Ilustração não-digital e digital: um estudo das etapas da produção para otimização da comunicação

This article contains a brief summary of the thesis defended in Visual Poetics, whose title is “Digital and Non Digital Illustration: A Study of the Steps in the Production Process for the Optimization of Communication”. With the detailing of these major items, the mindset of the thesis was the research of the process of digital and not digital production.

O renascer da pós-graduação em poéticas visuais na UNESP, campus de Bauru: contribuição valiosa para os cursos de artes

The postgraduation program in Visual Poetics, Master level, to be started in 2011 at the faculty of Architecture, Arts and Communication of the state university of São Paulo "Julio de Mesquita Filho"- Bauru Campus, arises strong and well structured contributing to the strengthening of Arts courses. It is noteworthy that the Visual Poetics area has graduated in its previously existing program, more than 30 (Thirty) masters and 8 (eight) doctors. They are currently linked to state and federal universities of Sao Paulo, Parana, Santa Catarina and Mato Grosso do Sul . Ricardo Nicola is Post-Doctor by IES since 2007: University of Toronto, Canada, is presented as mentor and coordinator of the renaissance process of masters program in Visual Poetics.Nelyse Apparecida Malro Salzedas , graduated as a Professor in 1993 at the same University, she has contributed significantly to the Program implementation and will be vice-coordinator of the project.

Mídia e literatura: tematizações, correlativos, conexões

The purpose of this essay is to briefly evaluate the relationship that exists between media and literature in a general approach. The referred cases are exemplary in character. We suggest that there are essentially three ways by which medialiterature relationships come about. The classification provided herein seeks to contribute towards more detailed studies on this matter and invites to reflection.

O desenho na obra de Wim Wenders: 'Até o fim do mundo'

The present work is an investigation into the possibilities of development of drawing in the contemporaneity and the detachment which certain poetic art could have to the point of absorbing more than one language in the materialization of the idea as it meets the development of the individual approach from the producer's work.This reading is sought in the work of the filmmaker Wim Wenders, more specifically in his film "Until the End of the World" and the way it presents the images are due to the proximity of different artistic languages. While cropping, framing are part of the procedures present in the artist's creative process to meet the needs of its poetics.

Uma poética da tensão: as conflituosas faces na modernidade em Álvaro de Campos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Categorias retórico-poéticas e produção de embates n'o desertor, de Manuel Inácio da Silva Alvarenga

Pós-graduação em Letras - FCLAS

Augusto Boal: alguns encontros e desencontros com Bertolt Brecht

Pós-graduação em Artes - IA

Dança para criança: uma proposta para o ensino de dança voltada para a educação infantil

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A representação do mar nos romances de Moacir C. Lopes

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Sophie Calle: entre imagens e palavras

A relação de Sophie Calle com dois textos ficcionais, de autoria de Hervé Guibert e Paul Auster, permite discutir um ponto central de sua poética: a atuação como performer, colocada por alguns críticos sob o signo do situacionismo. Como suas performances envolvem uma narrativa, foram analisados seus aspectos fotográficos e verbais, tendo como epicentro Suíte veneziana (1980). Qual o papel da fotografia nas narrativas de Calle, nas quais ela é personagem de si mesma? A fotografia é vestígio de acontecimentos reais e seu aspecto documental corrobora a neutralidade dos relatos escritos. É, ao mesmo tempo, fruto de um gesto performático, o qual, ao designar determinados fatos, converte a realidade em imagem.

Um rio de imagens

O presente artigo apresenta uma reflexão sobre a imagem dos rios ao longo da história da arte, a partir da pesquisa realizada por mim para a tese de doutorado “Poéticas Líquidas: a água na arte contemporânea“. Os rios são estudados tanto a partir de suas representações pictóricas de interesse histórico, como também enquanto suporte para a realização de obras de arte contemporânea. São identificadas conotações simbólicas e espirituais dos rios, como metáfora para o transcorrer da vida e para as transformações, assim como também suas questões mais terrenas, ligadas à ecologia e à sua relação com as cidades. Como reflexão final, apresento alguns trabalhos plásticos realizados por mim ao longo dos anos, que discutem a presença dos rios na vida contemporânea, a partir de proposições estéticas que refletem as conflituosas relações entre o homem e a natureza na atualidade.

