Made available in DSpace on 2015-04-09T12:28:30Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-02-20Bitstream added on 2015-04-09T12:47:17Z : No. of bitstreams: 1 000813195.pdf: 874407 bytes, checksum: 550b00d09097fd89cbf077c69352a2d0 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / O objetivo desta dissertação é discutir conceitos sobre gênero, presentes em algumas teorias e críticas pontuais e analisar dois romances contemporâneos: o norte-americano The Secret Life of Bees (2002), de Sue Monk Kidd, e o brasileiro Sapato de salto (2006), de Lygia Bojunga. Pretende-se cotejar o modo como cada escritora apresenta o processo de formação das protagonistas e, visto que esses romances são considerados Bildungsromane femininos, verificar como a forma do romance influencia na construção do gênero nas personagens principais das obras supracitadas. A formação das protagonistas será avaliada de acordo com as perspectivas críticas adotadas em que o sujeito é performativo e reivindica posições como marca da própria identidade. Considerando que as obras estão inseridas na contemporaneidade, procura-se mostrar que a mulher não assume mais uma posição inferior ao homem. A tradição misógina e machista é rompida nos romances, conforme propõe Butler, no momento em que as autoras dão voz e vez ao sexo (até então tido como) frágil, instaurando, assim, um discurso da ruptura. Como aparato crítico-teórico, utilizar-se-ão as perspectivas de Beauvoir (1974), Wittig (1982), Hollanda (1994) e Butler (1990; 2001; 2004), para questões do gênero; os trabalhos de Pinto (1990), Maas (2000) e Scwhantes (2007), para o estudo sobre o romance de formação tradicional ou feminino e as obras de Laclau (1990), Ortiz (1994) e Santos (2001), para a contextualização da contemporaneidade / The aim of this work is to discuss concepts about gender, present in some theories and specific criticisms, and analyze two contemporary novels: the American - The Secret Life of Bees (2002), by Sue Monk Kidd, and the Brazilian - Sapato de salto (2006), by Lygia Bojunga. It is intended to collate the way each writer presents the protagonists’ formation process and to check how the form of the novel influences on the gender construction of the main characters in both works, once these novels are considered feminine Bildungsromane. It is pertinent to emphasize that the protagonists’ formation will be evaluated according to the adopted critical perspectives in which the subject is performative and claims positions as a mark of identity. Whereas the works are embedded in contemporary times, it attempts to show that women do not assume an inferior position to men anymore. A misogynistic and sexist tradition is broken in the novels, as Butler proposes, at the moment the authors give the weaker sex their turn and voice, thus introducing a discourse of rupture. As critical- theoretical apparatus, the prospects of Beauvoir (1974), Wittig (1982), Hollanda (1994) and Butler (1990, 2001, 2004) will be used about gender issues; Pinto (1990), Maas (2000) and Scwhantes (2007) works will be the basis for the study of traditional and female Bildungsromane, and the works by Laclau (1990), Ortiz (1994) and Santos (2001) will contextualize the contemporaneity

This thesis proposes the study of spatialities and visualities observed in Before the green dance, anthology of Lygia Fagundes Telles. To this end, we selected some stories of this book, which, although very commonly known, had not yet been analyzed by this bias. The studies and analysis seek to focus, above all, the space in your physical and psychological, concrete and abstract nature. It is known that among the elements of narrative, space plays an important role; in an apparent function performs the task of the geographical location of characters, but his career in the fictional field goes far beyond this limit: it can give the reader clues to what will still occur, may be indicative of the character of the characters, can influence the behavior of the characters and be shaped by them, may favor the action, may be the door through which one enters the world of fiction. If closed, frames the narrative, emphasizing the character's fictional narrative if opened, its horizon reveals the social conflicts of being-in-world. While the characters integrate the statement, its characterization is part of the enunciation. Thus, the relationship between space and character exudes the atmosphere, narrative element significantly exploited by Lygia Fagundes Telles throughout his work. A strong ally of space on the work of Lygia Fagundes Telles is the senses, vehicle seizure of images. Among them, the vision shows itself sovereign. The visualities become, therefore, powerful support not only in the characterization of the place and characters but also the relationship between these two elements, promoting the referred atmosphere