A presente dissertação propõe um estudo da visualidade poética nA Cachoeira de Paulo Afonso de Castro Alves (1847-1871), abrangendo definições, aplicações e desdobramentos estéticos da figura da enargeia (evidentia), ou ainda pintura viva, nas descrições da natureza encontradas na obra, particularmente na configuração poética do elemento aquático. NA Cachoeira de Paulo Afonso, a representação poética do meio natural ganha relevo através da vivificação enargética de ênfase sensorial e plástica que, em associação ao estilo sublime, encena liricamente o drama trágico da escravidão. Entendemos que o poema se insere em meio a uma tradição narrativa e iconográfica de representação de ideias nacionais associadas às águas do Rio São Francisco e aos esforços institucionais pela legitimação do poder imperial no Segundo Reinado. Partindo da compreensão da figura da enargeia nos antigos e nos modernos, examinamos três expressões da descrição enargética nA Cachoeira de Paulo Afonso: a ekphrasis, o monólogo e o diálogo. Por meio da teorização do sublime em Kant e Schiller, analisamos as figurações enargéticas dos elementos naturais nA Cachoeira de Paulo Afonso, que cumprem a função de potencializar a capacidade persuasiva do texto poético, além de materializar um posicionamento estético do eu poético acerca do sublime na obra de arte como veículo privilegiado vinculado à liberdade moral do homem. Ao encenar a expressão enargética da violência, a pintura das águas atua de modo a colocar diante dos olhos internos do público oitocentista o drama humano da escravidão. / This dissertation is a study on poetic visuals in A Cachoeira de Paulo Afonso by Castro Alves (1847-1871), through which we approach definitions, applications and aesthetic developments of the visualizing rhetorical techniques of enargeia (evidentia) in the descriptions of nature, mainly in the metaphoric configuration of the water element. In A Cachoeira de Paulo Afonso, the poetic representation of the natural setting stages the tragic drama of slavery with graphic vividness in addition to the sublime. It is our understanding that the poem dialogues with a narrative and iconographic tradition of the representation of national ideas associated with the São Francisco River and with the institutional efforts into asserting the validity of the imperial power. Taking into account the meaning of enargeia in Antiquity and in Romanticism, we examine three forms of enargetic expression: ekphrasis, monologue and dialogue. Through the theories on the sublime by Kant and Schiller, our analysis of the enargetic configurations of the natural setting in the poem A Cachoeira de Paulo Afonso showed that they aim at enhancing the persuasiveness of the poetic text and materialize an aesthetic positioning of the author on the sublime as a means for conveying the moral liberty of men. By staging the enargetic expression of violence, the painting of the waters puts before the inner eyes of the nineteenth-century audience the human drama of slavery.

Com a finalidade de elaborar um estudo em estética musical, analisamos os conceitos de nacionalismo, neoclassicismo e neofolclorismo em Villa-Lobos. Propomos uma abordagem crítico-ideológica que se distancia dos padrões costumeiros na musicologia brasileira, uma vez que reconhecemos certa ingenuidade consolidada na vã tentativa de se desatrelar nacionalismo de um contexto político-partidário. Como apoio às hipóteses de trabalho levantadas, levamos em conta aspectos filosóficos, poético-estilísticos e histórico-sociológicos. / Aiming at elaborating a study in musical aesthetics, we have analyzed the concepts of Nationalism, Neo-Classicism, Neo-Folklorism in Villa-Lobos. We propose a critic-ideological approach that goes away from the ordinary patterns in Brazilian musicology, once we recognize certain ingenuity consolidated in the vain attempt to detach nationalism from a party-political context. As a support to the raised hypothesis of this work, we took into account the philosophical, poetic-stylistic and historical-sociological aspects.

Orientador: Lygia Arcuri Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-20T13:06:48Z (GMT). No. of bitstreams: 1 Brescancini_NataliaFernandes_M.pdf: 45111906 bytes, checksum: 8a206e1ce7e615f3b3dceade4621f87b (MD5) Previous issue date: 2012 / Resumo: O estudo propõe uma investigação sobre o processo criativo, a partir da execução e análise de uma série de pinturas - autorretratos - realizadas entre 2008 e 2011. Os eixos estruturais de organização são o uso da cor como elemento fundamental para a construção do espaço pictórico e os diferentes modos de registrar as etapas do processo. Foram estabelecidos contrapontos com a produção de algumas artistas contemporâneas cuja abordagem das questões de linguagem e da representação do próprio corpo são um parâmetro importante para minhas reflexões sobre a prática e a técnica / Abstract: The research proposes an investigation into the creative processes, from the execution and analysis of a series of paintings - self-portraits - produced in between 2008 e 2011. The structural organization are the use of color as a key element in the construction of pictorial space and the different ways to record the steps of the process. Counterpoints have been established with the production of some contemporary artists whose approach to issues of language and representation of their own body are an important parameter for my reflections on the practical and technical / Mestrado / Artes Visuais / Mestre em Artes

