PETR POLA : PROLEGOMENA TO PROBLEMATICS OF SOLITUDE Dissertation abstract The aim of the dissertation entitled Prolegomena to Problematics of Solitude is to introduce solitude as an existential characteristic, explore ways of its surpassing and articulate its relationship to experience of art. The issue of solitude represents for us a possible way to understand modern existence. First we examine the problem of solitude as an problem of isolated existence and formulate the question of its origin. The resolution of existential loneliness and solitude of being come to grasp the possibility of a relationship between isolation and solitude of being as sovereignty of being. Existential solitude means to effacer the relation of one who exists to oneself, which is a precondition for its existence. Finally we formulate a relationship between existential solitude and essential solitude, which is the paradigm for the experience of art especially for M. Blanchot. Deepening the problematics of existential solitude also enables to formulate the basis for discussions on the concept of subjectivity, which recently been revived.

GOMES, Jennifer Pereira. Olhinhos de Nuvens: Infância e Solidão na prosa de Cecília Meireles. 2014. 121f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-06-11T13:41:45Z No. of bitstreams: 1 2014_dis_jpgomes.pdf: 852392 bytes, checksum: 9bce7b473d6b2a761cd478c4bbdbc0c2 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-06-11T15:06:50Z (GMT) No. of bitstreams: 1 2014_dis_jpgomes.pdf: 852392 bytes, checksum: 9bce7b473d6b2a761cd478c4bbdbc0c2 (MD5) / Made available in DSpace on 2014-06-11T15:06:50Z (GMT). No. of bitstreams: 1 2014_dis_jpgomes.pdf: 852392 bytes, checksum: 9bce7b473d6b2a761cd478c4bbdbc0c2 (MD5) Previous issue date: 2014 / This work aims to observe the figurations of childhood - in that case, girls - and loneliness in prose of memoir nature of Cecília Meireles. We seek to bring us closer to a portion of the work in Ceciliana prose that, compared to other books, are less covered by literary criticism: Olhinhos de gato (autobiographical novel) and Giroflê, giroflá (short stories) . From the in-depth reading of selected works, following the comparative method, we understand (and appreciate) figurations of childhood, focusing on female children's characters: they are children who have a slope facing the poetic, the reverie (identified as characteristic of imagination child), immersed in solitude, with great proximity to death, beyond the intimate experience of transcendence. Watching the stylistic development of the text of the author (imagery, vocabulary choice, sound, theme, etc.) we believe we can still make an approximation that the corpus poetry and other prose of the author, perform a thematic perspective. From the "poetics of the senses" proposed by Gaston Bachelard in The poetic of reverie we’ll realize how is the experience of the world performed by the girls of the corpus of works, observing the oniric spaces where they are and will position us from the exploitation of space, compared to daydreaming, miniaturization, and the transcendence whose principle infinite. / Este trabalho tem como principal objetivo observar as figurações da infância – no caso, das meninas – e da solidão na prosa de natureza memorialística de Cecília Meireles. Buscamos nos aproximar de uma parcela da obra em prosa ceciliana que, face aos demais livros, são menos contemplados pela crítica literária: Olhinhos de gato (romance autobiográfico) e Giroflê, giroflá (contos). A partir da leitura aprofundada das obras selecionadas, seguindo o método comparativo, buscaremos compreender (e apreciar) as referidas figurações, com foco nas personagens infantis femininas: são crianças que apresentam uma inclinação voltada ao poético, ao devaneio (apontado como característica da imaginação infantil), imerso na solidão, com grande proximidade da morte, além da vivência íntima da transcendência. Observando o desenvolvimento estilístico do texto ceciliano (imagística, escolha vocabular, sonoridade, temática, etc.) acreditamos ser possível, ainda, efetuar uma aproximação desse corpus à obra poética e às demais em prosa da escritora, ainda que numa perspectiva temática. A partir da “poética dos sentidos” proposta por Gaston Bachelard em A poética do devaneio perceberemos como se dá a experiência do mundo realizada pelas meninas das obras do corpus, observaremos os espaços oníricos onde elas se encontram e nos posicionaremos, a partir da exploração do espaço, frente a devaneios, sejam os de miniaturização, sejam os de transcendência que têm como princípio o infinito.

