O erotismo é um tema central na obra de Caio Fernando Abreu. Em grande parte de seus livros, o autor apresenta personagens que lidam com um desejo impositivo, mas que se deparam com diversas impossibilidades para que o gozo efetivamente aconteça. Essa tese propõe um olhar sobre esse tema na obra do autor, mediante a análise de quatro contos do escritor gaúcho, publicados em Morangos Mofados, de 1982 e em Os dragões não conhecem o paraíso, de 1988. Para buscar uma compreensão a respeito do modo como o erotismo aparece nas narrativas escolhidas, as interpretações são dividas em duas partes. Na primeira, analiso dois contos que tematizam a iniciação erótica: Sargento Garcia e Uma praiazinha de areia bem clara, ali, na beira da sanga. Na segunda, exponho o modo como o erotismo e a morte se relacionam em outros dois textos do autor gaúcho: Os sapatinhos vermelhos e Terça-feira gorda. Nestes últimos, é possível notar que a morte determina a finitude do sujeito e do prazer. Defendo aqui que o erotismo aparece nesses contos mais como uma promessa de gozo do que como prazer propriamente dito. Mesmo quando o prazer se realiza, o gozo é cerceado, quer seja devido a fatores externos aos sujeitos, como o preconceito da sociedade; ou pela condição intrínseca dos indivíduos e do próprio desejo: a incompletude / Eroticism is the main theme in Caio Fernando Abreus works. In most of his books, the author presents characters that deal with a dominant desire, but also face the impossibility of its total fruition. This dissertation proposes an analysis of this theme, as addressed by Abreu, by focusing on the review of four of his short stories from Morangos Mofados (1982) and Os dragões não conhecem o paraíso (1988). In order to understand how eroticism pervades the selected narratives, the analyses are divided in two parts. In the first one, I analyze two short stories focused on erotic initiation: Sargento Garcia and Uma praiazinha de areia bem clara, ali, na beira da sanga. In the second part, I present the ways by which eroticism and death are intertwined in two other Abreus short stories: Os sapatinhos vermelhos and Terça-feira gorda. These last ones reveal the idea that death establishes the subject and pleasure finitude. I argue that, in these short stories, eroticism appears more as a promise of fulfillment than a total fruition. Even when accomplished, pleasure is restricted by elements that are external to the subjects, such as societys prejudice, or by the intrinsic condition of individuals and of the self: incompleteness

