Diane Arbus: the wonderful wizard of odds or the poetics of the i (eye)

Diane Arbus‘ photographs are mainly about difference. Most of the time she is trying ‗[…] to suppress, or at least reduce, moral and sensory queasiness‘ (Sontag 1977: 40) in order to represent a world where the subject of the photograph is not merely the ‗other‘ but also the I. Her technique does not coax her subjects into natural poses. Instead she encourages them to be strange and awkward. By posing for her, the revelation of the self is identified with what is odd. This paper aims at understanding the geography of difference that, at the same time, is also of resistance, since Diane Arbus reveals what was forcefully hidden by bringing it into light in such a way that it is impossible to ignore. Her photographs display a poetic beauty that is not only of the ‗I‘ but also of the ‗eye‘. The world that is depicted is one in which we are all the same. She ―atomizes‖ reality by separating each element and ‗Instead of showing identity between things which are different […] everybody is shown to look the same.‘ (Sontag 1977: 47). Furthermore, this paper analyses some of Arbus‘ photographs so as to explain this point of view, by trying to argue that between rejecting and reacting against what is standardized she does not forget the geography of the body which is also a geography of the self. While creating a new imagetic topos, where what is trivial becomes divine, she also presents the frailty of others as our own.

Poéticas y políticas de los cuerpos juveniles. Tres estudios en caso en Córdoba. The poetics and politics of youths' bodies.Three cases studies.

¿Qué formas adquieren los cuerpos de los jóvenes bajo las actuales condiciones de producción? ¿Cuáles son sus poéticas? ¿Qué relaciones de fuerza se realizan en estas formas? ¿Cómo se inscriben en los cuerpos las relaciones de dominación, el "ethos" y la cosmovisión de un grupo social? Estas son algunas de las cuestiones que orientan el presente proyecto, interesado en explorar y describir sistemáticamente los procesos sociales del devenir "joven" en Córdoba. La investigación aborda algunas de las problemáticas propias de los jóvenes en tanto grupo social heterogéneo y diferenciado a partir del análisis de las prácticas de producción, consumo, interpretación y circulación de bienes culturales asociados con la diversión y el tiempo libre. Los tres objetos empíricos, localizados en la ciudad de Córdoba, son:o las salidas nocturnas de jóvenes estudiantes universitarios o la formación y el entrenamiento de los bailarines clásicos en el Teatro del Libertador Gral. San Martín. o las prácticas de entretenimiento y socialización lúdica entre los jóvenes de la comunidad de sordos de Córdoba.La hipótesis central de la investigación sostiene que la música y el baile tienen la capacidad de producir las identidades que nombran. Esta producción de cuerpos y subjetividades se realizaría en las performances sociales ("las salidas nocturnas" y "fiestas de la comunidad sorda") y las performances artísticas (clases, ensayos y funciones de ballet) donde se da la interacción entre las identidades actuadas por los sujetos y las ofrecidas por las diferentes músicas, bailes y movimientos corporales. En este sentido, proponemos que las performances articulan una particular identidad cuando quienes la protagonizan experimentan que la música y el baile se "ajusta" a la trama argumental que organiza sus narrativas identitarias.ObjetivosGENERAL:o Describir, de modo denso, las prácticas y representaciones implicadas en el proceso de materialización de los cuerpos y relacionarlas con los procesos de subjetivación y formación de identidades juveniles. ESPECÍFICOS.o Explorar la relación entre las diversas formas de consumo cultural en la formación de un estilo de vida y en la formación de identidades colectivas. o Describir los procesos de entrenamiento de los bailarines de música clásica.o Analizar los procesos de comunicación no verbal entre jóvenes de la comunidad sorda.Materiales y métodos.Para realizar esta investigación se construirá por medio de técnicas cuali y cuantitativas un corpus heterogéneo de materiales textuales, gráficos y audiovisuales, así como de entrevistas en profundidad, de experiencias etnográficas de observación participante y de investigación cuantitativa. Dicho corpus recibirá un tratamiento diferencial según el soporte y género, pero en todos los casos trabajando desde una matriz de análisis que considere los procesos de construcción de sentido y las relaciones entre cuerpo, subjetividad e identidad. En el análisis de los datos se pondrán en juego herramientas conceptuales tomadas de la Antropología Simbólica, la Antropología de la Danza, el Análisis del Discurso, la Sociología del Arte y los Estudios de la Performance. Resultados esperados.Se espera elaborar indicadores para medir la producción, circulación y consumo de bienes simbólicos. El desenvolvimiento del proyecto permitirá también la formación de recursos humanos en investigación y se contempla presentaciones a reuniones científicas, publicación en revistas nacionales e internacionales y la elaboración de dos libros. Por último se implementarán actividades de capacitación y asesoramiento para instituciones relacionados con los jóvenes. Importancia del ProyectoLos resultados de la investigación permitirán una interpretación más comprehensiva de los sentidos que poseen para jóvenes cordobeses problemáticas sociales como las adicciones, el alcoholismo, la salud sexual y reproductiva, las prácticas discriminatorias o los usos de las nuevas tecnologías.