Eugène Ionesco est un «nouveau classique» dont la dramaturgie est à la fois en rupture avec la dramaturgie traditionnelle et en progrès sur elle, la dramaturgie ionescienne est alors labyrinthique. Les composants de cette dramaturgie sont également labyrinthiques : la construction dramatique, les personnages, le langage, le temps et l'espace. Ce labyrinthe total mène à une absurdité totale celle de l'indécision et de déséquilibre. Pour envisager cette absurdité, l'homme ionescien a recours à la révolte, à l'indifférence et au rêve, mais il se heurte toujours à sa condition tragique d'un errant sans racines ni buts. Il ne lui reste alors que le rire, d'où la naissance d'un comique à la recherche de son identité. C'est le comique problématique d'Eugène Ionesco. L'aspect problématique de ce comique est dû aux points suivants : premièrement, sa naissance dans une ambiance labyrinthique crée l'absurde qui rend incertaine même l'humanité de l'homme. Deuxièmement, ce nouveau comique s'inspire du comique classique de Molière, mais son essence n'est plus d'instruire, de corriger ou de plaire mais de réfléchir. Troisièmement, ce comique révèle la condition tragique de l'homme par des scènes qui augmentent l'angoisse au lieu de la dissiper. Par conséquent, c'est un comique problématique soit par rapport au tragique, soit par rapport au rire qui devient, à son tour, un effet du tragique. C'est pour cette raison que ce comique reste ouvert à de multiples hypothèses même celle de son inexistence. / Eugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence.

As the title suggests, this essay is a postmodern and autobiographical analysis of the three detectives in Paul Auster´s widely acclaimed 1987 novel The New York Trilogy. The focus of this study is centred on a comparison between the three detectives, but also on tracking when and why the detectives devolve into madness. Moreover, it links their descent into madness to the postmodern condition. In postmodernity with its’ incredulity toward Metanarratives’ lives are shaped by chance rather than by causality. In addition, the traditional reliable tools of analysis and reason widely associated with the well-known literary detectives in the era of enlightenment, such as Sherlock Holmes or Dupin, are of little use. All of this is also aggravated by an unforgiving and painful never-ending postmodern present that leaves the detectives with little chance to catch their breath, recover their balance or sanity while being overwhelmed by their disruptive postmodern objects. Consequently, the three detectives are essentially all humiliated and stripped bare of their professional and personal identities with catastrophic results. Hence, if the three detectives start out with a reasonable confidence in their own abilities, their investigations lead them with no exceptions to a point where they are unable to distinguish reality from their postmodern paranoia and madness. And in the meantime, no crime is resolved and no social order restored. The autobiographical back drop of the three detectives and protagonists in the three novellas is the author´s own life in the late seventies and early eighties. In that sense the three protagonists all illustrate the parallel lives the author could have had, if chance and trivial every day decisions had not turned Auster´s life around, at certain critical junctures during the darkest moments of his life in connection with the painful divorce from his first wife.

