Robert Gertner, Robert Gibbons and David Scharfstein. / Bibliography: p. 46-48.

The first exhibition organised by Nikolai Kul'bin opened in St. Petersburg in April 1908. It marked the beginning of a new era in the history of the art of the Russian capital, and introduced many young artists to the exhibiting environment and the public. While still firmly within the symbolist tradition it was these artists who strove to renew and broaden the visual language of painting. The aim of this thesis has been to trace the developments in this process that started from fin-de-siecle symbolism and reached, via Neo-Primitivism, a climax in Cubo-Futurism. This is achieved by a survey of the composition and events surrounding Kul'bin's group "Triangle" and the art society that grew out of it, "The Union of Youth", from 1908 to 1914. As a group Triangle existed for three art seasons between 1908 and 1910. Chapters One and Two examine the growth and changes in the group in this time. The adoption of an aesthetic of "free creativity" and synaesthetic principles, the psychological impressionism of Kul'bin and Matyushin, and the association of ideas with literary symbolism are examined. The notion of art as an abstraction from nature is studied with reference to Markov's theories and the art of the Union of Youth exhibitors in Chapter Three and succeeding chapters. In addition, the originality of the establishment of the Union of Youth in the Russian context, and the overlap of ideas and artists with Triangle is discussed. The provision of this new forum for unestablished artists stimulated many developments in the visual arts, not least the progress of Neo-Primitivism, which, as seen In Chapter Four was even transferred to the theatre. The Union of Youth's production of "Khoromnyya Deistva" is seen to presage Markov's notion of "constructive" and "non-constructive" art, examined in Chapter Five, as well as the zaum transrationalism of Malevich, Matyushin and Kruchenykh in the Futurist opera The Victory over the Sun. The Union of Youth's role in creating the ambience appropriate for such ideas is analysed and in the second half of the thesis it is seen that while the group backed these modernist tendencies, most of the member-artists actually failed to be truly innovative in their own art. The dependence on developments in Munich and Paris, and the inter-relationship of these artistic centres with Petersburg are studied in the light of the retention of a mystical symbolist aspect in the art of the Petersburg avant-garde.

Made available in DSpace on 2014-06-11T19:28:01Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-01-18Bitstream added on 2014-06-13T19:15:53Z : No. of bitstreams: 1 zanetti_ap_me_mar.pdf: 820830 bytes, checksum: 77f4ebdc46a2b0c91abbce1b59349d13 (MD5) / Partindo dos pressupostos teórico-metodológico de Geertz, em que afirma ser a ideologia o resultado de uma manipulação intencional de formas culturais, além de Foucault, das formas de problematização, ou seja, o modo através do qual determinado tema, determinado objeto, parecem se impor num certo momento como aquilo que há para ser pensado; também em práticas e modificações, todos os jogos de poder que “objetivam” o fenômeno e o propõem ou o impõe como alvo de reflexão e de ação aparentemente obrigatório e quase natural; tomo como objeto de estudo o pensamento de Alberto Torres e sua apropriação “intelectual-política”, onde sua produção intelectual e a biografia nos permite interpretar uma visão do Brasil no período histórico que marcaram os anos de propaganda republicana, consolidação da República e o descontentamento imediato, por parte dos intelectuais que viram o projeto de República de seus sonhos malogrados. A problematização destacada nesse trabalho é da construção de um projeto político de “organização nacional” de Alberto Torres que apenas teve alcance décadas depois, com a geração de 1920, sendo reapropriado, no esforço prático dos intelectuais de substituir as práticas arrivistas das oligarquias e afirma seu papel como classe dirigente. / From Geertz's theoretical-methodological presupposition which states that ideology is the result of an intentional manipulation of cultural patterns, besides Foucault,of problematizing patterns, so as the way through which determined issue,determined object seem to be, in a certain moment, imposed as what to be thought about; also in practices and modifications, all the games of power that aim the phenomenon and propose it or impose it asan obeject of reflection and action apparently obligatory and almost natural; I take as object of study Alberto Torres's thought and his political-intellectual assumption in which his intellectual production and the biography allow us to interpret a view of Brazil in a historical period which marked the years of the republican propaganda, the consolidation of the Republic and the immediatedissatisfaction by the intellectuals who saw the failure of the Republic project of their dreams. The problematic spotted in this work is the construction of Alberto Torres's political project of national organization which was only reached some decades later with the generation of 1920, being readopted in the effort of replacing opportunist practices of the oligarchies and assure his role as a directing class.

