O que há em um nome? Ressonâncias entre Ana Cristina Cesar e James Joyce / What’s in a name? Resonances between Ana Cristina Cesar and James Joyce

Resumo: Ana Cristina Cesar, em Luvas de Pelica (1980)1, mostra-nos um tipo singular de dicção íntima em que a finalidade do segredo é desativada, e uma mistura de diário de viagem, cartas e anotações pessoais é transformada em um espaço de deriva poética, no qual a posição do sujeito torna-se matéria de literatura. Há neste texto uma outra possibilidade de entendimento do que poderíamos chamar de “âmbito íntimo”, já que aqui, a intimidade acaba ganhando um estatuto diferente daquele da clausura, característico de décadas anteriores. Sabemos que nesta obra, Katherine Mansfield e Virginia Woolf são referenciadas, mas, em que medida a obra de um outro autor moderno, James Joyce, poderia dar uma nova luz à escritura de Ana Cristina? Joyce abordou de maneira intensa a temática da intimidade em seu livro Ulysses (1922), não somente através de cartas, mas também de um fluxo de consciência, em que a matéria corporal corre “junto” ao que nos é apresentado textualmente. Levando em conta o trabalho de problematização da instância íntima realizado por Ana C., haveria em Luvas de Pelica uma espécie de tonalidade joyceana refletida em seu corpus textual? Este trabalho pretende desbravar este tema, apontando para possíveis relações entre as estratégias de escrita de Ulysses e de Luvas de Pelica, a fim de descobrir pontos em comum que possam iluminar ainda mais a poética da escritora carioca.Palavras-chave: Ana Cristina Cesar; James Joyce; Intimidade; Feminino.Abstract: Ana Cristina Cesar, in Luvas de Pelica (1980), shows us a singular type of intimate diction in which the purpose of the secret is deactivated, and a mixture of travel diary, letters and personal notes is transformed into a space of poetic drift, in which the subject’s position becomes a matter of literature. There is in this text another possibility of understanding what we could call “intimate sphere”, since here, intimacy ends up gaining a different status from that of enclosure, characteristic of previous decades. We know that in this work Katherine Mansfield and Virginia Woolf are referenced, but to what extent could the work of another modern author, James Joyce, shed new light on Ana Cristina’s writing? Joyce intensely addressed the theme of intimacy in his book Ulysses (2012), not only through letters, but also through a stream of consciousness, in which the body matter of the character runs “along” with what is presented to us textually. Taking into account Ana C.’s problematization of the intimate instance, would there be in Luvas de Pelica a kind of Joycean tone reflected in her textual corpus? This paper intends to explore this theme, pointing to possible relationships between the writing strategies of Ulysses and Luvas de Pelica, in order to discover common points that can further illuminate the poetics of the writer from Rio de Janeiro.Keywords: Ana Cristina Cesar; James Joyce; Intimacy; Feminine.

Image and Word in Postmodern Poetry: Friederike Mayröcker’s BROTWOLKE

This article explores the interplay of visual arts and poetic images in postmodern poetry, focusing on the case of Friederike Mayröcker’s poem BROTWOLKE, nach Karla Woisnitza (1996) [BREADCLOUD, after Karla Woisnitza]. The article shows that BROTWOLKE belongs to a group of texts whose titles indicate an ekphrasis or an intermedial quality, but whose specific point of reference is absent. Rather than referencing to a specific painting, the poem thus showcases different aspects of the visual. Offering a close reading of the poem, the article explores Mayröcker’s special technique of image-writing and its dynamic effect on the reader. The article argues that the poem both “shows the word” and “writes the image.” It is shown that Mayröcker’s stream-of-consciousness is a process that refers to the act of writing in the first place and then to an inventory of texts and images that float the text as a stream of sense-data.

LEXICAL AND PHRASEOLOGICAL PARADIGMATICS OF THE FRENCH LANGUAGE: MADELEINE DE PROUST

The article is devoted to the linguocultural analysis of the idiom madeleine de Proust in modern French. The analysis is based on lexicographic data, component analysis method and text semantic analysis. Using the method of linguocultural decoding they find out emotional and sensual, ethical, aesthetic informations; archetypal, mythological, religious, philosophical and scientific informations, which are the deep foundations of the meaning of a phraseological unit. In the unit madeleine de Proust , the basic types of information are religious and philosophical. The first is associated with the polysemantic inner form of the word Madeleine. It is a nominative name - it means the name of a flour product and a proper name - Madeleine was the name of the girl who invented this culinary dish; this word is associated with the images of Magdalen-sinner and St. Mary-Magdalene, which is reflected in the phraseological system of the French language; with proper name Saint-Jacques, which is used to describe the subject of the material world, and accompanies the writer’s life, the hero in the novel. The philosophical type of information is associated with Proust’s reflections, signs, philosophy, with the concepts of the voluntary and involuntary memory. And all these were pushed by the sensual-emotional information. The polysemous word madeleine in the semantic space of the literary text thanks to the talent of the writer, his emotional and sensual experiences, his stream of consciousness, expanded its meaning and became one of the components of the new language unit madeleine de Proust .

