{"id":255,"date":"2018-05-02T10:37:21","date_gmt":"2018-05-02T08:37:21","guid":{"rendered":"http:\/\/www.phil.uzh.ch\/elearning\/blog\/lajoie\/?page_id=255"},"modified":"2018-06-07T18:13:47","modified_gmt":"2018-06-07T16:13:47","slug":"pesquisa","status":"publish","type":"page","link":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/home-la-joie-qui-vient\/pesquisa\/","title":{"rendered":"Pesquisa"},"content":{"rendered":"

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Alegria que vem \u2013 cinco instant\u00e2neos<\/em><\/strong><\/h2>\n

E com uma alegria t\u00e3o profunda. \u00c9 uma tal aleluia. Aleluia, grito eu, aleluia que se funde com o mais escuro uivo humano da dor de separa\u00e7\u00e3o mas \u00e9 grito de felicidade diab\u00f3lica. Porque ningu\u00e9m me prende mais. Continuo com capacidade de racioc\u00ednio \u2013 j\u00e1 estudei matem\u00e1tica que \u00e9 a loucura do racioc\u00ednio \u2013 quero me alimentar diretamente da placenta. Tenho um pouco de medo: medo ainda de me entregar pois o pr\u00f3ximo instante \u00e9 o desconhecido. O pr\u00f3ximo instante \u00e9 feito por mim? Fazemo-lo juntos com a respira\u00e7\u00e3o. E com uma desenvoltura de toureiro na arena<\/em>.<\/p><\/blockquote>\n

Clarice Lispector, \u00c1gua Viva<\/em>, 1973.<\/p>\n

Ir e voltar<\/em><\/strong>: alegria e mesa de montagem<\/strong><\/h2>\n

Vou e volto ao come\u00e7o do romance de Clarice Lispector, \u00c1gua Viva<\/em>, de 1973, sem deixar de pensar que este par\u00e1grafo \u00e9 um exemplo para pensarmos a literatura e os estudos liter\u00e1rios nos dias de hoje \u2013 no momento em que estamos vivos \u2013, pois a literatura \u00e9 fulgurante, viva<\/em>, e sendo feita junto com a respira\u00e7\u00e3o. Ela permanece em toda a transi\u00e7\u00e3o do verbo estar<\/em>. Em toda a imperman\u00eancia que este estado suscita: a leitura \u00e9<\/em> uma condi\u00e7\u00e3o de passagem. Na condi\u00e7\u00e3o de leitor, empresto a minha respira\u00e7\u00e3o \u00e0 Lispector e, pelo texto, ela retorna um tipo de presen\u00e7a que intensifica o instante. A literatura com este come\u00e7o se torna aberta \u00e0 experi\u00eancia silenciosa e \u00e0 brevidade dos instantes. Isto \u00e9, os signos est\u00e3o<\/em> sens\u00edveis, sendo que a pr\u00f3pria mat\u00e9ria textual desperta esta sensibilidade. A literatura com Clarice Lispector possui estes t\u00f4nus de alegria. E sob esses instantes \u2013 pr\u00f3ximos \u00e0 frase seguinte \u2013 a respira\u00e7\u00e3o do leitor situa-se em uma espera, que \u00e9 breve: a da pr\u00f3xima frase. Ler Clarice Lispector \u00e9 um exerc\u00edcio de entusiasmo. Com esta passagem vou e volto \u00e0 alegria com a hip\u00f3tese do montador de um filme que elabora algumas intensidades. Alegria que vem<\/em> \u00e9 uma forma de leitura deste fragmento pela montagem. Um destes exerc\u00edcios \u00e9 a conversa entre Maria Filomena Molder e Jean-Luc Nancy.<\/p>\n