Laminated Tubular-channel Ferroelectret Systems from Low-density Polyethylene Films and from Fluoroethylene-propylene Copolymer Films - A Comparison

A template-based lamination technique for the manufacture of ferroelectrets from uniform electret films was recently reported. In the present work, this technique is used to prepare similar ferroelectret structures from low-density polyethylene (LDPE) films and from fluoro-ethylene-propylene (FEP) copolymer films. A comparative analysis of the pressure-, temperature-, and frequency-dependent piezoelectric properties has been performed on the two ferroelectret systems. It is observed that the FEP ferroelectrets exhibit better piezoelectric responses and are thermally more stable. The difference between the piezoelectric d(33) coefficients of the two ferroelectret systems is partially explained here by their different elastic moduli. The anti-resonance peaks of both structures have been investigated by means of dielectric resonance spectroscopy and electroacoustic sound-pressure measurements. A difference of more than 10 kHz is observed between the anti-resonance frequencies of the two ferroelectret systems.

"Narrativa di frontiera". Fenomenologia di una forma aperta.

«Fiction of frontier». Phenomenology of an open form/voice. Francesco Giustini’s PhD dissertation fits into a genre of research usually neglected by the literary criticism which nevertheless is arousing much interest in recent years: the relationship between Literature and Space. In this context, the specific issue of his work consists in the category of the Frontier including its several implications for the XX century fiction. The preliminary step, at the beginning of the first section of the dissertation, is a semantic analysis: with precision, Giustini describes the meaning of the word “frontier” here declined in a multiplicity of cultural, political and geographical contexts, starting from the American frontier of the pioneers who headed for the West, to the exotic frontiers of the world, with whose the imperialistic colonization has come into contact; from the semi-uninhabited areas like deserts, highlands and virgin forests, to the ethnic frontiers between Indian and white people in South America, since the internal frontiers of the Countries like those ones between the District and the Capital City, the Centre and the Outskirts. In the next step, Giustini wants to focus on a real “ myth of the frontier”, able to nourish cultural and literary imagination. Indeed, the literature has told and chosen the frontier as the scenery for many stories; especially in the 20th Century it made the frontier a problematic space in the light of events and changes that have transformed the perception of space and our relationship with it. Therefore, the dissertation proposes a critical category, it traces the hallmarks of a specific literary phenomenon defined “ Fiction of the frontier” ,present in many literary traditions during the 20th Century. The term “Fiction” (not “Literature” or “Poetics”) does not define a genre but rather a “procedure”, focusing on a constant issue pointed out from the texts examined in this work : the strong call to the act of narration and to its oral traditions. The “Fiction of the Frontier” is perceived as an approach to the world, a way of watching and feeling the objects, an emotion that is lived and told through the story- a story where the narrator ,through his body and his voice, takes the rule of the witness. The following parts, that have an analytic style, are constructed on the basis of this theoretical and methodological reflection. The second section gives a wide range of examples into we can find the figure and the myth of the frontier through the textual analysis which range over several literary traditions. Starting from monographic chapters (Garcia Marquez, Callado, McCarthy), to the comparative reading of couples of texts (Calvino and Verga Llosa, Buzzati and Coetzee, Arguedas and Rulfo). The selection of texts is introduced so as to underline a particular aspect or a form of the frontier at every reading. This section is articulated into thematic voices which recall some actions that can be taken into the ambiguous and liminal space of the frontier (to communicate, to wait, to “trans-culturate”, to imagine, to live in, to not-live in). In this phenomenology, the frontier comes to the light as a physical and concrete element or as a cultural, imaginary, linguistic, ethnic and existential category. In the end, the third section is centered on a more defined and elaborated analysis of two authors, considered as fundamental for the comprehension of the “Fiction of the frontier”: Joseph Conrad and João Guimarães Rosa. Even if they are very different, being part of unlike literary traditions, these two authors show many connections which are pointed by the comparative analysis. Maybe Conrad is the first author that understand the feeling of the frontier , freeing himself from the adventure romance and from the exotic nineteenthcentury tradition. João Guimarães Rosa, in his turn, is the great narrator of Brazilian and South American frontier, he is the man of sertão and of endless spaces of the Centre of Brazil. His production is strongly linked to that one belonged to the author of Heart of Darkness.