[pt] A presente dissertação de mestrado tem o objetivo de mostrar os vínculos entre a noção de mimesis, prazer e conhecimento na Poética de Aristóteles. No texto da Poética, dois momentos são importantes para analisar o prazer que o homem experimenta ao estar diante de um mimema: quando o exemplo é uma pintura, e quando o exemplo é uma tragédia. No caso do exemplo pictórico, o prazer é claramente cognitivo: há prazer em reconhecer do que o mimema (a pintura) é mimema. No caso da tragédia a questão é mais complexa, pois ela surte no espectador, ou no leitor, terror e piedade, emoções descritas na Retórica como dores. Na mimesis trágica, o prazer estaria ligado à compreensão de quais ações levam ao desfecho doloroso, sendo então o prazer trágico também cognitivo. / [en] This dissertation intends to show the relationship between the notion of mimesis, pleasure and knowledge in Aristotle Poetics. Within the Poetics, two moments are necessary for an analysis of the pleasure that Man experiences when he finds himself before a mimema: the example of painting and the example of tragedy. As concerns the first, pleasure is clearly cognitive: there is pleasure in finding out what the mimema (the painting) is a mimema of. But the case of tragedy is of greater complexity, because tragedy causes terror and pity in the spectator or reader, and such emotions are described as pain in the Rhetoric. In the tragic mimesis, pleasure is derived from the understanding of what actions have lead to the painful outcome, so that tragic pleasure is also of a cognitive kind.

L’expression du "rythme plastique au cinéma" est généralement considérée comme métaphorique, en sorte qu’il est difficile de l’appliquer au cinéma. Cette thèse cherche à éclaircir le fait que la question du rythme plastique n’est pas indifférente à l’organisation visuelle propre à l’art cinématographique. C’est le cinéma d’Andreï Tarkovski qui nous conduit à aborder la rhétorique du "temporelle dans un plan et à travers les plans : l’importance qu’il accorde au plan nous invite à penser le rythme comme inscrit dans la dimension plastique de l’espace encadré. Le premier chapitre est consacré à l’approfondissement de la conception du rythme propre au cinéaste, au cours duquel on remarque ses positions contradictoires à l’égard du montage et de la réalisation du thème du temps. Les chapitres suivants s’appliquent à explorer l’organisation du temps, de l’espace et de la figure, en analysant les images de ses films : il s’agit d’éclairer la dimension rythmique inhérente à la réalisation du temps, de l’espace, et de la figure de manière plastique. Ces cheminements d’analyse nous conduisent à conclure que la dimension plastique de l’image chez Tarkovski est issue de son penchant pour le monde virtuel, le monde du rêve. Le parti pris essentiel de cette thèse suppose dans cette organisation du monde virtuel du rêve une convergence entre l’acte organisateur de l’image et son produit, entre la poïétique et la poétique, entre la plastique et la rythmique. C’est en cela que la plastique est étroitement en rapport avec la rythmique dans le cinéma de Tarkovski. / The expression of "plastic rhythm in cinema" is generally considered as metaphorical, so that it is difficult to apply it to the cinema. This thesis aims to clarify that the question of plastic rhythm is not indifferent to the visual organization in the art of film. It is the cinema of Andrei Tarkovsky that leads us to approach the rhetoric of "plastic rhythm in cinema". The rhythm is for Andrei Tarkovsky defined as the temporal intensity within a shot and through the shots: his importance on the shot allows us to think of rhythm as sculpted in the plastic dimension of the framed space. The first chapter is dedicated to the deepening of his comprehension of rhythm, where we notice his contradictory positions towards the montage and the realization of the theme of time. In the following chapters we investigate the organization of time, space, and figure, by analyzing images of his film: our analysis aims to illuminate the rhythmic dimension inherent to the realization of time, space, and figure in plastic form. These progressions of analysis lead us to conclude that the plastic dimension of the images of Tarkovsky is established by his inclination for the virtual world, the realm of dreams. The essential bias of this thesis assumes in this organization of the virtual world of dreams a convergence between the act of organizing the image and its product, between the poïetic and the poetic, between the plastic and the rhythmic. That is where the plastic is closely related to the rhythmic in the cinema of Tarkovsky.

