Thesis (M.F.A.) -- Montana State University -- Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Rollin Beamish.

Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-13T23:05:34Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-14T11:25:01Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-14T13:50:29Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2017-12-15T11:59:43Z (GMT) No. of bitstreams: 1 oliveira_twm_me_sjrp.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Made available in DSpace on 2017-12-15T11:59:43Z (GMT). No. of bitstreams: 1 oliveira_twm_me_sjrp.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) Previous issue date: 2017-02-21 / Segundo Orlandi (2004), dentro do espaço urbano, no que se referem às mais variadas dimensões como a econômica, a cultural, a histórica, etc, o corpo dos sujeitos e o corpo da cidade formam uma construção única, estando os corpos de ambos atados e o destino de um não se separa do destino do outro. Sob esse aspecto, nas relações poéticas, a discussão sobre a cidade, o sujeito lírico e a modernidade é intrinsecamente ligada, já que o início do que pode ser considerado moderno está relacionado com o crescimento das grandes cidades. Essa relação entre sujeito-cidade mudou as relações sociais e, consequentemente, o fazer e o pensar a arte. Tais relações entre sujeito e cidade se acentuam na contemporaneidade, uma vez que o caos urbano se torna mais acirrado e a sensação de fragmentação dos sujeitos se aprofunda. Com base nesses pressupostos, o objetivo desta pesquisa foi empreender um estudo de quatro poemas de Roberto Piva (1937 – 2010) presentes no livro Paranoia ([1963] 2009): “A piedade”, “Poema Porrada”, “Praça da República dos meus sonhos” e “Visão de São Paulo à noite – Poema antropófago sob narcótico”. Partindo do enfoque do urbano, o intento do trabalho foi estabelecer de que forma se constrói a imagem da cidade de São Paulo nos quatro poemas supracitados. Em relação aos aspectos da modernidade lírica, algumas teorias servirão como base às análises dos poemas, como a de Paz (2012; 2014), cuja obra trata, dentre outros temas, da construção de imagens e ritmos dentro dos textos na modernidade poética, e de Friedrich (1978), que discorre sobre os aspectos negativos da lírica moderna, os quais acreditamos permanecerem na obra de Piva. / According to Orlandi (2004), the body of the individual and the ‘body’ of the city form, within urban space, one sole construction, which encompasses their economic, cultural and historical dimensions. In that sense, both types of bodies and their destinies are reciprocally linked. Since the inception of what may be considered modern is related to the growth of big urban centers, as far as poetic relations are concerned, the discussion about the city, the poetic subject and modernity are intrinsically connected. Such relationship between the self and the city has undoubtedly changed social relations and, consequently, the ways in which art is conceived and made. On the other hand, the self-city relationship has been enhanced in contemporary society due to a more acute perception of urban life as chaotic and of the individual as fragmented. These presuppositions lay the basis for the present thesis. Its objective is to examine four poems by Roberto Piva (1937-2010) published in his book Paranoia ([1963] 2009), namely, “A piedade”, “Poema Porrada”, “Praça da República dos meus sonhos” and “Visão de São Paulo à noite – Poema antropófago sob narcótico”. By focusing on the urban aspect, this thesis intends to show how the aforementioned poems representthe city of São Paulo. The aspects of modern lyricism analyzed in this thesis were examined according to Paz’s (2012; 2014) theoretical work, which concerns, amongst other themes, the composition of images and rhythms in modern lyricism. Other literature includes Friedrich (1978), which considers negative aspects of modern lyricism which we believe remain present in Piva’s work.

