La usina del lenguaje: Teoría de la poesía neobarroca examines one of the most relevant poetry tendencies of the last thirty years: the Neo-baroque. In this dissertation I have endeavored to analyze the works of a number of Hispano-American poets, such as: José Lezama Lima, José Kozer, Néstor Perlongher, Eduardo Espina, Roger Santiváñez, among others, in order to demonstrate that Neobaroque is a significant component of the cultural and aesthetic spirit of the contemporary Hispanic World. I also demonstrate and conclude that Neo-baroque appropriates the main discourses of Post modernity, while at the same time implying a critical revision of the poetic traditions to which it belongs, such as Baroque, Modernism, Vanguardism and Colloquialism. Additionally, this dissertation allows me to rethink the Spanish Baroque of the Golden Age looking for connections and ruptures between Baroque, Modernity and Neobaroque aesthetics. In order to establish a theoretical frame, on one level I adopt a structural approach along with a poetry analysis of the above-mentioned poets, and on another level, I explore the relationship between their works and other cultural endeavors, such as philosophical and theoretical thoughts, as well as appropriate political ideas.

The poetry of Eduardo Espina and Nestor Perlongher is one of the most transcendental of Hispanic neo-baroque, emerging in the eighties and persisting in the new millennium as one of the most influential literary tendencies in the latest Latin- American generations. This dissertation explores neo-baroque as defined by Omar Calabrese: aesthetics of repetition; aesthetic of monstrosity; the importance of imprecision; predominance of labyrinth within a preference for enigma, occult, or the weight of nonlinearly reading of artistic fragmented texts and eroticism as defined by Georges Bataille in the poetry of Espina and Nestor Perlongher. Both poets emphasize the problematic figure of the transvestite and the homosexual transgressive subject and propose a new perspective of linguistic artifice as an artistic and discursive technique and employ eroticism as a mask that unveils the conventionality of the categories, which govern the patriarchal, masculine-heterosexual Western civilization.

My main thesis is that Baroque can be considered not only as an aesthetic or historical period in the seventeenth century; it is also a way of producing knowledge that puts into dynamic interaction diverse genres, disciplines and historical contexts. I visualize my project under the rubric of a cabinet of curiosities, and I reframe the continued juxtaposition of objects, machines, instruments and artwork that characterize the baroque cabinet to offer an explanatory construct of the early modern Hispanic world and modern Latin American literature and culture. In the first chapter of the dissertation, I contextualize the extensive theoretical discussion on Baroque and Neo-baroque within the studies of collection and curiosity. My main goal with this approach is to create a specific bibliography and understanding of Baroque as a complex process of collecting and displaying different kinds of knowledge through emotions such as wonder and marvel. In the second chapter I examine the impact of the New World on the stable "tower of knowledge" of humanists at the end of the fifteenth and the beginning of the sixteenth centuries. One definitive consequence of this impact was the questioning of the liabilities of ancient text and the need to arrange the new information, which was coming from different resources, into collections of distant and peculiar objects. Expanding this historical frame, I analyze how letrados in the seventeenth century, such as Favián, Sigüenza y Góngora, Sor Juana Inés de la Cruz, Espinoza Medrano, and Arzans Orsúa, were displaying the New World as the biggest collection of curiosities as a way of constructing an emergent criollo subjectivity. After grounding the project in the theoretical and colonial Baroque, my study turns, in the third chapter, to the modern Neo-baroque. I argue that modernity in Latin America is generated by the assimilation of the Enlightenment into a Baroque system. Therefore, Baroque in Latin America represents more than a simple or "erroneous" copy; it is rather a process of "cannibalization" and counterconquest, as José Lezama Lima proclaimed in his literary essay "Baroque Curiosity" (1957). This dissertation is written in Spanish. / 2015-07-11

Some of Jiří Kylián’s later works reveal a distinct detectable baroque influence. They also manifest a baroque quality that resists precise explanation. This partly derives from extensive references to the baroque style and period. However, not all references are the same, and some are more easily recognisable than others. Costumes, music and props openly reference the Baroque, whereas less obvious allusions can be found in lighting design or in the way a performance ‘addresses’ the audience. This thesis thus sets out to offer a terminology to describe these phenomena and provide a framework for analysing Kylián’s reworking of baroque sources. The analysis first addresses what is understood by ‘baroque’, then moves to describe various referencing practices, before applying the newly found framework to three of Kylián’s works that take the Baroque as a source of inspiration. Central to my discussion of the Baroque and its contemporary reappearance is the work of cultural theorists and art critics Omar Calabrese and Mieke Bal. Particularly important to my argument is Bal’s emphasis on the tendency in baroque art to involve the viewer’s physical presence in the experience of art. My discussion of referencing is, on the other hand, centred on ideas developed by the literary theorists Gérard Genette, Andreas Böhn, Irina Rajewski and Werner Wolf. Genette’s intertextual model is expanded to include a more precise understanding of the nature of quotation as developed by Böhn. The plurimedial nature of dance, or the co-presence in dance of more than one medium, is addressed by introducing Rajewski’s and Wolf’s notion of Intermediality. As well as analysing how referencing functions in dance and how it participates in meaning-making, this thesis also highlights the evolution of Kylián’s referencing practice over time and explains the function of the Baroque in Kylián’s oeuvre.

