Tapybos darbų kolekcijoje nagrinėjama socialinė, psichologinė problematika, kur formų, spalvų, dėmių ir kitų detalių visuma virsta tam tikra ženklų sankaupa, paveiki psichologinėmis formomis. Visa tai transformuojasi į trijų darbų kolekciją : " TARP MEILĖS IR PRIKLAUSOMYBĖS/STOKHOLMO SINDROMAS1/ODI DE AMO2" - tai psichologinė emocinė sąvoka reiškianti, įkaito priklausomybę nuo kito žmogaus arba tam tikras dvilypiškumo sąsajas. Personažai, turintys skirtingus vaidmenis, pvz., lyčių stereotipus,”<...> kai moteris sąmoningai tapatinasi vien su savo moteriškumu ir ignoruoja animus (t.y vyriškumo) energiją, jai sunku būti objektyviai, diferencijuoti, vertinti, atsirinkti, orientuotis pasaulyje. Visas šias funkcijas ji perleidžia vyrui ir dėl to yra priklausoma nuo jo <...>”3. Tai rodo vyro ir moters, skirtingus simbolinius opozicinius lyčių skirtumus. Vyro - dominavimą, valdžią, moters – paklusnumą. Taigi trapios, dramatiškai inscenizuotos moteriškos figūros, pasimetusios uždaroje erdvėje, apsuptos vyriškumo, parodo „<...>žmogaus izoliaciją ir kovą, o kartu nuolatinį poreikį grįžti į pradžią ir pradėti iš naujo<...>“.4 Darbų ciklui sukurti naudojamos skaitmeninės fotografijos, eskizai, tapybiniai bandymai. Remiantis sukaupta vizualine medžiaga, eskizavimu, sukurta trijų darbų kolekcija, aliejinės tapybos bei graffiti technologijomis ant medžio plokštės. / In collection of paintings, topic and expression, analyses the social, psychological problems, where forms, colors, spots and other parts of a whole becomes particular aggregate of signs, influencing psychological forms. This entire are being transformed into a collection of three works " between love and addiction / STOCKHOLM SYNDROME / ODI DE AMO - this is a psychological concept of emotion which means dependence on other person or particular links of ambivalent. Personages have different roles, such as, stereotypes of gender, " ... when a woman deliberately identifies themselves only with their own femininity and ignores the animus (i.e., masculinity ) energy, it is difficult to be objective, to differentiate, evaluate, select and oriented in the world. All these functions that she gives to man and for this she is dependable on him <..>. This represents men’s and woman's different symbolical oppositions genders differences. Man's - dominance, authority, women’s - humility. So fragile, staged a dramatic female figures, lost in an enclosed space surrounded by the male, shows " ... the human isolation and fight, and together the constant need to go back to the beginning and start over ... ".4 To create a cycle of works are being used digital photography’s, sketches, and tests of paintings. Sustaining stored visual materials, sketching, was created a collection of three works, oily paintings and technologies of graphities on panel of wood.

Den här uppsatsen behandlar genusmarkörer i Axel Törnemans sena konstnärskap. Syftet är att undersöka maskulina och feminina markörer i fyra av konstnärens målningar: Gatans rytm (1916), Gudrun i blått (1917), Mazeppa (1918) och Ungdom (1919). Dessutom diskuteras huruvida konstverkens motiv har förbindelser med samtida uppfattningar kring könsroller. Frågeställningarna berör först hur en möjlig relation mellan markörerna gestaltas och problematiseras i konstverken, sedan hur detta kan ge perspektiv på tidsperiodens föreställningar om könsroller. Metoden går ut på att först undersöka maskulina och feminina markörer i målningarna, därefter diskuteras möjliga relationer till kontexten. Studien är disponerad på fyra huvudkapitel där varje målning analyseras och tolkas mot bakgrund av samtida idéströmningar. I uppsatsen analyseras även den tidigare forskningens förhållningssätt till konstnärens motivkrets under 1910-talet. Den avslutande diskussionen bygger på en sammanställning av de fyra tolkningarna.       Studien visar på såväl likheter som skillnader mellan konstverk och kontext. Av tolkningarna framgår att Törnemans målningar innehåller drag som är förankrade i och anknyter till samtida diskussioner kring könsroller. Metoden öppnar dock upp för mångbottnade perspektiv. Målningarnas maskulina och feminina markörer präglas av en dubbeltydighet och tolkningarna framhåller ambivalenta aspekter.