Ce travail se propose d’étudier le croisement des poétiques urbaines produit par les voyagesà Paris et à Prague d’artistes ayant contribué à la fondation du surréalisme et par les publications deleurs oeuvres dans chacune des deux villes.Les déplacements des Pragois et des Parisiens dans l’une et l’autre ville sont l’occasion derencontres révélatrices d’affinités artistiques. Ils favorisent les rapprochements esthétiques et leséchanges poétiques entre des artistes fondateurs du surréalisme à Paris et à Prague.Le traitement de chacune des deux capitales dans les transcriptions poétiques de séjours dansune ville étrangère et dans les oeuvres qui dévoilent les possibilités d’aventure au sein d’une villefamilière aux auteurs concourt à une mise en regard des réalités parisiennes et pragoises. L’étudedes oeuvres permet de distinguer la circulation des motifs d’un texte à l’autre et de mettre au jourune sémiotique commune à travers laquelle se dessinent les caractéristiques de la ville surréaliste.Le désir de renouveau des artistes d’avant-garde sous-tend l’exploration de la ville etcontribue à l’élaboration d’une image subversive de la ville. La poésie opère ainsi unbouleversement des représentations et s’inscrit à l’encontre des représentations ordinaires.Simultanément, elle est un révélateur de la richesse du réel. La poésie surréaliste qui dévoile ainsi le réel, tout en proposant une image renouvelée de la ville, rencontre les motifs d’une représentation archétypale de la ville. Aussi interrogeons-nous les procédés littéraires de la fondation de la ville surréaliste qui se constitue à la croisée de Paris et de Prague. / This work aims to study the intersection of urban poetry produced by trips to Paris andPrague of artists who have contributed to the foundation of surrealism and by publication of their works in both cities. The travels of artists from Paris and Prague in each city allow encounters revealing artistic affinities. They promote aesthetic links and poetic exchanges between thefounding artists of surrealism in Paris and Prague. The treatment of each capital through poetic transcriptions of stays in a foreign city and through works that reveals the possibilities of adventure in a familiar ciy leads to a comparaison of realities from Paris and Prague. The study of works makes possible to distinguish subjects from a text to another and to put in light a common semiotic through witch appear features of surrealist city.The revival desire of avant-garde artists underlies that exploration of the city and contributes to the development of a subversive image of the city. Poetry creates a disruption of representations and is an opposition to ordinaries representations. At the same time it reveals the intensity of the real. Surrealist poetry, that uncovers the real while offering a renewed image of city, meets the theme of archetypal representation of the town. So, we question the literary process of the founding of surrealist city that is at the crossroad of Prague and Paris.

abstract: Reduced space is an important theme in the works of the Marquis de Sade including his epic novel The New Justine and his pornographic performance piece Philosophy in the Bedroom including the political/social treatise "Frenchmen, yet another effort is needed if you want to be a Republic". Through out his life Sade attempted to overcome reduction of space with writing. Tragically, his writing often prolonged the reduction of his space by sending him to or keeping him in prison. It is my theory that his violent, pornographic writing style is "une écriture de surjouissance" or "a writing of over-coming". Surjouissance is my theory for Sade's method, based on textual analysis of Sade's main works, that he combines through his syntactic structure, narrative voice, and semantic themes the orgasm of the mind represented by philosophical discourse with the orgasm of the body represented textually by orgiastic scenes and the language of orgasm to reach an ultimate state of complete freedom. In the political pamphlet "Frenchmen yet another effort..."Sade attempts to set this theory of sur-jouissance, or this transcendent state reached through the combination of physical and philosophical orgasm, as the political foundation for a new republic. Does he succeed in creating a viable political formula for a sustainable republic? My argument states absolutely not. His aristocratic elitism narrows his voice. But he does propose the combination of sexual, literary, and intellectual freedoms as a possible polemic against any form of reduced space. / Dissertation/Thesis / M.A. French 2011

L'œuvre de Joyce Mansour est la trace foudroyante, voire inquiétante, du principe surréaliste des « vases communicants» : imprégnation de l'écrit par les blessures de la vie tapies dans l'inconscient; empreinte du désir, de la mort, d'un souffle vital indomptable, mais désespéré. Parallèlement, elle témoigne de l'emprise du visuel sur son écriture de chair en érigeant ce « miroir du désir» qui installe une résonance intime entre sa poésie et les œuvres de ses amis artistes. Dans leurs collaborations, ils se subliment, s'exaltent, se commentent, s'illustrent les uns les autres. À leur façon, ils partagent les mêmes angoisses, commettent les mêmes transgressions, exercent la même liberté. L'art et l'écrit se répondent. Cette thèse cherche à suivre le parcours symbiotique entre les images, les mots et la vie, qui traverse l'œuvre de Joyce Mansour. Il se révèle dans la collection d'œuvres d'art océanique qu'elle a constituée avec son mari, Samir Mansour ; dans les Objets méchants qu'elle crée à partir de matériaux récupérés, glanés ou achetés au BHV ... et qui expriment un besoin d'exalter la vie quotidienne, en extraire son essence afin d'échapper au piège de l'ennuie; dans les affinités électives entre elle et ces artistes qui nourrissent ses œuvres, comme elle nourrit les leurs. Ce « miroir du désir» est à la fois singulier - l'expression de la destinée d'une poétesse hantée par la mort et ses traumatismes - et collectif, puisqu'il semble répondre au paysage fantasmagorique d'une génération assoiffée de liberté, mais hantée, comme Joyce Mansour, par les charniers des guerres successives et révoltée par la non-vie des vivants. / Joyce Manour 's work is a striking, sometimes anguishing example of Breton's concept of « communicating vessels » : the subconscious's hidden wounds seep into her writing leaving traces of desire, death and an inextinguishable yet desparate will to live. Parallel to this, the very visual, camal nature of her words provides a « mirror of desire » which enables the intimate echoing between her poetry and the works of her artist friends. Through their collaborations, they sublimate, enhance, comment on and illustrate each other. Each in their own way, they share the same anguish. commit the same transgressions, exercise the sa me freedom. Art and poetry connect deeply. This thesis aims to follow the symbiosis between images, words and experiences which characterises Joyce Mansours work. It reveals itself in the collection of Oceanic art she built up with her husbanc, Samir Mansour ; in the Objets méchants she created using material gleaned from scrapyards or bought at the BHV ... which express a need to intensify daily life, seek its essence in order to escape tedium ; in the elective affinities she shares with with the artists that enrich her works, as she does theirs. This « mirror of desire» is both personal - an expression of the poetess' s destiny, haunted by death and its traumas - and collective, as it seems to reflect the phantasmagorical landscape of a generation hungry for freedom, but haunted, like Joyce Mansour, by the mass graves of successive wars, and in rebellion against the non-life of the living.

La obra de César Moro representa la mejor práctica del surrealismo dentro de la literatura hispanoamericana. En La tortuga ecuestre se define su estrategia poética en plena madurez expresiva. En su estilo domina el manejo del automatismo, que, a su vez, se apoya en la profusión de frases nominales, repeticiones, anáfora, etc., de donde se deriva el ritmo del poema. El discurso surrealista de Moro plantea la destrucción de los órdenes previos de percepción y experiencia. Con tensión entre la constancia del deseo y la presencia y la ausencia del amado, se establece un discurso amoroso que se desglosa interminablemente, recreando el mundo, su naturaleza y su sentido. / César Moro’s work represents the main achievement of surrealism in Latin American Literature. His poetic strategy is best defined in La tortuga ecuestre, where he reaches the maximum width of his artistic attainment. His style is characterized by a variant of automatism, which is supported by plenty of nominal phrases, repetitions, anaphors, etc., from where the poem’s rhythm is derived. Moro’s surrealist discourse proposes the destruction of previous orders of perception and experience. The lover’s discourse is established through the tension between the persistence of desire, and the presence and absence of the beloved. It is constantly broken down, thus recreating the world, its Nature and its sense.

[pt] O objetivo desse trabalho é pensar os problemas de representação acerca do tema do Touro, das Touradas e do Minotauro em três momentos específicos. O primeiro momento é o movimento vanguardista do início do século XX, o Surrealismo. O Touro e o Minotauro são revisitados e tomados como objetos de representações por diferentes artistas, produzindo experiências e percepções diferentes sobre o mesmo tema. Ainda no Surrealismo temos o segundo momento: as escritas pessoais e violentas de Michel Leiris e Georges Bataille. Os dois autores escrevem sobre as interseções entre o homem e o touro e seus resultados viscerais. Em Espelho da Tauromaquia, de Michel Leiris, e História do Olho, de Georges Bataille, o Touro aparece como um lugar de tensões e afetividades deslocadas. O terceiro momento se dá na Argentina da década de 50, quando os contemporâneos Julio Cortázar e Jorge Luis Borges se voltam para o mito do Minotauro como uma espécie de fio de Ariadne para suas escritas. Os dois autores tratam o Labirinto e o Minotauro como lugares de experimentações do fantástico. É também objetivo desse trabalho pensar o Minotauro como um monstro paradoxal que administra dois corpos ao mesmo tempo, tendo como baliza os textos de Gilles Deleuze sobre Lewis Carroll. Esses textos e autores formam um escopo substancial para pensar a Literatura como lugar de elaboração e tensões acerca da representação e produção de alteridade através de dualismos como Homem e Animal, Possível e Impossível, Real e Ficção. / [en] The objective of this essay is to analyse the representation issues surrounding the themes of the Bull, Bullfighting and the Minotaur in three specific instances. The first instance is in Surrealism, the early 20th century avant-garde art movement. The Bull and the Minotaur are revisited and taken as object of representation by different painters during this movement. These artists, with personal perceptions, produce singular depictions of these figures. Within the Surrealist movement, emerges the second instance of interest for this work: the violent and personal writings of Michel Leiris and Georges Bataille. Both authors write about the intersections where human and bull meet and their visceral results. In the books Mirror of Tauromaquia by Michel Leiris and Story of the Eye by Bataille, the Bull emerges as a place of tensions and dislocated affectivities. The third instance takes place in 1950s Argentina where the contemporary authors Julio Cortázar and Jorge Luis Borges turn to the myth of the Minotaur as a kind of Ariadne s thread device in their writings. Both authors write about the Labyrinth and the Minotaur as symbols of experimentation of the fantastic. It is also a matter of interest of this essay to think of the Minotaur as a paradoxical monster presiding over two bodies in one, based on texts of Gilles Deleuze on Lewis Carroll for this argument. These authors and their writings represent a substantial scope to support the idea of Literature as a means of elaboration and tension in the representation and production of Other through movements of dualisms such as Man and Animal, Possible and Impossible, Real and Fiction.

I focus the question of Czech erotic literature based on the surrealist tendencies of the 30s of the 20th century in my Thesis. I pay attention to the person of Jindřich Štyrský and closer look an artistic experiment in the form of Edice 69 and mainly on bibliophile Erotická revue 1 3. I proceed from the literary-historical knowledge, on the basis of which I map historical and artistic context, in which the work was produced, and life stage of Jindřich Štyrský between 1920 1934. The last part of my work I attempt to show the topics, which the erotic literature dealt with, and how could be combined the editorila work of Jindřich Štyrský šith surrealistic tendencies.

Ce travail a pour objet l'histoire du surréalisme pendant l'entre-deux guerres (1921-1941 ). À travers l'étude de nombreuses revues d'époque et des écrits d'André Breton, de Georges Hugnet, de David Gascoyne, il s'agit de mettre en lumière la façon dont les surréalistes se sont faits les acteurs de leur propre histoire. Cette construction mémorielle, parfois critiquée par certains surréalistes (notamment René Crevel), explique sans nul doute les tensions et les conflits qui agitent le groupe. Durant les années 1930, nombreux sont les historiens de l'art et écrivains à assister et à commenter la formation du groupe surréaliste. Le rôle de Christian Zervos, celui de René Huyghe et de Marcel Raymond est évoqué, tout comme les apports plus marginaux de Carl Einstein, de Benjamin Fondane et de Walter Benjamin. Ce processus de réification d'un mouvement qui entend écrire sa propre histoire n'a pas pour seul théâtre la France et l'Europe. Plusieurs historiens de l'art, marchands et galeristes américains ont joué un rôle capital dans la reconnaissance du surréalisme. Les écrits de James Thrall Soby, de James Johnson Sweeney tout comme les initiatives d'Alfred Barr ou de Julien Levy ont été sondés et interrogés pour bien montrer la dimension planétaire du mouvement. / This work is dedicated to the history of surrealism du ring the inter-war period (1921-1944). Through the study of many periodicals and the writings of André Breton, Georges Hugnet, David Gascoyne, it highlights how surrealists have made themselves the actors of their own history. This memorial construction, sometimes criticized by some surrealists (especially René Crevel), undoubtedly explains the tensions and conflicts that shake the group. Du ring the 1930s, many art historians and writers attended and commented on the formation of the surrealist group. The role of Christian Zervos, René Huyghe and Marcel Raymond is evoked, as are the more marginal contributions of Carl Einstein, Benjamin Fondane and Walter Benjamin. This process of commodification of a movement that intends to write its own story does not only take place in France and in Europe. Many American art historians, merchants and galleries have played a major role in recognizing surrealism. The writings of James Thrall Soby, James Johnson Sweeney, as well as Alfred Barr or Julien Levy's initiatives show the planetary dimension of the movement.

The goal of my thesis is an art approach of Vitezslav Nezval and Jirina Haukova poems. It is focused on the cover, first page, main title, dedication and the collectoin of illustrations. The thesis is composed of theoretical and practical part. There are motivational aspects of the art work, historical evolution and lastly the authors of the poems and their curriculum vitaes are introduced in the theoretical part. The prequel of the realization of the book itself is a closer introduction to the literature basis which is later used in the pedagogical process The attention is also payed to the illustration in general and to the art portray of the poems from other painters. There is a room at the end for verbal clarification of my own art interpretation. Practical part of the thesis includes the overall composition of the look of the book.