that, in the lygiana work, introduces the mystery, the unusual, the fantastic, the supernatural. The very title of the work, focused on this work, alludes to the visual as it gives a hue: "Before the green dance", a fact that opened path to us in the study of images and their representations. This trend culminated in the preparation of three chapters, namely: The sovereignty of the look in ―Come to see the setting sun‖, The space in the building of the fantastic in the short stories ―Christmas on the boat‖ and ―The chase‖ and The interlacing of images and spaces in ―Before the green dance and ―Yellow green lizard‖, where they are treated, respectively, these three discussions, indicating the literary wealth that the fiction space offers us. / Esta dissertação realiza o estudo das espacialidades e das visualidades observadas em Antes do baile verde, antologia de Lygia Fagundes Telles. Para tal, foram selecionados alguns contos desta obra, que, mesmo sendo bastante conhecidos popularmente, ainda não tinham sido analisados por esse viés. Os estudos e análises buscam focalizar, sobretudo, o espaço em sua natureza física e psicológica, concreta e abstrata. É sabido que entre os elementos da narrativa, o espaço exerce papel relevante; em uma função aparente, desempenha a tarefa de situar geograficamente as personagens, mas sua trajetória no campo ficcional vai muito além desse limite: pode oferecer ao leitor indícios do que ainda vai ocorrer, pode ser revelador do caráter das personagens, pode influenciar o comportamento das personagens bem como ser moldado por elas, pode favorecer a ação, pode ser a porta por onde se adentra ao mundo da ficção. Se fechado, emoldura o enredo, enfatizando o caráter ficcional da narrativa; se aberto, seu horizonte revela o social, os conflitos do estar-no-mundo. Enquanto as personagens integram o enunciado, sua caracterização integra a enunciação. Assim, da relação entre espaço e personagem emana a atmosfera, elemento narrativo significativamente explorado por Lygia Fagundes Telles em toda a sua obra. Um forte aliado do espaço na obra de Lygia Fagundes Telles são os sentidos, veículo de apreensão das imagens. Dentre eles, a visão mostra-se soberana. As visualidades tornam-se, portanto, suporte poderoso não somente na caracterização do espaço e das personagens, mas também da relação entre esses dois elementos, promovendo a referida atmosfera que, na obra lygiana, instaura o mistério, o insólito, o fantástico, o sobrenatural. O próprio título da obra, focalizada neste trabalho, alude ao visual à medida que lhe confere um matiz: ―Antes do baile verde‖, fato que nos abriu caminho para o estudo das imagens e suas representações. Tal trajetória culminou na elaboração de três capítulos, a saber: A soberania do olhar em ―Venha ver o pôr-do-sol‖, O espaço na construção do fantástico nos contos ―Natal na barca‖ e ―A caçada‖ e O entrecruzar de imagens e espaços em ―Antes do baile verde‖ e ―Verde lagarto amarelo‖, nos quais são tratadas, respectivamente, estas três discussões, evidenciando a riqueza literária que o espaço da ficção nos oferece. / Mestre em Teoria Literária

In 1970, Lygia Fagundes Telles published the book Antes do Baile Verde, disclosing previously unpublished tales and short stories, reviewed by the author herself for this new edition, beginning the creation of a personal canon, by excluding some texts and altering those which remained. That being so, this book emerges as a kind of critic to her own work - criticism that is true not only because of the tales reviewing, but also for the reviewing of the book itself, which configuration has been changing for more than a decade, until reaching its current version. This shows us a constant movement as a writer on pursuit of an never achievable perfection. The work here presented is an attempt undertaken by a "model reader" to understand the intent of a hypothetical "model author" by modifying the tales here gathered and studied - according to the researcher Umberto Eco (1994). Besides Eco, we based ourselves on other novelists, also theoretical, such as Alberto Manguel (2005), Osman Lins (1974), Ricardo Piglia (2006), which addressed the issue of construction and reading of literary texts; and the work of Lygia Fagundes Telles, specifically: Alfredo Monte (2013), Nelly Novaes Coelho (1971), Vera Maria Tietzmann Silva (1985 and 2009), Vicente Ataíde (1972). In that search, we looked quantitatively and qualitatively upon tales review presented before the book Green Ball, examining how some recurring elements were gradually incorporated into the narrative, giving them an authorial homogeneity. The changes seen in the tales are of different natures: employment of more conversational tone; update of words; greater adaptation of language to the characters; option for buildings that do not call too much attention to themselves; larger economy