Mémoire en recherche-création / Des lucioles est un roman versifié où monde intérieur et monde extérieur paraissent irréconciliables. À travers une narratrice habitée par le deuil inachevé de son père, ce projet s’interroge sur ce qui demeure après la perte lorsque les circonstances ne permettent pas que l’on s’arrête pour contempler le vide laissé par l’être perdu. Entourée de personnages habités par une douleur qu’elle croit semblable à la sienne, la narratrice fait l’expérience de l’importance de la communauté, mais également, des limites de cette même solidarité. La lumière, image parcourant le texte, expose autant la beauté que l’obscurité du milieu où la narratrice évolue. L’absence d’issue apparente pour le personnage nous révèle le sentiment d’impuissance qui l’habite face à sa situation précaire. L’essai qui le suit, Utilité et limites de la commune dans L’ange de la solitude de Marie-Claire Blais, s’articule également autour des questions d’individualité et de solidarité. À partir du concept d’hétérotopie développé par Michel Foucault, l’essai tente d’abord de comprendre la nécessité de la création d’un safe space pour les personnages marginalisés de L’ange de la solitude, puis se questionne sur la persistance des rapports de force à l’intérieur de ce lieu établi hors des instances sociales dominantes. Au cœur de cette contradiction se pose une question fondamentale sur la relation qu’entretient l’individu ostracisé avec le monde qui le rejette, et propose ainsi une réflexion sur le rapport à l’espace des communautés marginalisées. / Des lucioles is a versified novel in which intimate and outside world are shown as irreconcilable. Through a female narrator who is still grieving the death of her father, this project shows what remains after a person disappears, especially when circumstances do not allow the griever to properly process that loss. Surrounded by like-minded people who seem to be struggling as much as her in their own lives, the narrator realizes the importance of belonging to a community, but also, the limits of that solidarity. The recurring image of light shows both the beauty and the despair of the environment in which the characters evolve. The apparent lack of resolution for the protagonist tells us a lot about the helplessness of the subject facing the world they live in. The essay that follows, Utilité et limites de la commune dans L'ange de la solitude de Marie-Claire Blais, is also exploring the ideas of solidarity and community. Through the concept of hétérotopie developed by Michel Foucault, we try to understand the necessity for Blais’ characters to create a safe space for themselves. We then observe the presence of power relationships inside the friend group, despite their attempt at creating a space out of the social structure that marginalized them in the first place. With this essay, we expose the relationship between the marginalized subject and the world that rejects them, which allows us to reflect on the way these social groups interact with space in general.

Too Loud a Solitude is one of the most famous texts of Bohumil Hrabal and possibly it is his most philosophical one. The following thesis interprets this text from the philosophical points of view as a statement about modern age and an individuals place in it. Based on one of the central sentences - "The heavens are not humane" - spoken by the protagonist Haňťa in his monologue in, the text is read as defense against incommensurability of the world with an indiviual. Christian a ancient Greek's way of defense are considered as not appliable to the age Haňťa lives at, but also as somehow present in his way of defense, which is described as a specific type of "pábení". "The end of Christian epoch" (as Hrabal himself puts it) which occurs in Too Loud a Solitude is described then in terms of mechanizing and forgetting of actual humane being. Existencial analysis of Haňťa's state after the end of epoch follows. The thesis mostly reffers to following thinkers: Friedrich Nietzsche, Karl Jaspers, Albert Camus and Jean Améry.

