Das relações entre imaginário e poesia na obra de Orides Fontela: o regime diurno da imagem

The present work seeks essentially to demonstrate how some anthropological structures of the imaginary, theorized by the French thinker Gilbert DURAND, projected themselves in a noticeable manner in the poetic work of the Brazilian poet Orides FONTELA. Chiefly we will demonstrate with great care in what way this projection and vivification occur through an imagination that not only materializes some fundamental archetypes of the human imagination, but also seeks to organize them through original poems in its form of presenting the poetic discourse, giving here a different contribution of the mythical or religious discourse, privileged places, since always, where the symbolic functions also manifest themselves

Pelo escuro: a poesia afro-brasileira de Oliveira Silveira

O presente estudo traz uma reflexão sobre os discursos culturais afro-brasileiros e o lugar ocupado pela poesia em meio a uma sociedade racista. A pesquisa tem como propósito fazer um estudo da poesia de Oliveira Silveira (1968, 1970, 1977, 1981, 1987). Leva-se em consideração a relação da produção poética de Oliveira com as propostas do movimento da Negritude e o diálogo lúcido que o mesmo estabelece com poetas vinculados ao referido movimento e como Silveira sugere dentro da literatura a negritude como uma forma de intersecção na poesia brasileira. A proposta aqui apresentada observa também o hibridismo na poética de Oliveira Silveira ao se enfatizar um olhar sobre uma escrita comovida pelo traço do entre-lugar do discurso. Analisa-se a caracterização de uma literatura gerada pelo tom de denúncia ao desconstruir historicamente o que há muito tempo se estabelece como democracia racial . Em cumplicidade com a poesia regional do Rio Grande do Sul, a poesia de Oliveira vem permeada pela diversidade de ritmos que traduzem o legado da cultura negra mundo afora. Essa pesquisa sustenta-se nos estudos de Eduardo de Assis Duarte (2005, 2011) e Kabengelê Munanga (2008, 2009) sobre Negritude e Identidade na literatura afro-brasileira, que se caracteriza como um movimento de consciência pela reconstrução ou mesmo revisão histórica do que foi apagado no calabouço dos navios negreiros. As leituras de Eduardo de Assis Duarte fomentam novos questionamentos, põem em dúvida a existência de uma identidade essencialista. Aponta-se nessa travessia para uma pluralidade de identidades, construídas por inúmeros grupos culturais na encruzilhada dos diversos momentos históricos. Analisam-se, portanto, a partir da crítica que Stuart Hall (2011) faz ao considerar as ideias de diásporas, as fronteiras das margens no universo da pós-colonização. Por fim, há uma encruzilhada ao se pensar a partir de Kabengelê Munanga, o discurso da negritude e da identidade negra nas relações sociais e culturais afrodescendentes

Essa marca de suor numa canção: o processo de redução estrutural na poesia de Zila Mamede

Die Beziehung zwischen Literatur und Gesellschaft wurden, im Laufe der Jahrhunderte, aus unterschiedlichen Perspektiven analysiert. Die Wissenschaftler analysieren manchmal die Aspekten der sozialen Realität, sie betonen manchmal die Natur der literarischen Werk. Wir glauben, dass Antonio Candido einen Gleichgewichtszustand erreicht, als er das Konzept der strukturellen Reduktion oder Formalisierung entwickelt. Nämlich, der Prozess, bei dem die menschliche und soziale Leben zu einem Bestandteil der literarischen Struktur wird. Der Autor tritt eine Einbahnstraße und er kann Daten aus der sozialen Ordnung aufholen, ohne dabei die Materialität des Textes den Augen verlieren. Und das sind die theoretische Annahmen, die die Entwicklung dieser Arbeit leiten. Wir wollen zu zeigen, dass die Struktur der mamediana Lyrik aufdeckt, signifikante Daten der Gesellschaft, in der der Autore eingefügt wurde enthüllt. Folglich, wir analysieren soziale Thema, das sein Werk durchzieht. Zuerst, wir untersuchen, wie Zila Mamede den Alltag der Gesellschaft vertreten. Von der strukturellen Organisation der Gedichte, wir erkennen, das die Episode aus kleiner Städte ein Akt des Widerstands gegen die fragmentierte Profil der kapitalistischen Gesellschaf sind. Das ist, warum sie doch eng mit der Idee der Tradition erscheinen. Die dichotome Beziehung zwischen den regionalen Daten und der Element der Modernisierung etabliert, sie wird durch die Organisation des Raumes verstärkt. Während die Stadt bei konkrete gesellschaftliche Ordnung Spitzenbeträge verweist, hat die Landschaft eine harmonische und warme Form. Allgemeinen, die moderne Stadt von Zila Mamede geformt, ist eine Abbild der Industriegesellschaft. Die Bilder die Landschaft sind ein Gegenmittel gegen die Feindseligkeiten Merkmale der neuen urbanen Zustand. So, die Landschaft hat die Funktion von Umstrukturierung der Persönlichkeit des Einzelnen durch die Erfahrung der großen Städte betroffen verdinglichenden. Der Konflikt, der durch das lyrische mamediana läuft, sind Reflexionen des Prozesses der Modernisierung der Stadt Natal, ihres eigenen Landes die politische Instabilität, sie durch verschiedene staatliche Programme ging, während Der Autor seine literarische Tätigkeit verfolgt