Alegria que vem<\/em><\/strong><\/h2>\n

A alegria ilumina um sentido<\/em> em vias de se fazer. Ela \u00e9 uma forma de leitura que nos p\u00f5e \u00e0 prova, pois determinados sentidos em um texto, em um poema, aparecem brevemente nas rela\u00e7\u00f5es de leitura que estabelecemos com eles, n\u00e3o durando que alguns instantes. No entanto, nosso corpo \u00e9 capaz de fornecer a determinados textos, passagens, frases, hist\u00f3rias um tipo de arquivo. A partir de Clarice Lispector a alegria<\/em> empresta um ou mais sentidos<\/em> \u00e0 leitura de textos liter\u00e1rios. A alegria neste filme e nesta pesquisa apresenta uma din\u00e2mica de conceito e de corpos na rela\u00e7\u00e3o entre literatura e sociedade. Vida<\/em> e teoria<\/em> liter\u00e1ria<\/em> n\u00e3o estariam distantes, mas se tocariam por conex\u00f5es instant\u00e2neas. O que h\u00e1 de mais imediato fica em contato com o tempo da contempla\u00e7\u00e3o \u2013 th\u00e9orein<\/em> \u2013 para fazer do espa\u00e7o liter\u00e1rio um lugar imediato para po\u00e9ticas da experi\u00eancia. Ler n\u00e3o se isola de encontros, de viagens, sendo parte de constru\u00e7\u00f5es, desconstru\u00e7\u00f5es de sentido. O texto de Clarice Lispector abre o texto a uma rela\u00e7\u00e3o com o desconhecido, bem pr\u00f3ximo da mat\u00e9ria da poesia. \u00c9 a pr\u00f3pria resist\u00eancia da poesia que apresenta uma din\u00e2mica entre vida e teoria. Estar em plena exist\u00eancia, tal como o diz Maria Filomena Molder quando pronuncia N\u00e3o te esque\u00e7as de viver<\/em>, mas tamb\u00e9m quando ela l\u00ea poemas de Herberto Helder do livro A morte sem mestre<\/em> (2014) e o aproxima \u2013 n\u00e3o pela lei dos g\u00eaneros em literatura \u2013 pelo impulso vital da alegria, isto \u00e9, pela sua brevidade. Jean-Luc Nancy tamb\u00e9m o faz com Paul Celan ao expor uma sintaxe diferente a qual as palavras se ajustam. Seriam por essas tors\u00f5es e por esses clar\u00f5es (\u00e9clats<\/em>) que o sentido, em poesia, est\u00e1 por se fazer, como ele escreveu em Resist\u00eancia da poesia<\/em> Jean-Luc Nancy. Pr\u00f3xima da alegria, \u201ca poesia n\u00e3o coincide consigo mesma: talvez seja essa n\u00e3o-coincid\u00eancia, essa impropriedade substancial, aquilo que faz propriamente a poesia.\u201d Isso implica que Alegria que vem<\/em> \u00e9 um campo aberto de leitura para a combina\u00e7\u00e3o m\u00faltipla da conversa entre os fil\u00f3sofos com obras liter\u00e1rias.<\/p>\n

Agora e neste instante <\/strong><\/h2>\n

O pr\u00f3ximo instante \u00e9 feito por mim? Fazemo-lo juntos com a respira\u00e7\u00e3o<\/em>, escreveu Clarice Lispector. A alegria neste filme \u00e9 muito mais um modo de leitura, mantendo viva e intensa a pr\u00f3pria literatura do que fazer uma hist\u00f3ria de uma emo\u00e7\u00e3o a partir de uma pergunta essencialista: o que \u00e9 a alegria? Mesmo se voltarmos sua intensidade para quando estamos alegres<\/em> ainda n\u00e3o ter\u00edamos \u00eaxito em expor um discurso que coincida com a representa\u00e7\u00e3o da alegria ou, em outro n\u00edvel, da felicidade. Estamos expostos \u00e0s reprodu\u00e7\u00f5es da vida com pessoas sorrindo atrav\u00e9s do discurso publicit\u00e1rio e, se por um lado, existe uma esp\u00e9cie de imperativo categ\u00f3rico que regula a vida social, por outro, existe uma finalidade daqueles que diariamente emitem mensagens para que um tipo de produto seja consumido. Esse grau de representa\u00e7\u00e3o nos deixa \u00e0 deriva de uma consuma\u00e7\u00e3o de si<\/u>. De outro modo, existe uma dimens\u00e3o da alegria que escapa a esse modo de apropria\u00e7\u00e3o dos indiv\u00edduos e que se presentifica, por exemplo, naquilo que ainda est\u00e1 \u201cagora e neste instante\u201d ainda n\u00e3o formulado, informe, e por isso, aberto<\/em>. A alegria pode ser lida aqui como uma abertura ao pr\u00f3ximo instante que \u00e9 o desconhecido. Para retornar \u00e0 Clarice Lispector: O pr\u00f3ximo instante \u00e9 feito por mim? Fazemo-lo juntos com a respira\u00e7\u00e3o<\/em>. A resist\u00eancia da literatura, seu modo de permanecer oralmente e textualmente, consiste nesta respira\u00e7\u00e3o onde a letra e a voz se unem.<\/p>\n