Bien que les contacts sexuels entre humains et animaux (bestialité et zoophilie) semblent exister depuis le tout début de l’histoire de l’humanité, les écrits scientifiques sur ce sujet demeurent peu nombreux. Au fil du temps, ce phénomène a été illustré dans l’art, dans la mythologie, dans les textes religieux, dans les procès de mœurs, les procès sur la défense des droits des animaux et dans bien d’autres sphères témoignant de la présence et de l’intérêt public pour ce phénomène. Ceci dit, ce n’est que dans les dernières décennies que les chercheurs ont tenté de décrire et de comprendre la zoophilie et la bestialité, et à ce jour, les études demeurent largement descriptives. La perception que les chercheurs ont de la zoophilie et de la bestialité est encore fragmentée et cette étude tente d’ajouter un nouveau morceau à cette mosaïque de connaissances en comparant sur différentes variables des personnes ayant ou ayant eu par le passé des contacts sexuels avec des animaux à des personnes n’ayant pas eu de tels contacts. Pour ce faire, nous nous sommes intéressés aux écrits, anciens et récents, et avons cherché à vérifier certaines des informations répertoriées dans ces écrits, et surtout, nous nous sommes demandé ce qui différenciait les deux groupes (outre les contacts sexuels avec les animaux). Au moyen de questionnaires informatisés et déposés sur un site internet créé pour l’étude, nous avons sondé 440 personnes à travers 27 pays (219 zoophiles et 221 non-zoophiles). Tous les participants ont été recrutés via internet et la participation à l’étude était entièrement anonyme. Les données colligées ont ensuite été analysées à l’aide de statistiques descriptives (moyenne, écart-type, pourcentage), et d’analyses comparatives et exploratoires (ANONVA 2x2, Test-T, Chi-carré, Analyses de fonction discriminante). Plusieurs différences statistiquement significatives ont été observées. Ainsi, les différences observées portaient sur les caractéristiques démographiques, les variables psychosociales et la sexualité. Les principaux résultats ont établi que dans notre échantillon communautaire, les zoophiles étaient moins anxieux et avaient une meilleure estime de soi que les participants du groupe contrôle. Ils étaient aussi moins éduqués, moins fortunés et vivaient davantage en milieux ruraux ou mixte que les participants du groupe contrôle. La présente étude visait donc à contraster les données de zoophiles à celles de non-zoophiles sur des variables mise de l’avant dans des études antérieures afin de les mettre en perspective. Les études sur la zoophilie n’ayant jamais, à notre connaissance, utilisé de groupe contrôle, cette thèse offre un point de vue unique sur les caractéristiques des zoophiles ayant participé à l’étude. Enfin, cette thèse avait aussi pour but de fournir des pistes de réflexion pour de prochaines recherches sur le sujet. / Although sexual contacts between humans and animals (bestiality and zoophilia) seem to have existed since the very beginning of human history, the scientific literature on this subject remains scarce. Over time, this phenomenon has been illustrated in arts, mythology, religious texts, morals’ trials, animal rights’ trials, and in many other fields acknowledging the existence and public interest for the phenomenon. It is only in recent decades that researchers have attempted to describe and understand zoophilia and bestiality, and to date, these studies have remained largely descriptive. The researchers' understanding of zoophilia and bestiality is still fragmented, and the present study attempts to add a new piece to this mosaic of knowledge by comparing different variables of people who have or have had sexual contacts with animals to people who have not had such contacts. In order to do this, we took an interest in recent and older writings, and sought to verify some of the information provided in these writings. More precisely, we attempted to differentiate between these two groups. Using computerized questionnaires, we surveyed 440 people from 27 countries (219 zoophiles and 221 non-zoophiles). All participants were recruited via the internet and their participation to the study was entirely anonymous. The data collected were then analyzed using descriptive statistics (mean, standard deviation, percentage), and comparative and exploratory analyzes (ANONVA 2x2, T-test, Chi-square, Discriminant Function Analysis). Several statistically significant differences were observed in demographic characteristics, psychosocial variables and sexuality. The main findings were that in our community sample, zoophiles were less anxious and had better self-esteem than participants from the control group. They were also less educated, not as wealthy, felt lonelier, and lived more in rural or mixed environments than participants from the control group. This study aimed to contrast the data of zoophiles with those of non-zoophiles on variables put forward in previous studies in order to put them into perspective. Since studies on zoophilia have never, to our knowledge, used a control group, this thesis offers a unique point of view on the characteristics of the zoophiles who participated in the study. Finally, this thesis was also intended to provide some ideas for future research on the subject.

