Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-05-09T13:40:57Z No. of bitstreams: 1 Ana Luiza Gardiman Arruda.pdf: 1164116 bytes, checksum: a760ef7aa3745dff00ea2265b660b2bf (MD5) / Made available in DSpace on 2018-05-09T13:40:57Z (GMT). No. of bitstreams: 1 Ana Luiza Gardiman Arruda.pdf: 1164116 bytes, checksum: a760ef7aa3745dff00ea2265b660b2bf (MD5) Previous issue date: 2018-03-22 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Dangerousness is a controversial issue in criminal law by presenting two bases that distinctly affect the system. In matters of constraint of safety measures relating to non-imputable violators, the dangerousness takes the role of the psychiatry concept; when it is shown in the personality analysis of the imputable violator or in reprisals during the penalty execution, it takes shape of interdisciplinary, covering social issues inferences. The real use of dangerousness is questioned as a criterion for the criminal penalty, taking into account its incompability with legal category of culpability; and the relation between dangerousness, cruelty and enemy election. The starting point of analysis is the historical context of the emergence of the segregation idea of dangerous individuals, with the scope of demonstrating its interference in a construction that became theory, based on the distortion of the philosophy of Hegel. The study of criminal positivism, the clinical criminology and neuroscience will demonstrate that, for different approaches, the same is intended: penal law of an author based on the individual’s dangerousness. The study will then, analyze the dangerous individual according to Foucault’s studies. According to this, important themes will be proposed such as the relation between medicine and law, leading in the study of personality; the criminological exam and its controversial application nowadays; the safety measures and the proposals for psychiatric reform. Considering the role of social control, the study will analyze the dangerousness as a stigma and as an argument of exclusion, fact that will show that it is an unacceptable attributed quality. Still in this sense, the study will undergo the criminal law of the enemy and its influence on the current criminal law sciences searching for a philosophical answer to the social need of classifying people as dangerous. The study will be done using Nietzsche’s theory. Finally, it will treat the incompatibility between dangerousness and culpability considering important issues such as the differences between the criminal law of the author and criminal law of the fact; as well as the culpability as a limit to law enforcement. With all this, the aim is to show the existence of dangerousness in every individuals and, at the same time, its incompatibility with the penal system of culpability / A periculosidade é tema controverso do direito penal, por apresentar dois vieses que afetam distintamente o sistema. Quando se trata de imposição de medidas de segurança aos inimputáveis, a periculosidade assume o papel de conceito da psiquiatria; quando se manifesta na análise da personalidade do sujeito imputável ou em represálias durante a execução da pena, ganha contornos de interdisciplinaridade, abrangendo a interferência de questões sociais. Questiona-se a real utilidade da periculosidade enquanto critério para a sanção penal, considerando sua incompatibilidade com a categoria jurídica da culpabilidade; e a relação entre periculosidade, crueldade e eleição de inimigos. O ponto de partida da análise é o contexto histórico do surgimento da ideia de segregação de sujeitos perigosos, com o escopo de demonstrar a sua interferência em uma construção que passou a ser teórica, com base na distorção do pensamento hegeliano. O estudo do positivismo criminológico, da criminologia clínica e da neurociência demonstrarão que, por enfoques diversos, pretende-se a mesma coisa: um direito penal de autor, com base na periculosidade do sujeito. O trabalho passará, então, à análise do sujeito perigoso, de acordo com os estudos de Foucault. Nesse ponto serão tratados temas importantes como a relação entre medicina e direito, confluindo no estudo da personalidade; o exame criminológico e sua controversa aplicação nos dias de hoje; as medidas de segurança; e as propostas da reforma psiquiátrica. Considerando o papel do controle social, o trabalho analisará a periculosidade como estigma e como argumento de exclusão, o que nos mostrará que ela é uma insustentável qualidade atribuída. Ainda nesse ponto, passará pelo direito penal do inimigo e sua influência nas ciências criminais atuais e buscará uma resposta filosófica à necessidade social de classificar pessoas como perigosas, o que será feito por meio da teoria de Nietzsche. Por fim, tratará da incompatibilidade entre periculosidade e culpabilidade, considerando temas importantes, como as diferenças entre direito penal de autor e direito penal de fato; bem como a culpabilidade como limite para a imposição de pena. Pretende-se, com tudo isso, demonstrar a existência da periculosidade em todos os sujeitos e, ao mesmo tempo, a sua incompatibilidade com o sistema penal de culpabilidade

莎拉肯恩《4.48精神異常》以破曉時分為題，描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現，有別於此，本劇大量使用影像，並以不連續的片段，文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty)，片段式語言搭配影像的使用，能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節，傳達精神病患者不見容於社會的破碎思緒，並在病患的語言中採用拼貼式影像(collaged images)，企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章，分析《4.48精神異常》中的語言，將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構，研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像，其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 / Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence.

