A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor
Ano de defesa: | 2017 |
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Autor(a) principal: | |
Orientador(a): | |
Banca de defesa: | |
Tipo de documento: | Tese |
Tipo de acesso: | Acesso aberto |
Idioma: | por |
Instituição de defesa: |
Universidade Federal da Paraíba
Brasil Letras Programa de Pós-Graduação em Letras UFPB |
Programa de Pós-Graduação: |
Não Informado pela instituição
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Departamento: |
Não Informado pela instituição
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País: |
Não Informado pela instituição
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Palavras-chave em Português: | |
Link de acesso: | https://repositorio.ufpb.br/jspui/handle/123456789/11919 |
Resumo: | In this doctoral dissertation we aim to understand how the language of poetry and its stylistic traces take part of the aesthetic creation of the European art film, Hiroshima, My Love. Considering the lyrical genre through the dialectical perspective by G. W. F. Hegel (1999) and Anatol Rosenfeld (1985) who discuss the lyrical from the transversality among languages. This is a relevant idea for a study which is focused on the transit among languages, in the relation between literature and cinema. Thus, we aim to investigate analytically as the expressive (intellectual) assembly founds in Hiroshima, My Love a lyrical aesthetic for the reverberation of a cinema of memory. Our assumptions are based on the relation between poetry and cinema as aesthetic lineage generating of a fictitious memory and it is signified in the plane of the suggestion of an cinema of art, which is understood as lyrical in view of the association structure organized by the assembly as contortions of a world (love and death) internalized by the character's cinematographic body. The contortions of the body take part of the expressive assembly as the priority which establishes in the chronotope of the meeting as symbolic and metaphorical suggestions of the lyrical style in the diegetic web of Hiroshima, projecting the unification of the external with the internal (memory and forgetfulness) in a process of meditation of the life. In this regard, the body is ceremonially understood: the performance reflects drunkenness, the efforts and the resistance. Within this perspective, we analyzed the film from the interpretation of the assembly and the time as categories which weave the lyrical creation in the unwinding of the memory, concluding that the poetic language fundamentally composes the representation in Hiroshima, increasing the dramatic effect of the history. |
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A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amorLíricoCinema poéticoMontagemCorpo cinematográficoMemóriaLyricPoetic cinemaAssemblyCinematographic bodyMemoryLyriqueLe cinéma poéthiqueMontageCorps cinématographiqueMémoireCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASIn this doctoral dissertation we aim to understand how the language of poetry and its stylistic traces take part of the aesthetic creation of the European art film, Hiroshima, My Love. Considering the lyrical genre through the dialectical perspective by G. W. F. Hegel (1999) and Anatol Rosenfeld (1985) who discuss the lyrical from the transversality among languages. This is a relevant idea for a study which is focused on the transit among languages, in the relation between literature and cinema. Thus, we aim to investigate analytically as the expressive (intellectual) assembly founds in Hiroshima, My Love a lyrical aesthetic for the reverberation of a cinema of memory. Our assumptions are based on the relation between poetry and cinema as aesthetic lineage generating of a fictitious memory and it is signified in the plane of the suggestion of an cinema of art, which is understood as lyrical in view of the association structure organized by the assembly as contortions of a world (love and death) internalized by the character's cinematographic body. The contortions of the body take part of the expressive assembly as the priority which establishes in the chronotope of the meeting as symbolic and metaphorical suggestions of the lyrical style in the diegetic web of Hiroshima, projecting the unification of the external with the internal (memory and forgetfulness) in a process of meditation of the life. In this regard, the body is ceremonially understood: the performance reflects drunkenness, the efforts and the resistance. Within this perspective, we analyzed the film from the interpretation of the assembly and the time as categories which weave