The thesis addresses a mode of visual art criticism that it characterizes as “antipodal”. Antipodality is a false image of the world, a phantasm. An antipodal simulacrum could be described by what Jurgis Baltrusaitus has called a “depraved perspective”, which is a procedure of investigation dominated by the passion to objectify the empirical sign in a conceit of perverse logic. A perspective rendering taken to literalist excess (comparable to the literalising of figurative language) causes anomalies in and corruptions of what is depicted. The invention of the antipodes by cartographers of early modern Europe—a “logical” necessity of mapping that then required discovery of the antipodal land as a lost object—might be such an instance of a depraved perspective. In Baltrusaitus’s terms, we could say such depravity produces an “aberration” in the manner of the optical phenomenon in which a celestial body is apparently displaced and viewed as if it were elsewhere. Such an aberration forms the thematic content of this thesis; content which is the proposition of an aberrant critical conceit of “antipodality” as a simulacrum. This was a formative concept for my own activity of art criticism, in that it allowed a defining moment for an Australian postmodernism (notably in the 1980s) as an evacuated sign-system of art, a styling of art as pseudo-art. But it has acquired a trajectory for art criticism beyond the definition of Australian postmodern style. An antipodal art criticism is likewise a pseudo-criticism, that’s to say, it is a performative enunciation of falseness: it addresses a pseudo-object. Like the antipodes, art is a necessary fiction for criticism, a lost object that needs to be discovered. The most potent pseudo-art for Australian postmodernism was kitsch, and its style was camp. For contemporary art criticism, however, in a digital era, the most potent pseudo-art is pornography, notably digital pornography. Kitsch is the simulacrum of aesthetic form. Pornography is the simulacrum of eroticism. The thesis develops a critical discussion of works of art through the perverse logic of pornography as a depraved perspective. In this respect, “antipodality” provides the conceptual structure of this thesis, which polemically reflects on art criticism and the simulacrum through the media of visual art, film and literature. In a specific Australian context, the thesis discusses the work of Imants Tillers and Lindy Lee as oeuvres that have dealt with the false identity of the artist as originator of their performative but empty signature styles. The pornographic impulse of antipodality is dealt with through other modes of self-portraiture and performativity, notably in three generations of photographic technique and genre: Diane Arbus, Merry Alpern and Natacha Merritt. The performative nature of a pseudo-art is correlative to the performativity of pornography as pseudo-eroticism: both render dubious any authenticity of the desire motivating the performances. The thesis examines in detail three instances of falsely performative identities in film: the alluring and haunted figure of Madeleine in Alfred Hitchcock’s Vertigo; the ingenue, picaresque protagonist of Roger Vadim’s sci-fi fantasy Barbarella; and Gough Lewis’s humanistic documentary on a porn star whose notoriety derived from subjecting herself to “the world’s largest gang bang”, Sex: The Annabel Chong Story. Each of these cinematic portraits operates, with varying degrees and moments of artifice, a metafictional transgression of figural borders. This strategy as a type of erotic theatricality is considered in detail with, among other passing examples, two celebrated short works of libertine literature (by Vivant Denon and Jean-François de Bastide); two paintings—one by nineteenth-century French academic artist Jules-Joseph Lefebvre, the other by the quite un-academic painter Pierre Bonnard; and with an erotic, theatrical innovation called the “Attitude”, introduced by Emma Hamilton as an amateur drawing room entertainment in the late eighteenth century. Hamilton’s captivating tableaux are discussed in terms of the phantasm, and the thesis is inspired by two literary exemplars of phantasmic portraiture: Edgar Allan Poe’s figure of “the man of the crowd” and Guy de Maupassant’s “Horla”. The latter, in particular, is presented as an analogy for the performative effect of antipodal simulacrum of art criticism.