This thesis is an examination of the theoretical concepts of Antonin Artaud (1896-1948) and their relation to the Elizabethan theatre. I propose that the dramas of the age of Shakespeare and the environment in which they were produced should be seen as an integral part of the Theatre of Cruelty and essential to its very understanding. The development of the English Renaissance public theatre was at the mercy of periods of outbreaks and abatements of plague, a powerful force that Artaud considers to be the double of the theatre. The claim for regeneration as an outcome of the plague, a phenomenon causing intense destruction, is very specific to Artaud. The cruel and violent images associated with the plague also feature in the theatre, as do its destructive and regenerative powers. The plague and its surrounding atmosphere contain both the grotesque and sublime elements of life Artaud wished to capture in his theatre. His theory of cruelty is part of a larger investigation into the connection between spectacle, violence, and sacrifice explored by Mikhail Bakhtin, René Girard, and Georges Bataille.

Résumé Ce mémoire consiste en une étude de la transgression en ce qui a trait au lieu, au personnage et aux sacrifices dans La Comtesse sanglante (1962) de Valentine Penrose, une auteure et artiste qui a fait partie du mouvement surréaliste dès 1926. À partir de l’idée directrice du sacrifice et du sacré, nous exposons, dans un premier temps, l’état transgressif de la criminelle historique Erzsébet Báthory, présentée dans le récit comme une beauté fixe masquant une âme monstrueuse. Dans un deuxième temps, nous examinons la cruauté et la théâtralité des sacrifices pulsionnels qui servent la propre déification de la protagoniste. Partant de la théorie de la transgression de Foucault de laquelle nous dégageons l’idée du seuil, le premier chapitre présente la marginalité de l’univers de la meurtrière présenté comme une extension de son corps, du château en tant que structure froide et vide à l’intérieur. Dans le deuxième chapitre, nous mettons en corrélation la violence et le sacré en rapport, d’une part, aux mises en scène sacrificielles et au rôle de chaque femme participant aux sacrifices, et d’autre part, à la progression de la cruauté dans le récit. Dans le troisième chapitre sont explorés le phénomène de la rumeur et la filiation mythique du personnage par la réécriture de deux figures monstrueuses : la Méduse et Lilith. Par ces analyses, ce mémoire a pour but de faire connaître davantage l’auteure et de dégager la singularité de la comtesse Báthory dépeinte par Penrose comme l’archétype de la transgression au féminin. / Abstract The present thesis is an analysis of transgression in relation to the location, character and sacrifices in La Comtesse sanglante (1962) by Valentine Penrose, an artist and author who became part of the surrealist movement from 1926 onwards. In the first place, beginning with the salient aspects of the sacrifice and the sacred, the thesis will present the transgressive side of the historically notorious Erzsébet Báthory, who is portrayed in the story as a beauty that conceals a monstrous soul. In second place, then, the thesis will discuss the cruelty and theatricality of the compulsive sacrifices that serve to deify the protagonist. Starting from Foucault’s theory of transgression, from which we derive the idea of threshold, the first chapter will present the marginality of the murderess’s universe, which is described as if it were extension of her body, and the castle, as a cold and empty structure within. In the second chapter, the thesis will correlate the violence and the sacred in relation to, firstly, the staging of the sacrifice scenes and the role of each woman who took part in them, and secondly, to the escalation of cruelty in the story. In the third chapter, the thesis will explore the phenomenon of rumor and the main character mythical parentage by the rewriting of two monstrous figures: the medusa and Lilith. Through these analyses, the main goal of this thesis is to promote awareness of this author and to identify the uniqueness of the Countess Báthory, portrayed as the archetype of female transgression.

