Made available in DSpace on 2016-04-20T12:05:36Z (GMT). No. of bitstreams: 1 000478220-Texto+Completo-0.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) Previous issue date: 2016 / This work promotes a search of the structural relationship between poetry and play. Thus, a theoretical and literary pathway was mandatory. French Symbolism was the analytical starting point of this study, especially in the figures of Baudelaire, Rimbaud and Mallarmé. This last one, taken as the apex of the playful and experimental poetry of his time, was the greatest pillar of this approach. In addition, a playful pathway was also required, blending concepts and theories sourced from the game field. This search yet showcased the investigation of compelling issues such as hypertextuality, co-authorship and rewriting. / O presente trabalho promove uma busca pela relação estrutural entre a poesia e os jogos. Para tanto, um percurso teórico-literário se fez necessário. O Simbolismo Francês foi o ponto de partida analítico deste estudo, em especial nas figuras de Baudelaire, Rimbaud e Mallarmé. Este último, enquanto ápice da poesia lúdica e experimental da sua época, foi o grande pilar desta abordagem. Além disso, também foi necessário um percurso lúdico, fazendo uso de conceitos e teorias pertencentes ao universo dos jogos. Esta busca permitiu ainda investigar questões intrigantes como hipertextualidade, co-autoria e reescritura.

Trümmerliteratur - literally “rubble-literature" - is a brand of literature that became important after the Second World War, led by Heinrich Böll, whom I term the apologist of German Trümmerliteratur. Typically included under this classification are the writers who began to produce in the years immediately following the war, and in whose work the rubble and ruins of the landscape figure prominently. Böll provided the programmatic framework for the movement in his “Bekenntnis zur Trümmerliteratur" but his relationship to another type of ruin writing presents a point of friction when he appears to be working in a romantic mode to describe his experience of Irish ruins. This problem was the point of departure for a new thinking of ruins. Discovering the strains of rubble literature in Grass and Celan presents the second part of this study, which dramatically recasts these writers, demanding that the presence and prevalence of ruin images and themes receive consideration. Grass's hermeneutical ruins, a reading of narrative gaps, presents the first level of ruin, separating the reader from the text's reliability and authorial immediacy. The next type of ruins that Grass presents is the violent ruinating involved in the the act of writing itself, whether chiseled into gravestones or flecking virginal paper. Similarly, Celan's images of ruins are produced in a form consciously resembling berubbled structures, with dashes and slashes often left jutting dangerously into the space of a wide margin, like the rusty reinforcing steel bars of modern construction. Considering these writers in these terms leads to the question of language and how they attempt to overcome the problem of a language manipulated into complicity in the crimes of totalitarianism. Finally, there is the transparency offered in the porous structure of the ruin. These houses prove incapable of providing the shelter or protection. The inhabitants are exposed, exhibited to the observer with all of the intimate contents of quotidian existence, the low objects of the everyday. Entrance into this interiority is a powerful part of what makes the ruins an interesting object for observation. In this literature of ruins and rubble the reader is offered this transparency, an offer of entrance into society's interiority.

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During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-04-19T17:44:42Z No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) / Made available in DSpace on 2016-04-19T17:44:42Z (GMT). No. of bitstreams: 1 DIS_ISRAEL_MENDES_COMPLETO.pdf: 2626772 bytes, checksum: 4871148c45e94b1a05d0e829a5947170 (MD5) Previous issue date: 2016-01-12 / This work promotes a search of the structural relationship between poetry and play. Thus, a theoretical and literary pathway was mandatory. French Symbolism was the analytical starting point of this study, especially in the figures of Baudelaire, Rimbaud and Mallarm?. This last one, taken as the apex of the playful and experimental poetry of his time, was the greatest pillar of this approach. In addition, a playful pathway was also required, blending concepts and theories sourced from the game field. This search yet showcased the investigation of compelling issues such as hypertextuality, co-authorship and rewriting. / O presente trabalho promove uma busca pela rela??o estrutural entre a poesia e os jogos. Para tanto, um percurso te?rico-liter?rio se fez necess?rio. O Simbolismo Franc?s foi o ponto de partida anal?tico deste estudo, em especial nas figuras de Baudelaire, Rimbaud e Mallarm?. Este ?ltimo, enquanto ?pice da poesia l?dica e experimental da sua ?poca, foi o grande pilar desta abordagem. Al?m disso, tamb?m foi necess?rio um percurso l?dico, fazendo uso de conceitos e teorias pertencentes ao universo dos jogos. Esta busca permitiu ainda investigar quest?es intrigantes como hipertextualidade, co-autoria e reescritura.

No description available.