Sujeito e performance: a emergência do corpo inscrito em enunciados tridimensionais

• Ano de defesa: 2014
• Autor(a) principal: Luterman, Luana Alves
• Orientador(a): Souza, Agostinho Potenciano de
• Tipo de documento: Tese
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Programa de Pós-graduação em Letras e Linguística (FL)
• Departamento: Faculdade de Letras - FL (RG)
• País: Brasil
• Palavras-chave em Português: Análise do discurso; Corpo; Performance; Tridimensionalidade
• Palavras-chave em Inglês: Discourse analysis; Body; Performance; Three-dimensionality
• Área do conhecimento CNPq: LINGUISTICA, LETRAS E ARTES::LINGUISTICA
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tede/4679

This theses aims at analyzing the relation between the body and three-dimensional objects. It seeks to comprehend the effects of language for the subject in contact with three-dimensional utterances in a specific corpus: panels, sculptures and contemporary artistic installations of the exhibition Vertigo, by The Twins; pop-up books such as Alice’s Adventures in Wonderland and The Little Prince; billboards with three-dimensional effects; videogames such as Xbox 360 and Nintendo Wii. Traversed by multiple devices such as the three-dimensional, the body is a recent object of analysis (COURTINE, 2013). The visual culture engenders the importance to consider the movements of the body not only by an anatomic-political gesture (FOUCAULT, 2003a) of the eye, but also by a disciplinarization operated by the body in its inscription realized by the focus on esthetics itself, paradigm of expression (COURTINE; HAROCHE, 1988), of particular hedonism and narcissism (HAROCHE, 2011), which transforms the interaction of the I in relation to the other. Training is a bio-political and institutional value, but in a society of control where deterritorialization (DELEUZE, 1992) interpellates the subjects, performance is the singular actional result, protocol of reading which, on the one hand, depends on historical agency, and on the other hand, calls the body with its psychical particularities. The theoretic-methodological background of the investigation is the Discourse Analysis of French roots. The discursive memory supports the internal images of the individual subject (category elaborated from the gradation of a bigger category, the discursive memory, which encompasses internal images). The individual subject, with its internal images, reminiscences of his social experiences, provides the reading of the individual, who accomplishes his own reading (performances) in between his own and the other‟s dialectical strengths. Starting from internal images, performance is realized by intericonicity, which is a trait instituted in visual arts proposed by Courtine (2005) based on some influences from anthropology, considering that seen images are not common to all individuals. Thus, the individual must be valued as an entity that delineates a singular path while composing his own way of reading (ZUMTHOR, 2007). It seems that the aesthetic sensation of the individual towards himself is ontological, naturally and independently from the archive. However, all and any internal images that generate the performance are a symbiosis supported by the discursive memory. The reactions of the body are biological, but always engaged by the historical associations of each feeling. The organic-social response of a body to a stimulus is not identical: there is a volatile identity (LE BRETON, 2003). Behaviors are heterotopic (FOUCAULT, 2003b), and for this reason they also lead to resistances. As a result, we indicate the performance as forgetfulness of history which traverses the existence of the body. The metamorphosis of the performance is increasingly more modern, since contemporaneity values mutation and disposability, the liquid behavior that values the present time (BAUMAN, 2007) in the name of hedonism, the worship of the body and of the individual himself, a cultural autism which intends to erase the historical memory for the overlap of the docile-body of the narcissical apathy, the end of memory-societies, according to Nora (1993).