Situé entre entre le roman et le récit personnel, Cru. prend la forme d'un aller-retour entre fiction et autobiographie. Le texte, construit à l'aide d'une écriture syncopée et brute, présente deux personnages homosexuels à l'ère « post-sida », alors que ceux-ci tentent de comprendre ce que veut dire « être un homme » dans un contexte social où le mépris (envers les autres et soi-même) est encore présent, mais peut-être encore plus pernicieux qu'auparavant, parce que camouflé sous l'idée d'une acceptation globale. Au final, Cru. soulève la délicate question du droit à la vérité dans une démarche autobiographique et celle de l'implication de la cruauté dans un récit qui ne concerne pas que l'auteur, mais son entourage aussi. Cruauté nécessaire : le devoir d'une vérité autobiographique chez Guibert, Dustan et Rémès est un essai qui vise l'analyse de différents procédés se rattachant à l'écriture autobiographique homosexuelle des années 1990, particulièrement aux textes appartenant à la littérature du sida. Si l'autobiographie vise, dans une certaine mesure, le dévoilement de la vérité, comment ne pas parler de cruauté alors que les auteurs qui la pratiquent y vont de révélations qui ne concernent pas qu'eux? Si le processus d'écriture autobiographique se veut bénéfique, le résultat est-il purement diabolique? Il faudra d'abord, évidemment, définir ce que l'on entend par « vérité » et « cruauté » (lire « bénéfique » et « maléfique »). En ce qui concerne le Bien et le Mal, les textes de Bataille et Nietzsche contribueront à définir deux concepts qui peuvent, souvent, être relatifs. En confrontant les textes des trois auteurs français – tous séropositifs au moment de l'écriture – à différentes théories autobiographiques (Doubrovsky, Lejeune, Miraux) et identitaires (Foucault, Schecter, Butler), et à certains écrits sur le devoir et la responsabilité (Donner, Brooks), l'on tentera de démontrer que la cruauté dont Guibert, Dustan et Rémès font preuve est essentielle à l'écriture autobiographique. / A mix between a novel and a personal journal, Cru. is a cross-section between fiction and autobiography. The text, built around a type of writing that is dry and sometimes brutal, presents two gay characters in the « post AIDS » era, who are trying to figure out what it's like to be a man in a social context where contempt (towards others, as well as self-loathing) still exists. Perhaps even more than before, because this contempt is hidden under a false global acceptance. In the end, Cru. raises questions about the definition of «  truth » in an autobiographical approach and the implication of cruelty in a literary piece that not only concerns the writer, but it's surrounding too. Cruauté nécessaire : le devoir d'une vérité autobiographique chez Guibert, Dustan et Rémès is an essay that analyses the stakes at work in gay autobiographical writings of the 1990's, especially AIDS-related literature. If one of the main aspects of autobiography is to disclose the truth, how can we not talk about cruelty when the writers are revealing things that concern not only themselves? If the whole process of autobiography involves « healing », how can we not see the final product as « painful »? It will be relevant to first define what we mean by « truth » and « cruelty » (also « good » and « evil »). Regarding Good and Evil (le Bien et le Mal), Bataille and Nietzsche's writings will help us define two concepts that are, way too often, relative. When confronting the three French writers that we are studying here – all HIV-positive when writing their texts – with different theories on autobiography (Doubrovsky, Lejeune, Miraux), identity (Foucault, Schecter, Butler), obligation and responsibility (Donner, Brooks), we will seek to demonstrate that the cruelty used by Guibert, Dustan and Rémès is, in fact, essential to the autobiographical writing process.

À partir d’un corpus composé d’une quarantaine de tragédies parues en Normandie entre 1566 et 1640, mettant presque toutes en scène des actes de cruauté exercés par des représentants d’altérités exacerbées, ce mémoire de doctorat étudie les particularités scénographiques qui transparaissent dans ces textes, en mettant en évidence la similitude des éléments décrits dans les didascalies internes et dans les rares indications scéniques des œuvres avec les pratiques de l’Hôtel de Bourgogne telles qu’elles sont définies par le Mémoire de Mahelot. Après un rappel des formes et des événements dramatiques joués dans la province, la thèse poursuit par une étude des pratiques éditoriales rouennaises. Une fois établie l’historiographie des guerres de religion et des règnes d’Henri IV et Louis XIII, la thèse observe la manière dont le théâtre normand est contaminé par la production parisienne en voie de normalisation classique, puis disparaît progressivement, ainsi que les scénographies signifiantes qui le caractérisent ou comment leur sens est dévoyé pour célébrer une unité politique, pour laisser place au palais à volonté des drames parisiens. / Based on a corpus composed of about forty tragedies published between 1566 and 1640 in Normandy, most of which staging acts of cruelty carried out by strongly antagonistic protagonists, this doctorate thesis studies the specific stage designs shown out through those texts. Thus throwing into prominence the existing similarities between the components described in the internal stage directions, the few stage indications of the works, and the practices at the hotel de Bourgogne such as defined in the Mémoire de Mahelot. After recalling the shapes and the dramatic events performed in the province, the thesis goes on studying the editorial practices in Rouen. Historiography of wars of religion and Henri IVth and Louis XIIIth reigns once established, it observes how the Norman theatre is being corrupted by the Parisian production on its move to classical normalization, and then gradually vanishes as well as the meaningful stage designs, demonstrating then how their meaning is being perverted in order to celebrate a political unity, to make way for “palais à volonté” in the Parisian dramas.

