II SIB - Mesa-Redonda: Os pingos nos e fora dos “is”: a arte no centro do Círculo

1: Sollertinsky between legacy and (re)discovery: genesis and development of tripartite and detotalizing thought

Samuel Manzoni (Universität Zürich)

The problem of what could be defined as an adequate and much-needed historical re-qualification of the figure of Ivan Ivanovich Sollertinsky (1902-1944) still arises today because contemporary (Western) musicology has deliberately avoided any in-depth investigation of the critical activity as well as the ideological-cognitive process that marked his creative opus. Lack of sources, language barriers and the limited availability of texts have led to a partial transmission of this important legacy. Both non-fiction and popular production are sublimated by analyses and reflections capable of embracing what could be defined as a syntactic process of the artistic-compositional construct. This article focuses on the influences exerted by the Sollertinsky-Bakhtin axis in the works of the early Shostakovich, where the critical-literary symbology allows us to identify cognitive-perceptual models (Dostoevsky-Shakespeare) as well as folkloristic-popular elements (Rabelais) far from the preconceptions imposed by socialist realism. The choice, as we shall see, will fall on some of Shostakovich's compositions that more than others have the tendency to oscillate more clearly in extra-musical territories, promoting a language of clear Bakhtinian matrix. It is a "compositional parable" that lasts about ten years and that hardly moves away from the subjugation of a premeditated creative process, but offers, especially in these early works, musical stylistic elements imbued with critical-literary lexicon and syntax. The tripartite-detotalizing process, the emblematic critical model introduced by Sollertinsky, is thus presented as an analytical tool of absolute historiographic relevance capable of re-reading both the compositional intent and the stylistic ideal.

2. Artaud – an architectural “slammer”: “To carnivalize the judgment of god”

Roberto Medina (UnB/FURG)

Antonin Artaud (1896-1948) creates a radio recording, exposing his “project of saying”, uniting melodic rhythm, dramaturgy, words, musical instruments, glossolalias, evaluative positions and different voices in “To end the judgment of god” (Pour en finir avec le jugement de dieu), in 1948. By exposing the aesthetic object, Artaud seeks to question this coercive judgment that is formed through the automation of bodies and the imposition of guilt and fault, emptying the vital power in the world of culture human. In this discursive and aesthetic statement, Artaud's interactive and authorial mode proposes confronting the processes of coercion, through regimes of new aesthetics and the construction of a “body without organs”, dethroning the corporal territory under a new order of governance, by carnivalizing the authoritarian speech. The Artaudian creative author, in his aesthetic-ideological project, can metamorphose himself into a “slammer”, a double poet and singer, who participates in “poetry slams” (poetry/rhyme battles), reinstating, in the circulation of discourses, the democratization of culture and singular acts of living, denouncing the invisible court glued to the skin and removing the veils of silence from everything that pulses.

3. The aesthetic statement as a worldview: the verbivocovisuality of language in the Harry Potter franchise

Ana Carolina Siani (Unesp)

Through a dialogical conception of language, based on the thought of the Bakhtin Circle, in particular, according to his considerations about the constitutive relationship between art and life, we can say that socio-political-cultural practices are reflected and refracted by aesthetic statements, while one of the various forms of discursive communication. As an ideological creation, art materializes on the material unity of the world and the living conditions of the subjects, and is marked by its production in a certain community of values ​​and culture. This theoretical perspective guides our study of the Harry Potter franchise, which seeks to analyze the way in which the magical world presented by the narrative materializes relations of race, gender and class, bearing in mind that such hierarchies constitute signs of identity and difference, in the conflictive relationship between characters and groups. From this evaluative configuration, which organizes the form of the statement, we see the emergence of a worldview that encompasses the work as a whole and according to which wizards constitute themselves as the dominant group in terms of language, cultural habits, magical practices, standards of civility, beauty etc. In this way, we take as our object of study the Harry Potter films (Warner Bros., 2001-2011) in dialogue with the books, both analyzed in their inseparable verbivocovisual construction.

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