in the construction of the scenes and characters; etc. Such changes can be perceived in the critical edition through the comparison between the first and last issues of each of the stories in this book. Here, we give the reader the latest edition of these tales, bringing, beside them, modified excerpts, as they appeared in their primary editions, presented on books from 1949 to 1970. / Resumen: En 1970 Lygia Fagundes Telles publicó el libro Antes do Baile Verde, trayendo cuentos inéditos y cuentos publicados anteriormente, revisados por la propia autora para esa nueva edición, empezando la creación de un canon personal, renegando algunos textos y cambiando aquellos que permanecerían. Así, ese libro surge como una especie de crítica a la propia obra, – crítica que se da no solo en relación en la revisión de los cuentos, sino del propio libro cuya configuración se alteró por más de una década hasta lograr la forma actual. Eso nos muestra un constante movimiento autoral en la persecución de una presunta perfección narrativa. Este trabajo es la búsqueda emprendida por un ―lector-modelo‖ en el intento de comprender las intenciones de un posible ―autormodelo‖ al cambiar los cuentos aquí reunidos y estudiados – categorías esas según las acepciones dadas por el teórico Umberto Eco (1994). Además de Eco, nos valemos todavía de otros teóricos también ficcionistas, como Alberto Manguel (2005), Osman Lins (1974), Ricardo Piglia (2006), que tratan de la cuestión de la construcción y de la lectura del texto literario; y de expertos de la obra de Lygia Fagundes Telles, como Alfredo Monte (2013), Nelly Novaes Coelho (1971), Vera Maria Tietzman Silva (1985 e 2009), Vicente Ataíde (1972). En esa búsqueda, nos inclinamos cuantitativamente y cualitativamente, sobre las revisiones de los cuentos presentes en el libro Antes do Baile Verde, examinando el modo como algunos elementos recurrentes fueron poco a poco siendo incorporadas a las narrativas, dándoles unan homogeneidad autoral. Los cambios percibidos en los cuentos son de diversas naturalezas: empleo de tono más coloquial; actualización de vocablos; adecuación más amplia del lenguaje a los personajes; opción por construcciones que no llamen mucha la atención sobre si mismas; mayor economía en la construcción de escenas de los personajes; etc. Tales cambios pueden ser vistos en la edición crítica a través del cotejo entre la primera y la última edición de cada uno de los cuentos de ese libro. Aquí damos al lector la última edición de esos cuentos, trayendo, al lado de ellas, los trozos cambiados, en la forma como aparecen en sus ediciones príncipes, presentes en libros que van desde 1949 hasta 1970. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Em 1970, Lygia Fagundes Telles publicou o livro Antes do Baile Verde, trazendo contos inéditos e contos publicados anteriormente, revisados pela própria autora para essa nova edição, dando início à criação de um cânone pessoal, ao renegar alguns textos e alterar aqueles que permaneceriam. Desse modo, esse livro surge como uma espécie de crítica à própria obra — crítica que se dá não apenas em relação na revisão dos contos, mas também do próprio livro, cuja configuração alterou-se por mais de uma década, até atingir a forma atual. Isso nos mostra um constante movimento autoral na perseguição de uma pretensa perfeição narrativa. Este trabalho é a busca empreendida por um ―leitor-modelo‖ na tentativa de compreender as intenções de um possível ―autormodelo‖ ao modificar os contos aqui enfeixados e estudados — categorias essas segundo as acepções dadas pelo teórico Umberto Eco (1994). Além de Eco, valemo-nos ainda de outros teóricos também ficcionistas, como Alberto Manguel (2005), Osman Lins (1974), Ricardo Piglia (2006), que trataram da questão da construção e da leitura do texto literário; e de estudiosos da obra de Lygia Fagundes Telles, como Alfredo Monte (2013), Nelly Novaes Coelho (1971), Vera Maria Tietzmann Silva (1985 e 2009), Vicente Ataíde (1972).Nessa busca, debruçamo-nos quantitativa e qualitativamente, sobre as revisões dos contos presentes no livro Antes do Baile Verde, examinando o modo como alguns elementos recorrentes foram aos poucos sendo incorporados às narrativas, dando-lhes uma homogeneidade autoral. As mudanças percebidas nos contos são de diversas naturezas: emprego de tom mais coloquial; atualização de vocábulos; maior adequação da linguagem às personagens; opção por construções que não chamem demais a atenção sobre si; maior economia na construção das cenas e das personagens; etc. Tais mudanças podem ser vistas na edição crítica através do cotejo entre a primeira e a última edição de cada um dos contos desse livro. Aqui, damos ao leitor a última edição desses contos, trazendo, ao lado delas, os trechos modificados, na forma como apareceram em suas edições príncipes, presentes em livros que vão de 1949 a 1970.

