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O discurso autobiográfico em a escola das facas, de João Cabral de Melo Neto / The autobiographical speech at the school of knives, João Cabral de Melo NetoSousa, Thais Alves de 29 September 2013 (has links)
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Previous issue date: 2013-09-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This present paper means to examine the work A escola das facas (1980), from the
Pernambuco poet João Cabral de Melo Neto, in order to verify how the autobiographical
discourse appears in this work. The traditional criticism often treats João Cabral as an
antilyrics poet and how the very Cabral called himself. It is a fact that the Pernambuco poet
developed over his literary project, a rational and objective stance since his first work, Pedra
do sono (1942), so as to avoid conducting a poetry dedicated to himself. However, it is also a
fact that denying to talk about himself already implies to return to himself. That is why in
many Cabral poems you can see that although the person who speaks tries to simulate a denial
of himself, he insists on appearing along the literary path of João Cabral. Assuming that no
poetry can be depersonalized, at least not the way some critics tried to say, it is that we think
the book A escola das facas and on a builder axis of the book, which is organized through
individual memory / collective of João Cabral. The work from 1980 is an innovation if you
look at the earlier works. This is because the previously written books, Cabral avoided as
much as possible to talk about himself, by writing a poetry of things, which denied the return
to the I poet. Yet, the study that serves as an object of study in this work, João Cabral de Melo
Neto makes room in his poetry to memory, which is both his, but also collective. So the work
was structured by means of a discourse that can be autobiographical and that seems to govern
the composite unit of the book. Thus, the study aims to examine how the poet who refused to
talk about thimself composes poems that are part of A escola das facas, watching for him to
turn his attention to himself, changes his poetic project. / O presente trabalho apresenta como objetivo principal analisar a obra A escola das facas
(1980), do poeta pernambucano João Cabral de Melo Neto, com o intuito de verificar de que
forma o discurso autobiográfico comparece nessa obra. A crítica tradicional costuma tratar de
João Cabral como poeta antilírico e o próprio Cabral assim se chamou. É fato que o poeta
pernambucano desenvolveu, ao longo de seu projeto literário, uma postura racional e objetiva
desde sua primeira obra, Pedra do sono (1942), evitando ao máximo realizar uma poesia
voltada para si mesmo. Todavia, também é fato que negar falar de si já implica em retornar a
si mesmo. É por isso que em diversos poemas cabralinos é possível perceber que embora o eu
que fala tente simular uma negação de si, ele insiste em aparecer ao longo do caminho
literário de João Cabral. Partindo do pressuposto de que nenhuma poesia pode ser
despersonalizada, pelo menos não da maneira como tentaram afirmar alguns críticos, é que
pensamos no livro A escola das facas e no eixo construtor do livro, que se organiza por meio
da memória individual/coletiva de João Cabral. A obra de 1980 representa uma inovação se
observarmos as obras anteriores. Isso se dá porque nos livros escritos anteriormente, Cabral
evitou ao máximo falar de si, por meio da escrita de uma poesia das coisas, que negasse o
retorno ao eu do poeta. Contudo, na obra que serve como objeto de estudo a este trabalho,
João Cabral de Melo Neto abre espaço em sua poesia para a memória, que tanto é sua, como
também é coletiva. Logo, a obra foi estruturada através de um discurso que pode ser
autobiográfico e que parece reger a unidade compósita do livro. Sendo assim, o trabalho
pretende analisar de que maneira o poeta que negou falar de si compõe os poemas que fazem
parte de A escola das facas, com o intuito de verificar se ao voltar sua atenção para si mesmo
há modificação no projeto poético de Cabral.