[ES] La historia del ser humano está repleta de tragedias y padecimientos, hechos que, marcándolo profundamente, lo han acompañado tanto en su memoria, la memoria de la piel o esa otra memoria plástica llamada creación. Vemos cómo, la sociedad ha evolucionado vertiginosamente en muchos de los sentidos respecto a quienes vivían en las cavernas, pero si algo aún nos iguala, ello es el DOLOR. El término DOLOR es genérico y puede presentarse desde distintas dimensiones. Ser físico y afectar a nuestro cuerpo o ser mental y padecerlo nuestra alma. Un cáncer, vivido en la propia piel, es el que nos ha motivado a reflexionar a través de nuestra propia práctica artística sobre algunos aspectos transversales al ser humano como son el DOLOR, el SUFRIMIENTO, la ENFERMEDAD o la MUERTE. Como resultado, planteamos una tesis doctoral que indaga sobre estos temas en los que, tras el estudio y acotación de términos, trata de discernir cómo, a pesar de ser comunes a todos los individuos, cada uno los procesamos y experimentamos de forma muy distinta. Aclarar que NO somos psicólogos, psicoterapeutas, médicos, historiadores, sociólogos ni teólogos; SOMOS CREADORES que, sin perder de vista el rigor, la coherencia y un detallado análisis de los temas seleccionados hemos planteado esta investigación desde la propia vivencia y nuestro posicionamiento ante el hecho artístico. Así, para abordar la visión sobre el dolor, se han seleccionado una serie de artistas que nos muestran que hay tanta variedad de padecimientos como formas de procesarlos desde la creación. Todos ellos, nos sumergen en una serie de realidades sobrecogedoras de las que nos hemos hecho eco en esta investigación. Hemos tratado, por un lado, los traumas, las acciones o los horrores del pasado e, incluso, los padecimientos voluntarios y que todos ellos acompañan a la persona en su día a día. Y, por otro lado, desde la No Salud, hemos trabajado la incapacidad o el contratiempo tanto desde lo orgánico y biológico de la propia enfermedad, como desde el plano social en el que tiene cabida el rechazo y lo estigmatizante. En cuanto a la muerte, realizamos un recorrido desde el duelo a la estética de la muerte asociada tanto a la universalidad del conocimiento a la hora de comunicar, como a las reacciones afectivo-personales de presenciar historias de muerte y sufrimiento. Variadas han sido las referencias y fuentes documentales a las que hemos acudido. Destacar las entrevistas que nos hablan en primera persona sobre el dolor, propio o ajeno, o las referencias médicas. Voces a las que interrogamos sobre cómo se viven y afrontan las historias de dolor, sufrimiento, enfermedad y muerte. Una tesis doctoral en la que la investigación se centra en vislumbrar cómo todas estas vivencias tienen su reverberación en el Arte. Descubrir el qué, el cómo, el cuándo y el porqué de las distintas soluciones plásticas en las que podemos ver cómo algunos artistas han partido de su experiencia personal para, a través de su producción artística, reflexionar, denunciar, mostrar, visibilizar, purgar o incluso como resiliencia, el dolor, el sufrimiento, la enfermedad y/o la muerte. Con todo ello hemos construido un cuerpo teórico-práctico que nos ha permitido reflexionar sobre el ciclo natural de la vida en el que desde el nacimiento hasta la muerte existe un dolor que, al igual que nos perturba, ha guiado nuestra supervivencia. Una experiencia personal que queda patente en nuestra producción artística que concluye nuestra investigación y que se muestra en la última parte de esta tesis doctoral. Obras que reflejan un tratamiento del dolor relacionado tanto con la vivencia personal de la enfermedad, como con los golpes e infortunios que atentan contra los demás y que, desafortunadamente han desencadenado en la muerte de la que también hemos sido testigos y que esta tesis deja constancia. / [CA] La història de l'ésser humà està repleta de tragèdies i patiments, fets que, marcant-lo profundament, l'han acompanyat tant en la seua memòria, la memòria de la pell o aqueixa altra memòria plàstica anomenada creació. Veiem com la societat ha evolucionat vertiginosament en molts dels sentits respecte als qui vivien en les cavernes, però si alguna cosa encara ens iguala, això és el DOLOR. El terme DOLOR és genèric i pot presentar-se des de diferents dimensions. Ser físic i afectar el nostre cos o ser mental i patir-lo