L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique. / Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible.

Orientador: Livia de Oliveira / Banca: Wenceslao Machado de Oliveira Júnior / Banca: Lucia Helena Batista Gratão / Resumo: A obra de João Cabral de Melo Neto é uma das mais significativas de nossa literatura. Sua concepção racional da poesia atribuía à própria materialidade dos objetos seu potencial poético. Para tanto, escrevia a partir da memória, sempre distante dos lugares temas de sua poesia. Para ele, esta era uma condição necessária à escrita, embora seus poemas não possuam um tom memorialista. A memória era entendida por ele como o material de onde a poesia poderia emergir e por isso Cabral fez uma obra com referências geográficas explícitas, de forma consciente. A forma como ele enraizou sua poesia e como esta atingiu a universalidade é objeto desta pesquisa, procurando em sua poética os traços que tornam sua obra o elogio da matéria, da espacialidade e da geograficidade, enquanto elementos intrínsecos da produção artística. "Morte e vida severina", seu poema mais conhecido, é tomado como eixo principal desta análise, a partir de suas imagens, metáforas e da própria poética cabralina. O rio Capibaribe é o caminho de Severino que emigra do sertão para Recife, promovendo uma transmutação entre homem-rio no seu caminho de morte e vida. A análise revela a importância do espaço telúrico, expressão da relação primitiva homem-meio, como a fonte de onde emerge a força imagética e metafórica da poesia. / Abstract: The work of João Cabral de Melo Neto is one of the most significant of our literature. His rational conception of poesy attributed to the own materiality of the objects his poetical potential. For this reason, he wrote from his memory, always far from the theme places of his poesy. It was for him a necessary condition to writing even though his poems do not possesses a memorializing tone. Memory was understood by him as the material where poesy could emerge, and for this reason, Cabral did a work with explicit geographical references in a conscientious form. The way that he established his poesy and how it reached universality is the object of this research, looking for in his poetics the traces that makes his work the eulogy of matter, of spatiality and of geographicity, while intrinsic elements of the artistically production. "Morte e Vida Severina", his most known poem, is taken as the main axle of this analysis starting from its images, metaphors and from the own Cabral's poetics. Capibaribe river is the path of Severino that emigrates from sertão to Recife, promoting a transmutation between man-river in his path of death and life. The analysis reveals the importance of telluric space, expression of primitive relation man-environment as the source from where emerges the imagery and metaphoric strength of the poesy. / Mestre

