<p> <i>One Thousand Ways to be Touched</i> is a collection of poetry that centers around female relationships, power dynamics, and the many ways that physical touch can affect the human psyche. The poems were written over the course of three years and display the many stages of my developing aesthetic. Although the subject matter varies from piece to piece, the arrangement is chronological starting with poems that stem from a child&rsquo;s perspective. </p>

Nicosia, a medieval walled city in Cyprus, was divided by a ‘green line’ in 1964 and remains the last divided capital city in Europe. This thesis deploys poesis and performance to interrogate the border as a site of reminiscence at the intersection of multiple and contested collective memory-narratives. In order to explore the nature of individual and collective memory the thesis challenges a series of physical and conceptual border zones: the disciplinary and discursive boundaries between poetry and philosophy; the border between memory and identity; the border between collective and individual memory and the physical terrain of the border that divides Nicosia. The dérive, translocated from Paris to Nicosia, is used to explore these borders through an autoethnographic poetics that crosses the fields of poetry, anthropology and art practice. Walking and the practice arising from it speak back to the border. The connections between poetry, performance, collective memories and mediated subjectivities are investigated through a multimedia totality of poetics that deploys film, photography and live performance as well as writing. The thesis consists of this written exegesis and documentation of the performance Memory in the Dead Zone, the website MemoryMap, the film-poem DVD An Architecture of Forgetting and The Archive of Lost Objects, a book of poetry and photography. This multimedia collection seeks to capture the complexity, diversity and fluidity of the phenomenological experience of memory and subjectivity. This thesis proposes and identifies a field of expanded life writing that is distinct from but related in ethos to the category of expanded cinema, to define such practice. The knowledge that arises out of the dérives is represented in a thesis that attempts to capture the multiplicity (though not the totality) and interrelationships of the discourses and practices that inform my border memories.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of English, General Literature and Rhetoric, 2007. / Includes bibliographical references.

Cette thèse propose d’examiner le dialogue entre les arts tel qu’il apparaît dans le roman Um crime delicado, de l’écrivain brésilien Sérgio Sant’Anna (1941), en le considérant comme l’un des principes fondateurs de la poétique de cet auteur. Dans ce dialogue, l’histoire de l’art trouve sa place, ainsi que la description des rapports qu’entretiennent arts et artistes avec la critique. L’étude, menée à la suite, des trois dernières œuvres de Sérgio Sant’Anna parues – O Livro de Praga : narrativas de amor e arte (2011) ; Páginas sem glória (2012)  et O homem-mulher (2014) – nous a permis d’illustrer les pratiques en usage dans Um crime delicado : l’affirmation, par la lecture critique, de sa généalogie ; l’inscription de sa conception personnelle de la littérature dans le domaine plus vaste de l’art en général ; l’écriture de l’art selon les préceptes particuliers dévoilés au cours de cette étude. Est également décrite et examinée la progression du dialogue en cours : l’écriture de l’art, qui, au départ, était le moyen par lequel l’auteur établissait sa généalogie artistique, devient en soi un procédé de création : l’ecphrasis. / This dissertation proposes to examine the dialogue between the arts as it appears in the novel Um crime delicado by the Brazilian writer Sérgio Sant’Anna (1941), in seeing it as one of the principle foundations of the author’s poetics. Within this dialogue art history has its place, as well as a description of the relation of arts and artists to criticism. An ensuing study of the three most recently published works by Sérgio Sant’Anna – O Livro de Praga: narrativas de amor e arte (2011); Páginas sem glória (2012) et O homem-mulher (2014) – allows us to illustrate the practices used in Um crime delicado: A reaffirming his genealogy through a critical reading; situating his personal concept of literature in a much vaster domain of art in general; writing about art according to specific principles revealed in the course of this study. This dissertation will also describe and examine the progress of the dialogue under way: writing on art, at the beginning the way for the author to establish his artistic genealogy, becomes of itself a process of creation: the ekphrasis.