O filme, um ensaio <\/strong><\/h2>\n

Alegria que vem<\/em> buscou na materialidade medial do filme uma forma de manter uma respira\u00e7\u00e3o da palavra com o pensamento. O pensamento em ato, concretizado com certa hesita\u00e7\u00e3o ao buscar as palavras como levantar-se da cadeira em busca de um dicion\u00e1rio. Tamb\u00e9m com o cuidado com as formula\u00e7\u00f5es e com a forma de apresentar as imagens e conduzi-las em seus discursos \u2013 em uma fala que se faz em a\u00e7\u00e3o. O filme procura esse tipo de registro para expor uma possibilidade de interse\u00e7\u00e3o com o meio digital, onde se pode manter a palavra no registro oral. Ele busca ainda expor pequenos atos concretos como a breve descri\u00e7\u00e3o da cena de um filme, a leitura de um poema que ressoam aquilo que antecede a cena: um ato de hospitalidade para receber aqueles que gostariam de ouvi-los sobre a alegria. Assim, o discurso produzido no filme faz da alegria um motor, um ethos<\/em> intelectual que envolve disposi\u00e7\u00e3o, entusiasmo, partilha, elementos indispens\u00e1veis para um filme-ensaio<\/em>.<\/p>\n

Sobre a pesquisa <\/strong><\/h2>\n

Alegria que vem<\/em> \u00e9 a primeira parte de um projeto de investiga\u00e7\u00e3o que tem a literatura como ponto de partida para reflex\u00f5es e an\u00e1lises de fatos de linguagem a partir do deslocamento de um afeto, a alegria, para a materialidade de obras art\u00edsticas e liter\u00e1rias. A presen\u00e7a de uma emo\u00e7\u00e3o como ponto de partida nos transporta para a experi\u00eancia liter\u00e1ria tanto em outros espa\u00e7os geogr\u00e1ficos quanto em outros campos de saber. A partir de uma intermedialidade<\/em>, a experi\u00eancia liter\u00e1ria se formaliza atrav\u00e9s do ensaio \u2013 no sentido mais amplo do termo \u2013 onde filme, viagens, leituras, conversas est\u00e3o reunidas em uma plataforma, possibilitando, assim, converg\u00eancias para o ensino de humanidades no contexto digital. A primeira parte foi realizada com dois fil\u00f3sofos, Jean-Luc Nancy e Maria Filomena Molder. Uma conversa que passa por obras liter\u00e1rias (Clarice Lispector, Herberto Helder, Paul Celan, Georges Bataille, Maurice Blanchot) chegando a an\u00e1lise de Maria Filomena Molder: \u201cO que Clarice Lispector gostaria de ser, integra-se nesta segunda forma de alegria: \u00abuma pessoa cujo cora\u00e7\u00e3o bate de alegria lev\u00edssima quando consegue em uma frase dizer alguma coisa sobre a vida humana ou animal.\u201d A alegria, em literatura, passa pela constru\u00e7\u00e3o do sentido em frases, par\u00e1grafos ou obras, pois a vida humana e animal est\u00e1 sempre em vias de ser formulada. Decorrente da primeira parte, a segunda parte da investiga\u00e7\u00e3o intitula-se uma alegria animal<\/em> e ela ter\u00e1 como participantes Muriel Pic e Jean-Christophe Bailly, ambos escritores. A intermedialidade<\/em> ter\u00e1 por inicio uma breve incurs\u00e3o te\u00f3rica da obra do zo\u00f3logo su\u00ed\u00e7o Adolf Portmann, do historiador da arte e da cultura alem\u00e3o Aby Warburg e o imagin\u00e1rio animal nas imagens do mundo continental atrav\u00e9s da memoria de seus zool\u00f3gicos, museus e jardins. Entre a montagem e um arquivo animal que remonta as origens do cinema (Jules-Etienne Marey e Edward Muybridge), da Fotografia (William Fox Talbot e Georges Shiras), al\u00e9m do uso das imagens animais no desenvolvimento das imagens subaqu\u00e1ticas com Jean Painlev\u00e9 e trechos de obras liter\u00e1rias que exprimem o movimento animal, a quest\u00e3o da alegria ressalta nossa rela\u00e7\u00e3o com uma mem\u00f3ria animal sempre em vias de se expandir e de persistir nas imagens, nas texturas e nas rela\u00e7\u00f5es. Na segunda parte, uma alegria animal, pretendemos desenvolver a rela\u00e7\u00e3o entre imagem e instante. A terceira parte da investiga\u00e7\u00e3o intitula-se alegria p\u00fablica, alegria pol\u00edtica<\/em>, cujo foco est\u00e1 nos la\u00e7os comunit\u00e1rios que se formam a partir de lutas, atos de resist\u00eancias a problemas sociais, e solu\u00e7\u00f5es tempor\u00e1rias e est\u00e9ticas para afirmar a vida, seus modos e suas formula\u00e7\u00f5es em plena exist\u00eancia. Em alegria p\u00fablica, alegria pol\u00edtica<\/em>, passaremos por conceitos e no\u00e7\u00f5es de biopoder (Michel Foucault), for\u00e7a de lei (Jacques Derrida), cr\u00edtica da viol\u00eancia (Walter Benjamin), e formas e modos de vida (Giorgio Agamben). A nossa pergunta-guia para a terceira parte \u00e9: existiria uma fenomenologia da alegria no que concerne as formas de resist\u00eancia espont\u00e2neas e la\u00e7os comunit\u00e1rios instintivos? Discutiremos esses aspectos a partir de uma perspectiva com artistas mulheres de diversos pa\u00edses da Am\u00e9rica Latina (Julieta Hanono \u2013 Argentina; Viviana Mendez – Chile, Estefania Pe\u00f1afiel – Equador, Lenora de Barros – Brasil) e com o fil\u00f3sofo Emanuel Alloa (Saint-Gallen).<\/p>\n

