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Ce texte-thèse prend la vie et l’oeuvre du poète et penseur français Paul Valéry pour concevoir un faire poétique dans la recherche-enseignement. Il explore la multiplicité des procédures valéryennes d’écriture et les transforme en processus expérimentaux d’écrilectures. Utilise l’idée de la connaissance comme invention pour créer un composite d’écriture et de lecture en élargissant l’usage des facultés intellectives d’un esprit qui lit et écrit. Opère des mouvements exploratoires en traversements imaginatifs avec la philosophie, avec la littérature et avec l’éducation. Compose la Méthode Esprit Graphique pour laquelle un être pensée risque un nouveau regard face à le spectacle de l’existence et s’y autoéduque moyennant des actions bio graphématiques, qui mouvementent corps-esprit-monde. Cette pensée et ce faire poétique activent l’être-empirique de l’étudiant, de l’écrivain et de l’enseignant (EEE), qui agit par self-variance (variation de soir). En exploitant les puissances du langage valéryen, elle met en exécution des processus de traduisibilités didactiques en mutation constante qui transcrivent la réalité curriculaire. En tant qu’un procès ouvert, multiple et défiant, qui prend comme matière empirique la vie elle-même, expérimentée dans les champs du savoir, la thèse fonctionne comme autoformation du chercheur-professeur, en disséminant l’impulsion et les aventures du désir d’éduquer. / Este texto-tese toma a vida e a obra do poeta e pensador francês Paul Valéry para conceber um fazer poético na pesquisa-docência. Explora a multiplicidade dos procedimentos valéryanos de escrita e transforma-os em processos experimentais de escrileituras. Utiliza a ideia do conhecimento como invenção, para criar um compósito de escrita e de leitura, ampliando o uso das faculdades intelectivas de um espírito que lê e escreve. Opera movimentos exploratórios, em atravessamentos imaginativos com a filosofia, com a literatura e com a educação. Compõe o Método Espiritográfico, para o qual um serpensamento arrisca um novo olhar diante do espetáculo da existência e aí se autoeduca por meio de ações biografemáticas, que movimentam corpo-espírito-mundo. Neste pensar e fazer poético, ativa o eu-empírico do estudante, do escritor e do educador (EEE), que age pela self-variance (variação de si). Explorando as potências da linguagem valéryana, exercita processos tradutórios didáticos, em constante mutação, que transcriam a realidade curricular. Como processo aberto, múltiplo e desafiador, que toma como matéria empírica a própria vida, experimentada nos campos do saber, a tese funciona como autoformação do pesquisador-professor, disseminando o impulso e as aventuras do desejo de educar. / This thesis-text has taken the work of the French poet and thinker Paul Valéry to conceive a poetic way of doing in teaching-research. It explores the multiplicity of Valeryan procedures and converts them into experimental processes of reading-writing. It uses the idea of knowledge as invention in order to create a compound of writing and reading, thus widening the use of the intellective faculties of a spirit that reads and writes. It makes exploratory moves in an imaginative intertwining with philosophy, literature and education. It designs the Spiritographic Method, for which a thought-being risks a new way of looking at the spectacle of existence, where it educates itself by means of bio-graphmatic actions that move body-spirit-world. In this poetic way of thinking and doing, it activates the empirical self of the student, the writer and the educator, which acts through self-variance. By exploring the potencies of Valeryan language, it exercises ever-changing didactic translating processes that transcreate the curriculum reality. As an open, multiple, challenging process that takes life itself as empirical matter, experimented in the fields of knowledge, the thesis functions as teacher-researcher self-education by disseminating the impulse and the adventures of the desire to educate.