La correspondance d’Antonin Artaud (1896-1948) occupe une place essentielle dans ses écrits. Elle montre sans doute mieux que ses autres textes la singularité de son expression. Cette thèse examine le rôle joué par sa correspondance, rôle dont on admet l’importance mais encore insuffisamment exploré. À partir de la publication de la Correspondance avec Jacques Rivière (1924), commencée à la suite du refus de Rivière de publier les poèmes d’Artaud, celui-ci publie lettres ou textes épistoliers comme si cela pouvait remplacer ses œuvres dans lesquelles il n’arrive pas à exprimer sa réalité à cause de la maladie dont il souffre : il refuse les œuvres « détachée[s] de la vie » et croit pouvoir mieux s’exprimer dans les lettres. L’expression épistolière est pour lui un moyen de faire entendre le « cri même de la vie » et de lutter contre « un sentiment de gratuité ». Toutefois, il n’est pas évident que, bien qu’elle soit ancrée dans des situations réelles, la correspondance puisse fonctionner comme Artaud le souhaite; il s’avère plutôt qu’elle a pour lui un statut ambigu dans les années 1920 et 1930. Le chapitre 1 aborde ce problème sous deux aspects : l’authenticité et la temporalité. Dans ses lettres, on constate qu’Artaud se plaint très souvent de l’incompréhension de ses destinataires vis-à-vis de sa douleur; ses lettres n’en garantissent pas, pour eux, l’authenticité et l’équivoque y revient sans cesse. Pour lui, l’authenticité doit être prouvée par l’adéquation de l’écriture épistolière avec le présent. Mais sa maladie, ainsi que le fait que les lettres ne sont que des écrits, empêchent la réalisation de cette adéquation. Ses lettres ne parviennent à transcrire que sa hâte et le décalage temporel. Ainsi, loin de témoigner de sa réalité brute, sa correspondance devient tentative de couvrir ce décalage, de trouver la réalité qu’il n’arrive pas à saisir, son vrai moi, originel et intact. Pour cela, Artaud recourt à des éléments imaginaires en exigeant toujours le contact immédiat, d’où le rôle paradoxal de ses lettres. Le chapitre 2 examine le problème de la destination. La présence des autres est nécessaire à Artaud pour penser, pour compléter son manque. Ses destinataires sont ainsi des dépositaires de son moi. Mais ses lettres s’adressent, au-delà des destinataires réels dont la présence n’est qu’imaginaire, à l’instance transcendante, à l’Autre comme le remarque Vincent Kaufmann dans L’Équivoque épistolaire, instance qui lui donne accès à l’expression et lui restitue son identité. Ses destinataires (critiques, autorités religieuses, hommes politique, médecins, etc.), autoritaires et paternels, sont des figures de cet Autre. Par ailleurs, ses destinataires féminines et amoureuses sont pour lui des moitiés qu’il faut s’incorporer pour retrouver l’unité originelle. Ses lettres d’amour sont ainsi marquées par son désir violent de fusion. Pourtant, l’union amoureuse expose en même temps l’unité de son moi à la perte dans le flot de choses. Les lettres sont aussi écrites pour introduire une distance.L’enjeu de ses lettres de voyage, étudiées au chapitre 3, est de réaliser les deux mouvements inverses (rapprochement et éloignement). Les pays lointains constituent pour Artaud l’ailleurs métaphysique où retrouver son unité originelle. Pendant ses voyages au Mexique (1936) et en Irlande (1937), ses lettres sont comme une scène pour l’avènement de sa nouvelle identité, scène où se rencontrent l’au-delà et l’ici-maintenant. C’est ici que son usage paradoxal des lettres atteint son sommet car la réalisation du « vrai drame » signifie, comme il le prophétise, la disparition du monde matériel et donc aussi celle de l’écriture épistolière. Ses lettres mettent en scène leur propre disparition qui coïncide curieusement avec son arrestation à Dublin et le commencement de sa vie asilaire (1937-1946)...... / The correspondence of Antonin Artaud (1896-1948) occupies an essential place in his writings. It shows probably better than his other texts the singularity of his expression. This dissertation examines the role played by his correspondence, the importance of which is admitted, but still insufficiently explored. From the publication of the Correspondence with Jacques Rivière (1924), that started following the refusal of Rivière to publish the poems of Artaud, he publishes letters or texts in epistolary style as if they could replace his works in which he is unable to express his own reality because of his illness : he refuses works "separated from life" and believes he can better express himself in letters. The epistolary expression is for him a way to make the "cry of life" heard and to fight against the "feeling of lack of cause". However, it is not clear that, although anchored in real situations, the correspondence can function as Artaud wants. Rather, in the 1920s and 1930s, its position for him is ambiguous.Chapter 1 approaches this problem in two aspects : the authenticity and the temporality. In his letters, we can see Artaud complain very often of his addressees’ misunderstanding about his pain. His letters do not prove its authenticity, and the ambiguity always goes into them. For him, the authenticity must be proven by the accord of his writings with the present time. But his illness, as well as the fact that the letters consist of words, prevent the realization of this accord. His letters can transcribe only his hustle and time gaps. Thus, far from showing his raw reality, the correspondence becomes an attempt to cover these gaps, to find the reality that he cannot seize, his true self, original and intact. To do this, Artaud uses imaginary elements, still asking for the immediate contact, which makes the role of his letters paradoxical. Chapter 2 examines the problem of destination. The presence of others is necessary for Artaud to think, to complete his lack. His addressees are depositories of his self. But his letters are addressed, beyond actual addressees whose presence is after all imaginary, to the transcendent instance, to the Other as notes Vincent Kaufmann in L’Équivoque épistolaire, instance that allow him access to the expression and restores his identity. His addressees who are authorities and paternal (critics, religious leaders, statesmen, doctors, etc.) are figures of the Other. In addition, the female addressees who are his lovers are his halves that must be incorporated to find again the original unity. His love letters are so marked by his strong desire of fusion. Yet at the same time, the union by love exposes his unity to loss in the flow of things. Letters are also written in order to introduce a distance. The issue of his travel letters, discussed in Chapter 3, is to make simultaneously the two opposite movements (close and away). Distant countries represent for Artaud metaphysical places where he should find his original unity. During his travels in Mexico (1936) and Ireland (1937), his letters are like a stage for the advent of a new identity, stage where meet the beyond and the here-now. It is here that the paradoxical use of letters reaches the peak, because the realization of the "real drama" means, as prophesied he, the disappearance of the material world and therefore that of the letters. His letters direct their own disappearance, which curiously coincides with his arrest in Dublin and the beginning of his life in asylums (1937-1946)....