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References:\u00a0<\/strong><\/h2>\n

Andrade, Oswald. Manifesto Antrop\u00f3fago.\u00a0Revista de Antropofagia<\/em>. Ano 1. N. 1. S\u00e3o Paulo: Maio de 1928.<\/p>\n

Bataille, Georges. \u201cLa joie devant la mort\u201d.\u00a0Ac\u00e9phale<\/em>. N. 5. Juillet, 1939.<\/p>\n

Blanchot, Maurice.\u00a0La b\u00eate de Lascaux<\/em>. Paris: Fata Morgana, 1984.<\/p>\n

Celan, Paul.\u00a0Choix de po\u00e8mes<\/em>. Paris: Gallimard, 1998.<\/p>\n

Chr\u00e9tien, Jean-Louis.\u00a0La joie spacieuse<\/em>. Essai sur la dilatation. Paris: Les \u00c9ditions de Minuit, 2007.<\/p>\n

Cornelsen, Elcio; Sedlmayer, Sabrina; Otte, Georg.\u00a0Limiares e Passagens em Walter Benjamin<\/em>. Belo Horizonte: Ed. UFMG, 2010.<\/p>\n

Deleuze, Gilles. \u201cJ comme Joie\u201d.\u00a0Ab\u00e9cedaire<\/em>.<\/p>\n

(https:\/\/www.sam-network.org\/video\/abecedaire-g-a-m<\/a>)<\/p>\n

Erice, Victor. \u201cVidros Partidos\u201d. 2012, 35 min.<\/p>\n

Goethe, Johann Wolfgang.\u00a0Voyage en Italie<\/em>. Paris: Omnia, 2011.<\/p>\n

Helder, Herberto.\u00a0A morte sem mestre<\/em>. Lisboa: Porto Editora, 2014.<\/p>\n

Lispector. Clarice.\u00a0\u00c1gua Viva<\/em>. Rio de Janeiro: Rocco, 1998.<\/p>\n

Lispector. Clarice.\u00a0\u00c1gua Viva<\/em>. Trad. Stephan Tobler. New York: New Directions, 2012.<\/p>\n

Lispector, Clarice.\u00a0A paix\u00e3o segundo G.H<\/em>. Rio de Janeiro: Rocco, 1998.<\/p>\n

Lispector, Clarice.\u00a0A descoberta do mundo<\/em>. Rio de Janeiro: Rocco, 1984.<\/p>\n

Molder, Maria Filomena.\u00a0O pensamento morfol\u00f3gico de Goethe<\/em>. Lisboa: Casa da Moeda, 1995.<\/p>\n

