Die geesteswetenskappe, en spesifiek letterkunde en literatuurstudies, loop toenemend deur onder kritiek oor die relevansie van letterkunde in die 21ste eeu. Die letterkundige Hans Ulrich Gumbrecht reken egter dat die probleem nie is dat fiksie irrelevant geword het nie, maar dat die suiwer hermeneutiese manier waarop letterkunde gelees word, gelei het tot ’n reduksionistiese beskouing van letterkunde. Gumbrecht reken dat dit moontlik is om taal op so ’n wyse aan te wend dat dit die leser weer nader kan bring aan die wêreld waarvan hy grootliks verwyderd voel. Hierdie konsep noem hy die “produksie van teenwoordigheid”, en hy identifiseer sewe wyses waarop taal kan funksioneer om só ’n “teenwoordigheidseffek” te bewerkstellig. Marlene van Niekerk se Die sneeuslaper word in hierdie studie ondersoek deur gebruik te maak van Gumbrecht se konsep van die “teenwoordigheidseffek” van ’n literêre teks. Die “produksie van teenwoordigheid” word egter in ’n spanning teenoor die hermeneutiese aspek, die betekenis of interpretasie, en teenoor die “sosiale betrokkenheid” van letterkunde ondersoek – ’n spanning wat deurgaans in Van Niekerk se oeuvre teenwoordig is. Gumbrecht se voorstel om die “teenwoordigheidseffek” van ’n teks te ondersoek, lei daartoe dat Die sneeuslaper gelees kan word as ’n bydrae tot die breër besinning oor die rol en relevansie van letterkunde, kuns en kunskritiek in ons samelewing, en die manier waarop kunswerke ervaar word. Benewens Gumbrecht se idee van teenwoordigheidsproduksie, sal daar ook aangesluit word by Wolfgang Iser se “werkingsestetika” waarvolgens hy aandui dat literêre tekste “strukture uit die werklikheid” neem en herrangskik om daardie strukture op ’n vars en nuwe wyse in die literêre teks te belig. In die proses word tekortkominge of probleme van hierdie “strukture” uit die buite-tekstuele wêreld duidelik. Met behulp van Iser se teorie, word aangedui hoe Van Niekerk in die vier verskillende verhale die leser dwing om bestaande, hermeneutiese aannames oor die letterkunde en literêre tekste te heroorweeg. Die idee dat tekste betekenis moet inhou, sluiting moet bied of noodwendig sosiopolitieke betrokkenheid moet toon word uitgedaag. In ruil ondersoek Van Niekerk eerder die mate waartoe ’n benadering wat gerig is op die “estetiese ervaring” van literêre tekste, voorafopgestelde idees en aanvaarde strukture kan belig ten einde die leser se persepsies oor daardie strukture te wysig. Daar sal aangedui word hoe Van Niekerk taal aanwend om ook ’n teenwoordigheidseffek te bewerkstellig, en in die proses die leser, soos wat Gumbrecht voorstel, vir ’n oomblik “tot stilstand dwing”. / The role and potential relevance of the humanities, specifically of literature and literary criticism in the 21st century, has been increasingly called into question. Literary theorist Hans Ulrich Gumbrecht suggests that the problem is not that fiction has become irrelevant. Rather it is the exclusively hermeneutic way in which literature is read, that leads to a reductionist view of literature. Gumbrecht argues that it is possible to apply language in such a way that it could again bring the reader closer to the world to which the reader feels increasingly distant. He calls this concept the “production of presence”, and identifies seven ways in which language functions to create a “presence effect”. In this dissertation, Gumbrecht’s concept of the "presence effect" of literature will be applied to analyse Marlene van Niekerk’s Die sneeuslaper. The production of presence is, however, analysed in a tension with the hermeneutic aspect, the meaning or interpreation of literature, and literature that engages with social and political realities – a tension which is often present in Van Niekerk’s oeuvre. Gumbrecht’s theory of the “presence effect” of literature, opens up the possibility to read Die sneeuslaper as a contribution to a broader reflection on the way in which art is experienced, and on the role and relevance of literature, art and art criticism at the start of the 21st centuary. Apart from Gumbrecht’s concept of the production of presence, this study will rely on Wolfgang Iser’s reception theory in which he indicates how literary texts can rearrange structures from the world in order to highlights those structures in a new way. Hence, the deficiencies or problems of those “structures” become clear to the reader. Iser’s theory is used to indicate how the Van Niekerk forces the reader to reconsider existing hermeneutic perceptions on literature and literary texts. These include perceptions that texts should necessarily have meaning, that it should provide closure, or that it should be a socially or politically engaged text. Van Niekerk investigates an approach that is focused on the “aesthetic experience” of a literary text, and how such an approach could highlight preconceived ideas about existing and assumed structures about art and society in order to alter the reader’s perceptions of those structures. This study shows that Van Niekerk applies language in such a way that it leads to a presence effect which, as Gumbrecht suggest, forces the reader to experience a “moment of intensity”. / Dissertation (MA)--University of Pretoria, 2014. / tm2015 / Unit for Creative Writing / MA / Unrestricted