[pt] O objetivo deste trabalho é propor uma leitura de Lavoura arcaica de Raduan Nassar pautada pelo reconhecimento de suas tensões formais e ideológicas, bem como pelo contexto social e cultural em que a obra se engendra. Levando em conta o caráter de exceção da prosa nassariana no cenário da literatura da década de 70, preferimos partir de uma leitura pautada pelas coordenadas estéticas do neobarroco - uma forte tendência artística latino-americana , cujo apogeu é contemporâneo do romance em questão. Tomando o partido de autores como Lezama Lima, Severo Sarduy, Alejo Carpentier e Irlemar Chiampi acreditamos em uma possível leitura barroca do romance, utilizando o conceito benjaminiano de alegoria à título de ilustração e aprofundamento interpretativo do mesmo. Nosso primeiro passo é apresentar a problemática neobarroca para em seguida debruçar-se sobre a obra propriamente dita, invertendo (barrocamente) a divisão bipolar do livro - partida e retorno- de modo a salientar o caráter espelhado da análise literária. / [en] The purpose of this thesis is to propose a reading of Raduan Nassar s Lavoura Arcaica which recognizes its formal and ideological tensions, as well as its social and cultural context. Considering the exceptional character of Nassar s prose in the literary scenario of the seventies, we have chosen to place this reading within a neo-baroque aesthetic theory - a very strong Latin American artistic tendency, whose climax is contemporaneous to the author s literary work. Following the line of such authors as Lezama Lima, Severo Sarduy, Alejo Carpentier and Irlemar Chiampi we believe a baroque reading of the fiction is possible. To illustrate the interpretation we have used Benjamin s concept of allegory. Our first step has been to introduce the neo-baroque problem. Next we analyze the work per se (baroquely) inverting the bipolar division in the book - depart and return - in order to highlight the double character of the literary analysis.

The objective principles in the architecture production around 1890 have been gradually lefg into individual and local principles. There has been new rehabilitation of the Czech renaissance and Czech baroque architecture. There have been many factors like influence of the neighbour states, where had been baroque architecture regabilitated earlier, or scientific research during reconstruction of the baroque monuments. There have been gradually many notes and books about baroque art. The neo-baroque style has been appreciated, that has been in agreement with existing Prague architecture. Neo-baroque buildings we have found in the new urbanism places, in teh places of Prague brownfield development and we have found them also in the exhibitions of the architecture. There exist predecessors of the neo-baroque architecture,like the second rococo, trendy style of the middle of the 19. century and also architecture imports, but the main stream have started with the entry of Friedrich Ohmann to Prague. Pure neo-baroque we can find beside eclectic form with the influence of the other style, especially modern style. The scale of the baroque inspiration is very wide. The neo-baroque architecture not only continues in domestic baroque inspiration, but also from other places, especially Viennese architecture. There is no...