the lyrical creation in the unwinding of the memory, concluding that the poetic language fundamentally composes the representation in Hiroshima, increasing the dramatic effect of the history.Dans cette thèse, nous nous efforçons de comprendre comment le language de la poésie et ses traits stylistiques participent à la création esthétique du film d'art européen Hiroshima, mon amour. Étant donné le genre lyrique par la perspective dialectique de G.W.F. Hegel (1999) et Anatole Rosenfeld (1985), qui discutent le lyrique à partir de la transversalité entre les langages. L'idée pertinente pour un travail centré sur le transit entre les langages, dans la relation entre la littérature et le cinéma. Ainsi, nous cherchons à étudier analytiquement comment le montage expressif (intellectuel) fonde sur Hiroshima, mon amour une esthétique lyrique pour la réverbération d'un cinéma de mémoire. Nos présuppositions sont basées dans la relation entre la poésie et le cinéma comme lignage esthétique générateur d'un souvenir fictif signifié sur le plan de la suggestion d'un cinéma d'art conçu comme lyrique en vue de l'estructure de l'association menée par le montage comme contorsions d'un monde (l'amour et la mort) intériorisé par le corps cinématographique du personnage. Les contorsions du corps participent du montage expressif comme axe établissant dans le chronotope de la rencontre les suggestions symboliques et métaphoriques du style lyrique dans la toile diégétique d'Hiroshima, concevant l'unification de l'extérieur avec l'interne (la mémoire et l’oubli) dans un processus de méditation de la vie. Dans ce sens, le corps est solennellement compris: la performance reflète l'ivresse, les efforts et l'endurance. Dans cette perspective, nous analysons le film à partir de l'interprétation du montage et du temps comme des catégories qui tissent la création lyrique dans le déroulement de la mémoire, concluant que le langage poétique compose essentiellement la représentation à Hiroshima, en élargissant l'effet dramatique de l'histoire.Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPqNesta tese buscamos entender como a linguagem da poesia e os seus traços estilísticos participam da criação estética do filme de arte europeu, Hiroshima, Meu Amor. Considerando o gênero lírico pela perspectiva dialética de G. W.F. Hegel (1999) e de Anatol Rosenfeld (1985), que discutem o lírico a partir da transversalidade entre linguagens. Ideia pertinente para um trabalho centrado no trânsito entre linguagens, na relação entre literatura e cinema. Assim, procuramos investigar analiticamente como a montagem expressiva (intelectual) funda em Hiroshima, meu amor uma estética lírica para a reverberação de um cinema de memória. Nossas pressuposições baseiam-se na relação entre poesia e cinema como linhagem estética geradora de uma memória fictícia e significada no plano da sugestão de um cinema de arte, compreendido como lírico tendo em vista a estrutura de associação organizada pela montagem como contorções de um mundo (amor e morte) interiorizado pelo corpo cinematográfico da personagem. As contorções do corpo participam da montagem expressiva como eixo que estabelece no cronotopo do encontro as sugestões simbólicas e metafóricas do estilo lírico na teia narrativa de Hiroshima, projetando a unificação do externo com o interno (memória e esquecimento) em um processo de meditação da vida. Nesse sentido, o corpo é compreendido cerimonialmente: a performance reflete a embriaguez, os esforços e a resistência. Dentro dessa perspectiva, analisamos o filme a partir da interpretação da montagem e do tempo como categorias que tecem a criação lírica no desenrolamento da memória, concluindo que a linguagem poética compõe, fundamentalmente, a representação em Hiroshima, ampliando o efeito dramático da história.Universidade Federal da ParaíbaBrasilLetrasPrograma de Pós-Graduação em LetrasUFPBRodrigues, Hermano de Françahttp://lattes.cnpq.br/7615268087421599Brito, Amanda Ramalho de Freitas2018-10-08T17:57:51Z2018-10-082018-10-08T17:57:51Z2017-07-31info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesishttps://repositorio.ufpb.br/jspui/handle/123456789/11919porinfo:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da UFPBinstname:Universidade Federal da Paraíba (UFPB)instacron:UFPB2018-10-08T17:57:51Zoai:repositorio.ufpb.br:123456789/11919Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufpb.br/PUBhttp://tede.biblioteca.ufpb.br:8080/oai/requestdiretoria@ufpb.br|| diretoria@ufpb.bropendoar:2018-10-08T17:57:51Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB)false |
dc.title.none.fl_str_mv |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