This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership. / Department of English

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

Mémoire (M.A.)--Univesité du Québec à Chicoutimi, 1995. / Document électronique également accessible en format PDF. CaQCU

Issued also as thesis, Hamburg. / Includes bibliographical references (p. [181]-184).

Jakob Steinhardt (1887 - 1968) has been ranked among the most significant German-Jewish artists of the 20th century. He became famous for his woodcuts depicting Jewish motives such as his Pessach-Haggada. He was also an important representative of the so-called Jewish Renaissance. The aim of this thesis is to present his persona in the context of German-Jewish history in the first three decades of the 20th century. The thesis tries to reconstruct his circle of artists and to analyse the Jewish constructions of identity. Methodologically, the thesis is based on the concept of cultural transfer; at the same time it also draws from historical analyses of social bonds and from the Visual Turn writings. The primary sources consist of individual pieces of visual arts, Steinhardts` guest books, his diaries, memoires of his wife and the then press. Key words: Judaism, Identity, Sionism, Jewish Renaissance, Expressionism, Jakob Steinhardt

[pt] Este trabalho se propõe a estudar o diálogo entre elementos da cultura romântica expressos no filme Nosferatu, de Friedrich Wilhelm Murnau - sem deixar de lado as influências do movimento Expressionista e do contexto sóciocultural da Alemanha pós-guerra, partindo da observação do historiador Robert Gerwarth (2006) acerca da predominância dos estudos culturais e históricos que ligam os acontecimentos da República de Weimar (1918-1933) ao passado imediato da Grande Guerra, obliterando influências anteriores a ela, e também levando em conta a tese de Rosenblum (1975) que aponta a existência de uma tradição romântica nórdica. / [en] Considering the ideas of the historian Robert Gerwarth (2006) concerning the predominance of the cultural and historical studies that bind the events of the Republic of Weimar (1918-1933) to the immediate past of the Great War, obliterating previous influences on this period, and also taking in account the thesis of Rosenblum (1975) that points to the existence of a Romantic northern tradition, this work intends to study the dialogue between elements of the Romantic culture expressed in Friedrich Wilhelm Murnau´s Nosferatu film - without leaving aside the influences of the Expressionist movement and the sociocultural context of Germany´s postwar period.

Made available in DSpace on 2015-12-10T14:24:35Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-05-30. Added 1 bitstream(s) on 2015-12-10T14:30:49Z : No. of bitstreams: 1 000851844.pdf: 1698016 bytes, checksum: 334e0d02b1077c807dd71f35fe60e4c9 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Résumé: La critique la plus traditionnelle, sur la base du biographisme, avait la tendance à voir les poèmes du exil inférieurs aux poèmes de la phase amoureuse d'Ovide. La raison en était la crédulité aux vers déterministes du énonciateur ovidien, présentes dans le recueil des Tristes. Selon cet énonciateur, les conditions défavorables du banissement seraient responsables pour une rédaction moins élaborée en esthétique que celle des vers des oeuvres précédentes. Mais la comparaison entre les élégies de cette phase e les autres de la phase dite amoureuse montre un même style, qui semble imprégner toute sa production élégiaque . Ce style de composition, fondé sur l'utilisation libre de l'expressivité artistique, était également responsable du fait que le poète latin a été marqué, par divers chercheurs, comme rhétorique et exagéré . Cependant, les analyses des textes qu'ont été faites au cours du travail de recherche indiquent que l'utilisation de figures de style dans la composition des vers suggère des nouvelles possibilités de significations textuelles. Ainsi, il y a une espèce d'approbation entre les deux plans du langage, le plan de l'expression et le plan du contenu, qui permet voir que les relations phonologiques dans le texte sont aussi des relations sémantiques. On s'interroge, alors, sur la pertinence des études qu'ont le biographisme comme une méthode d'analyse, car il détermine trop et délimite généralement les études sur Ovide. Par contre, il faut proposer des analyses qui mettent en scène une attention spéciale aux relations interdiscursives - entre les poèmes d'Ovide -, c'est à dire, celles qui privilégient la vérification et l'interprétation des figures de style qui traversent les élégies des différentes phases d'écrite du poète e qui peuvent apporter, comme conséquence, des nouvelles lectures / A crítica mais tradicional ao poeta latino Ovídio, tendo como base o biografismo, tendeu a ver, nos poemas do exílio, obras inferiores àquelas das outras fases de sua produção poética. O motivo para isso foi a credulidade nas afirmações deterministas do próprio enunciador ovidiano, presentes nas elegias do desterro, de que as condições adversas de escrita seriam responsáveis por textos com menos qualidade estética que os anteriores. No entanto, comparando-se elegias dessa fase com as de sua fase erótico-amorosa, percebe-se um mesmo estilo, perene, que perpassa toda sua produção elegíaca. Esse estilo de composição, fundado na utilização mais livre de recursos expressivos, também foi responsável pelo fato de o poeta latino ter sido tachado, por parte de seus estudiosos, como retórico e exagerado. Contudo, as análises feitas aos textos indicam que a utilização de figuras de linguagem na composição dos versos sugere novas possibilidades de sentidos textuais. Assim, há homologação entre os planos da expressão e do conteúdo, em que relações fonológicas, no texto, também constituem relações semânticas. Deste modo, questiona-se o biografismo como método de análise, pelo que ele condiciona e delimita os estudos a respeito de Ovídio. Propõem-se, em contrapartida, análises que levem em conta, de forma predominante, relações interdiscursivas, ou seja, aquelas que, privilegiando a verificação e interpretação dos recursos expressivos, possam trazer novas leituras

Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-13T15:18:05Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.docx: 9189974 bytes, checksum: 29339496b1219b1498511af60925970d (MD5) / Rejected by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br), reason: Solicitamos que realize uma nova submissão seguindo as orientações abaixo: 1 - O formato do arquivo deve ser em PDF. Agradecemos a compreensão on 2018-09-14T12:59:08Z (GMT) / Submitted by Fernando Henrique Bononi Verga (fernando.jornalista@hotmail.com) on 2018-09-14T18:24:38Z No. of bitstreams: 1 MESTRADO VERSÃO FINAL.pdf: 4497219 bytes, checksum: 55da3c3f476f9427ecd58c594330f2cf (MD5) / Approved for entry into archive by Lucilene Cordeiro da Silva Messias null (lubiblio@bauru.unesp.br) on 2018-09-18T12:31:31Z (GMT) No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) / Made available in DSpace on 2018-09-18T12:31:31Z (GMT). No. of bitstreams: 1 verga_fhb_me_bauru.pdf: 4396149 bytes, checksum: 4c3311752700bd81b53f54fd6a536680 (MD5) Previous issue date: 2018-08-22 / Este estudo mostra como o Romantismo alemão influenciou e moldou uma geração de filmes que se transformaram em ícones da cinematografia mundial e constituíram um gênero próprio de seu tempo, o expressionismo. Através da metodologia de análise cinematográfica de Vanoye e Goliot-Lété, apoiada pela concepção de contextualização histórica de Marc Ferro, apresenta-se uma leitura dos aspectos românticos presentes nos filmes O Gabinete do Dr. Caligari (1919), de Robert Wiene, O Golem – Como veio ao mundo (1920), de Paul Wegener, e Nosferatu (1922), de F. W. Murnau. A análise evidencia que essa influência está presente em todos os aspectos dos filmes, sendo notada nas narrativas, na estética e no uso das técnicas cinematográficas, construindo uma mise-en-scène que estabelece uma atmosfera para cada obra e revela uma crítica em relação à modernidade. / This study shows how Romanticism influenced and shaped a generation of movies that became icons of the world cinematography and constituted a genre of its time, the expressionism. Through Vanoye and Goliot-Lété film analysis methodology, supported by Marc Ferro’s conception of historic contextualization, it presents an interpretation of the romantic aspects present on the following movies: The Cabinet of Dr. Caligari (1919), by Robert Wiene, The Golem (1920), by Paul Wegener, and Nosferatu (1922), by F. W. Murnau. The analysis evince that this influence is present in all aspects of the movies, being noted in narrative, aesthetics and in the use of cinematography techniques, building a mise-en-scène that creates an atmosphere for each work and reveals a criticism about the modern times.