Made available in DSpace on 2017-07-10T18:56:07Z (GMT). No. of bitstreams: 1 Andreia_ Souza.pdf: 1918871 bytes, checksum: 8040530ecf3ecb949eb384c2e9b7b62c (MD5) Previous issue date: 2017-12-02 / The research presented here was centered on reflections on the permanence of the baroque and the fictional representation of time in the novels Memorial of the Convent and The Intermittents of Death by José Saramago and The Bells of Agony and Opera of the Dead by Autran Dourado. From the reading of the novels of these authors, the following questions emerged that guided the study: how do we record the time in the novels mentioned above? What traces from the baroque remain in the memorial of the convent and The flashes of death and in The bells of agony and Opera of the dead? What characteristics approximate and distance the style of José Saramago and that of Autran Dourado? In order to find answers to such questions, a comparison was made between the novels Memorial of the Convent and The Intermittents of Death and The Bells of Agony and the Opera of the Dead, in order to: point out the characteristics of each novel and establish the Approximations and distances between the texts of the two authors; To understand the baroque characteristics present in the mentioned works and the treatment given to the fictional representation of the time. In order to reach the proposed objectives, the reflections of St. Augustine (1984), Paul Ricoeur (1994, 1995 and 1997), Philippe Ariès (2012), Edgar Morin, (1997), Alfredo Bosi (1977) Ana Paula Arnaut (2011), Flávio Kothe (1986), Aguiar e Silva (1976), Irlemar Chiampi (1980 and 1998), Omar Calabrese (1987), among others. It is, therefore, a bibliographical research that made it possible to conclude that both the Memorial of the Convent and The Intermittents of Death and the Bells of Agony and the Opera of the Dead, through the reappropriation of the stylistic resources or thematic approach, promote the permanence of the Baroque in contemporary times. And also because José Saramago and Autran Dourado retake the baroque as a new cultural object, whose innovations are built from the permanence of the style of the eighteenth century, with the purpose of promoting social criticism through the exposition of social problems And the internal conflicts of the characters, it can be said that the authors approach the neo-baroque tendency. / A pesquisa ora apresentada centrou-se em reflexões sobre a permanência do barroco e a representação ficcional do tempo nos romances Memorial do convento e As intermitências da morte, de José Saramago, e Os sinos da agonia e Ópera dos mortos, de Autran Dourado. A partir da leitura de romances dos referidos autores, surgiram os seguintes questionamentos que nortearam o estudo: como se dá o registro do tempo nos romances supracitados? Quais traços advindos do barroco subsistem em Memorial do convento e As intermitências da morte e em Os sinos da agonia e Ópera dos mortos? Quais características aproximam e distanciam o estilo de José Saramago e o de Autran Dourado? Com o propósito de encontrar respostas para tais questionamentos, objetivou-se estabelecer uma comparação entre os romances Memorial do convento, As intermitências da morte, Os sinos da agonia e Ópera dos mortos, com vistas a: apontar as características de cada romance e estabelecer as aproximações e os distanciamentos entre os textos dos dois autores; compreender as características barrocas presentes nas referidas obras e o tratamento dado à representação ficcional do tempo. Para atingir os objetivos propostos, utilizou-se como suporte teórico as reflexões de Santo Agostinho (1984), Paul Ricoeur (1994, 1995 e 1997), Philippe Ariès (2012), Edgar Morin, (1997), Alfredo Bosi (1977), Ana Paula Arnaut (2011), Flávio Kothe (1986), Aguiar e Silva (1976), Irlemar Chiampi (1980 e 1998), Omar Calabrese (1987), dentre outros. Trata-se, portanto, de uma pesquisa bibliográfica que possibilitou concluir que, tanto Memorial do convento e As intermitências da morte quanto Os sinos da agonia e Ópera dos mortos, por meio da apropriação dos recursos estilísticos ou da abordagem temática, promovem a permanência do barroco na contemporaneidade. E, ainda, pelo fato de José Saramago e Autran Dourado retomarem o barroco como um novo objeto cultural, cujas inovações se constroem a partir da permanência do estilo do século XVIII, com a finalidade de promover a crítica social por meio da exposição dos problemas sociais e dos conflitos interiores das personagens, pode-se afirmar que os autores se aproximam da tendência neobarroca.

No description available.