Coerção e ruptura estilísticas na poesia potiguar: a construção do ethos inventivo do poeta Jorge Fernandes

Within the poetic scenario of Rio Grande do Norte the publication of Livro de Poemas de Jorge Fernandes, in 2007, marks, in the imagery of the Potiguar community of poetry readers, producers and critics, the beginning of the social circulation of an inventive ethos associated with the poet Jorge Fernandes de Oliveira (1887-1953). Regarding the event mentioned earlier as a point of reference, this research investigates the construction of such ethos based on the counterpoint between the poet s individual stylistic choices and the stylistic options that prevailed in the lyric production of the Twenties in the 20th Century. The corpus comprises poetic texts (by the poet under discussion and by other poets who were, then, regarded as icons of the poetry of Rio Grande do Norte) and texts representative of local literary criticism (produced both during the Twenties and in other decades of the last century). Support to this analysis is grounded in Mikhail Bakhtin s theory of the utterance (mainly regarding style) and in Dominique Maingueneau s theory of the utterance (mainly regarding ethos). During the course of this investigation, the research has outlined an inventory of the prevailing individual stylistic choices of Jorge Fernandes de Oliveira and the reasons why such choices point out towards the inventive ethos associated with the poet.

Permanência de Walflan de Queiroz: uma leitura da obra O Testamento de Jó

Este trabajo tiene como objeto de investigación literaria la obra: O testamento de Jo , lanzada en 1965, por Walflan de Queiroz. El poeta norte-río-grandense ilustra a través de un conjunto de poemas su experiencia religiosa y metafísica a partir de la desgracia sufrida por el personaje bíblico Jo, desarrollando una estética de la soledad, de la pobreza y de la marginalidad. Según Alter y Kermode (1997), la poesía de Jo es asombrosa en su fuerza e inventiva. Se pretende demostrar que las poesías de Walflan de Queiroz poseen dos corrientes definidas: si, por un parte, se vinculan al tema de Jo, mon doux Job , como él escribió en un poema; por otra, diseminan una postura amorosa. Con el objetivo de situar al autor y a su obra, se discuten el contexto histórico y la agitación cultural en Río Grande do Norte en la década de 1960. La lectura de O testamento de Jo nos llevó a realizar inicialmente una comparación de la poética walflaniana con textos bíblicos para la construcción de una atmósfera mística en el libro. Enseguida, el abordaje de los poemas amorosos que retratan la imagen femenina presente de forma platónica o bajo el velo de la mitología, de los mitos de Orfeu y Eurídice, retomados por el poeta. En Walflan de Queiroz, el amor no se concretiza. Y el bardo escribe como los románticos y los simbolistas

Sinto uma infinita nostalgia do Oculto : vida e poesia, solidão e morte de Walflan de Queiroz

El objetivo de esta Tesis es la investigación literaria de la vida y la obra del poeta potiguar Walflan de Queiroz (1930-1995). Después de más de 17 años de su muerte, su poesía clama por una suerte crítica capaz de identificar sus características formales y estéticas. En ese sentido, se realiza el rescate de la producción poética de Walflan de Queiroz, con el fin de ofrecer los elementos que motivaron su discurso, su lirismo. Se pretende demostrar sus principales temas, como por ejemplo, el tenor metafísico, la angustia existencial, las pasiones platónicas, la muerte, la soledad, el silencio y la influencia de los poetas extranjeros, especialmente de la tradición romántica y simbolista, así como la manifestación de la religiosidad, de lo sagrado desde siempre encadenada a diversas tradiciones religiosas del mundo. Siendo así, la Tesis tiene como base teórica los fundamentos de la tradición poética y del imaginario religioso diluidos a lo largo de todo el estudio