la nostra ànima. Un càncer, viscut en la pròpia pell, és el que ens ha motivat a reflexionar a través de la nostra pròpia pràctica artística sobre alguns aspectes transversals a l'ésser humà com són el DOLOR, el SOFRIMENT, la MALALTIA o la MORT. Com a resultat, plantegem una tesi doctoral que indaga sobre aquests temes en els quals, després de l'estudi i acotació de termes, tracta de discernir com, malgrat ser comuns a tots els individus, cadascun els processem i experimentem de forma molt diferent. Aclarir que NO som psicòlegs, psicoterapeutes, metges, historiadors, sociòlegs ni teòlegs; SOM CREADORS que, sense perdre de vista el rigor, la coherència i una detallada anàlisi dels temes seleccionats hem plantejat aquesta investigació des de la pròpia vivència i el nostre posicionament davant el fet artístic. Així, per a abordar la visió sobre el dolor, s'han seleccionat una sèrie d'artistes que ens mostren que hi ha tanta varietat de patiments com maneres de processar-los des de la creació. Tots ells, ens submergeixen en una sèrie de realitats colpidores de les quals ens hem fet eco en aquesta investigació. Hem tractat, d'una banda, els traumes, les accions o els horrors del passat i, fins i tot, els patiments voluntaris i que tots ells acompanyen a la persona en el seu dia a dia. I, d'altra banda, des de la No Salut, hem treballat la incapacitat o el contratemps tant des de l'orgànic i biològic de la pròpia malaltia, com des del pla social en el qual té cabuda el rebuig i l' estigmatització. Quant a la mort, realitzem un recorregut des del duel a l'estètica de la mort associada tant a la universalitat del coneixement a l'hora de comunicar, com a les reaccions afectiu-personals de presenciar històries de mort i sofriment. Variades han sigut les referències i fonts documentals a les quals hem acudit. Destacar les entrevistes que ens parlen en primera persona sobre el dolor, propi o alié; o les referències mèdiques. Veus a les quals interroguem sobre com es viuen i afronten les històries de dolor, sofriment, malaltia i mort. Una tesi doctoral en la qual la investigació se centra en albirar com totes aquestes vivències tenen la seua reverberació en l'Art. Descobrir el quin, el com, el quan i el perquè de les diferents solucions plàstiques en les quals podem veure com alguns artistes han partit de la seua experiència personal per a, a través de la seua producció artística, reflexionar, denunciar, mostrar, visibilitzar, purgar o fins i tot com a resiliència; el dolor, el sofriment, la malaltia i/o la mort. Amb tot això hem construït un cos teoricopràctic que ens ha permés reflexionar sobre el cicle natural de la vida en el qual des del naixement fins a la mort existeix un dolor que, igual que ens pertorba, ha guiat la nostra supervivència. Una experiència personal que queda patent en la nostra producció artística que conclou la nostra investigació i que es mostra en l'última part d'aquesta tesi doctoral. Obres que reflecteixen un tractament del dolor relacionat tant amb la vivència personal de la malaltia, com amb els colps i infortunis que atempten contra els altres i que, desafortunadament han desencadenat en la mort de la qual també hem sigut testimonis i que aquesta tesi deixa constància. / [EN] Human history is brimming with stories of tragedies and aliments, which, due to their impact, have accompanied the human race in their memory, skin memory, or that other kind of plastic memory called creation. We see that contemporary society has vertiginously evolved in multiple ways from the times when humans inhabited caverns, but if there is something that puts us on par with them, that is PAIN. Living through cancer in our own skin was precisely what motivated us to reflect through our artistic practice on transversal aspects of human experience such are PAIN, AFFLICTION, ILLNESS, or DEATH. As a result, we put forth the present doctoral thesis, which aims to look into these selected themes. After studying and choosing the researched terms, this thesis should discern how, albeit common amongst all individuals, they are processed and experienced in different ways. It is worth noting that we are NOT psychologists, psychotherapists, doctors, historians, sociologists, or theologians; WE ARE CREATORS who, while never losing sight of rigor, coherence, and a detailed analysis of the selected themes, have laid out this research