Esgotamento, esvaziamento e preenchimento : a historia de uma criação

Detalhes bibliográficos
Autor(a) principal: Fank, Julie
Data de Publicação: 2019
Tipo de documento: Tese
Idioma: por
Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_RS
Texto Completo: http://tede2.pucrs.br/tede2/handle/tede/9073
Resumo: This novel, shaped as an artist's book, tells the story of a character that, given the addiction and disease circumstances, suffers a home accident. The fall causes him to injure his hippocampus, but, luckly, he does not acquire any language aftereffect. On the contrary, language is the salvation to the abruptly interrupted memory. Evaristo erases the year before the accident and starts suffering from short-term memory loss. Everything that happened before that date is intact and can be retrieved with clarity. The upcoming events are kept in mind for no longer than a half-hour. Some months of questionnaire later, the only way out is the technological and analogical record of each step taken. It is the alarm clock. It is the cellphone. It is the agenda. Evaristo decides to expand this record, which is now a project for a book. The problem is to start, every day, the same story over again. The sparsed and completely fragmented memories trace the poetry of a human being miserably honest about blunders, divergence, and silence, fearing repetition. It is the technological narratives and the digital tools that locate him so that he understands in what midst he truly lives. The nonrecognition of time, space, and subjects could mistake him for an Alzheimer's patient, but it is only time that can no longer be shaped. The spaces endure, the subjects overlap, and, in time, all stories lived start being documented - just in case. The seams of the novel and of the memories are visible, but elements of subversion and of visual and graphic deconstruction elevate the trial to an identity confusion of son, father, memories and author. It is the extratext that supports the reflection that goes through memory, fiction, reality, and identity. The book is composed of two parts. The first one, mentioned above, is fictional in tone (or intended to); the second one, academic and essay-like in tone, intends to be seen as memory of creation, metalinguistic reflection, and record of the creative process, simultaneous and organic. It is this part, divided into three: Depletion, Emptiness, and Fulfillment, that suggests a visit to the six proposals of Italo Calvino, 1985. More than the previously known lightness, quickness, exactitude, multiplicity, visibility, and consistency, the idea is to forge an expasion of these words to the concepts of strangeness, unfixture, spacing, resonance, hybridity, simultaneity, fragmentation, temporariness, detachment, and plasticity, and understand how they sustain the performance of the contemporary text on page. In the second part of the essay, an inventory that blends the subject of memory from the theoretical perspective and as building material of the fictional text. In the third part, the diary about the statute of creation. The fourth part is the fiction itself, The story of cebola. Both parts are distinct and are faced in a complementary and independent manner regarding graphic language that intends to give a new meaning to the very book as a hybrid support.
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spelling Angelini, Paulo Ricardo Kralikhttp://lattes.cnpq.br/3563405314879796http://lattes.cnpq.br/5555094202168439Fank, Julie2020-01-15T12:04:12Z2019-05-31http://tede2.pucrs.br/tede2/handle/tede/9073This novel, shaped as an artist's book, tells the story of a character that, given the addiction and disease circumstances, suffers a home accident. The fall causes him to injure his hippocampus, but, luckly, he does not acquire any language aftereffect. On the contrary, language is the salvation to the abruptly interrupted memory. Evaristo erases the year before the accident and starts suffering from short-term memory loss. Everything that happened before that date is intact and can be retrieved with clarity. The upcoming events are kept in mind for no longer than a half-hour. Some months of questionnaire later, the only way out is