No description available.

Although working in two different mediums, Jackson Pollock, Martha Graham, and Merce Cunningham created works during the 1940s and 1950s that share several analogous formal characteristics, as well as a body-centered process that reminded viewers of both the corporeality of the artists and of themselves. My thesis identifies and interprets the formal analogies evident in each the artists' approach to asymmetry, repetition, gravity, and space. I argue that the common aspects among the works of the three artists resulted from their participation in a shared modernist discourse circulating post-war America, especially in New York. This discourse provided the artists access to common sources of inspiration, such as the writings of Carl Jung, Native American imagery, and Asian cultures. Each of these elements characterizes the work of all three artists, along with similar ideas concerning the individual, national identity, and modern technology. / Art History

The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.

Josef Čapek belonged among those Czech artists who dealt with problems of form and function of a modern art work in the beginning of 20th century. Both theoretical reflections on art and his early fiction represent Čapek's specific approach to the debate about modern and avant-garde currents in the times of stylistically inconsistent situation. This thesis analyses the confrontation of aesthetic principles of these art movements. Its focus is to show to what extent was Josef Čapek influenced by the principles of the individual movements and to describe the way in which he acquired and modified them. The goal is to outline Čapek's path from a survey of modern forms to his own independent viewpoint. Key words Josef Čapek, Modern Art, Manifest Česká moderna, Neoclassicism, Cubism, Expressionism

S'appuyant sur les paradoxes traditionnels que la théologie définissait à partir d'une essence angélique, le XXe siècle poétique éprouve une fascination universelle pour l'ange. Cet engouement apparaît d'autant plus curieux qu'il s'exerce sur l'ensemble des sensibilités poétiques. En outre, ces usages apparaissent si divers et si contradictoires que l'apparition angélique acquiert la propriété radicalement originale de pouvoir supporter indifféremment toute intention d'auteur, et celle plus curieuse encore d'échapper aux intentions premières d'un poète pour développer un sous-discours indépendant. L'ange marque un régime de discours par lequel les différentes instances du discours poétique coexistent dans une relation encore indivisée ; le messager angélique désigne très précisément l'instant où le chaos intime d'un sujet se métamorphose en langage articulé. Cette exploration du phénomène angélique est divisée en trois étapes, consacrées chacune à un corpus différent. L'étude de l'ange comme figure explore les nombreuses variations d'une apparition à l'autre, motivées par des hésitations d'ordre religieux, temporel, civilisationnel, politique et esthétique dans les œuvres de Guillaume Apollinaire pour le domaine français, et d'Odysseus Elytis pour le domaine grec. L'analyse de l'ange en tant que support d'une relation intime du sujet à lui-même interroge de façon plus large les expériences poétiques austro-allemande d'une part, mexicaine d'autre part. Sont enfin envisagées dans le domaine français deux tentatives de constitution d'un langage angélique en poésie, à travers les œuvres majeures de Patrice de La Tour du Pin et de Christian Gabriel/le Guez-Ricord. / Relying on traditional paradoxes that theology defined from an angelic essence, the poetry of the twentieth century expresses a universal fascination towards angels. This attraction appears all the more curious as it applies to all observable poetic sensibilities. In addition, these practices turn out to be so diverse and contradictory that angelic appearance acquire a radically original property to withstand any intention of the author, and the even more curious one to escape the immediate intentions of a poet, developing a secondary speech of its own. The angel marks a way of speech in which different instances of poetic discourse coexist in a still unindividuated relation. The angelic messenger indicates the precise moment when the inner chaos of a subject is transformed into articulate language . This exploration of the angelic phenomenon will be divided into three steps, each dedicated to a different corpus. The study of the angel as a visual figure will explore the many variations from an apparition to another, motivated by hesitations of religious, temporal, civilizational, political and aesthetic kind, as they appear in the poetic works of Guillaume Apollinaire for the French literature, and those of Odysseus Elytis in the Greek linguistic area. The analysis of the angel as a support of an intimate relationship of the subject to itself more broadly interrogate the Austro-German poetic experiences on the one hand, the Mexican on the other hand. Eventually, two attempts to form an angelic language in French poetry will be considered, through the respective major works of Patrice de La Tour du Pin and Christian Gabriel/le Guez-Ricord.