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Concepções do sujeito-lírico em cantares de Hilda HilstSilva, Lívia Carolina Alves da 27 February 2009 (has links)
Fundação de Amparo a Pesquisa do Estado de Minas Gerais / The present work accomplishes a systematic study about the composition of lyrical subject
of Hilda Hilst in her work Cantares (2004). In order to develop this research, the
methodology used was a combination of analysis and observation of the forementioned
Hilst s book. Then some theoretical considerations were taken about who and how the
subject is built in Hilst`s poems. By following Hilst s poetry one could face three relevant
questions about her lyrical persona: the detection of a lyrical subject that recognizes
himself as somebody constructed from his belonging to the other, out of him or as the self
projected out of other self; the displacement of his identity by using a mask, and finally the
ability of creating itself again, of thinking and constituting itself by means of the image and
the word. Therefore this dissertation is organized in three chapters The being-beyond:
the double face in Hilda Hilst s poetry , The self and the other behind the mask and
The images and the word in Hilda Hilst s poetry in which the discussions proposed
above are developed, revealing the building of a multiple and plural subjectivity. / O presente trabalho realiza um estudo sistemático sobre a composição do sujeito-lírico na
obra Cantares (2004) da escritora Hilda Hilst. Para desenvolvimento desta pesquisa
utilizou-se um método que, partindo da análise e observação da obra, permitiu tecer
algumas perspectivas teóricas a respeito de quem é e como se constitui tal sujeito nas
poesias hilstianas. Este trilhar nas poesias de Hilst permitiu o levantamento de três
relevantes questões sobre a persona lírica da autora: a detecção de um sujeito-lírico que se
sabe como alguém construído a partir de seu pertencimento ao outro, externo a ele ou o
como o eu projetado fora de si; o deslocamento de um eu para uma máscara e, por fim, um
reinventar-se, pensar-se e constituir-se por meio da palavra e da imagem. Tal trajetória
culminou na estruturação de três capítulos O ser-além: as faces do duplo na poesia
hilstiana , O eu e o outro por trás da máscara e O ser-imagem-palavra na poesia
hilstiana nos quais são tratadas, respectivamente, estas três discussões, mostrando a
constituição de uma subjetividade que é múltipla e plural. / Mestre em Teoria Literária
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"I am not concerned with poetry. My subject is war" : Écrire la Première Guerre mondiale : les enjeux du poème face aux circonstances / "I am not interested in poetry. My subject is war" : Challenging circumstances : writing the First World War poemMontin, Sarah 07 November 2015 (has links)
Le premier conflit mondial qui met fin à l’après-midi doré de l’époque édouardienne signe l’entrée du Royaume-Uni dans le XXe siècle politique et esthétique. La place unique qu’occupe la Grande Guerre dans l’imaginaire collectif britannique participe de l’engouement populaire que suscite encore aujourd’hui la war poetry, devenue un véritable « lieu de mémoire » textuel. Son importance dans le paysage culturel britannique paraît dès lors démesurée par rapport à la place qu’elle occupe dans le canon poétique du XXe siècle. À la fois conservatrice et innovante, respectueuse des formes mais sujette à l’expérimentation, l’œuvre des war poets, souvent confondue avec celle des Georgian poets, se range du côté des modernes plutôt que des modernistes. Poésie de circonstance définie par le moment et le lieu d’écriture, elle est jugée à l’aune de la problématique moderne de l’œuvre « impure », poésie tournée vers la révélation de l’événement plutôt que vers l’acte de création. C’est cette tension entre l’appel du monde et l’appel du texte qui fonde la définition générique, esthétique et éthique de la war poetry. Son intérêt critique réside dans sa double finalité, son hybridité tonale, générique et formelle, sa nature composite et polymorphe qui l’inscrivent de plain-pied dans le registre de la dissonance, propre à la poésie moderne. / By putting an end to the golden Edwardian afternoon, the First World War propelled Britain into the political and aesthetic twentieth century. Owing to the unique place occupied by the Great War in the collective British mind, war poetry represents today a highly popular textual “realm of memory”. However, its relevance in Britain’s cultural landscape does not correspond to its status within the poetic canon of the twentieth century. Both conservative and innovative, intent on codified forms yet experimental in nature, often confused with Georgian Poetry, war poetry leans towards the modern rather than the modernist definition of poetry. As a form of occasional writing, determined by the place and time from which it sprung, war poetry is judged according to the modern standards of “impure poetry”, more focused on the revelation of the event than on the act of creation itself. It is the contradictory claims of world and text that found the generic, aesthetic and ethical definition of war poetry. Its critical interest resides in its dual purpose, its tonal, generic and formal hybridity, its complex and changing nature, which firmly inscribe it within the modern poetics.