Orientador: Mário Luiz Frungillo / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T20:41:20Z (GMT). No. of bitstreams: 1 Macario_PaulaGomes_D.pdf: 2046658 bytes, checksum: 5fadb7c1fc29def33ea655c8c32c303f (MD5) Previous issue date: 2012 / Resumo: A presente tese inclina-se sobre a obra do escritor francês Pierre Louÿs (1870 - 1925). Estudioso dos antigos poetas gregos e entusiasta da arte antiga, Louÿs pode, num primeiro momento ser associado à escola parnasiana. Em seus primeiros poemas, bem como em diversos momentos importantes de seu trabalho, ele dedicou-se à construção de um ambiente pagão, harmonioso e aprazível, munido de uma sensualidade bastante associada à plasticidade das formas. Porém, uma propensão singular transportou igualmente seu trabalho a outro território. Propensão esta que se revela pela adoção da temática do erotismo e, sobretudo, pela forma particular com que ele apropria-se de tal matéria. Pode-se ler em seus livros uma atmosfera bela, sensual e hedonista, que ao mesmo tempo atualiza uma das grandes tradições do erotismo literário: o humor a ironia e os excessos lúbricos postos em cena para caçoar e combater as regras morais e a hipocrisia sexual da sociedade. Na combinação desses dois ideais, um estético e outro subversivo, encontramos a face particular da produção de Louÿs que servirá de guia à nossa investigação: Como defensor de uma nova maneira, mais libertária, de pensar e de lidar com as paixões do corpo, o escritor termina por criar uma série de personagens que, armados de grande beleza e de uma graciosa ironia, cumprem o papel de contestar a moral puritana. Estamos falando prioritariamente de personagens femininas, pois no trabalho deste autor uma atenção especial é concedida às mulheres. Vasta, variada e incontestavelmente sedutora é a procissão de beldades femininas que desfilam por seus livros. Mas o elemento mais interessante a se notar nessas mulheres não se resume ao quadro de seus encantos físicos, e sim algo que segue de par com eles, a saber, uma personalidade espontânea e de tendências licenciosas, dedicada especialmente à realização de uma vida plena de beleza e prazer. Tratamos, portanto, de elencar e analisar, na obra de Pierre Louÿs, uma série de personagens femininos que possuem o atributo de funcionar como um modelo de comportamento permissivo, libertário e atraente. Modelo este que é, sobretudo, o pretexto para uma literatura valiosa, ao mesmo tempo inquietante, e muito deleitável / Abstract: This thesis is based on the work of the French writer Pierre Louÿs (1870-1925). Scholar of ancient Greek poets and enthusiastic of ancient art, Louÿs may at a first moment be associated with the Parnassian school. In his early poems, as well as various important moments in his work, he devoted himself to the construction of a pagan, harmonious and enjoyable atmosphere, equipped with a sensuality somewhat associated to the plasticity of forms. However, a singular inclination transported his work to another territory as well. This inclination is revealed by the adoption of the erotic theme, and especially by the very particular way in which he embraces it. In his books one can read a beautiful, sensual and hedonistic atmosphere which equally updates one of the great traditions of literary eroticism: humor, irony and a lascivious excess brought into play to mock and scuffle society's moral rules and sexual hypocrisy. By combining these two ideals, one aesthetic and another of moral subversion, we find the particular aspect of Louÿs's work that will guide us in our investigation: As an advocate of a new, more libertarian way of thinking and dealing with the body passions, the writer ends up creating a series of characters who, armed with great beauty and graceful irony, play the role of refuting puritanical morality. We refer mostly to female characters, as in the works of this author particular attention is given to women. Vast, varied and attractive is the undoubtedly seductive procession of beauties parading through his books. But the most interesting element to be noticed in these women is not restricted to their physical charms, but rather something that matches that up, that is, their spontaneous and licentious-prone personality, expressly devoted to achieving a life full of beauty and pleasure. We tried, thus, to list and analyze, in Pierre Louÿs's work, a series of female characters that have the attribute of working as a model of a permissive, libertarian and attractive behavior. A model which is above all an excuse for a very valuable and, at the same time, disturbing and very pleasant literature / Doutorado / Literatura Geral e Comparada / Doutora em Teoria e História Literária