Poesia digital: três leituras da Obra de Jason Nelson

The development of digital technologies has opened up a new niche for artistic production. It began to emerge artworks that could only happen in the digital context. In this study, we investigated the syntax of defining digital poetry, recognized internationally as one of the possibilities of this new artistic practice, and how happens the meaning during the reading process. As research corpus, we chose the poem "Birds Still Warm From Flying", by american poet Jason Nelson. And we structure our analysis looking through three perspectives: the digital poem as a game; as the evolution of experimental trends of twentieth-century poetry; and as a representation of Rubik`s Cube, a famous three-dimensional puzzle from the 1970`s. Initially, we made some considerations about the construction of digital poetry as a hypermedia artwork, looking through convergence and hybridization of artistic and media languages. Then, we saw some similarities between Nelson`s poem and electronic games, based on our critical observations about the concept of interactivity. Subsequently, we wrote a historical overview about the poetic experimentation in the twentieth century, bringing examples of sound poetry and visual poetry as evidence that the birth of digital poetry is also the result of the evolution of these experiments. Finally, we use the Charles Sanders Peirce`s semiotics to analyze the signs that give references able to make us recognize the Rubik`s Cube in "Birds Still Warm From Flying"

A estética transcendental kantiana à luz de Strawson

This work s objective is to make a literal interpretation of Kant s Aesthetic transcendental, the first pilaster of sustentation of the epistemology of Kant and to interpret it at Strawson s light. It contains the doctrine of sensitivity responsible for the intuitions, which rests on the concepts of space and time, and, with this, the tematização of two important questions. For Kant s philosophy in its epistemologic source what s the importance of the concepts of and time? How these concepts of space and time inscribe themselves with such statute as an investigatory task of metaphysics? The specification of the concepts of space and time as ingredients of the theories treated and enrolled in this work are segmented of the Aesthetic transcendental of Kant, and interpreted under Strawson s light. The research is divided in two chapter; first, constituted of two parts, the first part presents an introduction to the Aesthetic transcendental of Kant, to show the doctrine of the sensitivity which is part of with its forms space and time, authentic forms of the intuition. The second chapter, is constituted of four parts, that deal with the interpretation of the austere model of Strawson and related with Kant s transcendental Aesthetic. The conclusion of our work, about the declared objection of Strawson in its austere interpretation that refuses the idea of space and time, even keeping its a priori character, cannot be accepted. The apriority, the intuitivity and the ideality are theories non-separable in a coherent boarding of space and time of Kant s model of epistemology

Formatividade e interpretação: a filosofia estética de Luigi Pareyson

The concept of formativity, coined by Luigi Pareyson, is a key to the development of countless contemporary aesthetic studies. The aim of this dissertation is to present a deep understanding of the notion of Formativity and Interpretation, as evidenciated by the title Formativity and Interpretation: the aesthetical philosophy of Luigi Pareyson. The work Aesthetics - Theory of Formativity, first published in 1954, is considered a mark in the rebirth of aesthetics. In this dissertation, the concept of Formativity is examined as a component applicable to every human action, and not limited to pre-determined practices, nor referred to the application of preexisting. I ve performed an investigation of the triple concept of doing-inventing-interpreting, which simultaneously grounds Formativity. In the first section, Pareyson s Aesthetical Propaedeutic is presented; in the second, the Theory of Formativity: the aesthetical character of the whole human experience is analysed; and in the third chapter, The Aesthetical of Form and the Metaphysics of Figuration is related to the formativity character of the knowledge. Through this analysis, I ve intended to evidence how human operability can be understood as search and trial, figuration and invention, in the search for success. In this sense, this thesis seeks to present an interpretation of the idea of work-form, speculating the inexorability of invention and interpretation in an attempt to establish a new bottom line for the studies Pareyson s Aesthetics in Brazil

O entardecer de uma era: técnica, poesia e pensamento em Heidegger

The thinking dialog between Heidegger s philosophy and the poetry of Hölderlin and Rilke must be dealt in language s domains. The difficulty to establish this dialog comes from the man in itself, unable to think out of the understructure of science and the modern technique. The poetic language was forgotten or ignored, turning itself obsolete in front of improvements and resources of the technique. Heidegger searches the essences to the poetry so may it be comprehended in its plenitude for the man. Technique, poetry and existence must be pronounced and investigated so the being shows itself again. To Heidegger, the man lives in a period of uncertainty due finding himself at the sunset of age. The uncertainty generates the poverty and the night of world represents the absence of god and original truth. Only with the fundamental comprehension of poetry, the man of today can project himself to the future not anymore as technique product, but with freedom to choose. The message of poetry of Hölderlin and Rilke, according to Heidegger s interpretation, transmits an alert to the contemporary man against the coming danger in his maintained relation with nature. The purpose of the following work is to build this thinking dialog, without disfigure the poetry, but taking approach over its essence, so from there to remove its true existential value.

