A rosa de Hiroshima de Alain Resnais: A criação lírica em Hiroshima, meu amor

• Ano de defesa: 2017
• Autor(a) principal: Brito, Amanda Ramalho de Freitas
• 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
• Palavras-chave em Português: 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
• Link de acesso: https://repositorio.ufpb.br/jspui/handle/123456789/11919

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.