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1	Přitažlivost / Attraction Kojetská, Monika January 2015 (has links) In my thesis the focus is on the attraction with which I work in multiple planes. I focus on the essence of the material and its predictive value. I place emphasis on the significance of the use of specific material and use the category of its surface, superficies, fashion, luxury, kitsch, goodliness, atracction,object and desire. I work with visual, physical and sensual attraction.
2	[en] ERNEST HEMINGWAY BETWEEN LITERATURE AND HISTORY / [pt] ERNEST HEMINGWAY ENTRE A LITERATURA E A HISTÓRIA JOAO ARTHUR BASILE MACIEIRA 29 July 2021 (has links) [pt] Esta dissertação investiga as relações entre Literatura e História, assim como aparecem na obra de Ernest Hemingway. Aqui, buscamos dialogar com algumas das principais correntes do pensamento historiográfico, assim como da crítica literária, a fim de apontar algumas especificidades na produção desse autor. Menos um capítulo de História da Literatura, o texto a seguir buscou ser um estudo dos espaços que existem entre a História e a Literatura. Tenta ler a obra de Hemingway como um objeto de investigação privilegiado para o estudo da literatura no século XX, partindo daquilo que foi identificado em nossa pesquisa como a superficialidade e a fragmentariedade de sua forma narrativa. Isso quer dizer que a dissertação considerou não apenas os conteúdos de sua produção ficcional como historicamente relevantes, mas também a própria forma na qual esses conteúdos são apresentados. / [en] This dissertation investigates the relations between Literature and History as in the work of Ernest Hemingway. Here, we seek to dialogue with some of the main currents historiography and literary criticism, in order to point out some specificities in the production of this author. Less than a chapter on the History of Literature, the following text sought to be a study of the spaces that exists between History and Literature. It tries to read Hemingway work as a privileged object of investigation for the study of literature in the 20th century, based on what was identified in our research as the superficiality and fragmentation of his narrative form. Finally, the dissertation considered not only the contents of his fictional production as historically relevant, but also the very form in which these contents are presented. [pt] SECULO XX [pt] SUPERFICIALIDADE [pt] FRAGMENTACAO [pt] TEORIA CRITICA [pt] HISTORIOGRAFIA [en] CENTURY XX [en] SUPERFICIALITY [en] FRAGMENTATION [en] CRITICAL THEORY [en] HISTORIOGRAPHY
3	Rejecting the Page, Inciting Visuality: Staging 'Woyzeck' in a Mediatized Culture Conway, Elisha 14 January 2013 (has links) The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media. Visuality Postdramatic Space Visual Media Hyperrealism Synesthesia Superficiality Visual narration Thomas Ostermeier Vesturport Robert Wilson Josef Nadj Mediatized culture Woyzeck Soap Operas Music Videos Postmodern Cinema Photography Silent Film Iconicity Framing Dimensionality Visual Culture
4	Rejecting the Page, Inciting Visuality: Staging 'Woyzeck' in a Mediatized Culture Conway, Elisha 14 January 2013 (has links) The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media. Visuality Postdramatic Space Visual Media Hyperrealism Synesthesia Superficiality Visual narration Thomas Ostermeier Vesturport Robert Wilson Josef Nadj Mediatized culture Woyzeck Soap Operas Music Videos Postmodern Cinema Photography Silent Film Iconicity Framing Dimensionality Visual Culture
5	Rejecting the Page, Inciting Visuality: Staging 'Woyzeck' in a Mediatized Culture Conway, Elisha January 2013 (has links) The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media. Visuality Postdramatic Space Visual Media Hyperrealism Synesthesia Superficiality Visual narration Thomas Ostermeier Vesturport Robert Wilson Josef Nadj Mediatized culture Woyzeck Soap Operas Music Videos Postmodern Cinema Photography Silent Film Iconicity Framing Dimensionality Visual Culture

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