Modernism, Mysticism and the Pursuit of Freedom - Bringing the initial instinct of the Modernists to its fulfilment in the model of the Christian mystic

While one can certainly debate about the forms Modernism (in the artistic sense) manifested itself in and what actually qualified as Modernism, one cannot deny that the desire for freedom was one of its underlying tenets. In the 21st century it would seem however that the desire for freedom has not been satiated. In the following essay I will explore whether emancipating art from a moral authority achieved the freedom modernist artists so deeply desired and I will question whether severing himself from objective truth the artist was allowed to fully thrive. Comparing Modernist concept’s (Stream of consciousness, that art should reflect reality and the emphasis on subjectivity etc.) with the fundamentals of Christian mysticism (i.e. the interior life) and by reconciling subjective experience with objective truth through the use of St John Paul II’s philosophical anthropology – I hope to pose an alternative path to satiate, truly satiate, the Modernist’s thirst for freedom.

An Interpretation of the Play After the Fall Based on Role- and -Value Cognitive Concept

The paper aims to interpret Arthur Miller’s stream-of-consciousness play text, After the Fall, from the perspective of the cognitive concept of evolving reference, namely “role and values”. The results of the study are as follows: 1. Mutual across-time-and-space contextual embedment or entanglement is the distinctive feature of stream-of-consciousness play text, which makes it possible to present synchronically what has happened diachronically, so that the various values generated by role switching over the past years are accessible in a while. 2. This feature in turn makes characterization more natural, true-to-life, vivid and substantial, revealing not only the different aspects of the protagonist’s disposition but also the shaping process involved. 3. Despite the seemingly disordered contextual entanglement, the values through role switching are implicitly linked by the cause-effect logical relationship, which ensures the textual coherence of the play.

Several conjectures about the existence of the ether

The "zero result" of Michelson Morley's experiment was not enough to deny the existence of a fifth element---ether, as conceived by Aristotle. Hubble's explanation of the Doppler effect of the systematic cosmic the red shift was incomplete and needed to be introduced into the ether.The physical significance of universal gravitation constant reveals the possibility of the existence of ether. After much thought and logical reasoning, there is good reason to think that the ether is negative energy, stream of consciousness, and space itself, it combines with photons to build elementary particles, elementary elements, everything in the universe, including ourselves. In addition, it is feasible to explain the causes of gravitation, electromagnetic force, strong force and weak force from the perspective of the ether, which seems to be easier for us to understand. The most tragic conclusion is that the universe was created out of nothing and will eventually return to nothing.

Language and Style of Sunetra Gupta’s Fictional Narratives

My aim in this paper is to offer a critical discussion on certain linguistic and stylistic aspects in the fictional pieces by Sunetra Gupta, an important Bengali diaspora author based in Oxford. In her debut novel, ‘Memories of Rain’ as well as in her others, Gupta effortlessly intersperses prose with poetry; her writing is complex, fusing stream of sensuous poetic imagery with stream of consciousness. A powerful delivery of interior monologue, figurative language, and continuous time-shifts invites the novelist’s comparison with Virginia Woolf. Memory becomes a vital player in many of her novels, be it Memories of Rain, Moonlight into Marzipan or So Good in Black. Giving it the centre stage automatically leads her towards an experimental narrative technique, since memory – a highly subjective and elastic category blending fantasy with the past – keeps intervening in the linear flow of the plot. Interestingly, her stream-of-consciousness technique transforms language and punctuation marks from normative linguistic symbols into poignant emotional tools. By exploring the limits of ambiguity in language, as I argue here, Gupta has evolved a personal literary idiom in which prose is pushed into a territory formerly accessible only to poetry. The issue of intertextuality is also discussed, with special reference to Memories of Rain where the influence and interplay of diverse texts provide the novelists context and meaning, and shape its narrative and characters.

EEG microstate dynamics indicate a U-shaped path to propofol-induced loss of consciousness

It is commonly believed that the stream of consciousness is not continuous but parsed into transient brain states manifesting themselves as discrete spatiotemporal patterns of global neuronal activity. Electroencephalographical (EEG) microstates are proposed as the neurophysiological correlates of these transiently stable brain states that last for fractions of seconds. To further understand the link between EEG microstate dynamics and consciousness, we continuously recorded high-density EEG in 23 surgical patients from their awake state to unconsciousness, induced by step-wise increasing concentrations of the intravenous anesthetic propofol. Besides the conventional parameters of microstate dynamics, we introduce a new method that estimates the complexity of microstate sequences. The brain activity under the surgical anesthesia showed a decreased sequence complexity of the stereotypical microstates, which became sparser and longer-lasting. However, we observed an initial increase in microstates' temporal dynamics and complexity with increasing depth of sedation leading to a distinctive U-shape that may be linked to the paradoxical excitation induced by moderate levels of propofol. Our results support the idea that the brain is in a metastable state under normal conditions, balancing between order and chaos in order to flexibly switch from one state to another. The temporal dynamics of EEG microstates indicate changes of this critical balance between stability and transition that lead to altered states of consciousness.