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to show how it is the presentification of the scenic direction in dance on the creative process of Acasos Dance Company's spectacle, Sopro, of 2014. This is done through the poeticpedagogical processes, situated as the strategies and ways of working that have been used in the construction of this spectacle from from a collective direction format.To this end it was held monitoring of the creative process of Sopro with strategies and instruments of the ethnographic method as the interview and participant observation. This added to the feature of being a work in which the researcher is involved in the search field, enhances the adoption of autobiographical tone thought from the Autoetnografia.To position the poeticpedagogical processes as agents of direction's presence in dance and the will of contact with the things of the world that accompanies the Sopro spectacle, it was used the understanding of Production of presence of Gumbrecht (2010).It is expected that the collective direction can be thought in a pedagogy of expression through poeticpedagogical processes, which put into evidence a dance pedagogy, that occurs in the making with powerful creative possibilities and developments of trading relations and of acquaintanceship in a collectivity.And that way, could be tried in other scenery- not only in independent dance companies as Acasos - but in other artistic works or even in a formal education. / A presente dissertação se propõe a evidenciar os processos poéticopedagógicos que foram utilizadas no processo criativo do espetáculo de dança Sopro, de 2014, da Acasos Cia de Dança, de Santa Maria. Neste contexto são situados como as estratégias e formas de trabalho que concentram e articulam a pedagogia da dança referente às práticas envolvidas no processo criativo desse espetáculo a partir de um formato de direção coletiva. Para tal, foi realizado o acompanhamento do processo criativo do espetáculo Sopro com estratégias e instrumentos do método etnográfico como a entrevista e a observação participante. Isso, somado a característica de ser um trabalho na qual a pesquisadora está implicada no campo de pesquisa é potencializada a adoção de um tom autobiográfico da escrita pensado a partir da Autoetnografia. São pontuadas as questões referentes aos conceitos de processo, poético e pedagógico, aliados a uma apropriação poética do entendimento de Produção de Presença de Gumbrecht (2010). Isso para posicionar os processos poéticopedagógicos como agentes de presença de um mecanismo pedagógico no fazer poético em dança e relacioná-los a vontade de contato com as coisas do mundo que acompanha o espetáculo Sopro. Os processos poéticopedagógicos postos em evidência neste trabalho podem oferecer um olhar para uma pedagogia não só, mas também da dança, que se dá no fazer com potentes possibilidades de criação e de desenvolvimento das relações de negociação e de convívio na coletividade. E, dessa forma, amplia as possibilidades de experimentação da mesma em outros cenários que não só em Cias independentes de dança como a Acasos mas em outras empreitadas artísticas ou mesmo em outros regimes de ensino.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-19T17:27:27Z No. of bitstreams: 1 fernandapiresalvarengafernandes.pdf: 550360 bytes, checksum: 7265fb9f5f2d59be6b1924f4bce6b281 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:20:47Z (GMT) No. of bitstreams: 1 fernandapiresalvarengafernandes.pdf: 550360 bytes, checksum: 7265fb9f5f2d59be6b1924f4bce6b281 (MD5) / Made available in DSpace on 2017-05-22T17:20:47Z (GMT). No. of bitstreams: 1 fernandapiresalvarengafernandes.pdf: 550360 bytes, checksum: 7265fb9f5f2d59be6b1924f4bce6b281 (MD5) Previous issue date: 2015-03-31 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O público contemporâneo parece manter características de diálogo, comunicação e democracia que ainda garantem certa unidade, porém mudou imensamente em diversos termos. É possível observar transformações que vão desde um novo tipo de público, os consumidores cujo direcionamento do discurso está conectado à retórica da publicidade, até questões da mediação discursiva realizada através de telas e profissionais midiáticos que contemporaneamente admitem uma interatividade antes impensável. Historicamente, o sentido de público enquanto plateia foi se desenvolvendo paralelamente ao significado original, derivado de res publica, e depois gradualmente o substituiu. Surgiu como alternativa para designar o espaço literário e social que se desenhava não mais apenas em torno do rei, la cour, nem se restringia aos burgueses de la ville, mas passa a atingir o gosto de um grand public e admitia a inclusão do parterre dentro de uma unidade cultural urbana delineada na França ao final do século XVII e XVIII (AUERBACH). Assim sinaliza-se para a interdependência entre uma forma literária, uma mentalidade específica e a formação de um público dentro de um processo histórico. Esta acepção de público ainda hoje guia o imaginário dos artistas em sua produção, embora diversos aspectos estruturais tenham transformado a realidade social contemporânea. Com a emergência de novas tecnologias da informação e da comunicação, questiona-se o papel das instâncias de consagração (imprensa, editoras, crítica etc.) enquanto supostos formadores de público, não apenas colocando em xeque a organização e os mediadores do circuito cultural, mas tensionando a ideia de audiência presumida. Partimos daí para a leitura de alguns casos na intenção de um gesto dêitico (GUMBRECHT), que apresente a