Nancy, Jean-Luc.\u00a0R\u00e9sistance de la po\u00e9sie<\/em>. Bordeux: William Blake & Co., 1997.<\/p>\n

Nancy, Jean-Luc.\u00a0Corpus<\/em>. Paris: Metaill\u00e9, 1992.<\/p>\n

Nancy, Jean-Luc; Lacoue-Labarthe, Philippe.\u00a0L\u2019absolu litt\u00e9raire<\/em>. Th\u00e9orie de la Litt\u00e9rature du Romantisme Allemand. Coll. Po\u00e9tique. Paris, Seuil, 1978.<\/p>\n

Rosset, Cl\u00e9ment. \u201cLa joie et son paradoxe\u201d.\u00a0Le choix des mots<\/em>. Paris: Les \u00c9ditions de Minuit, 1995, p. 69-115.<\/p>\n

Spinoza.\u00a0\u00c9thique<\/em>. Paris: Folio Essais. Gallimard, 1993.<\/p>\n

Sterzi, Eduardo.\u00a0A prova dos nove<\/em>. Alguma poesia moderna e a tarefa da alegria. Cole\u00e7\u00e3o M\u00f3bile. S\u00e3o Paulo: Lumme Editor, 2008.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n

Joy, approaching<\/em>
\n<\/strong><\/h2>\n

It\u2019s with such profound happiness. Such a hallelujah. Hallelujah, I shout, hallelujah merging with the darkest human howl of the pain of separation but a shout of diabolic joy. Because no one can hold me back now. I can still reason \u2013 I studied mathematics, which is the madness of reason \u2013 but now I want the plasma \u2013 I want to eat straight from the placenta. I am a little scared: scared of surrendering completely because the next instant is the unknown. The next instant, do I make it? or does it make itself? We make it together with our breath. And with the flair of the bullfighter in the ring.<\/em><\/p><\/blockquote>\n

Clarice Lispector, \u00c1gua Viva<\/em>, 1973.<\/p>\n

Go and return: joy and assembly table<\/em><\/strong><\/h2>\n

I go and return to the beginning of Clarice Lispector\u2019s novel \u00c1gua viva<\/em>, from 1973, without quitting the thoughts of this being an example of how to comprehend literature and the literary studies nowadays \u2013 in the moment we are alive -, since literature is dazzling, alive<\/em>, and is made together with the breath. Literature remains in transition of the verb \u201cbe\u201d (in Portuguese \u201cestar\u201d). In the whole impermanence this state raises: reading is an ephemeral condition. In the reader\u2019s condition I lend my breath to Lispector, and through the text she returns a presence which is intensifying the instant. Literature, with this beginning, opens to the silent experience and to the brevity of the instants. This means, the signs are<\/em> sensitive, since the textual material itself is calling this sensitivity. Literature with Clarice Lispector has these tones of joy. And under these instants \u2013 close to the next sentence \u2013 the breath of the reader settles in a short hold: the hold of the next sentence. Read Clarice Lispector is an enthusiastic exercise. With this passage I go and return to the joy with a hypothesis of the filmmaker, who is elaborating some intensities. Joy, approaching<\/em> is a way of reading this fragment through film editing. One of those exercises is a conversation between Maria Filomena Molder and Jean-Luc Nancy.<\/p>\n

Joy, approaching<\/em><\/strong><\/h2>\n

Joy illuminates a still developing sense<\/em>. It\u2019s a way of reading that is proving us, since determined senses in a text, in a poem, show up shortly in reading relations which we establish with them, not taking longer than a few instants. Meanwhile, our body can provide to determined texts, passages, sentences, stories a kind of archive. Starting from Clarice Lispector, joy<\/em> lends one or more senses<\/em> to the reading act of literary texts. Joy (re)presents in this movie and in this research a dynamic of concepts and of bodies in relation between literature and society. Life and literary theory are not so far from each other, but they are in touch by instantaneous connections. What is most immediate keeps contact with the time of contemplation \u2013 th\u00e9orein<\/em> \u2013 in order to make out of the literary space a space of immediacy for the poetics of experience. Reading is not isolating from encounters, from travels, but it\u2019s a part of constructions and deconstructions of sense. Clarice Lispector\u2019s text establishes a bond with the unknown, very close to the poetic material. It is the very resistance of poetry that is presenting a dynamic between life and theory. Be in a fully existence, as Maria Filomena Molder says when she pronounces Don\u2019t forget to live <\/em>(N\u00e30 te esque\u00e7as de viver), or when she reads Herberto Helder\u2019s poems from the book Death Without a Master<\/em> (A morte sem mestre, 2014) and puts it closer \u2013 not due to the law of literary genre \u2013 but due to the vital impulse of joy, which is its brevity. Jean-Luc Nancy is doing likewise with Paul Celan, by exposing a syntax different from the one the words adjust themselves to. It\u2019s because of those torsos and those sparkles (\u00e9clats<\/em>) that the sense, in poetry, is developing, like Jean-Luc Nancy wrote in Resistance of Poetry<\/em>. Close to joy, \u201cpoetry doesn\u2019t coincide with itself: and maybe it\u2019s exactly this non-coincidence, this substantial impropriety, what is turning it to poetry\u201d. This implies that Joy, approaching<\/em>, is an open field for reading the multiple combination of the conversation between philosophers and literary work.<\/p>\n