The goal of this thesis was to reassess the relationship between the moving body and technology, and more specifically, to focus on recent perspectives in the performing arts which inscribe new manifestations and dynamics of cross-pollination between the somatic and technology. According to Dr. Andrea Davidson, 'Such research has rarely been formally identified with the specialised field of somatics' (2013, p.3). The thesis thus proposes to reflect on the experience and conception of the performative body in the link it entertains with technology. Investigating this relationship, it defines a new paradigm, that of an 'interfaced intercorporeality'. This paradigm is constructed with special attention to a different relationship revealed between the interface and the notion of a corporal potentiality or 'interval'. In particular, the thesis focuses on the concept of a 'collective body' based on this relationship and on practical research conducted within the framework of my research, along with the methodology that supported it. The research and creative work that are presented derive from experiments I conceived, conducted and participated in making. My analysis is thus based on direct experience. The relationship between the somatic and technology notably led me to focus on the notion of embodied cognition or 'bodily knowledge' and for this, to re-examine the work of Maurice Merleau-Ponty. As a consequence, this return to the experiential also required revisiting definitions given by the Greeks concerning the aesthetic as a reference to sensation and the ability to perceive. The thesis approaches the body as the ground and basis for creating work, as well as for testing the effect(s) that technology has on it. Experiments conducted sought to develop greater sensory and perceptual awareness in order to invest the relationship of somatics/technology in a dimension that could potentially constitute a transformation of self, of one's relationship to others and to the world. Merleau-Ponty's phenomenological existentialism formed the basis for explorations made to forge links between the somatic and technology. However, it is important to clarify that my intention was not to make an analysis of phenomenology per se. It was rather referenced as a means to explain the framework of my research in relation to lived experience, sensation, and specifically, to my creative approach involving new technologies. Merleau-Ponty's methodology includes subjective, first-person accounts of 'lived experience'. Third-person accounts, or so-called 'objective' positions, are also included. These accounts are then shown to evolve towards an ecosystem of interaction and movement in order to experience and test the production of theory and practical experimentation involved in the methodology I adopted. The thesis incorporates knowledge from several disciplines, but principally from the field of dance and technology. Highlighting sensorial and perceptual phenomena related to the transformation of the body through technology and subjective experience, it takes into account an interdisciplinary perspective that is linked to this problematic. The thesis begins with an introduction to phenomenology in which the concepts and positions of Merleau-Ponty are outlined, including those of anti-dualism, the lived body, the ontology of the body, corporeality, intercorporeality and the flesh. Chapter 1 looks at the evolution of this philosophical movement throughout history and continues with a history of the body in phenomenology, an analysis of certain applications of phenomenology in the field of dance and subsequently, in the specific field of dance related to technology. Chapter 2 comprises a literature review. It also presents the bases of reductionist thinking, the proposition of a return to integrative thinking and issues concerning instrumentalisation, the double and the complexification of the self. It further examines the history of ideas surrounding the relationship between the body and technology, notions of the real-virtual-actual and a history and problematics of the interface. It concludes with a presentation of theories on the notions of potentiality, the interval and real-time. Chapter 3 presents my artistic background, an historical overview of the trends and principal ideas that have influenced my work, as well as an examination of the field of dance and technology from the point of view of its history and more recent developments. Chapter 4 is dedicated to an analysis of the research methodologies employed in the practical research for this thesis and identifies related issues. An analysis of problems encountered with existing methodologies notably highlights a need to invest in other methodological modes for practical research of an interdisciplinary nature. The chapter continues with a presentation of some of the methodologies currently used in the field of dance