Le polar de la Caraïbe francophone : enjeux de l’appropriation du genre

Pour minoré et ignoré qu’il fût, le roman policier est désormais légitimé par l’institution littéraire. À parcourir les livres publiés dans la Caraïbe francophone, le genre demeure dans la marge de cette production [issue de la Caraïbe francophone (Haïti, Guadeloupe, Guyane française, Martinique)]. Quoiqu’il en soit, on notera que les années 1990 ont inauguré une véritable éclosion de publications de polars. Tout cela augure d’une acclimatation de ce genre qui ne s’accompagne pas moins de questionnements sur les spécificités éventuelles du polar caribéen francophone. Se situe-t-il dans la convention? Tente-il au contraire d’établir une distanciation avec la norme? C’est pour répondre à ces interrogations que cette thèse se propose d’explorer les enjeux de l’appropriation du polar provenant de cette aire géographique. À l’aune de la poétique des genres, de la sociocritique et de l’intermédialité, un corpus composé de quatorze romans fait l’objet d’une étude approfondie. Dans le premier chapitre, un bref récapitulatif permet de situer les œuvres à l’étude dans l’histoire littéraire du genre tout en soulignant l’adaptation du polar dans la Caraïbe de langue française. Il en ressort qu’un nombre significatif d’écrivains, attentifs à la latence du magico-religieux dans leur société, mettent en scène le surnaturel alors que le roman policier conventionnel plébiscite la méthode logico-déductive. C’est la raison pour laquelle le second chapitre s’intéresse à l’usage de l’inexplicable et son rapport avec le cartésianisme. Quant au troisième chapitre, il se penche sur un topos du genre : la violence telle qu’elle surgit dans ses dimensions commémoratives et répétitives de l’histoire tumultueuse de la Caraïbe. Notre corpus tend à relier la notion du crime, fut-il d’emprise originelle, à l’histoire post-coloniale. Dans la mesure où les personnages constituent un élément clé du genre, ils sont sondés, dans un quatrième chapitre, en regard de la critique sociale qu’ils incarnent et véhiculent. Le dernier chapitre cherche à circonscrire l’intermédialité qui structure et qualifie l’œuvre au sein du roman policier depuis sa genèse. Somme toute, ces divers axes contribuent à mieux comprendre le phénomène de transposition du polar dans cette région du monde.

Post tenebras spero lucem : Alquimia y ritos en el Quijote y otras obras cervantinas

This study focuses on two areas: alchemy (Part I) and rituals of initiation (Part II) in the works of Miguel de Cervantes, focusing on Don Quijote de la Mancha as my main case study. The first part analyses the function of alchemy and how it can be interpreted throughout the works and various literary genres of Cervantes. It will demonstrate that the texts of Cervantes contain both explicit and implicit allusions to, as well as different aspects of alchemy, such as operative and spiritual alchemy and how these are ultimately used by Cervantes as a means of expression. The author draws from this rich source and modifies these means of expression in order to achieve various results: sometimes with wit or in relation to fraud; at other times it focuses on inner alchemy relating to chivalry in what I have called spiritual chivalry, which has the aim of self-improvement and ultimately, gnosis. Regarding the chivalric rituals of initiation, according to this investigation chivalry serves as both satire and representation of the alchemical process in the case of Don Quijote, which finds its key moments during the rituals. In this sense alchemy and chivalry are studied as two sides of the same coin, in which the search for something higher, an object (the philosopher stone, the beloved), subjects the protagonist to continuous transmutations and puts him in contact with the transitory, that is, liminal states, people and spaces. From this perspective Don Quixote de la Mancha is built upon liminal poetics. My approach, which follows the tenets of analogical hermeneutics, is included within the framework of the Western Esotericism Studies. The 16th and 17th centuries were a fertile age for alchemy throughout Europe. In Spain, alchemy and other esoteric disciplines co-existed with the Spanish Inquisition and its body for the control of ideas and texts: censorship. By being ambiguous and putting into dialogue different ideas of alchemy, Cervantes not only allowed readers to reach their own conclusions, he also protected his work from censorship.