"Mi bèl pawòl, mi!" Rappresentazione delle lingue e della parola nella narrativa di Patrick Chamoiseau e Raphael Confiant (1986-1994)

From 1986 to 1994, Patrick Chamoiseau and Raphaël Confiant published a series of fictional and non-fictional writings focusing on language issues. Interest in these themes can certainly in part be explained by the "surconscience linguistique" that Lise Gauvin attributes to Francophone authors: a linguistic over-awareness which, in the case of these two Martiniquais writers, may be attributed to their Creole-French diglossia. Although we might believe that the idea of Gauvin is right, it doesn't seem enough to explain why the linguistic theme plays such a central role in Chamoiseau's and Confiant's works. Deeply influenced by Glissant's theories on Creole popular culture and Antillean literature (Le discours antillais), they conceived a "Créolité" poetics based on a primarly identity-based and geopolitical discourse. Declaring the need to build an authentically Creole literary discourse, one that finally expresses the Martiniquais reality, Chamoiseau and Confiant (as well as Bernabé, third and last author of Éloge de la créolité) found the «foundations of [their] being» in orality and its poetics in the Creole language. This belief was maily translated into their works in two ways: by representing the (diglossic) relationships occurring between their first languages (Creole and French) and by representing the Creole parole (orality) and its function. An analysis of our authors' literary and theoretical writings will enable us to show how two works that develop around the same themes and thesis have in fact produced very divergent results, which were perhaps already perceivable in the main ambiguities of their common manifestos.

"Daring to be foolish". L'opera poetica di Robert Kroetsch dal 2001 al 2010

La presente dissertazione si pone come oggetto di analisi la produzione poetica di Robert Kroetsch (1927-2011), scrittore e critico letterario canadese nativo dell’Alberta (Canada), che tra il 1960 e il 2010 ha pubblicato un numero notevole di opere (nove romanzi, più di venti opere poetiche tra componimenti singoli e in raccolta, due volumi di saggi e diverse interviste). In particolare si è scelto di focalizzare l’attenzione sulle ultime tre raccolte di poesia – rispettivamente The Hornbooks of Rita K (2001), The Snowbird Poems (2004) e Too Bad: Sketches Toward a Self-Portrait (2010) – che, se confrontate con la produzione precedente, forniscono prova di alcuni elementi di novità all’interno della prospettiva poetica di Kroetsch. L’ipotesi dalla quale trae origine il presente studio è infatti che, a partire dalla raccolta The Hornbooks of Rita K, Kroetsch abbia imboccato un percorso di evoluzione stilistica che corre in parallelo con la formulazione di una nuova poetica. Nello specifico, si osserva che, negli ultimi dieci anni, da un punto di vista formale i componimenti si frammentano progressivamente, passando da una forma lunga – quella del long poem – a una breve – lo sketch, che risulta più adatta a rappresentare sul piano espressivo una mutata percezione dell’Io poetico. A un simile aspetto si aggiunge poi il fatto che la raffigurazione della propria vicenda umana diventa, con sempre maggiore evidenza, motivo di riflessione su una condizione universale dell’umano e sulla dimensione etica del suo agire.