Made available in DSpace on 2016-03-15T19:43:06Z (GMT). No. of bitstreams: 1 NILTON_FRANCO_EAHC.pdf: 4017232 bytes, checksum: 8c9631103395484acb0e75cc28480692 (MD5) Previous issue date: 2006-09-13 / Fundação de Amparo a Pesquisa do Estado de São Paulo / This work presents a study about the soirée of Cooperativa Cultural da Periferia Cooperifa as a new cultural tradition started in the beginning of the XXI century in the South Zone of the city of São Paulo. Due to its acting focus to be immersed in the strong tensions of economic and social order, the Cooperifa woke up our interest through its innovative activities with community related to the new papers it gave to the poetry and bar as means to renew community life through fomenting culture.The investigation shows Cooperifa s growth evolution including their leaders initial propose, and the mechanisms that ruled their actions, such as mass media communication related to journalism, television and informatics, as well as the support of Itaú Cultural based on Rouanet Law. In the last part of the work is developed a study of the soirée under the look of Invented Traditions , which were extracted from Eric Hobsbawm s concepts. The study shows an analyze about the internal an external dynamic of the soirée, treating exclusively of its routine, habits and poetic-literary production, as well its social, politic and economic function in the middle of its social network, in the modern-day. / Este trabalho apresenta um estudo sobre o sarau da Cooperifa (Cooperativa Cultural da Periferia) como uma nova tradição cultural surgida no início do século XXI, na zona sul da cidade de São Paulo. Devido a seu foco de atuação estar imerso nas fortes tensões de ordem econômica e social, a Cooperifa despertou nosso interesse através de suas atividades inovadoras com a comunidade em torno dos novos papéis que atribuiu à utilização da poesia e ao bar, como meios de revigorar a vida comunitária, através do fomento à cultura. A investigação mostra a evolução do crescimento da Cooperifa, incluindo os propósitos iniciais dos seus líderes e os mecanismos que condicionaram as suas ações, tais como a mídia jornalística, televisiva e informatizada, assim como, o apoio da parceria com o Itaú Cultural, por meio da Lei Rouanet. Na parte final do trabalho é desenvolvido um estudo do sarau sob o olhar das tradições inventadas , que foram extraídas dos conceitos de Eric Hobsbawm. O estudo mostra uma análise da dinâmica interna e externa do sarau, tratando respectivamente de suas rotinas, hábitos e produção poético-literária, assim como do seu papel social, político e econômico em meio à rede social a que pertence, na contemporaneidade.

This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet. This diploma work is mainly a monography of a Czech author Pavel Zajicek. The base of this study is the analysis and the interpretation of his lifelong official and samizdat literary work. In the analysis of some of his prerevolutionary books as the main source I used mainly the critiques of the contemporary literary magazines. I also present the life of the author itself, especially in the context of the period he lived in. I will briefly mention two musical bands that are closely related to this personality {--} DG 307 and PPU. In my studies I use my personal e-mail with Pavel Z. and I do not forget to observe all accesible dialogues with this poet.

The aim of this thesis is the study of the topic of thinking in the works of Martin Heidegger as one of the possibilities which is one's innermost capability and which is not a mere tool for discovering, but belongs to the way of one's being. Thinking is being mindful of that which is worth remembering and which in itself opens the possibility of encountering the world and one's own self in its original clarity. Through thinking of closeness, the thesis gets to Heidegger's concept of the fourfold and enowning of the world into things and continues with the topic of mortality of one's own Dasein. The thesis then thematises Heidegger's thinking of Greek ALETHEIA as a clearing for showing of a being, which has in its own self remained unthought in the history of philosophy and in which Heidegger sees the role of thinking in the times of completion of the metaphysics. In the interpretation of language, it reveals how language is given to humans, or rather humans are given to language and how language is the house of being and how it essentially constitutes thinking. Alongside language, poesy is examined, in which language speaks as language and where language is shown as the harmony of silence. Poesy is then approached as acquiring measure and Heidegger's interpretation of the nature of human's housing...

