Joan Brotat (Barcelona, 1920-1990) fue un artista destacado en el proceso de recuperación de la modernidad pictórica durante los años de la postguerra española, aunque luego cayó progresivamente en el olvido. Esta tesis estudia y establece su trayectoria profesional vinculada a su biografía personal (contexto familiar y social), a los factores inducidos por el sistema artístico local y en relación con en el contexto nacional e internacional (fortuna crítica, evolución artística y comercial). Brotat fue uno de los máximos exponentes de una tendencia que podríamos denominar como figuración primitivista. Definimos aquí las características de esta tendencia, su lugar frente a otras opciones de vanguardia de la época como la abstracción y apuntamos sus variantes y principales representantes. Abordamos también las razones de su declive a partir del análisis de la carrera profesional de Brotat. Descubrimos, gracias al estudio de su archivo familiar, la participación de Brotat en la guerra civil como parte de la Quinta del biberón republicana, hecho que escondió toda su vida y cuyo trauma influyó de toda evidencia en su obra. El análisis iconográfico y evolutivo del ingenuismo nos muestra una dimensión trágica y existencial. Así, su etapa expresionista, singular síntesis entre ingenuismo e informalismo, parece responder a una genuina necesidad psicológica. La comparación de su obra artística son sus proyectos profesionales en el campo de la ilustración infantil nos permiten hacer la diferencia entre naif el ingenuismo, que tanto preocupó a la crítica de la época. Un aspecto fundamental es el descubrimiento de una etapa abstracta a finales de los años cuarenta que contradice la jerarquía evolucionista que explica la figuración esquemática como un paso previo a la abstracción. El primitivismo ingenuista fue una opción consciente y deliberada. En su período de madurez, la obra de Brotat muestra una tendencia al amaneramiento y entra en decadencia, que se puede describir por la perdida de refinamiento y el estancamiento de los argumentos críticos que la apoyaron. La relación con los marchantes (Maurice Bonnefoy y Agustín Rodríguez Sahagún particularmente) se revela ambivalente en sus resultados. Lo mismo sucede con el aprovechamiento de la política artística franquista, dirigida por Luis González Robles. El primitivismo figurativo catalán de postguerra es una combinación coherente (aunque intuitiva y sin programa militante) de medievalismo e ingenuismo. El ingenuismo de vanguardia de postguerra tiene dos manifestaciones, a veces coincidentes y otras divergentes: la radical y la nostálgica. El primitivismo se apoyó en un discurso crítico específico y ocupó un lugar, móvil, en el debate artístico. Estudiamos las diversas fuentes de este primitivismo y constatamos la influencia fundamental de Joan Miró. De entre los referentes internacionales destaca Massimo Campigli. Asimismo, se encuentran paralelos y vínculos con artistas españoles como Rafael Zabaleta, Benjamín Palencia y el núcleo valenciano con Manuel Gil y Salvador Faus. Un caso especialmente interesante es el de Manolo Millares, quien tuvo una relación significativa con Cataluña en esos años. Entre los artistas catalanes, el primitivismo tuvo gran protagonismo y adoptó diversas formas. De Sucre o Joan Ponç representan la vertiente más radical y atormentada, Albert Ràfols Casamada o Joan Vilacasas la opción más ingenua y afrancesada. Se observa una clara tendencia a la politización (Francesc Todó, Josep Guinovart, Estampa Popular). La opción lírica o poética, representada especialmente por Brotat, fue dejada progresivamente de lado. A menudo teñido de nostalgia y religiosidad, coincidente con cierta moda franciscanista, el discurso teórico al respecto del primitivismo fue ambivalente y pasó de la modernidad al conservadurismo. La constatación de una corriente primitivista, de la cual Brotat sería la figura paradigmática en su éxito y su fracaso, obliga a repensar el canon del arte catalán de postguerra. El primitivismo no fue un estadio inmaduro de la modernidad en el camino hacia la abstracción sino que responde al contexto