Made available in DSpace on 2014-12-17T14:20:31Z (GMT). No. of bitstreams: 1 GerluziaOA_TESE.pdf: 5560848 bytes, checksum: 3aaaa2f24effe93fadf312c813bf2713 (MD5) Previous issue date: 2014-05-30 / Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective / Antonin Artaud, nome que nos remete a ?reas que v?o do teatro ? poesia, da lingu?stica ? psican?lise, ? um nome polivalente que transita nas atividades de poeta, pintor, escritor, ator, roteirista, dramaturgo e diretor teatral. A trajet?ria de Artaud ? mat?ria-prima para pesquisadores dos mais variados matizes, interessados numa vida e numa obra que possibilitam garimpar em v?rias ?reas do conhecimento. Ele coloca a quest?o da linguagem e da manipula??o de signos em termos de for?as m?gicas e da rela??o mantida, atrav?s deles, com o cosmos e com o divino. Artaud busca uma linguagem atrav?s dos signos, de gestos e objetos que se expressam pelas formas objetivas e pelo uso das palavras como objetos s?lidos. Para ele, a linguagem das palavras deve dar lugar ? linguagem por signos, cujo aspecto objetivo ? o que mais nos atinge de imediato. Nosso trabalho aponta a possibilidade da percep??o e do reconhecimento da est?tica da crueldade nos desenhos escritos presentes na obra artaudiana, percebendo, assim, que a Arte como registro da cultura portanto, como duplo da vida , nos possibilita um olhar para a sociedade mais critico e transformador, pensando a est?tica da crueldade como Artaud prop?e e pensa a crueldade: como apetite de vida. Nosso di?logo mantido durante a constru??o dessa caminhada tem a companhia, al?m de Antonin Artaud, de autores como Jacques Derrida, Gilles Deleuze e F?lix Guatarri, dentre outros que, no decorrer da caminhada e constru??o desse percurso nos ajudam a pensar a est?tica da crueldade numa perspectiva artaudiana

Este trabalho tem como objetivo abordar uma das obras mais importantes do escritor francês Antonin Artaud, Le Théâtre et son double, explorando o universo artaudiano, a partir de conceitos, como a peste e a crueldade. O estudo procura abordar a proposta de Teatro da Crueldade e as críticas feitas por Artaud em relação aos espetáculos apresentados na França na década de 1930. Por meio de uma crítica ao chamado teatro psicológico, Artaud exalta um teatro constituído por diversas linguagens, não restrito à mera reprodução do texto. Sem a pretensão de abordar a extensa obra escrita por Artaud, a dissertação tem como objetivo tratar de aspectos revelantes dos conceitos tratados por Artaud, como a crueldade e a peste, tentando identificar em sua proposta de teatro, o desenvolvimento de conceitos ligados à psicanálise, como a pulsão de morte. Procuramos, ainda, discutir o processo de criação de Artaud, problematizando a figura do Pai em sua escrita e a chamada outra cena do inconsciente que seria aberta pelo teatro da crueldade. / The purpose of this research is to analyse one of the most important works of Antonin Artaud, The Theater and its double (Le Théâtre et son double), exploring his universe from concepts like the pest and cruelty. The study seeks to analyse the proposal of the Theatre of Cruelty and the criticisms made by Artaud in relation to theatrical performances presented in France in the 1930s. By making a critique of the psychological theater, Artaud ideates a theater consisted of different languages, not restricted to the simple reproduction of the text. Without attempting to address the extensive work by Artaud, the dissertation aims to analyse some aspects of important concepts created by Artaud, as the cruelty and the pest, trying to identify in its proposal for the theater, as well as the development of concepts related to psychoanalysis, like the death drive. We also aim to discuss the creation process of Artaud, by analyzing the figure of the Father in his writing and the so called \"other unconscious scene\" that would be opened by the theater of cruelty.