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Le Poète tardif. Mélancolie, vieillesse et poétique du déclin dans l’œuvre de Philippe Jaccottet / The Late Poet. Melancholy, Old Age and Poetic of DeclineMoulière, Ludivine 06 December 2019 (has links)
L’omniprésence du thème du vieillissement dans la poésie de Philippe Jaccottet a déjà été relevée par de nombreux critiques. Mais elle n’avait encore jamais fait l’objet d’une analyse spécifique. Cette thèse de Ludivine Moulière, rédigée sous la direction d’Isabelle Chol, au sein du laboratoire Arts-Langage / Transitions et Relations de l’Université de Pau et des Pays de l’Adour, et intitulée Le Poète tardif, mélancolie, vieillesse et poétique du déclin dans l’œuvre de Philippe Jaccottet, entreprend de combler cette lacune en analysant, dans l’œuvre poétique et critique, les représentations de la vieillesse. Pour ce faire, comme y invite la théorie humorale exposée dans Saturne et la mélancolie (Klibansky, Panofsky, Saxl), le vieillir a été mis en lien avec la mélancolie, comprise dans plusieurs de ses acceptions. Ordonnant d’abord l’imaginaire de l’œuvre à la lumière de l’iconologie mélancolique, sont exposés les liens qu’entretient la représentation des éléments avec celles des âges de la vie, des saisons et des tempéraments. Cela permet de dégager l’humeur mélancolique qui informe la perception du monde en une structure bipolaire ou antithétique. Cette approche iconologique et phénoménologique laisse ensuite la place à une approche plus historique et sociologique. L’analyse des représentations de l’urbain et du jardin montre que la nostalgie, en contredisant l’héritage des Lumières et son idéal progressiste, donne au mouvement de l’histoire la forme d’un déclin graduel, qui rapproche l’historiographie jaccottéenne de l’historiographie romantique. Enfin, le commentaire de la poétique ou de la « poéthique » (Pinson) de Philippe Jaccottet montre de quelle manière l’écriture est infléchie par l’expérience du temps et de la vieillesse. La figuration du poète en « grave vieillard falcifère » (Steinmetz) s’avère ainsi participer d’une conversion axiologique à la fois de la vieillesse et de la mélancolie, en en faisant d’une part la condition d’une aspiration vers l’infini et d’un retour vers la finitude, et d’autre part le principe d’élaboration de l’éthopée jaccottéenne aussi bien que l’aboutissement de la quête lyrique de son identité. / Many critics have already noticed the omnipresence of the theme of old age in Philippe Jaccottet’s work, yet it has never been the object of a specific analysis. Ludivine Moulière’s thesis, entitled The Late Poet, Melancholy, Old Age and Poetic of Decline, written under the direction of Isabelle Chol at the laboratory Arts-Language / Transitions and Relationships of the University of Pau, fills this gap by analyzing the representations of old age within poetic and critical works. Ageing is linked to melancholy as understood in several of its meanings, along the lines of humoral theory as developed in Saturn and Melancholy (Klibansky, Panofsky, Saxl). Firstly, the work’s imaginative realm is organized through the melancholic iconology model in order to show relationships between the representation of the elements and the ages of life, seasons and temperaments. As a result, a melancholic mood is shown to shape perception into a bipolar or antithetic structure. This iconological and phenomenological approach is followed by a more historical and sociological one. The analysis of the representations of urbanity and gardens shows that nostalgia gives the form of a gradual decline to the movement of history, unlike the Enlightenment Legacy and its idea of progress, bringing Jaccottet’s historiography closer to romantic historiography. Finally, the commentary on Jaccottet’s poetic or « po-ethic » (Pinson) shows how his writing is tempered by experience of time and old age. The image of the poet as a « grave old man carrying a sickle » (Steinmetz) proves to fall within an axiological conversion of both old age and melancholy making it, on the one hand, the condition of an aspiration towards infinity and a return to finitude, and on the other hand the elaboration of the Jaccottean ethopoeia as well as the outcome of the lyrical quest for his identity.
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Parazitické hlasy a protetická já: Detekce post-lyrického subjektu v dílech současné digitální literatury / Parasitic Voices and Prosthetic Selves: Detecting the Post-Lyrical Subject in the Works of Contemporary Digital LiteratureSuchánek, Tomáš January 2021 (has links)
This diploma thesis explores subjectivity in the domain of so-called digital writing, that is, in texts of largely experimental nature generated by computer algorithms (or with their assistance). In order to do so, the thesis briefly covers the history of digital writing, its mediatic specificities, poetics as well as various theoretical and philosophical conceptualizations. Most importantly, it undertakes an analysis of a post-lyrical subject, a concept devised by Janez Strehovec, that is common to all cases of generative writing under focus. For its comparative analysis, the thesis deals with the recent works from contemporary creators who approach algorithmic textuality from variegated perspectives, incl. Nick Montfort, Allison Parish, Stephanie Strickland, Li Zilles, and Jörg Piringer. Texts generated by programs are conceived of as expressing a new, parasitic and prosthetic, genus of cyber-textual subjectivity that defies the traditional lyric and expands its pool "by other means," as Marjorie Perloff would say. Such a tendency results in conceptually as well as formally complex literary corpus "infected" by - to further exploit the suggested metaphor - parasitic voices and prosthetic selves. Unlike in generic lyric, the post- lyrical subject surpasses the confines of poetry as genre; it is...
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