés, Souleymane Diamanka, Grand Corps Malade) et proposé comme clé d’analyse le concept de néostyle visant à rendre compte de l’importance de la néologie et de la façon originale dont elle est stylisée/poétisée dans le slam. Il s’agit de mettre en relation la linguistique et la poétique autour de cet objet avant d’en aborder les enjeux didactiques. Partant du constat de l’intégration récente du slam dans les programmes et manuels scolaires, nous interrogeons les modalités et les objectifs de cette didactisation naissante et développons – après l’avoir expérimenté – son potentiel en matière de créativité. S’il tend à être considéré comme un outil d’apprentissage, il peut aussi constituer un objet d’étude à part entière et son exploitation doit intégrer cette dialectique. Menés dans des contextes et avec des publics diversifiés – en quoi le slam est aussi potentiellement « intégrateur » – les ateliers slam sont porteurs d’un double enjeu de renouvellement des pratiques autour de la poésie et d’un renouement avec des pratiques dites « traditionnelles » dont il est susceptible de réactiver l’intérêt. Dès lors que les slameurs assument un rôle de passeurs, il peut enfin représenter une passerelle vers la poésie classique ou vers d’autres pratiques artistiques. / Slam poetry is an emerging literary movement, which originated from the nineteen eighties in Chicago (USA). Due to the success of Grand Corps Malade and audiovisual media coverage the slam movement is developing very quickly in France. However, neither the word “slam” itself nor the kind of poetry called “slam poetry” has been a subject of scientific research yet. The first purpose of this research is to explore these terms (“slam” and “slam poetry”), to show the relationship of slam literature to traditional literary forms like bards and rhapsody or musical genres like rap, and how the slam movement can be considered modern both in lexical terms and in terms of renewing the relations between the poet and his or her audience which is supposed to be the widest possible. The question whether the slam movement can be considered “neopoetic” will thus be discussed in this paper. This thesis demonstrates that the slam movement actually redefines the writer's position: slammers perform their own texts. As a physical and sensual experience, slam is live poetry which can be highly interactive, immediate and theatrical: it aims at involving everybody in a “colludic” way, essentially by means of word games. According to Marc Smith (the founder of the ‘slamming’ concept), slam is to be “integrative”. Slamming opens the door to anyone (whereas “slam” main meaning is “to shut the door with a loud noise”), any kind or form of poetry; it can include any word, even slang or neologisms. A blend of verses and performance, fusion of genres, it can be seen as a laboratory for identity, expression and lexical creativity. In this research, is demonstrated the fact that slam encourages lexical creativity: in the performance texts and also in slam related contexts (flyers or slammers’ pseudonyms for instance), various neologisms playing on different lexicogenic matrixes have been found. This research identifies these processes and the related functions, linking linguistic analysis to stylistic effects. The “neostyle” concept is a key to examine how neologisms are integrated in the slam text and mixed with other figures like metaphors, in a stylistic or poetic way. Therefore, the entire work of three slammers is examined in detail, in order to define their specific poetics and show how neologisms are part of it. The chosen artists are Mots Paumés, Souleymane Diamanka and Grand Corps Malade. Finally and in collaboration with slam artists, workshops have been organized and documented to develop didactic aims focusing on lexical creativity. Slam is about to be integrated in school books and curriculums and slammers are involved in passing their art down, therefore it is important to develop didactic concepts and reflection about it: how slam poetry can be integrated as a project in various contexts, not only as a resource for linguistic purposes, but also as a poetic subject and a possible link between classical poetry and other artistic approaches.