Orientador: Fabio Akcelrud Durão / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-19T21:55:34Z (GMT). No. of bitstreams: 1 Winter_LigiaMaria_D.pdf: 5771235 bytes, checksum: ed362af43a48a013403a9dff1d4f1402 (MD5) Previous issue date: 2012 / Resumo: A proposta deste trabalho é pensar o estatuto literário e político de uma escrita, que nomeio Escrita do Suporte, partindo da imagem habitual de um suporte lido como sustentáculo ou mediador neutro, terreno sobre o qual edificar instituições, a que nomear "pátria" ou em que fundar um Estado. Esse terreno neutralizado funciona como lugar de arquivamento e violência, que representa, para as Escritas do Suporte, uma impostura que se deve expor, publicar em seu centro regulador, para que se possa repensar a História. Essa impostura do suporte neutro, que se pretende exposta pelas Escritas do Suporte, mobiliza questões políticas e jurídicas, filosóficas, psicanalíticas e autobiográficas. O trabalho parte de textos de Jacques Derrida e Antonin Artaud, em especial compreendendo a Escrita do Suporte compartilhada entre uma carta de Artaud a André Rolland de Rénéville, escrita em 1932, o ensaio Enlouquecer o subjétil (1998b), no original Forcener le subjectile (1986a), em que Derrida retoma essa carta de Artaud, e a pictografia de Lena Bergstein, no ensaio em português, que se inscreve no lugar da ausência dos desenhos de Artaud, retirados pela artista brasileira do ensaio original, que fazia parte do livro Antonin Artaud: dessins et portraits, de Derrida e Paule Thévenin (1986a). Pela leitura desses textos, trazemos ao questionamento khôra, que Derrida faz intercambiar com o subjétil. Khôra é o suporte metafísico de Platão que excede a dialética. Na leitura do Timeu, de Platão (2011), pensamos tanto esse excesso, como o problema do estrangeiro e da política externa de guerras para a validação da técnica interna grega, a partir de um elemento aparentemente acessório e "pouco sério", a introdução de Sócrates. O problema dessa relação com o estrangeiro, todavia, é destinado ao rodapé por Derrida em Khôra, livro escrito sete anos após o ensaio sobre Artaud (1995b), bem como por Rousseau, como retoma Derrida em nota. Para nossa Escrita do Suporte, trazemos ao centro essa questão, da mesma maneira como a Escrita do Suporte traz ao centro da cena os elementos que nela pareciam acessórios, reservados à margem. Nesse deslocamento, pensamos o problema da língua e da pátria, que Derrida traz a Enlouquecer o subjétil, e, em especial, a questão de um "habitar a casa na apatridade", que lemos com Vilém Flusser (2007). Juntamente com khôra, pensamos outro excesso que Derrida faz intercambiar com o subjétil: cruauté, e com ela relemos os textos de Antonin Artaud. Por fim, compreendemos as estratégias de antecipação, justaposição/sobreposição (l'air surajoutée) e encenação de um arrancamento de cena como técnicas compartilhadas por Artaud, Derrida e Bergstein nessa Escrita do Suporte, em seus quatro movimentos: uma primeira neutralização do suporte, seguida pelo desarquivamento de suas variantes, passando para uma denúncia ou publicação da violência dessa neutralidade e, por fim, pela antecipação epistolar do teatro, que compreenderemos como uma dimensão "missiva", referente às cartas que pedem o compartilhamento entre desencontros, recuando as remissões. Esses quatro movimentos são também lidos por um questionamento das políticas do presente, pois é justamente essa a necessidade que se impõe para tais escritas / Abstract: This paper presents the political and literary status of a different kind of writing, called here as Support Writings. This concept comes from the habitual image of a support read as the basis or mediator for institutions to be built upon, as somewhere to be called homeland or as somewhere to found a State. This neutral foundation site works as a place of an "archive of violence", that represents, for the Support Writings, an imposture that needs to be exposed, published, in order for History to be thought differently. The neutral foundation imposture involves political, juridical, philosophical, psychoanalytical and autobiographical issues. The paper starts by reading Jacques Derrida and Antonin Artaud, specially understanding the Support Writings shared by a letter from Artaud to André Rolland de Rénéville, written in 1932, and an essay by Jacques Derrida, Maddening the subjectile, in Portuguese Enlouquecer o subjétil (1998b), from the original Forcener le subjectile (1986a), in which Derrida brings this letter by Artaud. The Support Writings is also shared by the graphic work of a Brazilian artist, Lena Bergstein, who removes the drawings by Artaud, included as part of the book Antonin Artaud: dessins et portraits, by Derrida and Paule Thévenin (1986a), and inserts her own, in the Portuguese version. From these texts, we bring the