I am bored. All around me are systems that perpetuate repetitive, reductive, and mundane modes of living. In an attempt to counter a culture obsessed with singular ways of existence and bite-sized perfection, I utilize moving mediums of video and performance to dive head first into a vast array of sloppy sincerity. The crisp, white-washed, analytical, and restrictive is loudly replaced with the empirical, haphazard, and instinctual. My intention is to create and encourage raw, performative-based work that is as multifaceted as unbridled life itself. This alive and physical practice hosts a conglomeration of sweat, memories, heartbreaks, hymn singing, line dancing, cake eating, wig wearing, bedroom jamming, live streaming, code switching, hallway running, body dragging, easter egg hiding, angst, and hair salons. This is a refusal to slice up, organize, and distill myself and my work into one dish with convoluted, explanatory rhetoric stamped with institutionalized approval and topped with the cherry of MFA status for the sake of being justified and relevant. I have zero obligations to make polished art, resolve things, or pinpoint what makes me “me”, because humans are not boxes and art does not have to be finite.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-02T17:11:18Z No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1583072 bytes, checksum: 8f512538c76034bda5249583a8bd1eae (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:38:26Z (GMT) No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1583072 bytes, checksum: 8f512538c76034bda5249583a8bd1eae (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T01:39:19Z (GMT) No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1583072 bytes, checksum: 8f512538c76034bda5249583a8bd1eae (MD5) / Made available in DSpace on 2016-04-24T01:39:19Z (GMT). No. of bitstreams: 1 fabriciotavaresdemoraes.pdf: 1583072 bytes, checksum: 8f512538c76034bda5249583a8bd1eae (MD5) Previous issue date: 2013-03-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação busca traçar uma análise comparada entre a obra poética do poeta irlandês Seamus Heaney e a do brasileiro Salgado Maranhão no que tange à tensão indissolúvel entre a intuição e razão que estão no âmago do ato poético, especialmente durante o processo de composição. Tomando como pressupostos os conceitos de apolíneo e dionisíaco do filósofo alemão Friedrich Nietzsche, desenvolvidos na obra O Nascimento da Tragédia (1872), o presente trabalho busca justamente apontar esses elementos antitéticos na gênese da poesia, bem como as posturas poéticas neles baseadas (chamadas doravante de “poesia instintual” e “poesia cerebral”). Além disso, pretende-se compreender a forma como as obras de ambos os poetas analisados se inserem nas manifestações poéticas da contemporaneidade. Por último, partindo da simbologia da terra – ampla e constantemente abordada ao longo de todas as obras de Heaney e Salgado –, busca-se efetuar uma leitura dos possíveis desdobramentos literários, sociais, culturais e históricos de tal metáfora. / This dissertation aims to draw a comparative analysis between the poetical works of the Irish poet Seamus Heaney and the Brazilian poet Salgado Maranhão, regarding the indissoluble tension between intuition and reason that is at the core of the poetic act, especially during the composition writing process. Utilizing as presupposition the concepts of the “Apollonian” and “Dionysian” coined by the German philosopher Friedrich Nietzsche, both developed in the work The Birth of Tragedy (1872), the present study attempts to pinpoint these antithetical elements that are in the genesis of poetry, as well as the poetic postures based on them (hereinafter called “instinctual poetry” and “cerebral poetry”). Furthermore, we intend to comprise the way through which the poetical works of both poets are inserted in the contemporary poetic manifestations. Lastly, basing on the symbolism of the earth/soil – wide and constantly addressed throughout the works of Heaney and Salgado – we intend to interpret the feasible literary, social, cultural and historic meanings of such metaphor.

Made available in DSpace on 2016-04-29T13:31:06Z (GMT). No. of bitstreams: 1 Luiz Antonio Palma e Silva.pdf: 954966 bytes, checksum: 2b1002ac4184fc37cc93fe16c60be85d (MD5) Previous issue date: 2013-11-11 / The mosaic of human frailty is revealed in Freud‟s Civilization and its discontents through the precarious and finite existence, the hardships and threats arising from Nature and the ambiguous relations with the other. Given this injunction, the Freudian subject, subsumed and insurgent in the cultural field, disturbed by the noise of the drives and the dark tones of the oppression of the reality principle, is endlessly confronted with the desire and the demands of external reality. The theme is developed from notions of psychoanalysis present in the work above in liaison and dialogue with the fields of social philosophy, questioned by two symbolic registers of human expression, politics and aesthetics. The main question lies in the bonds between civilization and culture that determine a complex and oppressive system of needs for the subject in order to glimpse the faces of the contemporary malaise. The central hypothesis is that despite the complexity that engenders unease and the wide adaptive force that impels it, its social configuration is not impervious to the dialectical telos of history and its properties: coercion and rebellion, subjugation and emancipation. From the hypothesis, two perspectivations arise: the possibilities of overcoming the self-reproduction of the politics that overweighs the reality principle, and the scope of the subversion of experience, a quality inherent in art and the aesthetic function, as an emancipatory path. The reflective and analytical course of this thesis was based on the clarity that subjectivation processes are not separated from their historical production; or in other words, it is the real historical process that constitutes the subject in the present state of things / O mosaico da fragilidade humana se revela na obra O Mal-estar da Civilização de Freud pela precária e finita existência, pelas agruras e ameaças advindas da natureza e a ambiguidade das relações com o outro. Dessa injunção, o sujeito freudiano, subsumido e insurgente no campo da cultura, perturbado pelo ruído das pulsões e os tons sombrios da opressão do princípio de realidade, é confrontado indefinidamente com o desejo e as exigências da realidade externa. O tema é desenvolvido a partir de noções da psicanálise presentes na obra acima referida em articulação e diálogo com campos da filosofia social, problematizado por dois registros simbólicos da expressão humana, a política e a estética. A questão principal localiza-se nos vínculos entre civilização e cultura que determinam um complexo e sufocante sistema de necessidades para o sujeito, de modo a vislumbrar as faces do mal-estar contemporâneo. A hipótese central é que a despeito da complexidade que engendra o mal-estar e a ampla força adaptativa que o impulsiona, sua configuração social não é impermeável ao telos dialético da história e suas propriedades: coerção e revolta; subjugação e emancipação. A partir da hipótese, duas perspectivações: as possibilidades de superação da auto-reprodução da política que determina sobrepesos ao princípio de realidade; e o alcance da subversão da experiência, qualidade inerente à arte e a função estética, como trilha emancipatória. O percurso reflexivo e analítico da tese pautou-se pela clareza de que os processos de subjetivação não estão desvinculados da produção histórica, em outras palavras, é o processo histórico real que constitui o sujeito no estado presente das coisas