Ce texte-thèse prend la vie et l’oeuvre du poète et penseur français Paul Valéry pour concevoir un faire poétique dans la recherche-enseignement. Il explore la multiplicité des procédures valéryennes d’écriture et les transforme en processus expérimentaux d’écrilectures. Utilise l’idée de la connaissance comme invention pour créer un composite d’écriture et de lecture en élargissant l’usage des facultés intellectives d’un esprit qui lit et écrit. Opère des mouvements exploratoires en traversements imaginatifs avec la philosophie, avec la littérature et avec l’éducation. Compose la Méthode Esprit Graphique pour laquelle un être pensée risque un nouveau regard face à le spectacle de l’existence et s’y autoéduque moyennant des actions bio graphématiques, qui mouvementent corps-esprit-monde. Cette pensée et ce faire poétique activent l’être-empirique de l’étudiant, de l’écrivain et de l’enseignant (EEE), qui agit par self-variance (variation de soir). En exploitant les puissances du langage valéryen, elle met en exécution des processus de traduisibilités didactiques en mutation constante qui transcrivent la réalité curriculaire. En tant qu’un procès ouvert, multiple et défiant, qui prend comme matière empirique la vie elle-même, expérimentée dans les champs du savoir, la thèse fonctionne comme autoformation du chercheur-professeur, en disséminant l’impulsion et les aventures du désir d’éduquer. / Este texto-tese toma a vida e a obra do poeta e pensador francês Paul Valéry para conceber um fazer poético na pesquisa-docência. Explora a multiplicidade dos procedimentos valéryanos de escrita e transforma-os em processos experimentais de escrileituras. Utiliza a ideia do conhecimento como invenção, para criar um compósito de escrita e de leitura, ampliando o uso das faculdades intelectivas de um espírito que lê e escreve. Opera movimentos exploratórios, em atravessamentos imaginativos com a filosofia, com a literatura e com a educação. Compõe o Método Espiritográfico, para o qual um serpensamento arrisca um novo olhar diante do espetáculo da existência e aí se autoeduca por meio de ações biografemáticas, que movimentam corpo-espírito-mundo. Neste pensar e fazer poético, ativa o eu-empírico do estudante, do escritor e do educador (EEE), que age pela self-variance (variação de si). Explorando as potências da linguagem valéryana, exercita processos tradutórios didáticos, em constante mutação, que transcriam a realidade curricular. Como processo aberto, múltiplo e desafiador, que toma como matéria empírica a própria vida, experimentada nos campos do saber, a tese funciona como autoformação do pesquisador-professor, disseminando o impulso e as aventuras do desejo de educar. / This thesis-text has taken the work of the French poet and thinker Paul Valéry to conceive a poetic way of doing in teaching-research. It explores the multiplicity of Valeryan procedures and converts them into experimental processes of reading-writing. It uses the idea of knowledge as invention in order to create a compound of writing and reading, thus widening the use of the intellective faculties of a spirit that reads and writes. It makes exploratory moves in an imaginative intertwining with philosophy, literature and education. It designs the Spiritographic Method, for which a thought-being risks a new way of looking at the spectacle of existence, where it educates itself by means of bio-graphmatic actions that move body-spirit-world. In this poetic way of thinking and doing, it activates the empirical self of the student, the writer and the educator, which acts through self-variance. By exploring the potencies of Valeryan language, it exercises ever-changing didactic translating processes that transcreate the curriculum reality. As an open, multiple, challenging process that takes life itself as empirical matter, experimented in the fields of knowledge, the thesis functions as teacher-researcher self-education by disseminating the impulse and the adventures of the desire to educate.