the technological and analogical record of each step taken. It is the alarm clock. It is the cellphone. It is the agenda. Evaristo decides to expand this record, which is now a project for a book. The problem is to start, every day, the same story over again. The sparsed and completely fragmented memories trace the poetry of a human being miserably honest about blunders, divergence, and silence, fearing repetition. It is the technological narratives and the digital tools that locate him so that he understands in what midst he truly lives. The nonrecognition of time, space, and subjects could mistake him for an Alzheimer's patient, but it is only time that can no longer be shaped. The spaces endure, the subjects overlap, and, in time, all stories lived start being documented - just in case. The seams of the novel and of the memories are visible, but elements of subversion and of visual and graphic deconstruction elevate the trial to an identity confusion of son, father, memories and author. It is the extratext that supports the reflection that goes through memory, fiction, reality, and identity. The book is composed of two parts. The first one, mentioned above, is fictional in tone (or intended to); the second one, academic and essay-like in tone, intends to be seen as memory of creation, metalinguistic reflection, and record of the creative process, simultaneous and organic. It is this part, divided into three: Depletion, Emptiness, and Fulfillment, that suggests a visit to the six proposals of Italo Calvino, 1985. More than the previously known lightness, quickness, exactitude, multiplicity, visibility, and consistency, the idea is to forge an expasion of these words to the concepts of strangeness, unfixture, spacing, resonance, hybridity, simultaneity, fragmentation, temporariness, detachment, and plasticity, and understand how they sustain the performance of the contemporary text on page. In the second part of the essay, an inventory that blends the subject of memory from the theoretical perspective and as building material of the fictional text. In the third part, the diary about the statute of creation. The fourth part is the fiction itself, The story of cebola. Both parts are distinct and are faced in a complementary and independent manner regarding graphic language that intends to give a new meaning to the very book as a hybrid support.Este romance, construído como um livro de artista, conta a história de um personagem que, em dadas condições de vício e doença, sofra um acidente caseiro. Na queda, ele sofre uma lesão no hipocampo e, por sorte, não tem nenhuma sequela de linguagem. Pelo contrário, a linguagem é a salvação para a memória abruptamente interrompida. Evaristo apaga o ano anterior ao acidente e passa a sofrer de perda de memória recente. Os acontecimentos anteriores estão intactos e são resgatados com lucidez. Os acontecimentos posteriores fixam-se por não mais que meia hora na memória. Alguns meses de perguntas depois, a única saída é o registro tecnológico e analógico de cada passo. É o despertador. É o celular. É a agenda. Evaristo resolve incrementar o registro, que agora é projeto de livro. O problema é todos os dias começar a mesma história novamente. As memórias esparsas e completamente fragmentadas traçam a poética de um ser-humano angustiadamente sincero acerca de gafes, desencontros e silêncios, por medo da repetição. São as narrativas tecnológicas e as ferramentas digitais que o situam para que ele saiba em que meio ele efetivamente vive. O não reconhecimento do tempo, do espaço e dos sujeitos poderia confundi-lo com um paciente de Alzheimer, mas é somente o tempo que não pode ser mais esculpido. Os espaços permanecem, os sujeitos se sobrepõem e, com o tempo, todas as histórias vividas passam a ser documentadas – só por garantia. As costuras da narrativa e das memórias são visíveis, mas elementos de subversão e desconstrução gráfica e visual elevam a experimentação a uma confusão identitária do filho, do pai, das memórias, do autor. É o extratexto que dá suporte à reflexão que perpassa memória, ficção, realidade e identidade. O livro é composto de duas partes. A primeira, acima citada, é de caráter ficcional (ou se pretende como