Analogias e contrastes na poesia de Alphonsus de Guimaraens e de Edgar Allan Poe

Pós-graduação em Letras - IBILCE

Êxtase enfermiço: neurose e a poética da transcendência em Cruz e Sousa

This article is a discussion on the vision of transcendence peculiar to the poetic of Decadentism and considers the reference offered for the Cruz e Sousa´s poetry. We call poetic transcendence the search for Ideal and for broke the barrier of usual perception by the poetic work. Among the romantics, the transcendence was search for many ways; one of them was the sublime ravishing. In the Symbolism/Decadentism, the transcendent ravishing finds its opposite – the fall. The Cruz e Sousa´s poetry illustrates this new leitmotiv which have rise in the center of Modernity.

Sublima ristningar : Sökandet efter bronsåldersideologi i hällristningsområden kring Enköping, Norrköping och Skåne

The aim of this study has been to revaluate Bronze Age society using rock art as an archaeological material. It has also sought to question certain prevailing interpretative trends within the research of rock art; ascribing it as ritual practices, expression of a social elite and the adoption of symbols from cultures along the Mediterranean Sea. This has chiefly been made possible through the application of Slavoj Žižeks ideas about the ideological fantasy and the sublime object of ideology. The thesis proposes a connection between art and ideology. A selected sampling of rock carvings from three areas in Sweden has been made in order to further investigate the relationship between different figurative motives both at a regional level, as well as a local. This study claims that rather than having been under the control of an elite, rock art has been accessible for the majority of the population both to produce and view. The depiction of human representation as rock carving does not depict a clear social stratification. It is also argued that the idea of images displayed on the rocks having roots in the imagery of Mediterranean civilizations is a construct of current western ideology, as the symbolic connection between the cultures is tenable at best, according to this study. 

Przemoc w popkulturze - Pop-przemoc? O dyskursie przemocy i ciała w popkulturze na przykładzie niemieckojęzycznej literatury pop lat dziewięćdziesiątych XX i pierwszej dekady XXI wieku

Wydział Neofilologii: Instytut Filologii Germańskiej

Rostros y rastros del Nobel: Gabriel García Márquez veinticinco años después

Gabriel García Márquez asume la oralidad del homo caribbeans como síntoma de diversidad , por oposición a la universalizante estandarización trascendental de la escritura, en palabras del antillano Edouard Glissant, y representa una reacción a la cultura letrada establecida por el sistema imperial occidental, custodiada por los organismos reguladores del orden establecido en el centro. De este modo, la literatura oficia como archivo cultural. A la luz de la concepción de literatura como escritura, es preferible hablar de diseminación, de intertextualidad, de palimpsesto, en vez de recurrir al trajinado concepto de influencias literarias. En tal sentido, Cien años de Soledad se constituye en un canon emergente, un código maestro, un nuevo mapa cultural que permite múltiples lecturas y re-escrituras. El realismo mágico pone en crisis el concepto aristotélico de mimesis del arte verbal y exige una nueva perspectiva de analisis.Según un importante sector de la critica, la obra garciamarquiana en sus diferentes rostros, desde las tempranas producciones del ciclo Macondiano hasta la Summa Amorosa que concluye con Del amor y otros demonios, señala el tránsito de la narrativa colombiana de la modernidad a la posmodernidad . Por cierto, veinte años después del Nobel, su rastro se puede seguir desde el campo novelístico nacional contemporáneo hasta recónditas geografias literarias del globo. El realismo mágico, así como en general la literatura del boom, constituye desde la década del setenta una nueva fórmula de respuesta a la situación posmoderna, dado que reemplaza el antiguo canon colonial hegemónico y sus ecos esencialistas, realistas y nacionalistas posteriores a la independencia, y proporciona una ficción de autorrepresentación de la realidad híbrida del discurso otro latinoamericano, en la que la categoría de lo maravilloso reemplazará a la de lo sublime. Sin duda, Macondo existe, es una región de la memoria. Pero sus límites no son occidentales. Dentro del mapa literario mundial, es vecino de remotos espacios geolingüísticos y geoculturales.AbstractGabriel García Márquez assumes the oral tradition of the homo caribbeans as a symptom of diversity, by an opposition to the universalizing standardization of writing, to use the words of Antillean writer Edouard Glissant, and represents a reaction against the educated culture established by the Western imperial system and kept by the regulating organisms of the established order in the center. Thus, literature represents a cultural file.Following the notion of literature as writing, it is preferable to talk about dissemination, intertextuality, or palimpsest instead of resorting to the overused concept of literary influences. In this sense, One Hundred Years of Solitude becomes an emerging cannon, a master code, a new cultural map that allows multiple readings and re-writings. Magic realism puts into crisis the Aristotelian concept of mimicry of the verbal art and demands a new perspective of analysis. According to an important sector of critique, the Garciamarquian work– in its different phases, from the early productions of the Macondian cycle to the Summa Amorosa that finishes with Love and Other Demons, represents the path of the colombian narrative from the modernism to postmodernism. By the way, twenty years after the Nobel, its path can be followed from the novel national contemporary field to distant literary geographies of the world. Magic realism, as well as in general terms the literature of the boom, makes from the sixties decade a new form of answering to the postmodern situation, because it substitutes the old colonial hegemonic cannon and its essential , realistic and national voices after the independence. It gives a fiction of sel-frepresentation of the hybrid reality of the other Latin American discourse, in which the marvelous category will replaced that of the sublime. With no doubt, Macondo exists, it is a region of the memory. But its borders are not Western, inside the literary world map, it is a neighbor of remote geolinguistics and geocultural spaces.