Des affinités rapprochent l’oeuvre d’Hubert Aquin et celle de Georges Bataille. Ces deux auteurs explorent une voie mystique présentant de fortes similitudes, apparentée à ce que Roger Caillois appelle le « sacré gauche », c’est-à-dire le sacré impur, maléfique, dont l’accès serait donné selon Georges Bataille par la transgression, et qui correspondrait, pour reprendre l’expression bataillienne, au « moment privilégié d’unité communielle ». L’objectif de l’auteur français est de dégager l’expérience mystique de ses antécédents religieux et de rendre le phénomène de l’extase accessible à tous. La sortie de soi est rendue possible par la communication, qui implique la rupture de son intégrité et de celle d’autrui. Bien que provenant d’un horizon culturel différent, Hubert Aquin théorise également et met en scène dans et par le récit une certaine forme d’« extrême du possible » qui s’avère très proche de « l’impossible » bataillien. Cette thèse se propose de montrer en quoi les théories de « l’expérience intérieure » et de l’érotisme de Bataille éclairent tant les essais que le Journal, les romans, récits et nouvelles d’Aquin, nous amenant par la même occasion à définir les particularités de la voie mystique empruntée par l’auteur québécois, et aussi, plus généralement et plus fondamentalement, de souligner deux façons différentes d’appréhender et de vivre le refus de la transcendance : l’une, celle de Georges Bataille, qui consiste à embrasser à corps perdu la perte de Dieu et de soi-même dans un formidable éclat de rire, et l’autre, celle d’Hubert Aquin, qui réside dans le tiraillement incessant et douloureux entre ce qui éloigne du Christ et ce qui rapproche de Lui. Le premier chapitre de la thèse est théorique ; il est consacré aux trois concepts qui régissent l’ensemble de notre analyse : le mysticisme, le sacré et l’érotisme. C’est ensuite la singularité de la nouvelle théologie mystique que propose Georges Bataille dans ses textes théoriques par rapport à l’expérience mystique traditionnelle qui fait l’objet du deuxième chapitre. Le troisième et dernier chapitre met en valeur la spécificité de l’expérience de l’auteur québécois : comment Hubert Aquin conçoit-t-il et représente-t-il « l’extrême du possible » dans l’ensemble de son oeuvre ? C’est à cette question que nous tâchons de répondre. / Affinities gather Hubert Aquin’s and Georges Bataille’s writings. These two authors explore a mystic way wich presents strong similarities, related to what Roger Caillois called « left sacred», that is to say the impure, malefic sacred, accessible to Georges Bataille by transgression, and which corresponds to the « privileged moment of communal unity ». The French author’s goal is to free the mystic experience from its religious background and to make ecstasy accessible to everybody. It is precisely by communicating that men can break their isolation and that of the others and reach ecstasy. Even if Hubert Aquin hasn’t the same cultural background than Georges Bataille, he also theorizes and represents in his novels a form of « extreme of the possible », which is very close to the bataillian « impossible ». This thesis aims to show how Georges Bataille’s theories of « inner experience » and eroticism highlight Hubert Aquin’s essays, Journal and novels, leading us to define the pecularities of the mystic way explored by the author from Quebec, and more generally and fundamentally, to focus on two different ways to think and to live the refusal of transcendence : the first, that of Georges Bataille, which consists in embracing the loss of God and ourself laughing, and the second one, that of Hubert Aquin, which consists in being ceaselessly and painfully torn between what takes away from the Christ and what moves closer to Him. The first chapter of the thesis is theoretical ; it is dedicated to three key concepts for our whole analysis : mysticism, sacred and eroticism. The object of the second chapter is the peculiarity of the new mystic theology of Georges Bataille in his theoretical texts compared to the traditional mystic experience. The third and last chapter emphasizes the specificity of the author from Quebec’s experience. How does Hubert Aquin conceive and represent « the extreme of the possible » in his writings ? It is to this question we try to answer.

[pt] Esta dissertação consiste em uma aproximação entre a concepção de erotismo em Georges Bataille e a noção de gozo em Jacques Lacan, em um momento específico de seu ensino: o Seminário VII. Bataille e Lacan, herdeiros do pensamento freudiano, concebem o erotismo na visada da morte, em um sentido específico próprio a cada um. A morte, aqui, assinala a incompatibilidade entre o desejo, nossa existência habitual e o gozo em si. Finalmente, destacamos que, para ambos os autores, abordar o erotismo pela via da transgressão exige a formulação de uma ética. / [en] This dissertation is the approximation between the conception of eroticism in Georges Bataille and the notion of jouissance in Jacques Lacan, at a specific moment of this teaching: The seminar book VII. Bataille and Lacan, heirs of Freudian thought, conceive eroticism in sight of death, in a proper way to each one. Death, here, points to the incompatibility between desire, our usual existence and jouissance in itself. Finally, we emphasize that, for both authors, address the eroticism through transgression requires the formulation of an ethic.

La mort aussi naturelle qu'elle puisse paraître ne reflète pas un phénomène assuré au regard de la condition humaine. Elle nécessite une inscription subjective, tant au niveau de la psyché que du soma, afin que l'individu puisse se constituer sujet de l'inconscient. C'est en effet par la voie du processus tragique que cette inscription est possible. Comment l’approcher alors ? Le sentiment tragique serait-il en lien avec l’inconscient ? L’inconscient pensé comme le discours de l’Autre, le grand Autre en tant qu’il se définit par le lieu de l’épreuve existentielle du sujet, corrélée à la révélation de son sexe et à la contingence de son être au travers l’expérience de la pensée symbolique. Cette hypothèse serait-elle de l’ordre de l’évènement ? La dialectique psychanalytique depuis les premières découvertes de la théorie de la génitalité jusqu'à nos découvertes récentes allie le sexe et la mort dans un souci d’élucider ce qui détermine l'être parlant sur le chemin de la vie. / The natural death as it may seem does not reflect a phenomenon insured under the human condition. It requires a subjective inscription, both in terms of the psyche that the soma, so that the individual can be subject of the unconscious. It is indeed by the field of the tragic process that registration is possible. How to approach then? The tragic sense would it be related to the unconscious? The unconscious thought as the discourse of the Other, the big Other as it is defined by the place of existential test subject correlated to the revelation of her sex and contingency of his being through the experience of symbolic thought. Psychoanalytic dialectic since the first discovery of the theory of genitality to our recent discoveries combines sex and death in an effort to implement what determines the speaking on the path of life.