tal); a segunda, de caráter acadêmico e ensaístico, se pretende como memória de criação, reflexão metalinguística e registro do processo criativo, simultâneo e orgânico. É nessa parte, dividida em três partes: Esgotamento, Esvaziamento e Preenchimento, que se propõe uma visita à seis propostas de Ítalo Calvino de 1985. Para além das conhecidas leveza, rapidez, exatidão, multiplicidade, visibilidade e consistência, a ideia é tecer uma expansão dessas palavras para os conceitos de estranhamento, infixidez, espaçamento, ressonância, hibridismo, simultaneidade, fragmentação, provisoriedade, distanciamento e plasticidade e entender como eles sustentam a performance do texto contemporâneo na página. Na segunda parte do ensaio, um inventário que mescla o assunto memória a partir da perspectiva teórica e como conteúdo matéria-prima do texto ficcional. Na terceira parte, o diário sobre o estatuto da criação. Na quarta parte, a ficção em si: A história da cebola. As partes ficcional e ensaística são distintas e serão encaradas de maneira complementar e independente quanto à linguagem gráfica que pretende ressignificar o próprio livro como suporte híbrido.Submitted by PPG Letras (letraspg@pucrs.br) on 2020-01-10T15:09:03Z No. of bitstreams: 1 Tese - Julie Fank.pdf: 19297627 bytes, checksum: 60f53fe120aca3efe5f80d7bb8a4bf53 (MD5)Approved for entry into archive by Sarajane Pan (sarajane.pan@pucrs.br) on 2020-01-15T11:56:25Z (GMT) No. of bitstreams: 1 Tese - Julie Fank.pdf: 19297627 bytes, checksum: 60f53fe120aca3efe5f80d7bb8a4bf53 (MD5)Made available in DSpace on 2020-01-15T12:04:12Z (GMT). No. of bitstreams: 1 Tese - Julie Fank.pdf: 19297627 bytes, checksum: 60f53fe120aca3efe5f80d7bb8a4bf53 (MD5) Previous issue date: 2019-05-31Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESapplication/pdfhttp://tede2.pucrs.br:80/tede2/retrieve/177487/TES_JULIE_FANK_CONFIDENCIAL.pdf.jpgporPontifícia Universidade Católica do Rio Grande do SulPrograma de Pós-Graduação em LetrasPUCRSBrasilEscola de HumanidadesMemóriaEstatuto da CriaçãoLivro de ArtistaEscrita CriativaMemoryStatute of CreationArtist's BookCreative WritingLINGUISTICA, LETRAS E ARTES::LETRASEsgotamento, esvaziamento e preenchimento : a historia de uma criaçãoinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisTrabalho será publicado como artigo ou livro60 meses15/01/2025407477848473845987500500500600-6557531471218110192-54094192628864980883590462550136975366info:eu-repo/semantics/openAccessreponame:Biblioteca Digital de Teses e Dissertações da PUC_RSinstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSTHUMBNAILTES_JULIE_FANK_CONFIDENCIAL.pdf.jpgTES_JULIE_FANK_CONFIDENCIAL.pdf.jpgimage/jpeg4081http://tede2.pucrs.br/tede2/bitstream/tede/9073/4/TES_JULIE_FANK_CONFIDENCIAL.pdf.jpg7937b3b92002de8d08cffcf3e6e6bca5MD54TEXTTES_JULIE_FANK_CONFIDENCIAL.pdf.txtTES_JULIE_FANK_CONFIDENCIAL.pdf.txttext/plain1607http://tede2.pucrs.br/tede2/bitstream/tede/9073/3/TES_JULIE_FANK_CONFIDENCIAL.pdf.txtb3394c1b6a1ecb2ba6f7b8d06d12e8f9MD53ORIGINALTES_JULIE_FANK_CONFIDENCIAL.pdfTES_JULIE_FANK_CONFIDENCIAL.pdfapplication/pdf336140http://tede2.pucrs.br/tede2/bitstream/tede/9073/2/TES_JULIE_FANK_CONFIDENCIAL.pdf37f3f58c5b0a3fb95d11ca7af85c5b5fMD52LICENSElicense.txtlicense.txttext/plain; charset=utf-8590http://tede2.pucrs.br/tede2/bitstream/tede/9073/1/license.txt220e11f2d3ba5354f917c7035aadef24MD51tede/90732020-01-15 12:00:21.12oai:tede2.pucrs.br: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Biblioteca Digital de Teses e Dissertaçõeshttp://tede2.pucrs.br/tede2/PRIhttps://tede2.pucrs.br/oai/requestbiblioteca.central@pucrs.br||opendoar:2020-01-15T14:00:21Biblioteca Digital de Teses e Dissertações da PUC_RS - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false
dc.title.por.fl_str_mv Esgotamento, esvaziamento e preenchimento : a historia de uma criação
title Esgotamento, esvaziamento e preenchimento : a historia de uma criação
spellingShingle Esgotamento, esvaziamento e preenchimento : a historia de uma criação
Fank, Julie
Memória
Estatuto da Criação
Livro de Artista
Escrita Criativa
Memory
Statute of Creation
Artist's Book
Creative Writing
LINGUISTICA, LETRAS E ARTES::LETRAS
title_short Esgotamento, esvaziamento e preenchimento : a historia de uma criação