Sob a perspectiva de Giorgio Agamben, buscaremos os fundamentos teóricos que envolveram a imaginação durante a história ocidental até o momento em que esta se torna expropriada do conhecimento. Levamos em conta que noção de imaginação está inserida em um contexto de transmissão cultural que cada época gera para a próxima, e que, no entanto, também modifica suas fundamentações. Entenderemos a imaginação a partir do termo fantasma, ou seja, não como um termo isolado, mas envolvido em uma complexidade cultural, e entrelaçado de características, da quais, memória, sonho, linguagem, desejo, melancolia e sensação são seus aliados e que marcam a grande particularidade imaginativa como fantasma, que é de ser imaterial, abstrato, e ainda, associada ao caráter do espírito. Na primeira parte, desenvolve-se a teoria do fantasma de Aristóteles que com o estoicismo e principalmente com o neoplatonismo, começa a possuir suas primeiras vinculações com a antiga teoria do pneuma. Desta união obteve-se a noção do espírito fantástico que influência o período medieval intensamente. Nesta cultura conhecemos fatos importantes que nos levam a compreender tanto os mecanismos da imaginação, quanto a entender os primeiros sutis aspectos do processo de expropriação da imaginação na cultura ocidental. Mais do que tudo, a reformulação ontológica que acontece na modernidade gera uma expropriação do sujeito da experiência (psyché), fenômeno correlato a expropriação da imaginação, gerando uma inserção no conflito entre racional e irracional. Na segunda parte, delimitamos a tratar primeiramente dos efeitos da exclusão da imaginação diante da experiência transmissiva, ou seja, a experiência tradicional e narrativa da qual se contrapõe ao experimento científico. Esta a nível, que poderíamos dizer, mitológica, no sentido do uso das palavras enquanto nos fazem sentido para vida. No segundo delineamento, trataremos de uma experiência, que se insere no que poderíamos dizer, ritualística, no sentido em que invade as criações e o fazer cultural dos sujeitos em sociedade. Entretanto, ao que parecem, estas duas esferas inacessíveis nos dias atuais, aguardam novas possibilidades para serem demarcadas. O que temos em conta, segundo Agamben, é que estas atividades, nunca são abandonadas como práticas fantasmáticas pelo adulto, apesar de hoje em dia estarmos perdendo esta potencialidade e desta forma, suas conseqüências na destruição da experiência e na impossibilidade usar, são apenas reflexos da destruição da história e da dominação cultural. Agamben percebe que as formas simbólicas, as práticas textuais, as criações da cultura humana, todas precisam se apropriar do negativo, ou seja, do objeto ausente (fantasma) para plasmar certa realidade. A experiência parece ter um sentido não exatamente na esfera concreta, mas entre a esfera imaginativa e assim, demarca fortemente as limitações que a cultura ocidental acabou deixando em segundo plano. No caso da manifestação lingüística, temos o signo resistente a toda significação representa-se pela metáfora. No caso do usar ou fazer humano que longe de demarcar sua utilidade, desvia-se para a ausência do objeto fetiche. Captar estas limitações e suas saídas através da teoria lingüística da Infância e da teoria do jogo da Profanação são as propostas de Agamben. / Under Giorgio Agambens perspective we search for the theoretical foundations which have involved the imagination during the western history until the moment in that this history is expropriated of the knowledge. We take into account what imagination notion is inserted in a context of cultural transmission which each time generates for the next one and, however, also modifies their foundations. We understand the imagination since the concept of phantasm, in other words, it is not an isolated term, but it is involved in a cultural complexity and interlaced of characteristics which are connected to memory, dream, language, desire, melancholy and sensation and define the great imaginative particularity of ghost which is immaterial, abstract and still related to the character of spirit. In the first part we develop the theory of Aristotles ghost that has its first links to the old theory of pneuma starting from stoicism and mainly neoplatonism. From this union it was obtained the notion of fantastic spirit that influence the medieval period intensely. In this culture we know important facts that lead us to understand the mechanisms of imagination as well as