Lucrecio, "De rerum natura": Sentido y coherencia del prólogo

El prólogo del De rerum natura de Lucrecio (1.1-148) parece ser un tema gastado: ha sido tratado decenas de veces tanto por su excelente calidad como por los problemas que plantea. Pero esperamos poder dar un nuevo sentido y solución a ambos aspectos. En primer lugar, el himno a Venus no es una mera convención, sino que respira sentimiento religioso; Venus no personifica a la naturaleza, sino al placer y la felicidad y ni la hegemonía que se dice ejerce Venus, ni las plegarias que contiene el himno contradicen la teología epicúrea. Todavía más, nos parece que el himno constituye una auténtica epifanía religiosa muy propia de la teología epicúrea. En segundo lugar, suponiendo que el autor ha tomado como tema compartido los schemata o grados de dificultad de la intellectio retórica en el texto de 1.50-148, se intentan solucionar las dificultades de coherencia del texto.

Lo que sé de los hombrecillos de Juan José Millás: la ficción psicótica de la sociedad perfecta.

This short essay deals with literary representations of identity and of social reality, especially in relation to the novelistic works published by the Spanish writer Juan José Millás. The article is divided into three parts. The first section is dedicated to a general overview of the new perspectives brought by the contemporary ‘linguistic turn’ in culture, which is currently considered as the product of different discourses and not as an ontological datum. The postmodern condition, on the other hand, is described as the age in which it has become radically difficult to rely on such ideas as “nation” and “people” for the construction of personal identity. The second part of the article identifies Millás’ poetics as an excellent example of describing the neurotic symptoms produced by the urban way of life in Western communities. Millás recognizes the separateness between language and material reality as the origin of the subject's isolation, especially in contemporary life. Finally, the third part handles with Lo que sé de los hombrecillos, the last novel by Millás, in which we witness a significant switch from neurosis to psychosis in the mind of the protagonist who offers us a distorted realisation of his idea of community and plenitude.

O Caráter Tectônico do Moderno Brasileiro: Bernardes e Campello na Paraíba (1970-1980)

This study aims to analyze the tectonic character of the works of Sergio Bernardes and Glauco Campello architects, built in Paraiba, between the turn of the decade in 1970 and early 1980 in order to bring reflections about the poetics of construction s importance in the formal structure of the architecture, contributing to the debate about the specificitiesand peculiarities of modern architecture produced in Brazil. The research, using the strategies of the case study, startsfromthe review on the use of "tectonic" by Kenneth Frampton and other scholars of the term, to base the concept and set the analytical parameters of the tectonics. Then it proceeds to the insertion of buildings in the cultural and socio-political Brazilian s context in the periodproposed forstudy, in sequence, analyzesthe works of each architect. The study confirms that the expressive power of Brazilian heroic modern architecture, emphasizing the poetics of construction, sediments a tectonic culture that resonates in the following generations

Villes mortes, villes à l’agonie: Écriture du ravage dans Le quatrième mur de Sorj Chalandon

Dándole un nuevo significado al tópico de la ciudad muerta, especialmente productivo en la literatura de fin de siglo, Sorj Chalandon configura, en Le qua-trième mur, una poética del saqueo que hace de la ciudad devastada un espacio de creación, al mismo tiempo novelesco y trágico, donde reinventar el género de la tumba.

Interface cena e tecnologia : composições cênicas mediadas

Based on the presupposition that the arts in the West always counted on resources, supports, and devices pertaining to its time context, an reflection is intended regarding the scenic compositions mediated by digital technologies do. Such technologies are inserted in the daily routine, also composing artistic experiments, thus playing a dialogical role with the art/technology intersection. Therefore, the proposal is to investigate what relationships are established in the contemporary theatrical scene from the contagion by digital technologies, aiming at establishing this parallel through a dialogue with the authors discussing the subject, and also based on the group practices having technological resources as a determinant factor in their plays. Furthermore, a reflection should be made on the scene that incorporates or is carried out in intermediatic events, analyzing how digital technologies (re)configure compositional processes of the plays by GAG Phila7, in the city of São Paulo/SP. For such, the dissertation is organized in three sections comprising four moments, to wit: brief overview of the field, contextualization, poetic analysis and synthesis. Qualitative methods are used as the methodological proposal: semi-structure interview, note and document taking (program, website, playing book, disclosure material for advertising text, photographs, and videos). Within the universe of qualitative research, it works with the epistemological perspective of the Gadamer philosophical hermeneutics. The possibilities allowed by the double virtual (Internet/web) generated a type of theater with another material basis and new forms of organization and structure, being possible to perceive that such technological advances and the arts are mutually contaminated, generating a dislocation in the logics of theatrical composition, movement beginning with the artistic vanguards, gradually intensified, thus offering new possibilities of constructions and hybridization of the of the most different possible types. Experiment ―Profanações_superfície de eventos de construção coletiva‖, idealized by Phila7 is inserted in this perspective. Object of the discussion of such research, the experiment works with possible poetics arising from the intersection with the digital technologies, aiming at identifying and problematizing the challenges from the technological evolution and expansion in a scenic context