Cette étude se propose de montrer comment Yukio Mishima a renouvelé l’art du nô tout en conservant de nombreux concepts dramaturgiques et esthétiques. Créant un genre nouveau, le nô moderne, l’écrivain a revitalisé ce théâtre en privilégiant son obsession du désir de mort. Greffés sur des nôs anciens, les pièces de Mishima revitalisent des figures et des mythes du passé dans un monde moderne dégradé, où la seule voie possible est celle qui mène à la douleur originelle, un retour vers un sacré dans lequel se lisent les obsessions et les rêves de mort du dramaturge. / This study offers to show how Yukio Mishima has renewed the art of nô while maintaining numerous aesthetic and drama concepts. By creating a new genre, the modern nô, the writer has revitalized this type of theatre, focusing on his obsession with death desire. Based on ancient no’s, Mishima's plays revitalize figures and myths of the past, in a deteriorated modern world where the only possible path is the one leading to original pain, going back to the sacred, which reflects the playwright's obsessions and dreams of death.

The eroticism and sexuality of individuals has been regulated by a diverse social standards that over the years were becoming more flexible, allowing subjects to experience emotions and pleasures previously denied or prohibited. Therefore, the erotic languages and sexual approximation between men and women have passed through significant changes in Viçosa - AL, accompanied by transformations in fun spaces existing in the city. This dissertation intends to understand the directions that the process of transformation the relations of flirting took from the end of the decade of 1930. In other words, the main objective of this work was to analyze the fun spaces and types of courtship established in Viçosa over the years. The methodology used consisted in varieties printed newspaper examination of that circulated in Viçosa in the 1930s and 1940s, and of chronicles written by viçosenses, as well as interviews with individuals from different generations and the observation of forró shows, bars and churrasquinhos. To understand the erotic past of Vicosense, the concept of "good society", thought by Norbert Elias and Cas Wouters, that allows to analyze how the upper class of Viçosa regulated the sexuality of its members, controlling, this way, where and who the young people should flirt, being one of one of the mechanisms used to preventing a stranger undesired aggregation to his group, which caused a social and psychological distancing among individuals of different generations, genders and social classes. However, by the 1970s the Vicosenses began to experience an expansion and redefinition of fun, which allowed a transformation in the sexuality and courtship, because a series of sexual excitations and gratifications began to be experienced, bringing the different social groups. Currently the forró shows are one of the spaces where is possible to observe the existence of a new repertoire of erotic and sexual codes through lyrics songs - intensely sexualized -, of dances and exchanges of caresses, presenting a more informal type of behavior compared to the previous periods, in which the intimate contact in public spaces was based on dynamics of more rigid self-control. / FAPEAL - Fundação de Amparo à Pesquisa do Estado de Alagoas / O erotismo e sexualidade dos indivíduos tem sido regulamentada por diversos padrões sociais que ao longo dos anos foram se tornando mais flexíveis, possibilitando aos sujeitos experimentar emoções e prazeres anteriormente negados ou proibidos. Portanto, as linguagens de aproximação erótica e sexual entre homens e mulheres passaram por significativas mudanças em Viçosa – AL, acompanhadas por transformações nos espaços de divertimento existentes na cidade. Esta dissertação pretende compreender as direções que o processo de transformação das relações de paquera tomou a partir do final da década de 1930. Em outras palavras, o principal objetivo deste trabalho é analisar os espaços de divertimento e tipos de cortejamento estabelecidos em Viçosa ao longo dos anos. A metodologia utilizada consistiu em consultas aos jornais que circulavam em Viçosa nas décadas de 1930 e 1940, e de crônicas escritas por viçosenses, além de entrevistas com indivíduos de diferentes gerações e a observação de shows de forró, bares e churrasquinhos. Para compreender o passado erótico viçosense, o conceito de “boa sociedade”, pensado por Norbert Elias e Cas Wouters, permite analisar como a elite de Viçosa regulamentava a sexualidade de seus membros, pois controlava como, onde e quem os jovens deveriam paquerar, sendo este um dos mecanismos utilizados para impedir a entrada de membros estranhos ao seu grupo, o que provocava um distanciamento social e psíquico entre indivíduos de diferentes gerações, gêneros e classes sociais. Entretanto, por volta da década de 1970 os viçosenses passaram a vivenciar uma ampliação e redefinição do divertimento, o que possibilitou uma transformação da sexualidade e do cortejamento, pois uma série de excitações e gratificações sexuais passaram a ser vivenciadas, aproximando os diferentes grupos sociais. Atualmente os shows de forró constituem um dos espaços onde é possível observar a existência de um novo repertório de linguagens eróticas e sexuais através das letras de músicas – intensamente sexualizadas -, das danças e trocas de carícias, apresentando um tipo de comportamento mais informal comparado com os períodos anteriores, nos quais o contato íntimo em espaços públicos era baseado em dinâmicas de autocontroles mais rígidas.

