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Para uma estética da Imanência: Cinema e Literatura em António Reis e Margarida Cordeiro
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A presente tese visa investigar a obra cinematográfica e literária de António Reis, tendo em conta o conceito de imanência deleuziana, através de uma abordagem interdisciplinar, relacional e não-historicista, de pendor empirista. Assim, tentar-se-á responder às seguintes questões: existe uma construção cinematográfica nos poemas de António Reis? Existe uma construção poética nos seus filmes e de Margarida Cordeiro? Quais os procedimentos e recursos estéticos em prática em ambos? Poder-se-á encontrar uma estética «comum» no cinema de Reis-Cordeiro e na poesia de António Reis? Para tal, a obra de Reis-Cordeiro será analisada como um conjunto ao longo de três capítulos principais: Da Terra, sobre as relações entre animal-vegetal-mineral (Deleuze, Nietzsche), Da Técnica, sobre os modos de saber-fazer e da montagem (Simondon, Benjamin) e Do Comum (Rancière), sobre as relações estéticas e políticas entre o cinema da poesia (Rosa Maria Martelo) e o cinema de poesia (Pasolini, Didi-Huberman) na obra de António Reis e de Margarida Cordeiro, tendo em consideração o modo enquanto forma-de-vida (Agamben).
This thesis aims to investigate the cinematographic and literary work of António Reis, taking into account the Deleuzian concept of immanence, through an interdisciplinary, relational and non-historicist approach with an empiricist bent. Thus, it will attempt to answer the following questions: is there a cinematographic construction in António Reis's poems? Is there a poetic construction in his films and those of Margarida Cordeiro? What are the aesthetic procedures and resources used in both? Can a “common” aesthetic be found in the cinema of Reis-Cordeiro and in the poetry of António Reis? To this end, the work of Reis-Cordeiro will be analysed as a whole over three main chapters: On Earth, on the relationships between animal-vegetable-mineral (Deleuze, Nietzsche); On Technique, on modes of know-how and montage (Simondon, Benjamin); and On Common (Rancière), on the aesthetic and political relationships between the cinema of poetry (Rosa Maria Martelo) and the cinema of poetry (Pasolini, Didi-Huberman) in the work of António Reis and Margarida Cordeiro, taking into account style as a way of life (Agamben).
This thesis aims to investigate the cinematographic and literary work of António Reis, taking into account the Deleuzian concept of immanence, through an interdisciplinary, relational and non-historicist approach with an empiricist bent. Thus, it will attempt to answer the following questions: is there a cinematographic construction in António Reis's poems? Is there a poetic construction in his films and those of Margarida Cordeiro? What are the aesthetic procedures and resources used in both? Can a “common” aesthetic be found in the cinema of Reis-Cordeiro and in the poetry of António Reis? To this end, the work of Reis-Cordeiro will be analysed as a whole over three main chapters: On Earth, on the relationships between animal-vegetable-mineral (Deleuze, Nietzsche); On Technique, on modes of know-how and montage (Simondon, Benjamin); and On Common (Rancière), on the aesthetic and political relationships between the cinema of poetry (Rosa Maria Martelo) and the cinema of poetry (Pasolini, Didi-Huberman) in the work of António Reis and Margarida Cordeiro, taking into account style as a way of life (Agamben).
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Cinema Literatura Estética Imanência António Reis Margarida Cordeiro Literature Aesthetics Immanence