This thesis argues that Claudia Rankine's two American lyrics destabilize the subject-object dialectic underwriting American lyricism. First, I consider Don’t Let Me Be Lonely’s rejection of spectatorship, insofar as spectatorship objectifies the suffering of the Other. Second, I analyze Citizen’s subversion of the lyric “I”, particularly as it vocalizes the “you”-position traditionally relegated to poetic object. I suggest that both works, by returning power to the object, manifest an aesthetic disruption to the racially-based power dialectic underpinning American lyric tradition. Eventually, I propose that Rankine mobilizes the poem as a future-space for the realization of an ideal politics.

Ce travail de thèse représente une tentative de rationalisation du lexique espagnol en accordant la priorité au signifiant. Inspiré notamment de Pierre Guiraud, nous y avons établi à la suite de Maurice Molho, Didier Bottineau, Georges Bohas ou Dennis Philps, que les mots peuvent ne référer que par la sollicitation d’une partie de leur forme, partie détectable structurellement. Nous avons pris en considération l’ensemble des capacités qualitatives (phones, formant, idéophones, graphèmes, segments) et quantitatives (duplications, répétitions, inversions, homophonies / homographies) de la forme des mots. Nous ne nous sommes donc pas limité à un support sémiologique particulier mais avons conçu le lexique, du fait de sa complexité, comme un organisme de signifiants / signifiés où chaque élément peut entrer en compte pour donner lieu à une motivation (interne ou externe). Nous avons nommé cet élément la saillance, car il s’agit d’une unité résultant d’une focalisation, d’un choix formel pour référer à telle ou telle idée. Nous avons également remarqué, notamment dans des cas d’« homonymie », que plusieurs parties pouvaient être sollicitées et que chacune permettait de renvoyer à un sens distinct. La consubstantialité du signe est donc, de notre point de vue, un principe sauf. La « synonymie » ainsi que la « polysémie » ne sont donc pas non plus des notions pertinentes car chaque terme renvoie d’une manière qui lui est propre à un sens donné. Enfin, nous avons proposé une application, avec des critères similaires, à des énoncés dit « poétiques » où plusieurs actualisations parfois insolites apparaissent mais toujours permises par le langage, par le signifiant. / This thesis represents an attempt of rationalization of the Spanish lexicon giving priority to the signifier. Inspired in particular by Pierre Guiraud, we have established in the wake of Maurice Molho, Didier Bottineau, Georges Bohas or Dennis Philps, that the words can refer by the request of a portion of their shape, detectable structurally. We considered all the qualitative capacities (phones, submorphems, graphemes, segments) and quantitative (duplications, repetitions, reversals, homophonies / homographies) forms of words. We did not thus limited to a particular semiological support but conceived the lexicon, because of its complexity, as an organism of signifiers / signifieds where every element can be important to give rise to a motivation (internal or external). We named this element salience, because it is about a unity which results from a focus, from a formal choice to refer any particular idea. We also noted, especially in cases of "disambiguation", which many parties could be sought and each allowed to refer to a distinct meaning. The consubstantiality of the sign is thus, of our point of view, a pertinent principle. The "synonymy" as well as the "polysemy" are not therefore either relevant notions because every term sends back in a way which is appropriate for its to a given meaning. Finally, we proposed an application, with similar criteria, in "poetics" utterances where several unusual actualizations appear but always permitted by the language, the signifier.