title_full Esgotamento, esvaziamento e preenchimento : a historia de uma criação
title_fullStr Esgotamento, esvaziamento e preenchimento : a historia de uma criação
title_full_unstemmed Esgotamento, esvaziamento e preenchimento : a historia de uma criação
title_sort Esgotamento, esvaziamento e preenchimento : a historia de uma criação
author Fank, Julie
author_facet Fank, Julie
author_role author
dc.contributor.advisor1.fl_str_mv Angelini, Paulo Ricardo Kralik
dc.contributor.advisor1Lattes.fl_str_mv http://lattes.cnpq.br/3563405314879796
dc.contributor.authorLattes.fl_str_mv http://lattes.cnpq.br/5555094202168439
dc.contributor.author.fl_str_mv Fank, Julie
contributor_str_mv Angelini, Paulo Ricardo Kralik
dc.subject.por.fl_str_mv Memória
Estatuto da Criação
Livro de Artista
Escrita Criativa
topic Memória
Estatuto da Criação
Livro de Artista
Escrita Criativa
Memory
Statute of Creation
Artist's Book
Creative Writing
LINGUISTICA, LETRAS E ARTES::LETRAS
dc.subject.eng.fl_str_mv Memory
Statute of Creation
Artist's Book
Creative Writing
dc.subject.cnpq.fl_str_mv LINGUISTICA, LETRAS E ARTES::LETRAS
description This novel, shaped as an artist's book, tells the story of a character that, given the addiction and disease circumstances, suffers a home accident. The fall causes him to injure his hippocampus, but, luckly, he does not acquire any language aftereffect. On the contrary, language is the salvation to the abruptly interrupted memory. Evaristo erases the year before the accident and starts suffering from short-term memory loss. Everything that happened before that date is intact and can be retrieved with clarity. The upcoming events are kept in mind for no longer than a half-hour. Some months of questionnaire later, the only way out is the technological and analogical record of each step taken. It is the alarm clock. It is the cellphone. It is the agenda. Evaristo decides to expand this record, which is now a project for a book. The problem is to start, every day, the same story over again. The sparsed and completely fragmented memories trace the poetry of a human being miserably honest about blunders, divergence, and silence, fearing repetition. It is the technological narratives and the digital tools that locate him so that he understands in what midst he truly lives. The nonrecognition of time, space, and subjects could mistake him for an Alzheimer's patient, but it is only time that can no longer be shaped. The spaces endure, the subjects overlap, and, in time, all stories lived start being documented - just in case. The seams of the novel and of the memories are visible, but elements of subversion and of visual and graphic deconstruction elevate the trial to an identity confusion of son, father, memories and author. It is the extratext that supports the reflection that goes through memory, fiction, reality, and identity. The book is composed of two parts. The first one, mentioned above, is fictional in tone (or intended to); the second one, academic and essay-like in tone, intends to be seen as memory of creation, metalinguistic reflection, and record of the creative process, simultaneous and organic. It is this part, divided into three: Depletion, Emptiness, and Fulfillment, that suggests a visit to the six proposals of Italo Calvino, 1985. More than the previously known lightness, quickness, exactitude, multiplicity, visibility, and consistency, the idea is to forge an expasion of these words to the concepts of strangeness, unfixture, spacing, resonance, hybridity, simultaneity, fragmentation, temporariness, detachment, and plasticity, and understand how they sustain the performance of the contemporary text on page. In the second part of the essay, an inventory that blends the subject of memory from the theoretical perspective and as building material of the fictional text. In the third part, the diary about the statute of creation. The fourth part is the fiction itself, The story of cebola. Both parts are distinct and are faced in a complementary and independent manner regarding graphic language that intends to give a new meaning to the very book as a hybrid support.
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