[pt] Esta investigação toma por objeto de estudo a subcultura BDSM – Bondage, Disciplina, Dominação, Submissão e Sadomasoquismo e a sua concepção de amor. No centro dessa subcultura, estão jogos sexuais que erotizam o poder e que são comumente denominados jogos de dominação e submissão. Por meio de uma etnografia virtual, percebeu-se a existência de um modelo de amor com contornos bem específicos – o amor BDSM. A partir da definição de algumas das nuances dessa categoria nativa, buscou-se dialogar com certos elementos do amor romântico e do amor confluente, caracterizado por Anthony Giddens, a fim de se refletir sobre possíveis aproximações e tensões envolvidas na tipologia amorosa. Como manifestação contemporânea, o amor BDSM dialoga com outras formas de amor e com as relações de gênero existentes na sociedade envolvente. / [en] This research takes as object of study the subculture BDSM – Bondage, Discipline, Domination, Submission and Sadomasochism and his conception of love. At the center of this subculture are sexual games that eroticize power and which are commonly called of dominance and submission games. Through a virtual ethnography, it is realized the existence of a model of love with very specific contours – love BDSM. From the definition of some of the nuances of this native category, this investigation tried to talk to certain elements of romantic love and confluent love, characterized by Anthony Giddens, in order to reflect on possible approaches and tensions involved in loving type. As contemporary manifestation, the love BDSM dialogue with other forms of love and the relations of gender in the surrounding society.

Toyen and sexuality is a frequent topic of art history texts written about the artist in the last twenty years. Toyen provoked with her erotic drawings and illustrations, her appearance and mysteriousness shrouded around her. Where did the roots of her desire, depicted in her work, came from? What was the role played by contemporary context? How her contemporaries wrote about sexuality? Were there any interpretations of the artist's work based on the known information about her person or personality? What was the Toyen's position as a woman? The empirical part of my thesis is based on research, where I try to seek for answers to the questions found in the texts published in Czechoslovakia. The research is bounded by years 1922-1947. Years when Toyen entered respectively left the Czech art scene. Her work has therefore been interpreted by persons who lived in the same cultural context, some of them were actually her personal acquaintances. I will also try to answer the question whether the contemporary texts differ from the texts written after 1989, eventually how. Within the examining the reflection of sexuality in the work of Toyen I will also ask myself whether the perspectives of view are different in the eyes of men and women. The question put in this way accompanies, depending on the answer,...

A young, first generation immigrant Chinese man named Ray living in Honolulu, Hawaii falls in love with a language student named Jessika. After a series of awkward encounters in which Ray fails to find a chance to express the full extent of his affection, Jessika makes off to the mainland United States for a green-card marriage. Months later, after failing to secure either a marriage or a green card, alone and out of money, Jessika calls Ray from a remote town in California and asks for his help to bring her to the airport in San Francisco, where she will end her disastrous journey in America by returning to her hometown in China. Gripped by a sense of responsibility and regret, Ray reluctantly agrees, knowing well that this is the last opportunity he will have with the woman he loves.