the subtle first aspects of the expropriation process of imagination in western culture. Plus than everything the ontological reformulation that happens in the modernity generates an expropriation of the experience subject (psyché), correlated phenomenon to the expropriation of the imagination, generating an insert in the conflict between rational and irrational. In the second part we approach firstly the effects of the exclusion of imagination before the transmissive experience, in other words, the traditional and narrative experience which opposes to the scientific experiment. This is, so we could say, in a mythological level, in the sense of the use of the words while they make us sense for life. Secondly we approach an experience that interferes in what we could name, ritualistic, in the sense of the invasion of the creations and of the doing of culture of the subjects in society. However, how it seems, these two inaccessible spheres in the current days await new possibilities for being demarcated. According to Agamben, these activities are never abandoned as fantasmatic practices by the adult, although we are losing this potentiality nowadays and, in this way, t heir consequences in the destruction of the experience, and in the impossibility to use this potentiality, are just reflexes of the destruction of history and the cultural dominance. Agamben notices that the symbolic forms, the textual practices, the creations of human culture, all need to take the negative, in other words, the absent object (phantasm) to shape certain reality. The experience seems to have a sense not exactly in the concrete sphere, but among the imaginative sphere and like this, it strongly demarcates the limitations that the western culture ended up leaving in second plan. In the case of the linguistic manifestation, we have the resistant sign to all significance represented by the metaphor. In the case of the using or of the doing of human being, which far away from demarcating its usefulness strays for the absence of the object fetish. To capture these limitations and their exits through the linguistic theory of Childhood and through the theory of the game of Profanation are the proposals of Agamben.

Made available in DSpace on 2016-04-28T19:58:58Z (GMT). No. of bitstreams: 1 Oscar Andrade Lourenao Nestarez.pdf: 905202 bytes, checksum: df6626733b6535efd85d4b155527ee20 (MD5) Previous issue date: 2016-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation proposes a reflection about the fantastic mode in literature in the light of a fundamental operation of the cognitive process: the phantasms produced by the imagination. The investigation occurs through a comparative reading between two narratives Edgar Allan Poe s Ligeia (1838) and Mário de Sá-Carneiro s The Great Shadow (1915) , having by theorical support the studies from Remo Ceserani (The Fantastic, 1996), Irène Bessière (Le récit fantastique la poétique de l incertain, 1974) and Giorgio Agamben (Stanzas: word and phantasm in western culture, 1977), as well as Poe s critical reflections found in The philosophy of composition (1845), The poetic principle (1850) and Marginalia (1849) about the links between imaginary phantasms and poetical creation. Taking into consideration the significative diferences between the two texts either by the temporal distance or by the fantastic characteristics (more notable in Ligeia ) , this project asks how the root of the fantastic mode in literature can relate with the imaginative phantasms produced in terms of plot and, more specifically, enunciation. The hypothesis is that both Ligeia and The Great Shadow point to the creation of phantasms by the imaginative faculty as the responsable for the effects of the fantastic. This happens though the singularity of a central enunciative process: the spectral apparitions in both plot and in the multiple visions of the narrator in the poetic-phantasmatic discourse, marked by the crisis in representation. The comparative analysis reveals that the phantasm-fantastic relation manifests itself in both texts, although in different terms: in Ligeia , the procedures of the fantastic mode are everywhere spectres, doubles, projections between light and shadow and terror caused by gothic ambience; and, underneath this plan, lies the narrator-author s phantasmatic discourse. In The Great Shadow , on the other hand, excels the sensationist-phantasmatic narration on the form of a diary, leaving the plot and