Now and in this instant<\/strong><\/h2>\n

The next instant, do I make it? or does it make itself? We make it together with our breath<\/em>, says Clarice Lispector. Joy in this movie is much more a way of reading, keeping alive and intense the own literature rather than making up a story of an emotion starting from an essentialist question: what is it then, joy? Even when turning its intensity towards the moments we are happy, we wouldn\u2019t be successful in exposing a discourse that coincides with the representation of joy or, on a different level, of happiness. We are exposed to reproductions of life with people smiling trough the advertisement discourse and if, on one side, there exists a kind of categorical imperative which is regulating social life, on the other side, there exists a purpose followed by those who release messages on a daily basis in order to have products being consumed. In another way, there is a dimension of joy that is escaping this individual\u2019s appropriation and that shows itself, for example, in what is \u201cnow and in this instant\u201d, still not formulated, uncomplete and therefore open<\/em>. Joy can here be read as an opening towards the next instant that is still unknown. Coming back to Clarice Lispector: The next instant, do I make it? Let\u2019s make it together, by breathing.<\/em> The resistance of literature, its way of persisting orally and textually, consists in this breath where letter and voice unite.<\/p>\n

The film, an essay<\/strong><\/h2>\n

Joy, approaching <\/em>was searching in the medial materiality of the movie a way to keep the breath of the word joined with the thoughts. The thoughts in acts, concretized with a certain hesitation when looking for the words, like getting up from the chair to look for a dictionary. Also, with the concern about the formulations and the form of presenting the images and leading them into their discourses \u2013 in a speech that is converting into action. The movie seeks this kind of record to expose a possibility of intersection with the digital means, where the word can be kept orally. It is also striving to expose little, concrete acts like a short description of a movie, the reading of a poem that is resounding what is preceding the scene: an act of hospitality towards those, who\u2019d like to hear talk about joy. In this way, the produced discourse in the movie is making an engine out of joy, an intellectual ethos<\/em> that involves arrangement, enthusiasm, assignation, all elements that are indispensable for a film-essay.<\/p>\n