Le polar de la Caraïbe francophone : enjeux de l’appropriation du genre

Pour minoré et ignoré qu’il fût, le roman policier est désormais légitimé par l’institution littéraire. À parcourir les livres publiés dans la Caraïbe francophone, le genre demeure dans la marge de cette production [issue de la Caraïbe francophone (Haïti, Guadeloupe, Guyane française, Martinique)]. Quoiqu’il en soit, on notera que les années 1990 ont inauguré une véritable éclosion de publications de polars. Tout cela augure d’une acclimatation de ce genre qui ne s’accompagne pas moins de questionnements sur les spécificités éventuelles du polar caribéen francophone. Se situe-t-il dans la convention? Tente-il au contraire d’établir une distanciation avec la norme? C’est pour répondre à ces interrogations que cette thèse se propose d’explorer les enjeux de l’appropriation du polar provenant de cette aire géographique. À l’aune de la poétique des genres, de la sociocritique et de l’intermédialité, un corpus composé de quatorze romans fait l’objet d’une étude approfondie. Dans le premier chapitre, un bref récapitulatif permet de situer les œuvres à l’étude dans l’histoire littéraire du genre tout en soulignant l’adaptation du polar dans la Caraïbe de langue française. Il en ressort qu’un nombre significatif d’écrivains, attentifs à la latence du magico-religieux dans leur société, mettent en scène le surnaturel alors que le roman policier conventionnel plébiscite la méthode logico-déductive. C’est la raison pour laquelle le second chapitre s’intéresse à l’usage de l’inexplicable et son rapport avec le cartésianisme. Quant au troisième chapitre, il se penche sur un topos du genre : la violence telle qu’elle surgit dans ses dimensions commémoratives et répétitives de l’histoire tumultueuse de la Caraïbe. Notre corpus tend à relier la notion du crime, fut-il d’emprise originelle, à l’histoire post-coloniale. Dans la mesure où les personnages constituent un élément clé du genre, ils sont sondés, dans un quatrième chapitre, en regard de la critique sociale qu’ils incarnent et véhiculent. Le dernier chapitre cherche à circonscrire l’intermédialité qui structure et qualifie l’œuvre au sein du roman policier depuis sa genèse. Somme toute, ces divers axes contribuent à mieux comprendre le phénomène de transposition du polar dans cette région du monde.

O Caráter Tectônico do Moderno Brasileiro: Bernardes e Campello na Paraíba (1970-1980)

This study aims to analyze the tectonic character of the works of Sergio Bernardes and Glauco Campello architects, built in Paraiba, between the turn of the decade in 1970 and early 1980 in order to bring reflections about the poetics of construction s importance in the formal structure of the architecture, contributing to the debate about the specificitiesand peculiarities of modern architecture produced in Brazil. The research, using the strategies of the case study, startsfromthe review on the use of "tectonic" by Kenneth Frampton and other scholars of the term, to base the concept and set the analytical parameters of the tectonics. Then it proceeds to the insertion of buildings in the cultural and socio-political Brazilian s context in the periodproposed forstudy, in sequence, analyzesthe works of each architect. The study confirms that the expressive power of Brazilian heroic modern architecture, emphasizing the poetics of construction, sediments a tectonic culture that resonates in the following generations

Poética da superação a propósito da obra de Gonçalo M. Tavares

Tese de Doutoramento, Literatura, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2016

Redefinição de uma metodologia de projecto à luz de uma estrutura fenomenológica

Dissertação de Mestrado para obtenção do grau de Mestre em Arquitectura, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Historia de la dirección escénica en España: Miguel Narros