histórico particular de la España de postguerra con soluciones originales. / Joan Brotat (Barcelona, 1920-1990) was a prominente artist in the process of recovery of pictorial modernity in Spain after the Civil War, but then his work gradually fell into oblivion. This thesis studies his professional career, in relation to his personal biography (family and social context), the local art system, and the national and international context (critical fortune, artistic and commercial development). The thesis proposes that Brotat was in fact a paradigmatic figure of a primitivist tendency. Primitivism was not an immature stage of modernity on the way toward abstraction, but responded to the particular historical context of Postwar Spain with original solutions. The success and then failure of Brotat and Primitivism invites to reconsider the canon of Postwar Catalan art. Untill his death, Brotat did hide his involvement in the Civil War, a trauma that marked his work and existence. The iconographic analysis and the evolution of his modern naif style shows a tragic and existential undertones. A key aspect is the discovery of an abstract stage in the late forties contradicting the evolutionary hierarchy that explains schematic figuration as a step toward abstraction. On the contrary, naive primitivism was a conscious and deliberate option. Postwar Catalan Figurative Primitivism was a coherent mix of medievalism and naiveté(although without a declarated program). The naiveté of postwar art has two aspects : the radical and nostalgic, which sometimes appear together and sometimes separately. Among Catalan artists, primitivism had great prominence and took various forms. De Sucre or Joan Ponç represent the more radical and tormented side, Albert Rafols Casamada or Joan Vilacasas the most naive and influenced by French modernism. There is, later, a clear trend towards politization (Francesc Todó Josep Guinovart, Estampa Popular). We studied the various sources of this primitivism and found the fundamental influence of Joan Miró and Massimo Campigli. Likewise, there are links to Spanish artists such as Rafael Zabaleta, Benjamín Palencia, the valencians Manuel Gil and Salvador Faus or Manuel Millares. Often tinged with nostalgia and religiosity, in sinthony with a Franciscan fashion, the theoretical discourse about primitivism was ambivalent and evolved from modernity to conservatism.

Las relaciones existentes entre el cinematógrafo y las artes plásticas durante las primeras décadas del siglo XX son una de las señas de identidad de un período artístico protagonizado por los movimientos vanguardistas. En efecto, fotografía y cine se unen a pintura y escultura en el maremagno de creatividad y experimentación que vivió el arte al calor de las vanguardias históricas. Pese a ser numerosas y evidentes las influencias que el cine recibió de las artes plásticas en esas primeras décadas del siglo, lo que se quiere abordar en esta investigación no es esta vinculación sino, precisamente, su inversa. De lo que se trata, pues, es de investigar, evidenciar y explicar las influencias del medio cinematográfico en las artes plásticas, a nivel formal, expresivo o iconográfico, influencias que, como es lógico, resultan especialmente significativas en la pintura. / The existing relations between the cinematograph and the plastic arts during the first decades of the 20th century are one of the identity signs of an artistic period led by the avant-garde movements. In fact, photography and cinema join painting and sculpture in the maremagnum of creativity and experimentation that art lived with the historical avant-garde. In spite of the fact that the influences that cinema received from plastic arts in these first decades of the century are numerous and evident, what must be faced in this investigation is not this link but, precisely, his opposite. What we are dealing with, thus, is investigating, demonstrating and explaining the influences of the cinematographic means in the plastic arts, at a formal, expressive or iconographic level, influences that, naturally, turn out to be specially significant on painting.