Reading, Translating, Rewriting: Angela Carter's Translational Poetics

In "Reading, Translating, Rewriting: Angela Carter's Translational Poetics", author Martine Hennard Dutheil de la Rochère delves into Carter's The Fairy Tales of Charles Perrault (1977) to illustrate that this translation project had a significant impact on Carter's own writing practice. Hennard combines close analyses of both texts with an attention to Carter's active role in the translation and composition process to explore this previously unstudied aspect of Carter's work. She further uncovers the role of female fairy-tale writers and folktales associated with the Grimms' Kinder- und Hausmärchen in the rewriting process, unlocking new doors to The Bloody Chamber. Hennard begins by considering the editorial evolution of The Fairy Tales of Charles Perrault from 1977 to the present day, as Perrault's tales have been rediscovered and repurposed. In the chapters that follow, she examines specific linkages between Carter's Perrault translation and The Bloody Chamber, including targeted analysis of the stories of Red Riding Hood, Bluebeard, Puss-in-Boots, Beauty and the Beast, Sleeping Beauty, and Cinderella. Hennard demonstrates how, even before The Bloody Chamber, Carter intervened in the fairy-tale debate of the late 1970s by reclaiming Perrault for feminist readers when she discovered that the morals of his worldly tales lent themselves to her own materialist and feminist goals. Hennard argues that The Bloody Chamber can therefore be seen as the continuation of and counterpoint to The Fairy Tales of Charles Perrault, as it explores the potential of the familiar stories for alternative retellings. While the critical consensus reads into Carter an imperative to subvert classic fairy tales, the book shows that Carter valued in Perrault a practical educator as well as a proto-folklorist and went on to respond to more hidden aspects of his texts in her rewritings. Reading, Translating, Rewriting is informative reading for students and teachers of fairy-tale studies and translation studies.

The Poetics and Politics of the American Gothic : Gender and Slavery in Nineteenth-Century American Literature

Taking as its point of departure recent insights about the performative¦nature of genre, The Poetics and Politics of the American Gothic¦challenges the critical tendency to accept at face value that gothic¦literature is mainly about fear. Instead, Agnieszka Soltysik Monnet¦argues that the American Gothic, and gothic literature in general,¦is also about judgment: how to judge and what happens when¦judgment is confronted with situations that defy its limits.¦Poe, Hawthorne, Melville, Gilman, and James all shared a concern¦with the political and ideological debates of their time, but tended¦to approach these debates indirectly. Thus, Monnet suggests, while¦slavery and race are not the explicit subject matter of antebellum¦works by Poe and Hawthorne, they nevertheless permeate it through¦suggestive analogies and tacit references. Similarly, Melville, Gilman,¦and James use the gothic to explore the categories of gender and¦sexuality that were being renegotiated during the latter half of the¦century. Focusing on The Fall of the House of Usher, The Marble¦Faun, Pierre, The Turn of the Screw, and The Yellow Wallpaper,¦Monnet brings to bear minor texts by the same authors that further¦enrich her innovative readings of these canonical works. At the same¦time, her study persuasively argues that the Gothic's endurance¦and ubiquity are in large part related to its being uniquely adapted¦to rehearse questions about judgment and justice that continue to¦fascinate and disturb.

Gustav Hasford's Gothic Poetics of Demystification

Gustav Hasford is the author of two important Vietnam War novels: The Short-Timers (1979), which was adapted by Stanley Kubrick into Full Metal Jacket (1987), and The Phantom Blooper (1990), its sequel. Relentlessly critical of the war that destroyed his generation, Hasford uses an array of Gothic themes, tropes and figures - such as the werewolf, vampire, and ghost - to describe the transformation of men into monsters that begins with basic training and can never be reversed. These and other Gothic devices allow Hasford to demystify and disenchant the Vietnam War, to strip it of euphemisms and official myths, and to reveal the violence that lays beneath. Unlike other well-known writers of the same generation, such as Michael Herr and Chris O'Brien, Hasford eschews postmodern techniques in order to pursue a rhetorical strategy of horror combined with black humor. The results are two novels of extraordinary ferocity, critical acumen and wit. The chapter concludes with an analysis of the specifically Gothic reading experience of ethical dilemma - a Gothic exercise in judgment - choreographed by both narratives.

Poetikk og politikk : Augusto Boal og de undertryktes teater Poetics and Politics