title |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
spellingShingle |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor Brito, Amanda Ramalho de Freitas Lírico Cinema poético Montagem Corpo cinematográfico Memória Lyric Poetic cinema Assembly Cinematographic body Memory Lyrique Le cinéma poéthique Montage Corps cinématographique Mémoire CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
title_short |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
title_full |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
title_fullStr |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
title_full_unstemmed |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
title_sort |
A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor |
author |
Brito, Amanda Ramalho de Freitas |
author_facet |
Brito, Amanda Ramalho de Freitas |
author_role |
author |
dc.contributor.none.fl_str_mv |
Rodrigues, Hermano de França http://lattes.cnpq.br/7615268087421599 |
dc.contributor.author.fl_str_mv |
Brito, Amanda Ramalho de Freitas |
dc.subject.por.fl_str_mv |
Lírico Cinema poético Montagem Corpo cinematográfico Memória Lyric Poetic cinema Assembly Cinematographic body Memory Lyrique Le cinéma poéthique Montage Corps cinématographique Mémoire CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
topic |
Lírico Cinema poético Montagem Corpo cinematográfico Memória Lyric Poetic cinema Assembly Cinematographic body Memory Lyrique Le cinéma poéthique Montage Corps cinématographique Mémoire CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS |
description |
In this doctoral dissertation we aim to understand how the language of poetry and its stylistic traces take part of the aesthetic creation of the European art film, Hiroshima, My Love. Considering the lyrical genre through the dialectical perspective by G. W. F. Hegel (1999) and Anatol Rosenfeld (1985) who discuss the lyrical from the transversality among languages. This is a relevant idea for a study which is focused on the transit among languages, in the relation between literature and cinema. Thus, we aim to investigate analytically as the expressive (intellectual) assembly founds in Hiroshima, My Love a lyrical aesthetic for the reverberation of a cinema of memory. Our assumptions are based on the relation between poetry and cinema as aesthetic lineage generating of a fictitious memory and it is signified in the plane of the suggestion of an cinema of art, which is understood as lyrical in view of the association structure organized by the assembly as contortions of a world (love and death) internalized by the character's cinematographic body. The contortions of the body take part of the expressive assembly as the priority which establishes in the chronotope of the meeting as symbolic and metaphorical suggestions of the lyrical style in the diegetic web of Hiroshima, projecting the unification of the external with the internal (memory and forgetfulness) in a process of meditation of the life. In this regard, the body is ceremonially understood: the performance reflects drunkenness, the efforts and the resistance. Within this perspective, we analyzed the film from the interpretation of the assembly and the time as categories which weave the lyrical creation in the unwinding of the memory, concluding that the poetic language fundamentally composes the representation in Hiroshima, increasing the dramatic effect of the history. |
publishDate |
2017 |
dc.date.none.fl_str_mv |
2017-07-31 2018-10-08T17:57:51Z 2018-10-08 2018-10-08T17:57:51Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio.ufpb.br/jspui/handle/123456789/11919 |
url |
https://repositorio.ufpb.br/jspui/handle/123456789/11919 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
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openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
publisher.none.fl_str_mv |
Universidade Federal da Paraíba Brasil Letras Programa de Pós-Graduação em Letras UFPB |
dc.source.none.fl_str_mv |
reponame:Biblioteca Digital de Teses e Dissertações da UFPB instname:Universidade Federal da Paraíba (UFPB) instacron:UFPB |
instname_str |
Universidade Federal da Paraíba (UFPB) |
instacron_str |
UFPB |
institution |
UFPB |
reponame_str |
Biblioteca Digital de Teses e Dissertações da UFPB |
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Biblioteca Digital de Teses e Dissertações da UFPB |
repository.name.fl_str_mv |
Biblioteca Digital de Teses e Dissertações da UFPB - Universidade Federal da Paraíba (UFPB) |
repository.mail.fl_str_mv |
diretoria@ufpb.br|| diretoria@ufpb.br |
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1797057842905088000 |