image of khôra, which Derrida thinks as part of the image of his subjectile. In Plato's text Timeu (2011), khôra is the metaphysical support that exceeds dialectics. Reading Timeu, we considered this excess also in relation to the question of the "foreigner" and the external politics of war as a validation of the internal Greek technique, by reading the apparently "accessory" and "less serious" introduction by Socrates. These questions are destined to footnotes by Derrida in Khôra, written seven years after the essay about Artaud (1995b), as well as by Rousseau, who Derrida talks about in the footnote. To our Support Writings, we bring this problem back to the center or the argument, the same way as the Support Writings bring back to the center its elements destined to the margins, considered accessories. With this displacement, we think about language and homeland, together with Derrida in Maddening the subjectile, specially through the topic of an "habitar a casa na apatridade", read with the Czech- Brazilian critic Vilém Flusser (2007). Together with khôra, we consider another "excess" that Derrida thinks as the subjectile: cruauté, and with it we read Antonin Artaud's texts. At last, we present the strategies of anticipation, juxtaposition (l'air surajoutée) and the scene of a scene displacement as shared techniques by Artaud, Derrida and Bergstein in these Support Writings, with its four movements: a first support neutralization, followed by a disorganization of the archive and its variants, then an exposure or publication of its "neutral violence", and, at last, an epistolary anticipation of the Theater, which we understand as a "missive" dimension, referring to the letters, asking for the displacement to be shared, retreating language's remissions. These four movements are also read by a questioning of the politics of the present, because that is the first necessity imposed by these writings / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Orientador: Marcos Aparecido Lopes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T21:59:09Z (GMT). No. of bitstreams: 1 Pereira_FellipeRamos_M.pdf: 992086 bytes, checksum: 35d2346ea14779e6bf9fb3879bf1860b (MD5) Previous issue date: 2015 / Resumo: O presente trabalho tem por objetivo desenvolver um estudo sobre a obra Coxas ¿ sex fiction & delírios de Roberto Piva. Buscar-se-á analisar os pontos de contato entre a crueldade e o erotismo no interior desta obra. Cabe assinalar que Coxas é uma obra erótica, que tem por tema o erotismo, e não uma obra com passagens eróticas. Por isso o que se busca fundamentalmente neste trabalho é analisar como erotismo e a crueldade são trabalhados pelo poeta. Para isso se desenvolveu dois pontos principais na pesquisa. O primeiro é exatamente o que diz respeito ao erotismo, porque a crueldade que se busca analisar provém deste aspecto e ele se mostra bastante relevante na obra em questão. O segundo é uma análise formal, pois há nitidamente em Coxas certa hibridização dos gêneros poesia e prosa. Para cumprir estas tarefas buscou-se primeiramente compreender como se compunha o quadro poético da época em que Roberto Piva inicia sua trajetória nas letras e como se configura o erotismo em sua obra. Em seguida se procurou alguns parâmetros especulativos que servissem de apoio à análises da obra nos aspectos apontados, por fim o problema formal se mostrou também de grande relevância, por isso há um capítulo destinado a expor os traços formais de Coxas / Abstract: This dissertation aims to develop a study about the book "Coxas" ¿ sex fiction & delirious, by Roberto Piva. We intend to analyze the points of contact between cruelty and eroticism within this work. It is worth highlighting that "Coxas" is an erotic literary work, whose theme is eroticism, and not an erotic passages book. That is why we seek primarily to investigate how eroticism and cruelty were used by the poet. In this regard we had developed two main points in the research. The first is exactly what concerns the eroticism, because the idea of cruelty that we seek to analyze comes from this aspect and it shows high relevance in the mentioned work. The second one is a formal analysis because it is possible to notice that there is poetry and prose genre hybridization into "Coxas". In order to accomplish this goal we sought to understand firstly on how the poetic scenario was composed from the time that Roberto Piva had begun his career in the poetic world and how eroticism had been configured in his work. And then, we tried some speculative parameters that work in order to give us support in the work analysis on what concerns the highlighted aspects. Finally, the formal point had also been showed highly relevant, so there is a chapter that intends to expose the formal features in "Coxas" / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária