O presente trabalho pretende realizar o estudo sobre o modelo de corporalidade que foi difundido pela cinematografia recente inspirada pelo movimento cyberpunk. Marcados pela expressão de uma nova forma de dualismo que se funde com os pressupostos antes associados à chamada estética grotesca de um corpo pouco individualizado e aberto ao intercâmbio com o mundo externo e ao mesmo tempo bastante marcado por um novo tipo de conflito agora entre memória e organicidade. O texto discutirá também a contextualização social do movimento cyberpunk que pretendeu unificar a contracultura dos anos 60 com as discussões derivadas das novas tecnologias contemporâneas e seus efeitos nas novas concepções sobre corporeidade e conflito mente/corpo. / This thesis aims to analyze corporeality in cyberpunk cinema. This cinema is defined by a new form of dualism associated to the presuppositions of the grotesque aesthetics. It is a little individualized body and open to the interchange with the external world and defined by a new form of conflict between memory and organicity. The thesis shall also discuss the social context of cyberpunk, which aimed to combine countercultural discussions of the 1960s with discussions coming from the contemporary technologies and their effects on the new conceptions of corporeality and the body/mind dualism.

nÃo hà / Esta pesquisa objetiva estudar a tragicidade nas personagens femininas das obras Onde Estivestes de Noite e A via Crucis do Corpo, de Clarice Lispector. AtravÃs de pesquisa bibliogrÃfica, demonstra que o feminino à o locus em que o trÃgico se apresenta na obra clariceana. Esse trÃgico à conceituado como o titubear entre opostos, na entrelinha formada pelo questionamento das personagens acerca da existÃncia de um destino e da autonomia das escolhas. Assim, a mulher, por sua prÃpria situaÃÃo conflituosa, colocada entre natureza e sociedade, à mais propensa a vivenciar o conflito trÃgico da condiÃÃo humana. Focaliza tambÃm o sublime e o grotesco na obra da autora, e demonstra que o trÃgico à evidenciado a partir da complexa relaÃÃo entre ambos, na busca por transcender os papÃis sociais e ligar-se à origem do mundo. Para tanto, serve-se das contribuiÃÃes de autores como BrandÃo (1996) e Ricouer (1953), no que tange ao conceito de trÃgico. Apoia-se tambÃm nos pensamentos de Hugo (2007) e Rosenfeld (1993) no concernente Ãs conceituaÃÃes do sublime e do grotesco, e, por Ãltimo, relaciona as ideias desses pensadores a de teÃricos da obra clariceana, como Almeida (2004) e Pires (2006), bem como com estudiosos das questÃes femininas, entre esses Beauvoir (1980) e Monteiro (1998).

My thesis journey was initially motivated by an interest in the individual’s search for God, the self and the other (neighbour, men/women and enemy) as represented in the play texts. This call for a personal relationship with the ‘other’ highlights the individual’s feelings of unease and strangeness at a time when, one might argue, the majority belittles the role of religion, in support of scientific discoveries and human rights. Here, the French philosopher René Girard - whose anthropological and scientific interest in violence, religion and human culture has shaped my research - argues that the progress of humankind would not have become a reality without what he terms sacrifice. Here, I should confirm that the main influence on the early steps of finding my research topic were Peter Shaffer, Slavoj Žižek, Julia Kristeva and Mikhail Bakhtin rather than Rene Girard. This thesis explores several interconnected relationships, the most important of which is between humour and violence or forms of ‘sacrifice’ in the plays of six British playwrights – Peter Barnes and Peter Shaffer, Howard Barker and Sarah Kane as well as Caryl Churchill and David Rudkin. It is this strange relationship which leads me later on to uncover and explore the representations of the stranger, the victim/iser and the foreigner in their works. The return of the stranger – the dead, the ashes of victims of extreme violence, the ghosts, the prisoners and the children - is inseparable from the search for individuality in a world ruled by the gods of war, money and dark humour. My research findings are viewed in the light of two narratives: the first is to do with the upper world and the second is to do with the lower as defined by Bakhtin’s idea of the carnival and the culture of folk humour in the Middle Ages. The upper is serious, official, exclusive and authoritative whereas the second is festive, comic, mythical and popular. It is hard to describe the relationship between these narratives as simply oppositional (some say iconoclastic) because they are coexistent and rely on one another. At this point, the different professional and ideological positions of the playwrights are important aspects in arriving at an understanding of the ways they collapse the borders between humour and terror, the banquet and the battle, carnivals and trials, the parade and economic exploitation, clownery and politics. Though these playwrights are not preachers or reformers, they challenge our easy laughter and our role as we witness the risen from the dead, those in the flames or in the future signalling to us to halt our participation and face responsibility for the victims.

Establishing a decisive nexus between gender, laughter, and media, this article not only critically discusses the often contradictorily defined concepts of humour, the comic, and laughter but also introduces to the most important theories in these fields with reference to Henri Bergson, Friedrich Nietzsche, Charles Baudelaire, Sigmund Freud, Mikhail Bakhtin, Helmuth Plessner, Anton C. Zijderveld, Judith Butler, Bernhard Greiner, Hans Robert Jauß, Peter L. Berger, and others. Basic concepts such as the “significantly comic” versus the “absolutely comic” or the “comedy of denigration and exclusion” versus the “comedy of valorization and inclusion” are interrogated and the link between comedy, citationality, performativity as well as parody is established. Moreover, this article explores the sociological, psychoanalytical, bodily and theological dimensions to laughter and questions notions such as the carnivalesque and the grotesque. It is argued that the liberating potential of “full laughter” can be understood as the return of the body, of the repressed, and of the Other, and that if it is precisely this ‘other realm’ which ultimately makes laughter possible, laughter simultaneously is humankind’s best means of dealing with it.

This thesis will explore the ways in which the effects and affects of horror can be enhanced though the technique of hypotyposis. In an experimental translation of Les Chants de Maldoror (1874) by the Comte de Lautréamont, I will endeavour to draw out the imagery already in the source text in order to make the target text more horrific to the reader. In some places, I will change the course of the plot itself in order to make the target text more terrifying to the reader. The focus of this thesis will be on horror as an experience of the grotesque, and on the ambivalent mental state that the grotesque compels in the reader as they wait for a resolution to a scene, or attempt to resolve irreconcilable aspects of a certain object or being. I will begin with a historical overview of the concepts “grotesque,” “horror” as a literary genre, and “body horror.” Then, I will examine the ambivalence inherent in Maldoror (1874), the suspension generated by its narrative style and its genre, as well as how this ambivalence is used to prolong the affects of horror. I will explain how they are used to increase the time during which the reader is suspended in ambivalence. I will then proceed to examine hypotyposis as it relates to the valency of poetic imagery and the “real-in-the-instant” as theorized by Barbara Folkart. I will then explain the experimentation implicit in my translation through the lens of Haroldo de Campos’ “transcreation.” After a thorough analysis of my translation as compared to another, by Guy Wernham (1965 [1943]), it will be seen that hypotyposis is an extremely useful tool that can be put to great use in evoking horror.

This essay follows closely the process of making the work for my degree project. The aim of the text is to reflect as much as possible the entire journey of my thinking and doing, demonstrating how one of the main concepts of the work, metamorphosis, served the final purpose of the project, to build a world for bizarre creatures made of colorful piles of clothes. The methods used were looking for inspiration material online i.e. a performance by Ingri Fiksdal, several drag performers, or a music video by the band Primus, bringing in Posthuman theory and decolonial thinking as well as readings on the grotesque, including writers like Rosi Braidotti, María Lugones, and Sara Cohen Shabot respectively, taking an excessive amount of notes on diary form, and playing dress-up in the studio. The information that surfaced while all the above was combined, is presented in quite a raw form here, not as one smooth text, but as chunks that mirror where my process was at each moment. More so than anything else, this essay demonstrates the messiness of a/my artistic process and acts as a mind map of interests as they get closer to some kind of crystallization. / <p>This master work includes both a performing and a written part.</p>

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