related to technology. The principles underpinning the specific creative research methodology I experimented with are then presented, proposing an adaptation of the aforementioned methodologies in order to respond to the dynamics of collective research of an empathic nature that are specific to my approach and also in order to invest in the link between the somatic and technology my project proposes. This proposition modestly attempts to respond to the lack of methodologies observed in the field of artistic practical research. A discussion of the experimentation involved in the practical research for the thesis is made in Chapter 5. Two creative experiments are analysed. Their aim was to investigate and develop a collective physical body composed of five dancers in constant contact, whose movement and relationships create what I call a 'collective sound body'. This collective entity produces sound in real-time which is simultaneously spatialised. The analysis takes into account the ways these two bodies are interdependent and constantly interrelated. Schematically, the first experiment served as a basis on which to found principles related to the collective body, while the second experiment developed them. The chapter further outlines creative strategies that were employed to test principles of self-organisation linked to sensation and stemming from the somatic techniques employed. It also returns to some of Merleau-Ponty's main concepts that were implemented and tested in performative experience: intercorporeality, the lived body, the dynamic of continual transformation and the principle of coexistence. Lastly, Merleau-Ponty's investigation of sensation and perception and his concept of sensory chiasms are related to the experiments' multisensory exploration and theme of intersubjectivity which are then proposed as leading to the possibility of intercorporeality. Chapter 6 forms the conclusion and seeks to identify new knowledge generated in the thesis. Essentially articulating another vision of the performative body as developed through its contact with technology, the findings, both practical and theoretical, bring to light a different understanding of the body rendered through a dissolution of psychophysical borders in the development of the performative model I called the 'collective body'. The thesis further proposes that the 'collective body' and its evolution as the 'collective sound body', open up the path to a new approach to interfaces and further, to what I propose as a theory of interfaced intercorporeality. This research aims to reintroduce the body and its specific intelligence in the understanding and building of relationships that can be renewed. The technology used in these experiments was considered as a physicality and the activator of a reconfiguration of sensory-perceptual processes that the thesis argues can lead to the final paradigm of 'interfaced intercorporeality' it proposes.

Syftet med den här uppsatsen är att undersöka Lygia Clarks verk ”Structuring the Self” utifrån begreppet per- formativitet, men det är först i samband med att jag relaterar det performativa till Suely Rolniks idéer om en resonant kropp, och den mer vitalistiska begreppsapparat som detta begrepp relaterar till, som jag tycker att idén om det terapeutiska som en performativ konstnärlig strategi blir intressant och relevant. Tanken är att utvidga idén om det performativa genom att relatera begreppet till den vitalistiska tradition hennes arbete från början grundar sig på, och visa på att dessa två begrepp kan mötas och eventuellt berika varandra just genom den terapeutiska metoden. Den övergripande frågan gäller vår möjlighet att ”bli” någonting som ligger utanför den av samhället konstituerade subjektiverings-processen.  Rolnik talar i sina texter om en ”resonant kropp”, en kropp, en subjektivitet i ständig förvandling, en kropp som är både insida och utsida samtidigt. Min läsning av Lygia Clarks verk ”Structuring the Self” är således att denna specifika ”kroppslighet” möjliggör en alldeles specifik form av performativitet som är knuten till och siktar direkt på kroppens affektiva nivåer. Som jag förstod saken lyckades Lygia Clark aktivera denna resonanta kropp via sina ”terapeutiska” metoder. Det ”terapeutiska” fungerar just precis som en metod för att komma åt detta resonanta tillstånd, och i linje med Suely Rolnik väljer jag att se Lygia Clarks metod som en konstnärlig strategi som i slutändan går utöver både konst och terapi: vi har att göra med ett aktiverande av livets kreativa process i sig själv. Jag anser att Lygia Clarks ”Structuring the Self” visar att det vore relevant att välkomna nya frågeställningar i samband med det performativa. Det behöver inte finnas en konflikt mellan ett performativt tankesätt och ett vitalistiskt synsätt, mellan ”no doer behind the deed”, och ett vitalistiskt synsätt där den kreativa impulsen kommer ”inifrån”.