Les études critiques littéraires insistent sur le fait que la langue poétique joue un rôle prépondérant dans la construction du poème et ce qu’il englobe comme sens et symboles. La langue poétique a, en effet, une particularité inspiratrice à travers laquelle elle exprime l’objectif axial du discours poétique. Elle est l’épicentre du rayonnement de la créativité et le liant entre les constituants subjectifs et objectifs du poète. Elle est la traduction fidèle des conceptions, des sensations et des inquiétudes de l’auteur. C’est ainsi que s’opère la consonance entre la langue et le processus poétique pour créer une cohésion organique basée sur un interactionnisme symbolique. Celui-ci aide, de son côté à définir les manifestations de la fonction poétique à travers «le rythme, la manipulation phonétique et l’image ». Cependant, avec l’émergence de la modernité ou la conception moderne de la critique, cette langue acquiert de nouvelles notions et méthodes fondées sur le sens, la construction imagée de même que sur la saturation musicale du texte. C’est pourquoi nous relevons de nombreux textes débordant de dépaysement, de nostalgie. Nous relevons, aussi, d’autres textes reflétant un état de tension et d’inquiétude au niveau du sens ou une langue qui ne peut exister que par les glissements de sens, le récit, le discours ou la narration poétique. C’est là où réside le rôle du poète dans la mise en avant de cette langue en faisant appel à sa capacité et à sa force créatives qu’il met au service de son texte afin de parvenir à la transmission la plus juste du sens.Le chercheur que je suis tentera de suivre à la trace l’expérience poétique de l’auteur qui a perduré plus de huit décades de prises de position. Le lecteur de son recueil se retrouve en face de l’histoire ancienne de l’Iraq, du monde arabe voire du monde entier. Il a composé des poèmes et strophes pour exprimer ses tiraillements et ses idées. Les thèmes qu’il aborda se subdivisent entre une poésie strictement personnelle dans laquelle il relate ses sentiments et sa nostalgie pour son pays de même que les souffrances et privations qu’il assuma durant son exil et une poésie où il traite pêle-mêle d’érotisme, de panégyrie, de description, d’élégie, de causticité… Le tout a été traité dans un style, une musicalité et un imaginaire féconds et qui nous rappelle la période florissante de la poésie arabe. Ces poèmes se présentent, donc, truffés de créativités esthétiques. Il a fait appel à l’habillage le plus étincelant, la langue la plus éloquente et les sens les plus nets de la poésie des poètes éminents (šu‘arâ’ al-Fuḥûl ), le plus célèbre des poètes de l’époque de Muhammad Mahdi Al-Jawâhirî.C’est pour ces raisons, et beaucoup d’autres, que cette étude propose de jeter la lumière sur les composantes esthétiques et créatives de sa poésie. Il n’est point étonnant si nous affirmons que ce personnage se distingue par plusieurs figures de style et d’esthétisme. Ceci constitue, par ailleurs, un des points axiaux que traitera cette recherche. La première partie concerne « la musicalité du texte ». Elle propose un travail analytique de la musique poétique de l’auteur. Elle englobe trois chapitres dans lesquels nous avons traité trois questions personnelles : la mesure, la rime et le rythme. La seconde partie porte le titre « techniques de la langue poétique ». Cette question s’appuie sur plusieurs fondements et éléments divers qui permettent de démontrer la façon d’utiliser la langue par le poète et sa capacité à la modeler harmonieusement avec les autres éléments du texte. Cette partie se décompose en deux chapitres. La troisième partie porte le titre (la symbolique de l’image poétique). Nous y avons abordé la question de l’image dans la poésie d’al- Jawâhirî et l’avons divisée en deux chapitres. La quatrième partie s’intitule (la symbolique dans la poésie d’al- Jawâhirî). Nous y avons démontré que le symbole joue un rôle prépondérant dans la formation du texte ...... / Literary critics studies insist that poetic language plays a leading role in the construction of the poem and what it includes as meaning and symbols. Poetic language is indeed an inspiring feature through which it expresses the axial objective of poetic discourse. It is the epicenter of the radiation creativity and linking between subjective and objective components of the poet. It is the accurate translation of ideas, feelings and concerns of the author. Thus operates the consonance between language and the poetic process to create an organic cohesion based on symbolic interactionism.This help his side to define the manifestations of poetic function through "the pace, phonetics and image manipulation." However, with the emergence of modernity and the modern conception of criticism, the language acquires new concepts and methods based on meaning, pictorially building as well as the musical saturation of the text.That is why we note many texts full of scenery, nostalgia. We note, also, other texts reflecting a state of tension and anxiety in meaning or language that can only exist by the shifts in meaning, narrative, speech or poetic narration. This is where lies the role of the poet in the prior implementation of this language by using his ability and his creative force that it offers to its text in order to achieve the most accurate transmission of meaning.The researcher I try to keep track of the poetic experience of the author that lasted more than eight decades of positions.The sound collection drive ends up in front of the ancient history of Iraq, the Arab world or the whole world. He composed poems and verses to express her worries and ideas. The themes he tackled are divided between a strictly personal poetry in which he recounts his feelings and his nostalgia for his country as well as the suffering and deprivation that he assumed during his exile and a poetry which he deals jumble of eroticism, panegyric, description, elegy, caustic ... everything was covered in a style, musicality and a fertile imagination and reminds us of the flourishing period of Arabic poetry. These poems present themselves, so riddled with aesthetic creativity. He appealed to the most sparkling dress, the most eloquent language and the clearest sense of the poetry of prominent poets (šu'arâ al-Fuḥûl), the most famous poets of the time of Muhammad Mahdi Al-Jawahiri.It is for these reasons and many others, that this study will shed light on the aesthetic and creative components of his poetry. It is not surprising if we say that this character is distinguished by several figures of style and aesthetics. This is, moreover, one of the axial points as process this search. The first part "the musicality of the text." It provides analytical work of the poetic music of the author. It includes three chapters in which we treated three personal questions: the measure, rhyme and rhythm. The second part is entitled "techniques of poetic language." This question is based on several foundations and various elements that demonstrate how to use the language of the poet and his ability to shape harmoniously with the other elements of the text. This part is divided into two chapters. The third part of the title (the symbolism of the poetic image). We approached it the question of the image in the poetry of al-Jawahiri and have divided into two chapters. The fourth part is called (the symbolism in the poetry of al-Jawahiri). We have shown that the symbol plays a key role in the formation of the text and opens a wide field for interpretation in view of the fact that it is based on a coated indirect language of a relative confusion of sailing. This is where lies the pleasure of the reader who finds himself forced to reread the text several times hoping to decipher the exact meaning hidden. The most successful poetry is the one whose meaning is latent or confused....