from the lived experience, and our understanding of the artistic phenomenon. Therefore, to establish a perspective on pain, a series of artists who shed a light on the variety of forms of suffering have been selected to demonstrate that there are as many shapes of affliction as ways of addressing it through creation. Standing as a subject, as a first person, as an object, or by referencing others: all of these artists submerge us in a series of shocking realities which resonate in this research. We have dealt, on the one hand, with trauma, actions or horrors of the past, even the voluntary aliments that accompany a person every day. On the other hand, from the state of unhealthiness, we have worked on the inability or the mishaps of the organic and biological aspects of the illness, as well as the social aspects in which repudiation and stigma come into play. As for death, we trace a path from grief to the aesthetics of death associated with the universality of knowledge when communicating as well as to the personal and affective reactions to witnessing stories of death and sufferance. We have resorted to multiple references and documentary sources. We would like to highlight the interviews in which pain ¿one's own or somebody else's¿ and medical references are dealt with in the first person. We have posed questions on how stories of pain, suffering, illness, or death are discussed. This is a doctoral thesis in which research works towards finding out how all these experiences resonate in Art by finding out the reasons, mediums, timings, and ideas behind the different plastic solutions to which artists have come departing from their personal experience. In this way, through artistic production, artists reflect, denounce, show, demonstrate, and purge pain, suffering, illness, and/or death. All these elements have assembled a theoretical and plastical body of work that has allowed us to reflect on the natural cycle of life by which since birth and up until death a form of pain is always present, and while disturbing, it has guided our survival. There is a personal experience that is instilled in our artistic production, which concludes our research and is displayed in the last part of this doctoral thesis. These are words that reflect the treatment of pain related to the personal experience of illness as well as with the blows and misfortunes that hit others and, unfortunately, have resulted in the witnessed death to which this thesis is also a testament. / Gil Gil, C. (2023). La creación artística y la reverberación del dolor, la enfermedad y la muerte en el arte contemporáneo. Una propuesta artística desde la adversidad y la resiliencia [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/192691

Les mesures de distanciation sociale pendant la pandémie de la COVID-19 ont engendré de l’isolement et ont soulevé des inquiétudes concernant la solitude de la population. Étant donné les multiples conséquences de la solitude sur la santé, il est primordial de mieux comprendre comment ce phénomène évolue dans le temps, et d’identifier qui, dans la population, est particulièrement susceptible d’être touché par un sentiment de solitude prolongé. Les études existantes sur le sujet sont souvent transversales et donc n’examinent pas la chronicité de la solitude. De plus, elles ne s'interrogent pas sur la relation entre l’isolement et la solitude ni sur les variations interindividuelles et la vulnérabilité de certains sous-groupes, notamment les jeunes adultes. À partir d’une étude longitudinale (n=1763) s’échelonnant sur 11 temps de mesure entre avril 2020 et avril 2021, nous avons identifié des trajectoires de solitude au sein de la population canadienne. Nous avons identifié cinq trajectoires différentes, que nous avons numérotées comme suit : [1] très faible et stable (8,9%); [2] faible et instable (21,1%); [3] modéré et instable (38,8%); [4] élevé et stable (25,6%); [5] très élevé et décroissant (5,6%), indiquant une hétérogénéité dans l’expérience de la solitude. Nous avons ensuite examiné les facteurs de risque liés à l’appartenance à ces trajectoires, en lien avec différents indicateurs d’isolement et l’âge. Nous avons constaté que vivre seul était associé à de plus hauts niveaux de solitude, tandis que le respect élevé des mesures sanitaires et les contacts sociaux en ligne réduits étaient associés à des trajectoires moins