Banca de DEFESA: EDILSON FLORIANO SOUZA SERRA

Uma banca de DEFESA de DOUTORADO foi cadastrada pelo programa.
DISCENTE : EDILSON FLORIANO SOUZA SERRA
DATA : 09/02/2017
HORA: 09:00
LOCAL: Auditório A CCHLA
TÍTULO:

The Performatic Universe in Luciene Carvalho's Writing

PALAVRAS-CHAVES:

Hypermodernity; Performance; Poet-performer; Eroticism and Continuity; Madness.

PÁGINAS: 172
GRANDE ÁREA: Lingüística, Letras e Artes
ÁREA: Letras
SUBÁREA: Literatura Comparada
RESUMO:

This work aims to a critical reading of the poetic work of Luciene Carvalho, from the context of hypermodernity and under the critical perspective of Performance Studies. In order to situate both Performance Studies and characterize the type of multifaceted subject that takes form in the verses of the author who is studied, we initially carried out a reflection from scholars as Gilles Lipovetsky (2004, 2005, 2015) and Zygmunt Bauman (1998, 2004, 2007a, 2007b, 2008) on contemporaneity, choosing to define it as hypermodernity, a new historical era that began in the mid-1990s and that is understood as a succession of post-modernity. As a result of these transformations of paradigms, multiple contexts had to be erected, which also required the subjects to reconfigure their way of connecting to these complex and not infrequently contradictory spaces. It is in this multifaceted environment that the poet-performer opts for a performance beyond the traditional mode of relation with the writing and that will result in its performances, since these, according to researchers as Azevedo (2004 and 2007) and Beigui (2011, 2012 and 2013), start from writing as an (bodily) experience on which it inscribes its textualities. The poet-performer, when multifaceted, is linked to the most varied and contradictory personas, such as those that refer to eroticism, religiosity, witchcraft or madness, re-signifying each of these senses according to its interest. Focusing closely on these figures, we try to demonstrate that the eroticism of the poet-performer is not a lifeless or empty practice, but as Bataille (2014) theorized, it is the eroticism of a substitute for religion in the search of attaining continuity at a time when metaphysical truths are weakened. In this sense, the religiosity formulated in the course of Luciene Carvalho's texts has, on the one hand, aspects of a dead faith, in other words, it does not transcend, on the other hand, the poet-performer is associated with pre-Christian or marginalized icons within Christianity to elaborate a peculiar mode of mystical relationship. Considering these characteristics, the madness that the author uses makes complex her repertoire of performance in an environment of confusing configuration. Thus, madness and its developments work, strategically, as points of connection and justify the metamorphoses of a subject that seeks, in imbricated ways, to signify its existence to the world.

MEMBROS DA BANCA:
Presidente - 1550297 - ALEX BEIGUI DE PAIVA CAVALCANTE
Interno - 1299003 - DERIVALDO DOS SANTOS
Interno - 1496892 - MARCIO VENICIO BARBOSA
Externo à Instituição - JOSÉ ALEXANDRE VIEIRA DA SILVA - IFMT
Externo à Instituição - MÁRIO CEZAR SILVA LEITE - UFMT