its phantasmagoric ambiance in second plan / A dissertação desenvolve uma reflexão sobre o modo do fantástico na literatura à luz de uma operação basilar do processo cognitivo-imaginativo, advinda do pensamento clássico de Aristóteles: os fantasmas produzidos pela imaginação. A investigação se dá por meio da leitura comparativa entre duas narrativas Ligéia (1838), de Edgar Allan Poe e A Grande Sombra (1915), de Mário de Sá-Carneiro -, tendo por suportes teóricos os estudos de Remo Ceserani (O fantástico, 1996), Irène Bessière, (Le récit fantastique la poétique de l incertain,1974) e Giorgio Agamben (Estâncias: a palavra e o fantasma na cultura ocidental, 1977), além das reflexões críticas de Edgar Allan Poe sobre os vínculos entre os fantasmas imaginários e a criação poética em A filosofia da composição (1845), The poetic principle (1850) e Marginália (1849). Indaga-se como, a partir das diferenças entre ambas as narrativas seja pela distância temporal, seja pelas marcas do fantástico, mais visíveis em uma ( Ligéia ) do que em outra ( A Grande Sombra ) , a raiz do modo literário do fantástico poderia se inscrever nos fantasmas imaginativos produzidos em nível de enredo e, mais especificamente, no de enunciação. A hipótese é a de que tanto Ligéia quanto A Grande Sombra apontam para a criação de fantasmas pela faculdade imaginativa como a responsável pelos efeitos estéticos do fantástico. Isso se dá por meio da singularidade de um processo enunciativo fundamental: aparições espectrais, tanto em nível de enredo quanto no das múltiplas visões do narrador e no do discurso poético-fantasmático, marcado pela crise da representação de referentes em ausência. A análise comparativa revela que a relação fantasma-fantástico se manifesta em ambos os textos, porém com pesos distintos: em Ligéia , dominam os operadores do modo fantástico espectros, duplos, projeções entre luz e sombra, ambientação e terror propiciados pelo gótico e, sob esse plano, subjaz o do discurso fantasmático do narrador-autor na sua corrente subjacente de sentido . Em A Grande Sombra , é o discurso sensacionista-fantasmático do diário de um narrador-autor que sobressai, deixando em segundo plano o enredo e sua ambientação fantasmagórica

Dans une société où le virtuel est omniprésent quotidiennement, cette recherche s’intéresseaux implications de son utilisation sur la psyché du sujet. Nous questionnons les défensespsychiques individuelles qui peuvent être identifiées dans l’utilisation des réseaux sociaux surInternet (Facebook), mais aussi les organisations groupales provoquées par les publications dusujet. Nous posons 3 hypothèses. En premier lieu, nous n’observons pas de structure depersonnalité spécifique au sujet utilisateur de réseau social sur Internet. Par ailleurs, nouspensons que l’investissement de relations en miroir, permet au sujet de s’approcher d’un MoiIdéal, dans un contexte de toute-puissance, tentant ainsi de combler des blessuresnarcissiques. Enfin, ces relations en miroir seront à la base des mouvements de groupe, etcontribueront à la construction de la foule virtuelle. A travers l’analyse des entretiens semistructurés,du test de Rorschach et du profil Facebook (analyse des contenus) de 14 sujets,nous avons confronté leur vision consciente et tenté de comprendre celle inconsciente de leurutilisation de ce média. Les résultats révèlent un mécanisme de résonance en miroir fort lorsde la constitution de la foule virtuelle. Puis, la résonance fantasmatique organise cette toilequi prend place dans l’inconscient du sujet en termes de groupe interne. Le sujet exhibe desparts idéalisées de soi, poussé par un fantasme pervers qu’il partage avec les membres de safoule virtuelle qu’il a lui-même constituée. Il en est ainsi le leader. Le voyeurisme lui permetde s’assurer du partage d’idéaux communs et unifie ainsi la foule virtuelle. L’effet dedésinhibition et les barrières levées des différences intergénérationnelles alimentent l’euphoriegroupale, signe d’une Illusion groupale, que les sujets s’attachent à maintenir, évitant ainsi ledégroupement psychique. / In a society where the virtual is constantly present in our everyday life, this research is dealingwith the effect of its use on one’s psyche. The individual defense mechanisms which can beidentified in the use of the social networks, e.g., Facebook, as well as the groups’organizations due to one’s posts, are questioned. Three hypotheses are settled. First, there isno specific personality