complexidade da questão. Dentre eles, a Exposição em Desmontagem, de Yuri Firmeza, realizada no MAC do Centro Cultural Dragão do Mar, casos de censura a obras erótico-pornográficas e a ascensão da literatura e dos saraus na periferia urbana de São Paulo. / The public, seen through contemporaneity, seems to keep dialogue, communication and democracy as characteristics that still assure some unity to the audience, but it has changed immensely in different ways. We can detect modifications ranging from a new type of public, the consumers whose speech is attached to the rhetoric of advertising, to matters about media professionals and screens and taking place on discursive mediation in a way previously unthinkable. The sense of public as audience has been developed in parallel with the original meaning, from res publica, and then gradually replaced it through History. The word public appeared as an alternative to designate the literary and social space that drew no longer just around the king, la cour, nor was restricted to bourgeois la ville but goes on to achieve the taste of a grand public and admitted the inclusion of the parterre within an urban cultural unity outlined in France at the end of the seventeenth and eighteenth century (AUERBACH) It points out then the intertwining between a literary form, a specific mentality and the formation of a public within a historical process. This sense of public still guide the imaginary of the artists in their production, although several structural aspects have transformed contemporary social reality. On the emergence of new technologies of information and communication questions are raised about the role of consecration institutions (press, publishers, critics etc.) as alleged publicforming institutions, not only risking the organization and the mediation of the cultural circuit but stressing the idea of presumed audience. Considering this we read some cases on the intention of a deictic gesture (GUMBRECHT) to show the complexity of the matter. Among the cases we highlight Exposição em Desmontagem, an exhibit promoted by Yuri Firmeza in the museum MAC in Centro Cultural Dragão do Mar, events of censorship on erotic-pornographic works and the rise of literature and saraus (soirées as literary gatherings) in the outskirts of São Paulo.

[pt] A emergência de um novo fenômeno – a literatura digital – na esfera disciplinar dos estudos literários provoca a reorganização e invenção de seus instrumentos analíticos e de seus circuitos de comunicação. Concepções de literatura, historicamente instáveis e deslocando constantemente as suas fronteiras e seu horizonte de expectativa, hoje são marcadas também por travessias do espaço escritural. Neste quadro a tese, Literatura Digital: Desafios Teóricos e Estéticos responde aos desafios teóricos e estéticos contemporâneos elaborando novas formas de saber que permitem entender e circunscrever a literatura digital em contextos de produção e recepção alterados. Inserida simultaneamente em uma tradição e defendendo o seu lugar no cenário contemporâneo, este tipo de literatura requer assim revisões e reformulações significativas. Por enquanto ainda faltam contornos à própria literatura digital, e os processos de teorização circulam em espaços predominantemente transdisciplinares. Ao estabelecerem reciprocidade através da epistemologia da complexidade, a cultura midiática e a teoria da literatura vêm desenvolvendo alianças no campo das possibilidades analíticas das obras literárias digitais. Como estratégia metodológica, a tese alia teorias de produção de presença (GUMBRECHT), eventilização (HAYLES), remediação (BOLTER), teorias autopoiéticas de comunicação (LUHMANN), análise estética do fenômeno digital – interatividade, intermidialidade e performance (SIMANOWSKI) – e Medienumbrüche (GENDOLLA e SCHÄFER) a um olhar sobre realizações concretas (close-readings). Em suma, a tese oferece um repertório conceitual inovador formulando fundamentos para uma nova poética digital. / [en] The emergence of a new phenomenon – digital literature – within the field of literary studies calls for the reorganization and creation of new theoretical and analytical repertoires. Since digital literature partakes of literary tradition as well as introduces critical medial and conceptual innovations that challenge the very concept of literary frontiers and spaces, its scholarly analysis demands significant reformulations in literary studies. As models of communication change, so do the reception and production processes accompanying these changes. Within these altered scenarios, the thesis Digital Literature: Theoretical and Aesthetic Reflections is a response to the aesthetic and theoretical challenges brought on by computer-based literature. As a methodological strategy, the thesis articulates recent trends in the theory of digital aesthetics – remediation (BOLTER), eventilization (HAYLES), correlations of performativity, intermediality and interactivity with meaning-driven analysis (SIMANOWSKI), Medienumbrüche (GENDOLLA and SCHÄFER) – with theories of production of presence (GUMBRECHT), autopoietic communicative models (LUHMANN) and closereadings of digital works. By scripting a dialogue with key theorists from print literary theory as well as new media theorists and artists in the burgeoning field, the thesis offers conceptual and theoretical contributions to the formulation of a poetics of new media.