Avaliação de Percepção de periodontistas, protesistas, ortodontistas e leigos sobre parâmetros periodontais relacionados à estética do sorriso

The concept of facial esthetics has been increasingly diffused, being of interest to both the general public and the surgeon-dentists. However the difficult standardization and high variability in parameters aesthetic existing in the literature result in a huge difference of opinions between professionals and layperson. In this way, objective of this research was to evaluate the perception of periodontistas, protesistas, orthodontists and layperson about aesthetics smile. The sample included 30 periodontistas, 30 protesistas, 31 orthodontists and 37 layperson. The data collection was performed through an interview indirect, by the site, which had fifteen photos to be assessed by the participants. Each photograph was intentionally modified, with four increments 1mm for each amendment, in the program Adobe Photoshop CS2 version 9.0, adding-four aesthetic alterations: exposure gingival, recession gingival, absence of papilla and contour gingival. The smile for periodontistas, 3mm for orthodontists and laity and 4mm for protesistas. And changes in recession gingival, have undertaken the aesthetics of smiling from 2mm in accordance with the periodontistas and protesistas and 4mm for orthodontists and lay people. The end of the research was possible to conclude that the perception of periodontistas, protesistas, orthodontists and layperson are different in relation to aesthetics smile, and that among the changes in the research evaluated the papilla and recession have undertaken the aesthetics of smile

Esporte como experiência estética e educativa: uma abordagem fenomenológica

O presente texto constitui-se de um recorte de uma pesquisa de doutorado realizada no programa de pós-graduação em educação da UFRN. Tem como objetivo discutir o esporte a partir da dimensão do vivido, buscando compreender os significados conferidos à prática esportiva e à experiência estética do atleta como educação. Parte de uma abordagem metodológica centrada na fenomenologia como campo de reflexão e interpretação da experiência vivida. Esse entendimento aponta caminhos para uma reflexão sobre o esporte centrada no corpo do atleta, cujos debates teóricos e as intervenções na Educação Física podem transpor qualquer concepção determinista, por uma educação móvel, sensível e inscrita no corpo em movimento

Atividades de construção de sentido: a cosmovisão no discurso poético de a poesia em pânico

This study try to integrate concepts from referenciation theory to highlight processes of meaning construction of the book A Poesia em Pânico, written by the Brasilian poet Murilo Mendes. The concepts of referenciation, discourse objects and cognitive-experiential schemes were employed to evidence the meanings of the poems in the book, specifing its methods of elaboration and the effects of expression. Parallels beetwen the conception of language proposed by the theories used and that deduced from the poems and poetic pratice of the author studied was traced, making evident its similarities. Equaly, textuals analises are used to demonstrate various aspects of the theories. At the same time, a reading of the main elements of discourse was constructed throughout the study, trying an aproximation beetween the fields of linguistic and literary theory

O gauche: poética da travessia entre Renato Russo e Carlos Drummond de Andrade

This dissertation, called “The gauche (O gauche): the poetry of crossing between Renato Russo and Carlos Drummond de Andrade”, discusses on the problematic subjection of the gauche which brings Drummond’s poetry into Renato Russo’s singularizing one, emphasizing such subjection and seeking to find the tension which dwells between both, pointing out at the poet and the songwriter the dislocations, the non-territorial process and the repetition of the difference. Thus, the act, the esthetics and the policy of writing do move from a textual, inter-textual character to a range of references, perceptions, dislocations, establishing within those spaces, elements residing in poetical cartographies which relate both writers on this rizomatic crossing for the writing of both is bound by desire and minorities. To do so, we chose, as research basis, authors such as Gilles Deleuze, Jacques Derrida, Félix Guattari, Jacques Ranciére, Michel Foucault, Maurice Blanchot, Julia Kristeva, Linda Hutcheon, among others who can wander through the established relations of this work.Thus, it constitutes the theoretical and discussion corpus responding to the qualitative implicit requirements of this dissertation. The literary body of this research has a selection of lyrics by Renato Russo and poems by Carlos Drummond presented as subjectivity corpus embracing ideas, affects, perceptions and images

Para uma metapsicologia freudiana da experiência estética

Há muito a arte já era tema de acirradas discussões filosóficas quando do surgimento da psicanálise no fim do século XIX. Com o avanço desta e seu eventual deslocamento do campo das patologias psíquicas para as produções da cultura, superpõe-se às então produções teóricas sobre a arte um discurso que implica novas categorias do acontecer psíquico no fazer artístico. Com o conceito freudiano de inconsciente todo fazer humano passou a ser concebido como comportando a marca do ser dividido que é o homem. Julgamos a experiência estética como indissociável desse fazer. E é por apostar na singularidade da abordagem psicanalítica no campo estético que nos aventuramos a propor uma descrição metapsicológica da experiência estética. Para tanto, devemos primeiramente compreender qual o critério que Freud utiliza para o uso do conceito de sublimação, este que consideramos um conceito chave para a análise da experiência estética. A experiência é dividida ainda na experiência estética do espectador, isto é, a contemplação, e a experiência do autor, isto é, a do criador da obra.