Esta dissertação apresenta um estudo de aspectos históricos e conceituais do sprechgesang (canto falado) usado por Arnold Schoenberg no seu melodrama Pierrot Lunaire, op 21. O estudo tem por finalidade principal apresentar sugestões de interpretação para a execução da obra quando adaptada ao texto recriado para o idioma português pelo poeta Augusto de Campos. Inicialmente são apresentadas três trajetórias históricas: a primeira enfoca a transformação do personagem Pierrot através dos tempos e regiões da Europa, a segunda, a evolução do uso da declamação no gênero literomusical melodrama, e a terceira, a presença do gênero melodrama na evolução da obra de Arnold Schoenberg. Em seguida, são estudados aspectos conceituais específicos de Pierrot Lunaire por meio de elaboração de análises comparativas. Três interpretações da obra, registradas em cd comercial por artistas consagradas, são usadas como objeto de estudo para estas análises, cujo interesse maior se concentra na compreensão das múltiplas possibilidades de leitura do sprechgesang. Por fim, como aplicação prática dos conceitos estudados neste trabalho, foi criada, em parceria com a cantora Erika Muniz, uma interpretação para o sprechgesang de Pierrot Lunaire adaptado ao português. / This dissertation presents a study on conceptual and historical aspects of Arnold Schoenberg\'s use of Sprechgesang (speech-singing) in his melodrama Pierrot Lunaire, op. 21. The study aims primarily at building up interpretative patterns for a particular version of the piece - adapted to a recreation of the text in Portuguese by the poet Augusto de Campos. Initially, three historical approaches are presented: the transformation of Pierrot through time and places in Europe; the evolution of the use of recitation in the \"literary-musical\" genre melodrama; and the presence of the genre melodrama in Arnold Schoenberg\'s work. Then, specific conceptual aspects of Pierrot Lunaire are studied through comparative analysis. For this, three interpretations of the piece, recorded in commercial CDs by recognized artists, are used as object. The analysis focuses chiefly on comprehending the multiple reading possibilities of Sprechgesang. Finally, in order to apply the concepts studied in this work, an interpretation for the Sprechgesang in Pierrot Lunaire adapted to Portuguese was created. This was done in a partnership with the singer Érika Muniz.

Esta dissertação apresenta um estudo de aspectos históricos e conceituais do sprechgesang (canto falado) usado por Arnold Schoenberg no seu melodrama Pierrot Lunaire, op 21. O estudo tem por finalidade principal apresentar sugestões de interpretação para a execução da obra quando adaptada ao texto recriado para o idioma português pelo poeta Augusto de Campos. Inicialmente são apresentadas três trajetórias históricas: a primeira enfoca a transformação do personagem Pierrot através dos tempos e regiões da Europa, a segunda, a evolução do uso da declamação no gênero literomusical melodrama, e a terceira, a presença do gênero melodrama na evolução da obra de Arnold Schoenberg. Em seguida, são estudados aspectos conceituais específicos de Pierrot Lunaire por meio de elaboração de análises comparativas. Três interpretações da obra, registradas em cd comercial por artistas consagradas, são usadas como objeto de estudo para estas análises, cujo interesse maior se concentra na compreensão das múltiplas possibilidades de leitura do sprechgesang. Por fim, como aplicação prática dos conceitos estudados neste trabalho, foi criada, em parceria com a cantora Erika Muniz, uma interpretação para o sprechgesang de Pierrot Lunaire adaptado ao português. / This dissertation presents a study on conceptual and historical aspects of Arnold Schoenberg\'s use of Sprechgesang (speech-singing) in his melodrama Pierrot Lunaire, op. 21. The study aims primarily at building up interpretative patterns for a particular version of the piece - adapted to a recreation of the text in Portuguese by the poet Augusto de Campos. Initially, three historical approaches are presented: the transformation of Pierrot through time and places in Europe; the evolution of the use of recitation in the \"literary-musical\" genre melodrama; and the presence of the genre melodrama in Arnold Schoenberg\'s work. Then, specific conceptual aspects of Pierrot Lunaire are studied through comparative analysis. For this, three interpretations of the piece, recorded in commercial CDs by recognized artists, are used as object. The analysis focuses chiefly on comprehending the multiple reading possibilities of Sprechgesang. Finally, in order to apply the concepts studied in this work, an interpretation for the Sprechgesang in Pierrot Lunaire adapted to Portuguese was created. This was done in a partnership with the singer Érika Muniz.

