Submitted by Cássia Santos (cassia.bcufg@gmail.com) on 2017-02-06T14:00:58Z No. of bitstreams: 2 Tese - Tamiris Vaz - 2017.pdf: 14100729 bytes, checksum: c2d01ce93ae18b823f4bc6fd16abb753 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-02-08T10:25:43Z (GMT) No. of bitstreams: 2 Tese - Tamiris Vaz - 2017.pdf: 14100729 bytes, checksum: c2d01ce93ae18b823f4bc6fd16abb753 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-02-08T10:25:43Z (GMT). No. of bitstreams: 2 Tese - Tamiris Vaz - 2017.pdf: 14100729 bytes, checksum: c2d01ce93ae18b823f4bc6fd16abb753 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-01-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research explores becoming’s of learning in quotidian paths done in and around a neighborhood of the city of Goiânia (GO). Through relations between the researcher’s daily life, urban visualities and meetings with other inhabitants of the neighborhood in which she resided during her doctorate, she produces learning narratives in which image and text dialog and complement themselves. Mobilizing percepts by the action of photographing, some visualities surpass the author’s singularities, becoming Excesses that provoke new thoughts. As a recently arrived outsider, she learns by these excesses at every moment that she turns to see, to think, to listen, to speak and to write about the images/narratives she produces. Between urban interventions and talks with the inhabitants, triggered affects provoke other glances about the city and about researching, configuring multiple paths of learning that are always in process. / Esta pesquisa explora aprendizagens em devir de percursos cotidianos realizados no entorno de um bairro da cidade de Goiânia (GO). A partir das relações entre o cotidiano da pesquisadora, visualidades urbanas e encontros com outros moradores no entorno do bairro onde ela residiu durante o doutorado, são produzidas narrativas aprendentes nas quais imagens e textos dialogam e se complementam. Ao mobilizar perceptos pela ação de fotografar, algumas visualidades ultrapassam as singularidades da autora, tornando-se excessos provocadores de novos pensamentos. Como uma forasteira recém chegada, aprende com esses excessos a cada momento que torna a ver, pensar, ouvir, falar e escrever sobre as imagens/narrativas que produz. Entre intervenções urbanas e conversas com moradores são disparados afectos que provocam outros olhares sobre a cidade e sobre fazer pesquisa, configurando múltiplos percursos de aprendizagem sempre em processo.

This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors.  Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship.  Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political  radicalism go hand in hand.  Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces.  Her work is also described as object writing: a literary equivalent to surrealist object art.  A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

Il s'agit de comprendre, à travers l'étude du timbre musical (une qualité du son qui permet d'identifier la source sonore et de distinguer deux sons de même hauteur, même intensité et même durée mais produits par des instruments différents) comment s'organisent les liens entre nos perceptions et les concepts qu'on y associe, révélés par des verbalisations. <br />Il semble difficile de décrire avec des mots nos perceptions sonores et il n'apparaît pas de vocabulaire spécifique du timbre musical. Par contre, il semble très facile de reconnaître un son, dans un ensemble de 12 sons, à partir d'une des descriptions produites par d'autres personnes. Plusieurs types de portraits verbaux ont été testés lors de cette reconnaissance. Les portraits décrivant un objet ou une action ayant pu produire le son semblent beaucoup plus faciles à reconnaître que les descriptions de qualités des sons entendus. Alors qu'il nous est difficile de parler de nos perceptions sonores, l'association qu'un autre auditeur a pu faire entre un son entendu et une description produite est facile à comprendre. La communication du contenu de nos perceptions sonores est donc possible même en l'absence d'un vocabulaire spécifique. Ceci nous oblige à considérer le langage non pas dans sa composante référentielle, mais dans son aspect collectif et intersubjectif.