La base de données est un outil omniprésent dans nos vies, qui est impliquée dans un grand nombre de nos activités quotidiennes. Conçue comme système technique destiné à rendre la gastion des informations plus efficace, et comme support de stockage privilégié, la base de données, avec son utilisation dans de multiples contextes, a acquis une importance dont les implications esthétiques et politiques vont au-delà des questions techniques.La recherche à la fois théorique et pratique étudie la base de données comme un moyen expressif et poétique de création, et met en évidence ses caractères spécifiques, notamment la discrédisation des données et leur mise en relation flexible. Le terme d'aura utilisé par Walter Benjamin pour analyser les transformations de l'expérience esthétique engendrées par la rationalité industrielle et la technique à la fin du dix-neuvième siècle, est reconsidérée afin de formuler une poétique de la base de données. La partie pratique de notre recherche comporte deux projets interactifs fondés sur les principes poétiques élaborés au cours de cette thèse. / Database are ubiquitous in our lives and play an important rôle in many aspects of our daily activities. Conceived as a technical support to facilitate the efficient management of information and as the preferred means of storage, the database has gained a level of importance with aesthetic and political implications that go far beyond purely technical questions.Both theorical and practical in its approach, our research investigates the database as a means of expressive and poetic creation and reveals its specific character, in particular the discretization of data and the establishment of flexible relationships between them. In order to develop a poetics of the database we will reconsider the term « aura », which was utilized by walter Benjamin to analyse the transformations of the nature of aesthetic experience brought about by industrial rationalisation and technology at the end of the nineteenth century. The practical part of our research consists of two interactive projects based on the poetic principles elaborated in context of this dissertation.

La présente recherche est consacrée au sonnet contemporain en Russie et en France. Elle évoque l’évolution du sonnet dans les deux pays et analyse en détail les œuvres de cinq poètes français et cinq poètes russes. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut sont présentés à côtés de Yuri Veynert et Yakov Kharon, Iossif Brodsky, Victor Sosnora, Alexeï Tsvetkov, Timour Kibirov. La période étudiée s’étend des années 40 du XXe jusqu’à la première décennie du XXIe siècle. Les composants structurels du sonnet en tant que forme fixe et ses aspects génériques sont mis en examen afin de révéler les niveaux possibles de lecture et les liens des sonnets contemporains avec la tradition sonnettiste. L’étude met en relief quatre grands thèmes du sonnet : l’amour, la politique, la mort et le jeu. / The present research is dedicated to the contemporary sonnet in Russia and in France. It traces the evolution of the sonnet in both countries and focuses on works of five French and five Russian poets. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut are juxtaposed to Yuri Veynert and Yakov Kharon, Joseph Brodsky, Victor Sosnora, Alexei Tsvetkov, Timur Kibirov. The period under study goes from 1940s to now. The thesis deals with structural components of the sonnet as a poetic form and a genre in order to reveal the possible levels of reading and to establish relationship between the contemporary works and the sonnet tradition. The study highlights four major themes that are love, politics, death and game.