Poetics and Politics. AugustoBoal and the Theatre of the Oppressed deals with the ideas and methods of the Brazilian author, director and theatre theorist Augusto Boal. The main purpose of the thesis is to give a description of what can be characterized as the poetics of Augusto Boal. What is the specific nature of his theatre methods and in what way do they differ from traditional theatre? How do these methods actually work? What is the overall intention of the Theatre of the Oppressed? As objects for my research I have selected Forum Theatre and Rainbow of Desire. The reason for this choice is partly that the two methods mentioned have become the most widespread among Boal's theatre forms, partly that they complement each other, the former being a method that works with problems of the material world, in realistic action-based narratives; the latter being an expressionistic analytical method, designed to deal with psychological problems and internalized oppression. Going from a micro- to a macro-level, I first examine the theatrical text of both forms, which in this case includes not only the verbal narrative, but also the performance itself and the setting of it, and even the implied conditions of the whole theatrical situation. Secondly, I turn to the encounter between the text and its actual recipient in the theatrical space. What happens, psychologically, when the observing, but passive spectator is turned into the actor of the play? Thirdly, I discuss the ideological and political implications of the Theatre ofthe Oppressed in real life. The way I interpret Boal's poetics, this is of vital importance. The purpose of the Theatre of the Oppressed is not anything resembling l'art pour l'art. In the contrary, its intention is to teach the oppressed the use of theatre as a martial art, so that they can fight and break the oppression in a social context of the real world. Thus the title Poetics and Politics.

A handbook of poetics for students of english verse

UANL

Virginia Woolf and the poetics of trauma narrative

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

A (dis)play of traces : trauma, witnessing, and the poetics of implication

Cette thèse se propose de fournir une analyse comparative de la poétique de la rétrospective traumatique et les dispositifs littéraires que trois textes - Fugitive Pieces d’Anne Michaels, Solar Storms de Linda Hogan, et Beloved de Toni Morrison - utilisent pour signifier la nécessité du recul, d'un regard rétrospectif, sur le passé atroce. La thèse étudie les façons dont chaque texte négocie la fragmentation qui caractérise la suite traumatique, notamment en raison du caractère incomplet de l'histoire traumatique inscrite comme l'absence de savoir. La thèse explore également le positionnement d'un tel passé, dans un contexte intersubjectif, qui va au-delà du simple sort individuel pour essayer de comprendre la nécessité d'être un agent moralement responsable de la sauvegarde de la mémoire dans le présent. Cette étude met ainsi l'accent sur la façon dont la mémoire et le témoignage sont intimement liés aux outils langagiers, qui, par implosion poétique, offrent la possibilité de concilier l’intervention imaginative avec le référentiel (oblique).

A poetics of apprehension : indeterminacy in Gertrude Stein, Emily Dickinson and Caroline Bergvall

Ce mémoire examine les poétiques de trois poètes très différentes, mais dont les œuvres peuvent être qualifiées d'indéterminées et de radicales : Emily Dickinson (1830-1886), Gertrude Stein (1874-1946) et Caroline Bergvall (née en 1962). Dickinson et Stein sont anglo-américaines, tandis que Bergvall est d’origine franco-norvégienne, bien qu'elle choisisse d’écrire en anglais. Toutes les trois rompent la structure syntaxique conventionnelle de l’anglais par leurs poétiques, ce qui comporte des implications esthétiques et politiques. Dans ce qui suit, j’analyse l’indétermination de leurs poétiques à partir de la notion, décrite par Lyn Hejinian, de la description comme appréhension qui présente l’écriture comme un mode de connaissance plutôt qu'un moyen d’enregistrer ce que le poète sait déjà. La temporalité de cette activité épistémologique est donc celle du présent de l’écriture, elle lui est concomitante. J'affirme que c'est cette temporalité qui, en ouvrant l’écriture aux événements imprévus, aux vicissitudes, aux hésitations, aux erreurs et torsions de l’affect, cause l'indétermination de la poésie. Dans le premier chapitre, j'envisage l'appréhension chez Gertrude Stein à travers son engagement, tout au long de sa carrière, envers « le présent continu » de l’écriture. Le deuxième chapitre porte sur le sens angoissé de l’appréhension dans la poésie de Dickinson, où le malaise, en empêchant ou en refoulant une pensée, suspend la connaissance. Le langage, sollicité par une expérience qu'il ne peut lui-même exprimer, donne forme à l'indétermination. Un dernier chapitre considère l’indétermination linguistique du texte et de l’exposition Say Parsley, dans lesquels Bergvall met en scène l’appréhension du langage : une appréhension qui survient plutôt chez le lecteur ou spectateur que chez la poète.

Waxing Ornamental : Reading a Poetics of Excess in Virginia Woolf’s Orlando and Djuna Barnes’s Nightwood

Ce mémoire de maîtrise porte sur une poétique de l’excès dans Orlando de Virginia Woolf et Nightwood de Djuna Barnes comme une stratégie combattant la tendance qu’a le modernisme à dévaloriser l’écriture des femmes comme étant trop ornementale. J’expose comment Ezra Pound, T.S. Eliot, et Wyndham Lewis tentent de récupérer la notion du détail afin d’affirmer une poétique masculin. Je fais appel également aux oeuvres de l’architecte autrichien Adolf Loos qui souligne sa dénonciation de l’ornement comme régressif. Dans Orlando et Nightwood, je considère l’excès associé au corps. Je soutiens que, dans ces textes, les corps dépassent les limites de la représentation moderniste. Je considère aussi comment Orlando et Nightwood font apparaître la narration comme ornement et écrivent excessivement l’histoire et le temps. Pour conclure, je propose une façon de lire l’excès afin de reconceptualiser le potentiel de production de la signification dans des textes modernistes.