This thesis proposes a theoretical framework for spatial inquiry into conditions of radical social gregariousness, through probing the crowd design problem in the work of the Soviet Rationalist architects (1920s-30s) - particularly their submissions to the Palace of Soviets competition (Moscow 1931-3). Legitimizing the crowd construct as an index of collective consciousness, and examining the early-modern revolutionary crowd's struggles for proclaiming its self-consciousness, this thesis investigates the interwar political phenomenon of amassing large crowds within buildings as a device for constructing collective social relations. The research project is divided into two main parts. The first is concerned with the crowd design problem, identifying this problem not just as the technical task of accommodating large political crowds, but as the basis of the formulation a new kind of conceptual intent in architecture. Finding the competition brief inadequate to in-depth formulation, the thesis investigates three primary sources for the crowd design problem: mass-events, revolutionary-theatre and revolutionary-art. Four components comprise the Crowd Design Problem each seeking legitimacy in the mass of crowd-bodies: i) the problem of crowd configurations; ii) challenges from the kinesthetic-space conception evoked by theatrical director V.E. Meyerhold's Biomechanics; iii) the legitimacy of 'the object' within a spatial-field of intersubjectivity; and iv) the challenge of 'seeing' crowds from immersive viewpoints counteracting representational filters of class privilege. Part-II focuses on the response of the Rationalists--one of the groups participating in the competition--to the crowd design problem. The study unearths in their designs a logic of space-making founded in the construction of inter-subjective states of consciousness radically different from prevailing individualistic conceptions of social space. To explain this logic of space-making, it proposes the notion of Gregarious Space--a theoretical framework of inquiry into what Marx called "species-being", taking radical gregariousness as the primary, generative condition of society. Besides drawing on morphological principles, social theory, historical analyses, and philosophical reflections, the notion of Gregarious Space is found to be particularly amenable to design propositions. Within the proposed theoretical framework, the Rationalists' design-proposition of curved-grounds, dense notations, textured co-visibilities and empathetic graphic conventions - all comprise a founding spatial-principle trafficking in rhythmic fields between subjects and against non-commodified objects: a principle which challenges the material domain of Productivist Constructivism as well as Historical Materialism's canonical constructs of alienation. Moreover, its uncertain kinesthetics sustain dynamic, aleatory states of consciousness which subvert prevailing disciplinary techniques of Panopticon inspection.

Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique. / This master’s thesis is a study of the whole series Aux Abattoirs de la Villette, photographed by Eli Lotar in 1929. It demonstrates how the thirty-four prints were merged into Georges Bataille’s philosophy by the art historians of the 1990’s who based their interpretations upon the text « Abattoir ». This was published under the heading Dictionnaire critique inside Documents magazine. The series is taken apart from Bataille’s purpose in light of Lotar’s preoccupations and of the other editions of the photographs during the inter-war period. The first chapter insists on Eli Lotar’s photographic education preceding his visit to La Villette’s site in context with the slaughterhouse’s topic in the art Avant-garde. Then, it evaluates Aux Abattoirs de la Villette’s critical review based on Bataille’s conceptions of formless and sacrifices. The second chapter analyses the authorship conferred to the photomontages carried out by E.L.T. Mesens in Variétés (1930), who accentuates the similarities between the photographic and the slaughter cutting operations, and by Carlo Rim in Vu (1931), who reveals the human dimension of La Villette’s industry. The third chapter focuses on Lotar’s social preoccupations by according an importance to his collaborations with Germaine Krull and Joris Ivens. Finally, the series is addressed in an "intermediatic" perspective to emphasize the photographic point of view by comparing it with the painting Abattoir by André Masson, the poem Porte Brancion by Raymond Queneau and the film Le sang des bêtes by George Franju.

Le collage et le cut-up sont deux " procédés " apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cutup, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des " papiers collés " de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux " procédés ", qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : " L'écriture a cinquante ans de retard sur la peinture ", en entendant par là appliquer à la lettre - et à la littérature - la pratique même des " papiers collés " des expérimentations cubistes. Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie. C'est sur l'histoire de ces cinquante années " de retard " que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate

Thesis (M.A.)--Indiana University, 2008. / Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).

Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées par la culture — avec des enjeux esthétiques. Il est donc question de traduction poétique comme actualisation de la situation politique, et de transmédiation.L’approche stylistique a été progressivement supplantée par une approche médiologique pour problématiser des pratiques hétérogènes. La spécificité de la maison d’édition Al Dante nous permet de replacer le livre dans un écosystème poétique plus général, où le livre n’est plus la seule finalité, mais la médiation entre un processus de création et des manifestations publiques. Aussi peut-on lire ce moment contemporain non seulement comme l’émergence de thématiques dominantes, mais aussi comme une mise en crise de la centralité du livre et de son économie. La pratique des éditions Al Dante nous a donc amenés à défendre une « théorie du geste éditorial » qui ne se réduit pas à la mise en page d’un manuscrit, la production d’un livre et sa commercialisation, mais amène parfois à la création de livres qui ne possédaient pas d’espace éditorial. Repousser les frontières de l’édition, penser la spécificité du livre de « poésie-action » n’est pas sans paradoxes : déstructuration de la linéarité des discours, reconfiguration de l’espace de la page, adaptation spécifique des formats des livres et des polices de caractères. Ces pratiques ont pour enjeu la dimension performative du livre. En cela, on participe d’une manière renouvelée à une « performance typographique ». / This doctoral thesis offers to study poetic practices in and out of the book from poets’ itineraries published by the Al Dante publishing house. The thesis is questioning the performance's notion, most often reduced to its scenic's dimension, but also the avant-garde's idea, too often limited to a political history which has ended. The avant-garde notion doesn't appear anymore as the element structuring the group but as an acting spectrality, leading to mix political issues - criticism of the institutions, criticism of the dominant language, challenges the places assigned by culture - with aesthetic issues. It is therefore a question of poetic translation as actualization of the political situation, and of transmediation. The stylistic approach has been gradually supplanted by a mediological approach to problematize heterogeneous practices. The Al Dante publishing house specificities allow us to see the book in a more general poetic ecosystem, where the book is no longer the only purpose, but the mediation between a process of creation and public events. So we can read this contemporary moment not only as the emergence of dominant themes, but also as a crisis of the book’s centrality and its economy. The Al Dante publishing house practices has led us to defend a theory of “editorial gesture” that cannot be reduced to the layout of manuscript or the production of a book and its marketing, but sometimes leads to the creation of books that didn’t find an editorial space. To push the boundaries of edition, to think the specificity poetry-action’s book is raising paradoxes: the disintegration of the linearity of the speeches, the reconfiguration of the page’s space, the specific adaptation of the books forms and fonts. These practices concern the book’s performative dimension. So it participates in a renewed way to a "typographic performance".

A pesquisa aqui apresentada centra-se na movimentação cultural conhecida como Movimento Mangue ou Manguebeat, que tomou forma no Recife, na década de 1990. Mais especificamente, estudam-se as obras das duas bandas de maior repercussão dentro do movimento: Chico Science & Nação Zumbi e Nação Zumbi. Através de sua descrição e estudo, deseja-se verificar se é possível caracterizar o Manguebeat enquanto um movimento de vanguarda. Para isso, busca-se nos estudos de Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, entre outros críticos, uma definição para o conceito de vanguarda. Depois, procura-se traçar de que modo os conceitos angariados norteariam as análises desta dissertação. A seguir, verifica-se a possível existência de duas vertentes dentro do Manguebeat: uma representada por Chico Science & Nação Zumbi e por Nação Zumbi e seu conceito de Mangue; e outra que agrupa os demais artistas participantes da movimentação. Ao fazer esta distinção, é possível compreender as diferenças entre o trabalho das duas primeiras bandas e o dos outros vários artistas que também se integraram ao movimento. Será visto que Chico Science & Nação Zumbi e Nação Zumbi concentram em suas canções um ideal vanguardista bastante relevante, especialmente no que concerne o afastamento do particular, conforme noção de Guillermo de Torre. Foi organizado, então, um corpus de canções dessas bandas, de modo a verificar quais características vanguardistas encontradas nos estudos acerca do tema estariam presentes em suas obras. Busca-se também mostrar alguns aspectos e trabalhos mais relevantes dentre aqueles que fazem parte do segundo conjunto de artistas, que também fizeram parte do movimento, mas compartilhando com as primeiras apenas a noção de liberdade criativa, e não todos os preceitos do conceito de Mangue. Acredita-se que foi possível determinar que tanto o trabalho de Chico Science & Nação Zumbi e Nação Zumbi, quanto o Manguebeat como um todo, podem