The year 2013 saw the passing of Miguel Narros, one of the most outstanding men of theatre of recent decades, and a creator to whom we remain in debt today. His extensive legacy deserves a special place in our memory and stands as a subject of study of the keenest interest, in view of the increasing amount of research being done on the discipline of stage direction. The objective of the thesis being presented is to provide an overview of Narros’ work, so as to draw conclusions related to the situation of theatre in Spain throughout the second half of the twentieth century and in the early twenty-first century and to elucidate the director’s poetic conception and a theory of his stage practice. The thesis has focused on the director’s biography —in which work and personal life are closely intertwined—, the artistic and technical credits and dates of his stage productions, the compiling and summarising of a number of reviews in the press, the classification and discussion of the different historical and literary periods dealt with by the director, as well as the poetics of his theatre (his points of reference, his conception as stage director —form and content— and his position on the elements that make up a stage production). Also attached is a selection of photographs of more than half of his stagings (in addition to some of the director himself) which are testimony to his creation and a reflection of a number of the characteristics of his theatre. The study —based on information from the written press, public and private archives (which provided everything from photographs to handbills) and a number of personal interviews, among other sources— reveals a professional whose work transformed, enriched and consolidated the Spanish stage. Indeed, Spanish theatre simply cannot be understood without taking into account Miguel Narros. Narros worked as an actor and immersed himself in the teachings of the figures that populated the theatre world of the mid-twentieth century, such as Jardiel Poncela, Elvira Noriega, José María Rodero, Carmen Seco and, above all, Luis Escobar...

Interface cena e tecnologia : composições cênicas mediadas

Based on the presupposition that the arts in the West always counted on resources, supports, and devices pertaining to its time context, an reflection is intended regarding the scenic compositions mediated by digital technologies do. Such technologies are inserted in the daily routine, also composing artistic experiments, thus playing a dialogical role with the art/technology intersection. Therefore, the proposal is to investigate what relationships are established in the contemporary theatrical scene from the contagion by digital technologies, aiming at establishing this parallel through a dialogue with the authors discussing the subject, and also based on the group practices having technological resources as a determinant factor in their plays. Furthermore, a reflection should be made on the scene that incorporates or is carried out in intermediatic events, analyzing how digital technologies (re)configure compositional processes of the plays by GAG Phila7, in the city of São Paulo/SP. For such, the dissertation is organized in three sections comprising four moments, to wit: brief overview of the field, contextualization, poetic analysis and synthesis. Qualitative methods are used as the methodological proposal: semi-structure interview, note and document taking (program, website, playing book, disclosure material for advertising text, photographs, and videos). Within the universe of qualitative research, it works with the epistemological perspective of the Gadamer philosophical hermeneutics. The possibilities allowed by the double virtual (Internet/web) generated a type of theater with another material basis and new forms of organization and structure, being possible to perceive that such technological advances and the arts are mutually contaminated, generating a dislocation in the logics of theatrical composition, movement beginning with the artistic vanguards, gradually intensified, thus offering new possibilities of constructions and hybridization of the of the most different possible types. Experiment ―Profanações_superfície de eventos de construção coletiva‖, idealized by Phila7 is inserted in this perspective. Object of the discussion of such research, the experiment works with possible poetics arising from the intersection with the digital technologies, aiming at identifying and problematizing the challenges from the technological evolution and expansion in a scenic context

Centered Fluidity and the Horizons of Continuity in Djuna Barnes' Nightwood

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

Propuesta de un análisis metafórico-poético en una novela de ciencia ficción: 2001, una odisea del espacio

The aim of this doctoral thesis is to analyse both the text (production) and the set of cognition processes which facilitate the understanding of a masterpiece of Science Fiction: 2001, A Space Odyssey from a new perspective. Unlike other literary theories, texts in cognitive poetics (i.e. Structuralism, Generative Linguistics, Literary Criticism) are projected on the readerś minds by means of cognitive procedures. Cognitive poetics uses tools of cognitive science in order to understand literature (and in this particular case, Science Fiction). This has lead to a great change in our understanding of texts, literary and otherwise. This literary analysis was carried out on the Science Fiction genre based on the assumptions of cognitive poetics. Due to the peculiar kind of subjects touched upon by this genre, it has been theorised that the type of metaphor used for both its creation and style are rather different from other genres. Science Fiction coincides with other genres of writing in that it contains its own specific ways of providing language with a meaning while making it so innovative that many literary theories point out that it is written differently or that it is necessary to possess single reading codes in order to be fully understood. The methodology used for this thesis required a metaphorical basic and poetic conceptual analysis according to the poetical metaphor theory developed by Lakoff and Turner (1989). The aim of this metaphorical study is to analyse the basic and conceptual structure of 2001, A Space Odyssey by A. C. Clarke. The parameters of literary conceptualization of Science Fiction established by Peter Stockwell in his Poetics of Science Fiction (2000) were also applied in order to analyse this novel. The ICMs (Idealised Cognitive Models) were then examined to determine the presence of isomorphism related to the production level...