TREATED

The exhibition and community engagement hub, TREATED (the sublime passage), is at the Wyndham Art Gallery. The show allows a greater number of people to reflect on and engage with the works completed on-site, engage with the practice of the artists, and to consider ideas around process, elimination and purification as seen in the public art event, TREATMENT. There are tensions to explore here for as sewerage is transformed into liquid gold (water), ideas take form through material processes to become artworks. The exhibition also reveals much more about the artists’ research and aspects and factoids about the site. Architectural elements (installed by Bishop and Reis) referencing Melbourne Water’s Information Centre will activate the space – in displays, archival material, discarded materials and unused footage, diary notes and documentation of the project including video interviews with key people involved in the project. Two workshops will run with artists and members of the community, inviting participants to respond to the work, a particular process and prompt. This is a feature of the project that will allow for collaboration with a wide range of community stakeholders as workshops would draw on the histories and technologies of the site to provoke reflection and a material response from participants.

Star drawings and intersections

Star Drawings and Intersections (an experimental installation) With the camera attached directly to my body extended exposures of stars were made. The images were therefore subject to the physicality of the body and it’s movements. They represent the act of photography as an extension of the body and the lens as a replacement or extension of the eye (by utilizing the camera the primary and initial a point of visualisation). The final images render the movements of the body (during the time of the extended exposures) and traces of starlight imparted during these enacted and involuntary movements. Presented as a large scale (horizontal life/figurative size) grid of images the audience is afforded the ability to view and compare the individual images and to consider them as an experimental form of phenomenological data. The work also aims to be considered as a representation of an embodied relationship to both the medium of photography and the sublime cosmos, which captured during these gestural performances. During the exhibition audience members are encouraged the engage with the grid of images by placing various objects, such as timber dowel rods, against the images as a way of invoking an extended connection - a physical line of sight and as an act of pointing to and delineating single moments within the continuum of the rendered exposure. These interactions are also a way of engaging both the physicality of the gallery and temporality of the exhibition as the timber rods cast shadows across the images which shift over time with the ever changing angle of the Sunlight as it enters though the circular arched windows of the gallery.

Riding parallel

This extended poem deploys a mode of ekphrasis to perform queer desire as metonymically proliferative, from the sublime to the abject, but always productive. At the same time, it celebrates this propensity as a mode of positive haunting which multiplies experience through improbable connections across space-time.