Ce texte-thèse prend la vie et l’oeuvre du poète et penseur français Paul Valéry pour concevoir un faire poétique dans la recherche-enseignement. Il explore la multiplicité des procédures valéryennes d’écriture et les transforme en processus expérimentaux d’écrilectures. Utilise l’idée de la connaissance comme invention pour créer un composite d’écriture et de lecture en élargissant l’usage des facultés intellectives d’un esprit qui lit et écrit. Opère des mouvements exploratoires en traversements imaginatifs avec la philosophie, avec la littérature et avec l’éducation. Compose la Méthode Esprit Graphique pour laquelle un être pensée risque un nouveau regard face à le spectacle de l’existence et s’y autoéduque moyennant des actions bio graphématiques, qui mouvementent corps-esprit-monde. Cette pensée et ce faire poétique activent l’être-empirique de l’étudiant, de l’écrivain et de l’enseignant (EEE), qui agit par self-variance (variation de soir). En exploitant les puissances du langage valéryen, elle met en exécution des processus de traduisibilités didactiques en mutation constante qui transcrivent la réalité curriculaire. En tant qu’un procès ouvert, multiple et défiant, qui prend comme matière empirique la vie elle-même, expérimentée dans les champs du savoir, la thèse fonctionne comme autoformation du chercheur-professeur, en disséminant l’impulsion et les aventures du désir d’éduquer. / Este texto-tese toma a vida e a obra do poeta e pensador francês Paul Valéry para conceber um fazer poético na pesquisa-docência. Explora a multiplicidade dos procedimentos valéryanos de escrita e transforma-os em processos experimentais de escrileituras. Utiliza a ideia do conhecimento como invenção, para criar um compósito de escrita e de leitura, ampliando o uso das faculdades intelectivas de um espírito que lê e escreve. Opera movimentos exploratórios, em atravessamentos imaginativos com a filosofia, com a literatura e com a educação. Compõe o Método Espiritográfico, para o qual um serpensamento arrisca um novo olhar diante do espetáculo da existência e aí se autoeduca por meio de ações biografemáticas, que movimentam corpo-espírito-mundo. Neste pensar e fazer poético, ativa o eu-empírico do estudante, do escritor e do educador (EEE), que age pela self-variance (variação de si). Explorando as potências da linguagem valéryana, exercita processos tradutórios didáticos, em constante mutação, que transcriam a realidade curricular. Como processo aberto, múltiplo e desafiador, que toma como matéria empírica a própria vida, experimentada nos campos do saber, a tese funciona como autoformação do pesquisador-professor, disseminando o impulso e as aventuras do desejo de educar. / This thesis-text has taken the work of the French poet and thinker Paul Valéry to conceive a poetic way of doing in teaching-research. It explores the multiplicity of Valeryan procedures and converts them into experimental processes of reading-writing. It uses the idea of knowledge as invention in order to create a compound of writing and reading, thus widening the use of the intellective faculties of a spirit that reads and writes. It makes exploratory moves in an imaginative intertwining with philosophy, literature and education. It designs the Spiritographic Method, for which a thought-being risks a new way of looking at the spectacle of existence, where it educates itself by means of bio-graphmatic actions that move body-spirit-world. In this poetic way of thinking and doing, it activates the empirical self of the student, the writer and the educator, which acts through self-variance. By exploring the potencies of Valeryan language, it exercises ever-changing didactic translating processes that transcreate the curriculum reality. As an open, multiple, challenging process that takes life itself as empirical matter, experimented in the fields of knowledge, the thesis functions as teacher-researcher self-education by disseminating the impulse and the adventures of the desire to educate.

In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning), he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time. Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). In 1927, Eliot converted to Anglicanism and found solace in the realm of faith; by opting for the theology of dispossession, he surrendered his historical subjectivity. Rilke thought that he could find refuge from the marketplace in aesthetic beauty and pure philosophy but eventually disabused himself of his illusion. Similarly, Valéry sought refuge in the space of thought; basing reality in the mind, he forsook the social realm as the site of contestation for gaining ownership over being. As a poet who distinguished himself from the Idealism of his predecessors, Celan developed a structure of dialogue based upon shared exchange on common ground. A materialist approach to the poetry and philosophy of dwelling exposes property-relations as the foundation of the house of being.

In his “Letter on Humanism,” Martin Heidegger conveys the importance he attributes to poetry when he states: “Language is the house of being” (“Letter” 239). In response to his early Jesuit education, he developed a secular alternative to theology with his existential phenomenology. Theology, poetry, and phenomenology share the basic concern of explaining the foundations of being. For Heidegger, ownership characterizes being in a fundamental way; in Contributions to Philosophy (From Enowning), he establishes the “Ereignis” (“event of appropriation”) as the foundation of being. Ownership lies at the core of being in his thinking following Being and Time. Yet his philosophy ignores the material circumstances of ownership. By way of a materialist critique of Heidegger’s Idealist phenomenology, I expose how property-relations are encoded in the modern poetry and philosophy of dwelling with the question: who owns the house of being? The answer lies in “self-possession,” which represents historical subjectivity as the struggle for the means of production. Paul Celan, T. S. Eliot, Rainer Maria Rilke, and Paul Valéry are all poets who address the relationship between being and ownership in expressing what Marx and Engels call the “language of real life” in The German Ideology (26). In 1927, Eliot converted to Anglicanism and found solace in the realm of faith; by opting for the theology of dispossession, he surrendered his historical subjectivity. Rilke thought that he could find refuge from the marketplace in aesthetic beauty and pure philosophy but eventually disabused himself of his illusion. Similarly, Valéry sought refuge in the space of thought; basing reality in the mind, he forsook the social realm as the site of contestation for gaining ownership over being. As a poet who distinguished himself from the Idealism of his predecessors, Celan developed a structure of dialogue based upon shared exchange on common ground. A materialist approach to the poetry and philosophy of dwelling exposes property-relations as the foundation of the house of being.

