Sujeito e performance: a emergência do corpo inscrito em enunciados tridimensionais
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2014-07-14
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Universidade Federal de Goiás
Resumo
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).
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LUTERMAN, L. A. Sujeito e performance: a emergência do corpo inscrito em enunciados tridimensionais. 2014. 259 f. Tese (Doutorado em Letras e Linguística) - Universidade Federal de Goiás, Goiânia, 2014.