About the investigation<\/strong><\/h2>\n

Joy, approaching <\/em>is the first part of an investigation project whose starting point for reflections and analyses about language is literature and the displacement of an affection, the joy, towards the materiality of artistic and literary work. The presence of an emotion as starting point is transporting us towards the literary experience in other geographic spaces as in other fields of knowledge. Starting from an intermediality<\/em>, the literary experience is formalized through the essay \u2013 in the wider sense of the term \u2013 where movie, travel, reading and conversation are united in only one platform, enabling convergences for the teaching of classical studies in the digital context. This first part was realized with two philosophers, Jean-Luc Nancy and Maria Filomena Molder. A conversation that is passing through literary works (Clarice Lispector, Herberto Helder, Paul Celan, Georges Bataille, Maurice Blanchot) culminating in Maria Filomena Molder’s analyses: \u201cWhat Clarice Lispector would like to be, integrates itself in this second form of joy: \u201ca person whose heart beats to the sound of a smooth joy when he\/she succeeds to tell in one sentence something about the human or animal life.\u201d Joy, in literature, goes through the construction of sense in sentences, passages or works, since human and animal life is always being on the way to be formulated. Moving from the first to the second part of the investigation, which is called An Animal Joy<\/em> and will include as participants Muriel Pic e Jean-Christophe Bailly, both authors. The intermediality will have its starting point in a short theoric incursion about the swiss zoologist Adolf Portmann, the german art and culture historian Aby Warburg and the animal imaginary in the pictures of the continental world through the memory of the zoos, museums and gardens. In between the installation and an animal archive reassembling the origins of cinema (Jules-Etienne Marey e Edward Muybridge), of photography (William Fox Talbot e Georges Shiras), further to the use of animal pictures in the evolution of the subaquatic pictures with Jean Painlev\u00e9 and parts of the literary work expressing animal movement, the question of joy underlines our relation with the animal memory always in the process of expansion and persisting in pictures, textures and in the relationships. In the second part, An Animal Joy<\/em>, we intend to evolve a relation between picture and instant. The third part of the investigation is called Public Joy, Political Joy<\/em>, whose focus is put on the communitarian ties that are formed starting from battles, resistance acts, social problems and temporary and esthetic solutions to claim life, its means and formulations in full existence. In Public Joy, Political Joy<\/em>, we will touch concepts and notions of Biopower (Michel Foucault), Force of Law (Jacques Derrida), Critique of Violence (Walter Benjamin), Form-of-Life (Giorgio Agamben). The key question for the third part is: Does a phenomenology of joy, which is concerning the forms of spontaneous resistance and instinctive communitarian ties exist? We will be discussing those aspects from a perspective with female artists from different Latin-American countries (Julieta Hanono \u2013 Argentina; Viviana Mendez – Chile, Estefania Pe\u00f1afiel – Ecuador, Lenora de Barros – Brazil) and with the philosopher Emanuel Alloa (Saint-Gallen).[\/vc_column_text][vc_column_text css=”.vc_custom_1528374620111{border-radius: 1px !important;}”]<\/p>\n

 <\/p>\n

\u00ab\u00a0Mais la joie, elle, est un jaillissement toujours renouvel\u00e9, qui n\u2019est pas simple, qui ne va pas de soi, qui est extr\u00eamement compliqu\u00e9, mais qui lui conf\u00e8re sa tonalit\u00e9 majeure. Je dirais alors que ce n\u2019est pas uniquement un probl\u00e8me chr\u00e9tien puisque Spinoza se le pose lui aussi \u2013 mais peut-\u00eatre Spinoza n\u2019est-il pas indemne d\u2019influences chr\u00e9tiennes ou jud\u00e9o-chr\u00e9tiennes\u2026 Dans la derni\u00e8re proposition de l\u2019\u00c9thique, Spinoza montre \u00e0 quel point la joie, ou la \u00ab\u00a0b\u00e9atitude\u00a0\u00bb, participe d\u2019une dynamique de renouvellement perp\u00e9tuel vers un au-del\u00e0\u00a0: \u00abLa b\u00e9atitude n\u2019est pas la r\u00e9compense de la vertu, mais son exercice m\u00eame\u00a0\u00bb. Il est indispensable de bien comprendre que la vertu, la virtus, c\u2019est la force, l\u2019\u00e9nergie (il en est de m\u00eame pour le grec ar\u00e9t\u00e8<\/em>)\u00a0\u00bb<\/p><\/blockquote>\n

 <\/p>\n

Jean-Luc Nancy. La possibilit\u00e9 d\u2019un monde<\/em>. Dialogue avec Pierre-Philippe Jandin. Paris, Les Petits Platons, 2013, p. 124-125.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text] Alegria que vem \u2013 cinco instant\u00e2neos E com uma alegria t\u00e3o profunda. \u00c9 uma tal aleluia. Aleluia, grito eu, aleluia que se funde com o mais escuro uivo humano da dor de separa\u00e7\u00e3o mas \u00e9 grito de felicidade diab\u00f3lica. Porque ningu\u00e9m me prende mais. Continuo com capacidade de racioc\u00ednio \u2013 j\u00e1 estudei matem\u00e1tica […]<\/p>\n","protected":false},"author":305,"featured_media":0,"parent":10,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-255","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/pages\/255","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/users\/305"}],"replies":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/comments?post=255"}],"version-history":[{"count":17,"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/pages\/255\/revisions"}],"predecessor-version":[{"id":366,"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/pages\/255\/revisions\/366"}],"up":[{"embeddable":true,"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/pages\/10"}],"wp:attachment":[{"href":"https:\/\/dlf.uzh.ch\/sites\/lajoie\/wp-json\/wp\/v2\/media?parent=255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}