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Cette thèse interroge le sens du mythe orphique dans la poésie de six auteurs européens du début du XXe siècle (Valéry, Rilke, Trakl, Apollinaire, Campana, Goll), et le sens de la poésie orphique dans la modernité. En partant du double constat d’une crise de la Weltanschauung signant la désertion de la transcendance et du sens, et d’une crise du langage héritée de Mallarmé, cette thèse définit la poésie orphique comme une tentative de ré-enchantement visant à refonder la place de l’être dans le monde, le sens de la mort et la profondeur ontologique de la poésie. La thèse pose la question de l’unité ou de l’éclatement d’un lyrisme orphique moderne. Elle propose une mise au point historique sur les sources de l’orphisme jusqu’au début du XXe siècle, puis un parcours analysant le passage de la mythologie à des poétiques orphiques parfois opposées dans leur aboutissement (réharmonisation de soi et du monde, catabase sans fin, démembrement du sujet, incarnation par l’orphisme de l’idée d’une poésie parfaitement composée). Cette thèse s’attache aussi à définir l’orphisme dans ses dimensions musicales et picturales, interroge les liens entre orphisme et union des arts, et étudie la langue musicalisée et picturalisée des poètes, ainsi que plusieurs œuvres vocales et plastiques (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). Enfin, considérant le mythe selon sa dimension fondatrice d’une manière d’être au monde, cette thèse envisage la poésie orphique du début du XXe siècle comme le signe et le moyen d’un désir de retour à une forme de rapport mythique au monde où l’être, dans le chant, coïnciderait avec le sacré et avec le dicible. / This thesis examines the meaning of the myth of Orpheus in the poetical works of six early twentieth century European poets, and the meaning of Orphic poetry within a context of modernity. Having taken into account a twofold crisis, both of the Weltanschauung – revealing that any sense, or transcendent reference, is missing – and of language (Mallarmé’s legacy), this thesis defines Orphic poetry as an attempt to re-enchant the world, in order to give new roots to the being, a new meaning to death, and a new ground to settle poetry’s ontological depth. The thesis tries to determine if such a lyricism is unique or manifold. It makes a historical mise au point from the sources of Orphism up to the twentieth century; then, it tries to describe the transformation of mythological elements into poetical principles – from which may even have issued contradictory achievements (setting back harmonious links between the world and the self; endless katabasis; dismemberment of the I; Orphic embodiment of a perfect poetry). Our thesis also tries to describe how Orphism is conveyed through music and painting: it questions the link between Orphism and the union of the arts, and studies the poet’s music-like and picture-like language, as well as some vocal or painted works (Honegger, Poulenc, Webern, Weill, Delaunay, Dufy, Klee, De Chirico). At last, as it considers myth as the settling of a new way of being-in-the-world, this thesis pictures early 20th century Orphic poetry both as the symptom and the way of a desire to get back some kind of mythical relationship to the world, in which the being, the sacred and the sayable, through the poetical song, would prove coextensive.

SANTOS, Elis Denise Lélis. Uma leitura de mão dupla: leituras e influências na poesia de João Cabral de Melo Neto. 2008. 86f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T13:06:22Z No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T12:27:15Z (GMT) No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Made available in DSpace on 2012-07-23T12:27:15Z (GMT). No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) Previous issue date: 2008 / The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic. / O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.