ser considerados movimento de vanguarda, graças, entre outros aspectos, à ruptura que provocam em seu contexto cultural. / The research presented here is focused in the cultural movement known as Movimento Mangue or Manguebeat, which appeared in the Brazilian city of Recife in the 1990’s. More specifically, the works of the two most important in the movement bands is studied: Chico Science & Nação Zumbi and Nação Zumbi. Through its description and study, it is wished to verify if it is possible to characterize Manguebeat as an Avant-garde movement. In order to achieve that objective, we will analyze the studies of Guillermo de Torre, Peter Bürger, Gonzalo Aguilar, Antonio Candido, Ferreira Gullar, and other critics, searching for a definition to the concept of Avant-garde. Afterwards, we will trace in which ways the concepts raised will guide the analysis of the thesis. Hereafter, a possible existence of two sides inside Manguebeat will be verified: one represented by Chico Science & Nação Zumbi and Nação Zumbi and their concept of Mangue; and another one that groups the other artists that took part in the movement. By making this distinction, it will be possible to understand the differences between the work of the two first bands cited and that of the other artists that also joined the movement. It is observed observed that Chico Science & Nação Zumbi and Nação Zumbi concentrate in their songs an Avant-garde ideal quite relevant, especially in what concerns the rejection of what is particular, following the notion of Guillermo de Torre. A corpus will then be organized, formed by songs of these two bands, in order to verify which Avant-garde characteristics found in the studies of the theme would be present in their works. It is also our intention to show some aspects and more relevant works among those that are part of the second group of artists: those who took part in the movement, but only sharing with the first two the notion of creative freedom, and not the whole concept of Mangue. It is intended then to determine whether both the works of Chico Science & Nação Zumbi and Nação Zumbi and Manguebeat as a whole can be considered Avant-garde, thanks to, among other aspects, the break they bring to their cultural context.

Trata-se de uma leitura crítica do romance On the Road, do escritor norte-americano Jack Kerouac, cujas vida e obra representam a insatisfação social e a manifestação artística de uma geração de poetas e novelistas denominada, nas décadas de 50 e 60, The Beat Generation ou The Beatniks. Esta leitura consiste em uma investigação para estabelecer relações entre a tríade autor-narrador-protagonista na narrativa proposta. Como apoio teórico temos o olhar do filósofo alemão Walter Benjamin. O enfoque escolhido contempla as reflexões de Benjamin sobre autoria, experiência e modernidade; mas, sobretudo, privilegia a sua concepção do flâneur; uma vez que o objetivo do trabalho é mostrar o movimento e o papel exercido pelo mesmo, tanto no corpus literário como na vida do autor Beatnik. Para tanto, esta dissertação está dividida em três partes. A primeira apresenta um breve histórico da situação dos Estados Unidos no pós-guerra, a fim de contextualizar e discutir a criação do movimento Beat como vanguarda artística daquela época. A segunda parte introduz o pensamento de Walter Benjamin acerca do flâneur. Destaca, também, fatos e momentos relevantes de sua vida e obra. Apresenta, ainda, o ponto de vista de Sérgio Rouanet sobre a obra do filósofo. O terceiro momento analisa o romance On the Road em conexão com os movimentos do flâneur e no âmbito da tradição de Literatura de Viagem, dando relevância às questões de autoria. Deste modo, na conclusão, espera-se legitimar o papel do flâneur no espaço narrativo e, também, histórico-social daquela geração. / This is a critical reading of On the Road, a novel by the North American writer Jack Kerouac, whose life and work represent the social dissatisfaction and the artistic manifestation of a generation of poets and novelists denominated, in the decades of 50 and 60, The Beat Generation, or The Beatniks. The work consists of an investigation to establish relationships among the triad author-narrator-protagonist in the proposed narrative. Supported by the theory of Walter Benjamin, the chosen theme contemplates the reflections of Benjamin about authorship, experience and modernity; but, above all, it privileges his conception of the flâneur; once the objective of the work is to show his movement and role in the literary corpus, as well as in the life of the Beatnik author. This thesis is divided in three parts. The first presents a brief historical comment on the situation of the United States in the postwar period, in order to contextualize and discuss the creation of the Beat Movement as an avantgardist manifestation. The second part introduces Kerouac and Benjamin, highlighting facts and important moments of their lives and work through the movements of the flâneur. The third moment analyzes On the Road in connection with Walter Benjamin's thoughts and in the extent of the tradition of Travel Literature, emphasizing the relevance of authorship. In the conclusion, I expect to legitimate the role of the flâneur in the narrative and socio-historical scope of that generation.