Orientador: Edgar S. de Decca / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / O exemplar do AEL pertence a Coleção CPDS / Made available in DSpace on 2018-07-21T16:24:46Z (GMT). No. of bitstreams: 1 Lopreato_ChristinadaSilvaRoquette_D.pdf: 14087262 bytes, checksum: 7ce33ec5a9d419e6a99e2ab259d39f64 (MD5) Previous issue date: 1996 / Resumo: Não informado. / Abstract: Not informed. / Doutorado / Doutor em História

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Licenciada en artes, mención teoría e historia del arte / Violeta Parra exploró la poesía, la música y la plástica, construyendo sus imágenes, décimas, cuecas y tonadas a partir de símbolos y motivos que son parte de la tradición. Es decir, su base está en las lecciones que extrajo de la cultura popular. Saberes tanto innatos como adquiridos en ella. Pero las 4 arpilleras y 8 óleos de Violeta Parra estudiados en esta investigación no corresponden a una reproducción pasiva de esos elementos. En este sentido, el problema de la presente investigación se centra en ¿Cuáles son las innovaciones que introduce Violeta Parra en (y con) su obra visual; y cómo éstas se relacionan y/o afectan su música y poética? La hipótesis central dicta que las innovaciones en la plástica de Violeta Parra respecto del arte chileno de principios de los sesenta se dan a nivel material, formal y de contenido discursivo. Cambios que estarían en directa relación con su poética y música, pues su obra en general responde a un sistema orgánico y multifacético donde las diferentes formas artísticas no pueden pensarse por separado. Lo que en última instancia se fundamenta en el que quizá es el más grande aporte de Violeta: la innovación conceptual respecto a las categorías de arte y artista. Se trata de una nueva forma de entender, proponer y desarrollar lo que llamamos arte en la tradición occidental.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / Para nosotros será fundamental incluir en este análisis los objetos más representativos de la Violeta: sus canciones. Este Informe acogerá una parte que pareciera, para los estudios literarios académicos, como ajena al circuito. Hemos visto los estudios más variados acerca de las Décimas de Violeta Parra como si por el hecho de que los textos sean una autobiografía y refiera a los circuitos formales de elaboración cultural, sean, al mismo tiempo, pertinentes para el estudio de la Academia. Nosotros pretendemos incluir, con algo de aventura y de falta de herramientas, los textos que representan a Violeta Parra como una artista que no sólo es interesante para el estudio de la literatura en tanto fenómeno de “letras”, sino en tanto fenómeno “cultural” del ser latinoamericano, puesto que las letras no son el medio más apropiado ni más conductor del diálogo cultural de nuestras manifestaciones artísticas. Pacheco: “Por haber contado desde el comienzo con una élite intelectual letrada, los grupos sociales que, a partir de la conquista y sucesivamente durante los períodos colonial y republicano, han detentado el poder económico y político, han sido también dominadores del espacio cultural”.

T. E. Hulme is a controversial figure in modern literary criticism but his influence on the thought of T. S. Eliot and on the principles behind the Imagist movement is assured. Recent critical examinations of him have discovered strong Romantic tendencies in his thought, in spite of his firm anti-Romantic initial stand. This Romanticism is particularly evident in his aesthetics, in the definition of unity he applies to the image. The aim of this paper is to trace the idea of unity through the whole of Hulme's writings, to clarify his definitions of the idea in different contexts, and to try and discover some basis for the particular definition of unity he uses in the case of the image. Hulme's metaphysics delineates the limits of unity and provides his basic definitions of the term. Hulme denies the principle of continuity which he believes to be the basis of Humanism and Romanticism. In place of one all-pervasive unity, he presents a triple structure, in which each realm is different. The realm of ethical and religious values is unified and unchanging. The realm of the knowledge of mathematics and the physical sciences is unified, yet subject to change. The unity of this realm is the product of the human intellect, of its tendency to organize and manipulate the flux of life, reducing it to counter words. The ideas of this realm, which Hulme believes to be finite unities, will change when new facts are introduced. The realm of life is characterized as a continuous state of flux or change and is not unified. Hulme ascribes to Bergson's theory that man has two ways of obtaining knowledge, by intuition and by intellect. Intuition achieves a direct contact with the flux, obtaining an intensive manifold, in which the parts cannot be separated. The intellect divides things into parts, obtaining an extensive manifold. An awkwardness in Hulme's metaphysics is his belief in Original Sin, which makes man a finite unity. This definition of man is a contradiction of his belief that life is flux and change. Whereas Hulme's metaphysics denies a single unified system of reality, his aesthetics postulates the unity of the aesthetic creation. Hulme begins with a mechanistic conception of art which he subsequently contradicts completely. Art occupies a unique place in Hulme's thought, in that he allows it a vital unity which is inconsistent with any of the definitions of unity brought out in the discussion of his metaphysics. Yet the life-in-death which Hulme allows art is only temporary and will decay into commonplace. In the Cinders theory Hulme asserts that plurality is the nature of reality and that relativity is absolute. Unity is impossible, an illusion, on this theory. Yet a work of art emerges in this discussion as a unity, in which the form contains the content completely. Hulme states that art creates another "mystic" world. Art would appear to be the one unity, bringing together all three realms, which according to Hulme's metaphysics must be discontinuous. At the same time, the existence of an artistic unity, unlike the absolute values of religion and ethics, is ephemeral. The idea of unity, in the writings of T. E. Hulme, has different meanings in different contexts. / Arts, Faculty of / English, Department of / Graduate

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