Sublime acts : desire in the studio

Acknowledging the recent call to review design creativity and consideration of the body's affective states in education, this paper explores how desire, conceptualized as an immanent force (Deleuze & Guattari, 1987) and an irresistible force (Burke, 1753) can be a means of deeper engagement within the design studio. Positing 'disruption or blockage' as a key agent which propels subjects from fields of normalcy to fields of otherness, and subsequently mobilises distinct modes of desire, this paper takes Edmund Burke's Romantic sublime and Patricia Yaeger's feminine sublime as critical lenses through which to review a first year interior program posited around the body. The paper highlights how the embodiment of 'desirous processes' within the design program and relational encounters within the studio represent an overarching pedagogical 'hinge' (Ellsworth, 2005). Rather than being a point of beginning, the start of first year is seen and experienced as a threshold opening to a new rhythm in a proces of becoming that is already underway.

Spinoza/space/speed/sublime: Problems of philosophy and politics in the post-colonial fiction of Gerald Murnane

This article takes account of the ‘spontaneity’ of the post-colonial fiction of Gerald Murnane within the ‘dominating space’ of the philosophy of Spinoza. My use of Paul Carter’s terms here is strategic. The compact of fiction and philosophy in Murnane corresponds with the relationship of spontaneity to the dominating organization of desire in Carter’s rendering of an Aboriginal hunter. Carter’s phrase “‘a figure at once spontaneous and wholly dominated by the space of his desire’” worries Ken Gelder and Jane M. Jacobs, who suggest that it subjugates the formation of Aboriginal desire (incorporating spontaneity) to impulses of imperialism. The captivating immanence of Spinoza’s philosophy in Murnane’s fiction, which I will demonstrate with various examples, puts pressure on the fiction to occupy the same space as the space of the philosophy. Here is a clue to why Murnane’s post-colonial thematics have been little explored by critics with an interest in post-colonial politics. The desire of Spinoza’s philosophy creates a spatial textuality within which the spontaneity of Murnane’s fiction, to the degree that it maximizes or fills the philosophy, is minimized in its political effects. That is to say, the fiction shifts politics into an external space of what Roland Barthes calls “resistance or condemnation”. However, the different speeds (or timings) of Murnane and Spinoza, within the one space, mitigate this resistance of the outside, at least in respect of certain circumstances of post-coloniality. It is especially productive, I suggest, to engage Carter’s representation of an Aboriginal hunter through the compact of coincidental spaces and differential speeds created by Murnane’s fiction in Spinoza’s philosophy. This produces a ceaseless activation of desire and domination, evidenced in Murnane’s short story ‘Land Deal’, and indexed by a post-Romantic sublime. What limits the value of Murnane’s fiction in most contexts of post-colonial politics, is precisely what makes it useful in the matter of Carter’s Aboriginal hunter.

Select readings for public and private entertainment : containing choice selections of the most pathetic, gay, humorous, heroic, sublime, and patriotic speeches and poems, accompanied by explanatory notes, together with appropriate elocutionary instructions ... /

Mode of access: Internet.

Rephrasing voice : art, practice-led research and the limits and sites of articulacy

While my PhD is practice-led research, it is my contention that such an inquiry cannot develop as long as it tries to emulate other models of research. I assert that practice-led research needs to account for an epistemological unknown or uncertainty central to the practice of art. By focusing on what I call the artist's 'voice,' I will show how this 'voice' is comprised of a dual motivation—'articulate' representation and 'inarticulate' affect—which do not even necessarily derive from the artist. Through an analysis of art-historical precedents, critical literature (the work of Jean-François Lyotard and Andrew Benjamin, the critical methods of philosophy, phenomenology and psychoanalysis) as well as of my own painting and digital arts practice, I aim to demonstrate how this unknown or uncertain aspect of artistic inquiry can be mapped. It is my contention that practice-led research needs to address and account for this dualistic 'voice' in order to more comprehensively articulate its unique contribution to research culture.

Rates of change : online distribution as disruptive technology in the film industry

Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline's claims to provide rigorous insight into industry and social change which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the process of change.This article examines the impact of online distribution in the film industry, particularly addressing the question of rates of change. Are there genuinely new players disrupting the established oligopoly, and if so with what effect? Is there evidence of disruption to, and innovation in, business models? Has cultural change been forced on the incumbents? Outside mainstream Hollywood, where are the new opportunities and the new players? What is the situation in Australia?