Esta pesquisa tem como objetivo refletir sobre a Poética e sobre a Técnica que envolvem a Cerâmica como meio de expressão. Tal reflexão foi feita por meio da análise de depoimentos de sete artistas, bem como da observação das singularidades de seus trabalhos em cerâmica. Entre os critérios para seleção dos artistas estão o reconhecimento no meio artístico e a ousadia ao transcenderem os limites técnicos conhecidos. / This research aims to reflect about the Poetics and the Technical which involve Ceramics as a means of expression. This reflection was made by analyzing seven artists\' testimonies as well as the observation of singularities of their ceramic works. Among the criteria for the artists selection is their recognition in the artistic world and the daring to transcend the known technical limits

Esta pesquisa tem como objetivo refletir sobre a Poética e sobre a Técnica que envolvem a Cerâmica como meio de expressão. Tal reflexão foi feita por meio da análise de depoimentos de sete artistas, bem como da observação das singularidades de seus trabalhos em cerâmica. Entre os critérios para seleção dos artistas estão o reconhecimento no meio artístico e a ousadia ao transcenderem os limites técnicos conhecidos. / This research aims to reflect about the Poetics and the Technical which involve Ceramics as a means of expression. This reflection was made by analyzing seven artists\' testimonies as well as the observation of singularities of their ceramic works. Among the criteria for the artists selection is their recognition in the artistic world and the daring to transcend the known technical limits

Made available in DSpace on 2014-06-11T19:27:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-11-14Bitstream added on 2014-06-13T20:08:30Z : No. of bitstreams: 1 marandola_jams_me_rcla.pdf: 781711 bytes, checksum: 92d6cd571fa48fa0fc7656ed60392d2f (MD5) / Secretaria Estadual de Educação do Estado de São Paulo / A obra de João Cabral de Melo Neto é uma das mais significativas de nossa literatura. Sua concepção racional da poesia atribuía à própria materialidade dos objetos seu potencial poético. Para tanto, escrevia a partir da memória, sempre distante dos lugares temas de sua poesia. Para ele, esta era uma condição necessária à escrita, embora seus poemas não possuam um tom memorialista. A memória era entendida por ele como o material de onde a poesia poderia emergir e por isso Cabral fez uma obra com referências geográficas explícitas, de forma consciente. A forma como ele enraizou sua poesia e como esta atingiu a universalidade é objeto desta pesquisa, procurando em sua poética os traços que tornam sua obra o elogio da matéria, da espacialidade e da geograficidade, enquanto elementos intrínsecos da produção artística. “Morte e vida severina”, seu poema mais conhecido, é tomado como eixo principal desta análise, a partir de suas imagens, metáforas e da própria poética cabralina. O rio Capibaribe é o caminho de Severino que emigra do sertão para Recife, promovendo uma transmutação entre homem-rio no seu caminho de morte e vida. A análise revela a importância do espaço telúrico, expressão da relação primitiva homem-meio, como a fonte de onde emerge a força imagética e metafórica da poesia. / The work of João Cabral de Melo Neto is one of the most significant of our literature. His rational conception of poesy attributed to the own materiality of the objects his poetical potential. For this reason, he wrote from his memory, always far from the theme places of his poesy. It was for him a necessary condition to writing even though his poems do not possesses a memorializing tone. Memory was understood by him as the material where poesy could emerge, and for this reason, Cabral did a work with explicit geographical references in a conscientious form. The way that he established his poesy and how it reached universality is the object of this research, looking for in his poetics the traces that makes his work the eulogy of matter, of spatiality and of geographicity, while intrinsic elements of the artistically production. “Morte e Vida Severina”, his most known poem, is taken as the main axle of this analysis starting from its images, metaphors and from the own Cabral’s poetics. Capibaribe river is the path of Severino that emigrates from sertão to Recife, promoting a transmutation between man-river in his path of death and life. The analysis reveals the importance of telluric space, expression of primitive relation man-environment as the source from where emerges the imagery and metaphoric strength of the poesy.