Esta tese ocupa-se da investigação da semiótica da agudeza, utilizando como corpus poemas do final do século XX, chamados neobarrocos, e fragmentos de Galáxias, de Haroldo de Campos, e Finnegans1Wake, de James Joyce. As recepções contemporâneas aos séculos XVI e XVII não entendem as produções literárias como barrocas, mas como clássicas, diferentemente, portanto, do valor atribuído ao estado de barroco constante dos textos da crítica do século XX. Da investigação das obras de Peregrini, Gracián, Hansen e Pécora, depreende-se a agudeza como sistematizadora das produções barrocas dos seiscentos. Além disso, esta pesquisa constata não a presença eufórica de barroco sincrônico ou a existência de um possível neobarroco, mas gradações da agudeza como um operador formal da poesia dita barroquista. Com base nessa agudeza, propõe-se, dentro do quadro teórico-metodológico da semiótica tensiva, demonstrar como essa poesia, vista por muitos críticos como neobarroca, é regida segundo uma oscilação que a regula, reconhecendo nela uma dominância de agudeza do plano da expressão (PE) e/ou uma dominância de agudeza do plano do conteúdo (PC). Observadas as propriedades da agudeza, os objetos poéticos apresentam diferenças tensivas que os encaminham para uma poesia que conhece a graduação entre mais fluida e mais nítida, manifestando diferenças de acentuação no obscurecimento formal do enunciado. O enunciador, ao privilegiar a vivificação das agudezas, promove uma tensão estetizante: um jogo entre o rápido prazer da conservação sensível e o demorado prazer do reconhecimento inteligível do objeto estético, dois tipos diferentes de fruição. Dividida em cinco capítulos, a tese aborda inicialmente a ausência e a presença do recorte de barroco nos estudos literários, bem como a dominância do sobrevir nos semas de barroco e a sincronia e diacronia dos estados de barroco em direção a uma agudeza idiossincrônica. Em seguida, examina o jogo tensivo entre agudeza da expressão e agudeza do conteúdo, focalizando sobretudo os tratadistas seiscentistas e as propriedades da agudeza. Ocupa-se também da negação da euforia barroquista em direção à visualidade na poesia da agudeza. Como o conceito de neobarroco varia de autor para autor, examina-se o ponto de vista de Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Affonso Ávila, Affonso Romano SantAnna, Horácio Costa, Ana Hatherly, Ivan Teixeira, para estabelecer um modelo mais conforme à semiótica tensiva. A tese trata ainda dos limites entre sensível e inteligível na poesia aguda do século XX, realizando uma recapitulação da fenomenologia em diálogo com a semiótica tensiva, da qual sobressai o conceito de fé perceptiva e de perobjeto zilberberguiano. Finalmente, entra em cena a agudeza do final do século XX na direção do objeto fluido. / This thesis is concerned with the investigation of semiotics of sharpness. Its corpus consists of poems from the late 20th century which are called \"neo-baroque\", and fragments of Haroldo de Campos Galáxias and James Joyces Finnegans Wake. Contemporary receptions to the sixteenth and seventeenth centuries do not understand the literary productions as baroque, but as classical, therefore unlike the value assigned to the \"state of baroque\" in critical texts of the 20th century. Sharpness is inferred from the research of the works of Peregrini, Gracián, Hansen and Pécora as systematizing baroque productions of the 1600s. Furthermore, this research finds not the euphoric presence of synchronous baroque or the existence of a possible neo-baroque but gradations of sharpness as a formal operator of the so-called baroqueist poetry. Based on this sharpness, and within the theoretical and methodological framework of tensive semiotics, it is proposed to demonstrate how this poetry, regarded by many critics as \"neo-baroque\", is governed according to an oscillation that regulates it, recognizing in it a sharpness dominance of the level of expression (PE plano da expressão) and / or a sharpness dominance of the level of content (PC plano do conteúdo). Once observed the properties of sharpness, poetic objects show tensive differences that forward them for a poetry that knows the graduation from more fluent to more clear, manifesting differences of emphasis in the formal obscuration of the enunciation. The enunciator, while privileging the enlivenment of sharpness, promotes aesthetic tension: a game between the quick pleasure of sensitive conservation and delayed enjoyment of intelligible recognition of the aesthetic object two different types of enjoyment. Divided into five chapters, the thesis first addresses the absence and the presence of baroque slice in literary studies as well as the dominance of occurrence in baroque units of meaning and the synchrony and diachrony of baroque states towards an idiosynchronic sharpness. Then it examines the tensive game between sharpness of expression and sharpness of content, particularly focusing on the seventeenth-century treatise writers and the properties of sharpness. It also deals with the denial of baroqueist euphoria towards the visuality in the poetry of sharpness. As the concept of \"neo-baroque\" varies from author to author, the thesis examines the viewpoint of Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Alfonso Ávila, Affonso Romano Sant\'Anna, Horácio Costa, Ana Hatherly, Ivan Teixeira, in order to establish a model more consistent with tensive semiotics. It also addresses the boundaries between sensible and intelligible in the sharp poetry of the 20th century, making a recapitulation of phenomenology in a dialogue with tensive semiotics, from which the concepts of perceptual faith and zilberbergian perobject stand out. Finally, the sharpness of the late 20th century comes into play towards the fluid object.

