Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, 2001. / Includes bibliographical references. Also available on the Internet.

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Orientador: Eric Mitchell Sabinson / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T13:33:55Z (GMT). No. of bitstreams: 1 Franca_Vinicius_M.pdf: 830422 bytes, checksum: 184da193dee6256dc981c95090399492 (MD5) Previous issue date: 2011 / Resumo: O objetivo desta dissertação foi estudar a obra do poeta Philip Levine (1928- ). A partir de uma caracterização da poesia de Levine, que é tido como um dos mais importantes poetas em atividade nos E.U.A., foi estabelecida uma antologia traduzida e comentada de seus poemas. Para tanto, em um primeiro momento, buscou-se apontar os rumos que a poesia norte-americana tomou a partir de 1945. Em seguida, com o auxílio da leitura da crítica especializada, foi elaborada uma discussão do lugar que a obra de Levine ocupa na poesia norte-americana do pós-guerra, com o intuito de caracterizar e estabelecer um corpus representativo de sua produção poética, a partir de seus três primeiros livros que foram publicados entre 1963 e 1974 / Abstract: The goal of this thesis was to study the work of poet Philip Levine (1928- ). From a characterization of Levine?s poetry, who is regarded as one of the most important poets in activity in the U.S., a translated and annotated anthology of his poems was established. The direction that American poetry has taken since 1945 is described. After presenting a reading of the relevant criticism, we discuss Levine's place in postwar American poetry in order to characterize and establish a representative corpus of his poetry from his first three books, which were published between 1963 and 1974 / Mestrado / Teoria e Critica Literaria / Mentre em Teoria e História Literária

In January 2019, Netflix released the unexpectedly popular Conversations with a Killer: The Ted Bundy Tapes. Joe Berlinger, true crime director, compiled interviews with Bundy, law enforcement authorities involved with Bundy’s arrest and trial, and members of Bundy’s community to create a four-part docu-series focusing “on a man whose personality, good looks, and social graces defied the serial-killer stereotype, [which allowed] him to hide in plain sight” (Berlinger). The somewhat romanticized Ted Bundy Tapes serve as an example of modern folklore, in which the archetypal bogeyman has been narrativized for contemporary society as a charming, rather than hideous, monster. This bogeyman trope—a child-snatching, fear-inducing, paranoia-provoking monster—can be traced back through a number of famous folkloric tales, like The Pied Piper, through the fairytale realm, as illustrated with Peter Pan, and into popular contemporary media with productions like the Ted Bundy Tapes and Extremely Wicked, Shockingly Evil and Vile. These folkloresque narratives help to explain how certain trials or traumas were overcome. The Ted Bundy Tapes opened a discourse community surrounding Ted Bundy as more than a historically recorded villain, but as an almost fictive evil hiding behind a “hot” façade. Forming Bundy as a charming child-snatcher and then presenting this character in a widely available docu-series promulgated the surrounding lore, making Bundy into a bogeyman. Instead of romanticizing Bundy now, we have to recognize his form as a bogeyman character in order for this archetype to serve in a truly useful cautionary capacity and to help us work through inevitable trauma.

This thesis examines the use of form and spatial language in confessional fiction by men to elucidate how they conceptualise and negotiate material, corporeal, and psychological boundaries amidst the shifting social and political landscape of the United States since the Second World War. In light of increasingly urgent calls to address gender and racial discrimination in the United States, this study offers timely insight into an identity that, while culturally dominant, often escapes examination: white, heterosexual masculinity. Focusing on the representation of forms and spatial imagery, the chapters explore how five formally experimental novelists-Vladimir Nabokov, Joseph McElroy, Harry Mathews, William H. Gass, and Peter Dimock- employ the confessional genre to illustrate the way men perceive themselves as spatially and temporally circumscribed, and to look at the way they reinforce or transgress the boundaries of masculine identity. The post-war period in the United States witnessed a proliferation of confessional writing that coincided with the popularisation of Freudian psychoanalysis, the cold war rhetoric of suspicion, and the rise of second-wave feminism. As a result, the concept of the self increasingly becomes a repository for fantasies of potential discovery and hidden danger that rely, significantly, on metaphors of surface and depth. It is within, and often against, this cultural preoccupation with the self that these writers address, both directly and indirectly, the status of white masculinity. Drawing on innovative theories of forms and spatiality, this study examines the diverse language and imagery men use to describe their sense of selfhood as well as the bonds they form with others. The works considered in this study demonstrate a common preoccupation with the boundaries that separate interior from exterior and private from public. In response to pressures both intimate and impersonal, the narrators of the texts discussed in this thesis turn to confessional practices of written self-examination to locate themselves within networks of fluctuating relations and obligations. The question that this thesis seeks to resolve is whether the forms and spatial language the narrators employ enable or obstruct their efforts to negotiate the competing demands of ethical responsibilities to others and the desire to preserve a stable sense of self.

The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history’s patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.

This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement.       The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice.       The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas.       This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. Like most other contemporary artworks, Michael Mandiberg's After Sherrie Levine and Banksy’s The Walled off Hotel, are considered conceptual in the sense that they work to transmit ideas to the viewer, but yet, like Duchamp’s ready-mades a hundred years earlier, they sit beyond commonly accepted understandings of the formal boundaries of the artwork, thus risking not being perceived as artworks at all. For that reason, these works potentially constitute radical practices that could be understood as questioning the limits of art making today.       From a theoretical point of view the study engages in hermeneutics and constructivism in order to construct an analysis of these two artworks relating their websites as well as artists’ intentions to the philosophical notions of conceptual art. The results show that the After Sherrie Levine is a critique of Levine's aura as well as of the art institutions. It also proposes that artistic appropriation as an art form can have an instrumental value in exploring the limits of art making. It further shows that it is possible to create art that is neither exclusive nor mysterious. The analysis of The Walled off Hotel shows that while operating as a local company with an ambition to lead the creative resistance movement in the West Bank through art, the hotel also constitutes a political satire with real effects in the area. The thesis proposes that this work is deviant and ‘organic’ in the way it renegotiates both the role of the artist and the very notion of 'art' itself.        Thus both After Sherrie Levine and The Walled off Hotel can be regarded as rather ‘Duchampian’ practices today.

By using the concept of forms in this analysis of “The Renegade,” postwar domestic life is analyzed for the uncanny. By locating repetitions in domestic life, between characters, and in speech, situations are identified where the uncanny moves into the domestic. As a result, the perception of reality of the protagonist, Mrs. Walpole, is damaged, reiterating the impossibility of sanity in a postwar housewife’s domestic life.

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I offer a cloud of observations about language and art. I will prioritize my questions about how language operates in art, the way it functions within my own studio practice, and locate aesthetic interstices throughout. There will be insights gleaned from the various orderers of order (Lacan, Saussure) and orderers of disorder (Derrida, Agamben), walks in terra-incognita, and even some poetry on my part. I will take this chance to orient myself among different structures and deconstructions that have piledup around language, aesthetics and art.