élevées. De plus, les jeunes adultes et plus particulièrement ceux vivant seuls étaient plus susceptibles d’appartenir aux groupes de trajectoires de solitude élevées. Notre étude approfondit la compréhension de la solitude ressentie par les individus dans un contexte d’isolement aussi inusité que celui de la pandémie de la COVID-19 en identifiant la composition des sous-groupes les plus affectés. / Social distancing measures during the COVID-19 pandemic have led to isolation and raised concerns about population loneliness. Given the multiple health consequences of loneliness, it is crucial to understand better how this phenomenon evolves over time and identify who in the population is particularly susceptible to prolonged feelings of loneliness. Existing studies on the subject are often cross-sectional and do not examine the chronicity of loneliness. Additionally, they do not investigate the relationship between isolation and loneliness, nor do they explore inter-individual variations and vulnerability among certain subgroups, particularly young adults. Using a longitudinal study (n=1763) spanning 11 measurement points between April 2020 and April 2021, we identified trajectories of loneliness within the Canadian population. Five different trajectories were identified, which we numbered as follows: [1] very low and stable (8.9%), [2] low and unstable (21.1%), [3] moderate and unstable (38.8%), [4] high and stable (25.6%), [5] very high and decreasing (5.6%), indicating heterogeneity in the experience of loneliness. We then examined risk factors associated with belonging to these trajectories, in relation to different indicators of isolation and age. We found that living alone was associated with higher levels of loneliness, while high compliance with health measures and reduced online social contacts were associated with lower trajectories. Moreover, young adults, especially those living alone, were more likely to belong to the high loneliness trajectory groups. Our study deepens the understanding of individuals' experienced loneliness in the unprecedented context of COVID-19 isolation by identifying the composition of the most affected subgroups.

Die deutsch-schweizerische Autorin und Dramatikerin Sibylle Berg ist seit ihrem Romandebüt 1997 mit „Ein paar Leute suchen das Glück und lachen sich tot“ im deutschsprachigen Kulturraum sehr besprochen worden. Präsente Themen in ihrer Schriftstellerei sind nicht zuletzt die Bedingungen des Zusammenlebens und die bedrohenden Gefühle von Einsamkeit in der gegenwärtigen Gesellschaft. Durch Studien von vor allem Sibylle Bergs erstem Roman und dem 2019 erschienenen „GRM – Brainfuck“ wird in dieser Arbeit untersucht, wie die Autorin sich mit den oben erwähnten Themen beschäftigt. Problematisiert werden in den beiden Romanen sowohl die direkte soziale Interaktion zwischen einzelnen Individuen als auch die Beziehungen aus einer weiteren Perspektive: bespielsweise zwischen ganzen sozialen Schichten, Gruppen verschiedener ethnischer Zugehörigkeiten und Generationen. Die Schilderungen tragen thematisch und sprachlich offenbare Merkmale der gegenwärtigen Popliteratur und der ausgesprochenen feministischen Haltung der Autorin. Spürbar sind aber zugleich intertextuelle Hinweise auf frühere literarische Epochen. / Since the publishing of her first novel, „Ein paar Leute suchen das Glück und lachen sich tot“ (“A Few People Search For Happiness And Laugh Themselves To Death") in 1997, the German-swiss author Sibylle Berg has attracted great attention in the literary life of the German-speaking world. Amongst the themes in her works are not the least those concerning the conditions of coexistence and of the threatening solitude in the contemporary society. Through the study of especially Sibylle Bergs first novel and “GRM – Brainfuck”, the later published in 2019, this work aims to investigate how the author is dealing with these themes. In both novels Berg problematizes the direct social interaction between individuals as well as relationships in a broader sense: for example, between different social strata and people of different ethnicity or generations. The depictions bear the obvious thematic and linguistic marks of contemporary so called popliterature and the outspoken feminist attitude of the Author. Noticeable are, however, also intertextual references to earlier literary periods.