Made available in DSpace on 2016-03-15T19:45:41Z (GMT). No. of bitstreams: 1 Juliana Vilar Rodrigues Cardoso.pdf: 3687764 bytes, checksum: bc551d05b01bc005918918610d65d400 (MD5) Previous issue date: 2012-08-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The relationship between literature and the visual arts is very old and can be found in recreations such as the images made by Delacroix for Goethe s Faust and by Flaxman for Dante s The Divine Comedy. Lasar Segall s lithographs inspired by the short story A gentle creature, by Fyodor Dostoevsky, show that this relationship is still relevant in the twentieth century. The objective of this research is to analyse Dostoevsky s short story and Segall s lithographs and observe the language that each of these artists used to create characters who express their own inner world. Based on the concept of self-awareness developed by Mikhail Bakhtin, we will observe the construction of the short story s main character, which is a man who is distant from reality but finally realizes the truth about himself. We will also discuss the way in which Lasar Segall, who at the time was part of the German Expressionist movement, uses Dostoevsky s text to produce his lithographs, or more specifically, we will analyze the graphic elements used by him to convey the inner world of the characters and the tragic aspect found in the short story. / A relação entre a literatura e as artes visuais é muito antiga e pode ser observada em recriações como as imagens feitas por Delacroix para Fausto, de Goethe, e por Flaxman para A divina comédia, de Dante. As litografias de Lasar Segall, inspiradas na novela Uma criatura dócil, de Fiódor Dostoiévski, demonstram que essa relação continua de forma marcante no século XX. O objetivo desta pesquisa é, a partir da análise dialógica entre a referida novela de Dostoiévski e as litografias de Segall, observar a linguagem que cada um desses artistas utilizou para criar personagens que expressassem seu próprio mundo interior. Nesse processo investigativo, será examinado como ocorre a passagem de uma linguagem para outra, tendo, como fundamentação teórica, os estudos da Intermidialidade. Partindo do conceito de autoconsciência elaborado por Mikhail Bakhtin, observaremos a construção da personagem principal da novela, que é um homem que se encontra no limiar, bem como sua trajetória, que passa pela confissão e pelo arrependimento, para, finalmente, chegar à verdade sobre si mesmo. Discutiremos, ainda, a maneira como Lasar Segall, que nesta época fazia parte do movimento Expressionista alemão, utiliza o texto-fonte de Dostoiévski para produzir suas litografias, ou mais especificamente, iremos analisar os elementos gráficos por ele utilizados para transmitir, imageticamente, o mundo interior das personagens e o caráter trágico encontrados na novela.

Esta dissertação de mestrado, na área de literatura comparada, tem como objetivo estabelecer um paralelo crítico entre as diversas formas de utilização, na literatura e no cinema, da metáfora literária e da montagem cinematográfica como meios de expressão de temas e formas relacionados à estética do feio, desenvolvida pelo Expressionismo alemão. O trabalho de análise envolveu a análise e comparação entre a lírica expressionista de Georg Trakl (1887-1914) e a narrativa cinematográfica de Friedrich Wilhelm Murnau (1889-1931), especificamente no filme Nosferatu. Pretendemos mostrar como a justaposição dos elementos constituintes das metáforas de Trakl, num processo de construção de significação, se assemelha à técnica cinematográfica de corte e montagem postulada pelo cineasta russo Serguei Eisenstein (1898-1948), elaborada também no cinema do Expressionismo alemão. A estética do feio tornou-se um tema privilegiado, pois tanto a metáfora como a montagem expressionistas constituíram, no contexto do modernismo europeu, veículos impactantes da ideia de choque, buscando ao mesmo tempo aterrorizar e fascinar o público, recuperando assim em chave dialética alguns elementos da estética clássica aristotélica. / This study aims to establish a critical comparison between various forms of use, in literature and film, of literary metaphor and film editing as a means of expression of themes and forms related to the \"aesthetic of the ugly\", developed by German Expressionism. The work involves the analysis of and comparison between the expressionist lyric of Georg Trakl (1887-1914) and the filmic narrative of Friedrich Wilhelm Murnau (1889-1931), specifically in \"Nosferatu\". We intend to show how the juxtaposition of the elements of Trakl\'s metaphors, a meaning construction process, resembles the cinematic technique of cutting and assembly postulated by Russian filmmaker Sergei Eisenstein (1898-1948), also adopted in German Expressionist cinema. The aesthetic of the ugly has become a main theme because both expressionist metaphor and film editing constituted striking vehicles of the \"shock\" idea in the context of European modernism, seeking to terrify and fascinate the public, thus reprievingdialectically some elements of the Aristotelian classical aesthetic.

Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005 / This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.