Made available in DSpace on 2016-04-26T18:14:47Z (GMT). No. of bitstreams: 1 Claudio Henrique Brant Campos.pdf: 4570903 bytes, checksum: 7c39a789b22ebd7dbf1a62278f299758 (MD5) Previous issue date: 2014-12-12 / The imagination of music: from the technical images until the aesthetics of the digital audiovisual. Based on the observation that computer images produced today approach the dimension of time-based media, such as music, this research investigates the relationship between the audiovisual synesthesia, analyzing an example in digital processing, in the figure of the VJ (video-jockey in neologism): mixer of images and remixing of sounds in samples for live performances. It was verify that the ways perception is processed in the digital environment of miscegenation, by the amount and the remixing. This thesis introduces the hypothesis that our object suggests a synesthesia that expands to other systems such as tactile, forming a rhythmic cinema and motorized, influence by video clips, but in a digital platform, which simulates a complementary synesthetics or a translation by rhythmic counterpoint. The thesis also asks how the structural elements can reverberate a stunted aesthetic, revealing them in a diluted form. Thus, the object finds the elements of an aesthetics of the inaccurate and paradoxical, described by H. J. Koellreutter, constructivist without hierarchy and presenting fields or atmospheres, complementary dualities as pointillism versus lines and density versus rarefaction. On the other hand, this object finds anew the example of the aesthetic of the Baroque in pursuit of constant change and folds in its metonymic material, searching for the playful as a commitment to language codes, the audible-tactile-visual textures. One last specific question relates to the concept of expanded cinema, of Gene Youngblood, and how it can be inferred from our audiovisual object. We rely on this author, to investigate aspects of synesthesia, synergy, complementarity of opposites, inventive spirit (aesthetic), the automated computing environment, as well as aspects of a final overcoming of the opposition between art and entertainment. This thesis is devoted to ancient, anthropological and aesthetic process issues of the variation. For this reason, it is investigated elements of our present, aesthetically diluted by history, that correspond to ancient techniques of composing images-sounds. A path is followed from the first songs of call and response of all popular music and of the European Middle Ages, up to the synthesized loops created by todays software. By referring to Baroque styles, we complained to our object of study of the neo-baroque aesthetics, conceptualized according to Haroldo de Campos and Severo Sarduy. By incorporating the aesthetic of the second half of the 20th century, this object transcends the notions of authorship, work, representation, like expanded cinema / A imaginação da música: das imagens técnicas às estéticas do audiovisual digital. Partindo da constatação de que as imagens computacionais produzidas atualmente se aproximam da dimensão das mídias baseadas no tempo, como a música, esta pesquisa averigua a relação de sinestesia no audiovisual, analisando um exemplo em processamento digital, na figura do VJ (do neologismo video-jocker): mixador de imagens e ou com mixador de sons, em recortes, para apresentações ao vivo. Verificamos como as maneiras de perceber se processam no ambiente digital da miscigenação, da quantidade e do recorte. Trazemos a hipótese de que nosso objeto sugere uma sinestesia que se amplia para outros sistemas como o tátil, num cinema rítmico e motovisual, de influência do videoclipe, mas numa plataforma digital, em que se simula uma complementaridade sinestésica ou uma tradução por contraponto rítmico. Perguntamos também como os elementos estruturais podem reverberar estéticas pregressas, revelando-as, de forma diluída. Assim, nosso exemplo reencontraria os elementos de uma estética do impreciso e do paradoxal descrita a partir de H.J.Koellreutter , na sua estruturação sem hierarquia e construtivista de obra aberta e de campos ou atmosferas, dualidades complementares como pontilhismo versus linhas e densidade versus rarefação; por outro lado, esse exemplo reencontraria as estéticas do barroco, na busca da variação constante e em dobras de seu material metonímico, busca do lúdico como compromisso de linguagem em códigos, das texturas sonoro-tateis-visuais. Uma última questão específica se refere ao conceito de cinema expandido, de Gene Youngblood, e como ele pode ser depreendido de nosso objeto audiovisual. Baseamo-nos neste autor, para investigar aspectos de sinestesia, sinergia, complementaridade de opostos, espírito inventivo (estético), no ambiente automatizado da informática, bem como aspectos de uma superação final da oposição entre arte e entretenimento. Nosso estudo se dedica à questão milenar, antropológica e estética dos processos da variação. Por esta razão, investiga os elementos de nossa atualidade, diluídos esteticamente pela história, que corresponderiam a antigas técnicas de compor imagens-sons. Traçamos um caminho desde as primeiras canções em tema e resposta, de toda música popular e do medievo europeu, até os loops sintetizados dos softwares de criação dos dias de hoje. Por remeterem aos estilos barrocos, reclamamos para nosso objeto de estudo uma estética do neobarroco, conforme a conceituam Haroldo de Campos e Severo Sarduy; e por corporificarem as estéticas da segunda metade do século 20, sugerimos que nosso objeto transcende as noções de autoria, de obra, de representação, como um cinema expandido