structure identified within the social network’s users. Second, beingall-powerful on his social network’s profile, the individual can get closer to an ideal egothanks to mirror relationships. This process enables the individual to fill his narcissisticweaknesses. Third, these mirror relationships will be at the base of the group movement andwill contribute to the virtual crowd’s creation. We analyze the semi-structured interviews, theRorschach and the Facebook profiles (analysis done by the software WeftQDA) of 14individuals. Their conscious visions are confronted to their unconscious use of the socialnetwork. The results put into relief a mechanism of a strong mirror resonance during the setupof the virtual crowd. Then, the resonance of phantasms organizes this web which takesplace in the individual’s unconscious as an internal group. The individual, pushed by aperverse phantasm, shows up idealized parts of himself on his Facebook profile. These areshared with the members of his virtual crowd, built by himself. The person is in this way theleader. Their voyeurism enables them to share common ideals and hence, unifies the virtualcrowd. The absence of inhibition and generation gap causes euphoria in the group. This is thesign of a group Illusion. In their willingness to maintain it, the individuals avoid the group’spsychic separation.

Dans cette thèse, je traite la question de la Deixis sur trois niveaux du langage : Syntaxique, phonétique et gestuel. L’idée principale, c’est que la Deixis ne s’arrête pas sur le fait de pointer un objet présent et peut aller plus loin avec des caractéristiques beaucoup plus abstraites. Cette thèse est accomplie sur trois parties fondamentales. La première partie contient un chapitre définitoire et dans le deuxième chapitre je présente les trois processus fondamentaux de la Deixis : la catégorisation, la nomination et la mémorisation. Dans la deuxième partie, j’étudie les processus cognitifs de la Deixis d’un point de vue dynamique et se servir des théories et concepts pour éclaircir la méthodologie utilisée. J’explique la dynamique de la Deixis Ad Oculos et la Deixis Am Phantasma en montrant comment cette dynamique est complètement dépendante des représentations personnelles du sujet. Les concepts de partage et d’égocentrage nous donnent un sens aux analyses que nous pourrons utiliser comme critères pour décider si un tel sujet a une bonne gestuelle communicative pour passer clairement son message à l’autrui. Ces concepts pourront être bien intéressantes en ce qui concerne des recherches étudiant le comportement des acteurs et les études de détection. Ainsi, avec quelques recherches plus profondes nous pourrons créer des listes de critères et de caractéristiques qui nous aideront à distinguer et détecter un comportement correct d’un autre qui est incorrecte. De même, nous pourrons définir un comportement normal d’un autre anormal et appliquer ces indices et critères sur des enfants souffrant d’incapacité pour s’exprimer tels que des enfants dyslexiques et autistes. / In this thesis, I treat with the question of Deixis on three levels of language: Syntax, phonetic and gestural. The main idea is that the Deixis does not end on pointing out a present object and can go further with more abstract features. This thesis has three basic parts. The first contains a definitional chapter and in the second chapter I present the three basic processes of Deixis: categorization, nomination and memorization. In the second part, I study the cognitive process of Deixis from a dynamic point of view and use theories and concepts to clarify its methodology. I explain the dynamics of Deixis Ad Oculos and Deixis Am Phantasm showing how this dynamic is completely dependent on the personal representations of the subject. The concepts share and egocentrage give us a sense of analysis that we can use as criteria to decide whether such subject has good communicative gesture to clarify his message to others. These concepts can be very interesting in terms of research regarding actor’s behavior and detection studies. Thus, with some deeper research we can create lists of criteria and characteristics that will help us to distinguish and detect the appropriate behavior from the inappropriate one. Similarly, we can define normal behavior from the abnormal one and apply these criteria and indicators on children with disabilities, such as dyslexia and autism, to help them to express themselves in the future.