Maîtrise--Arts plastique--Lille 3, 1997. / Bibliogr., 19 p.

Texte remanié de: Th. doct.--Freie Universität Berlin, 1998. Titre de soutenance : Hologramme der Kunst : Avantgardismus im Werk Else Lasker-Schülers. / Bibliogr. p. [337]-366.

Texte remanié de: Dissertation--Saarbrücken--Universität des Saarlandes, 1994. / Bibliogr. p. 247-262.

<p>My dissertation, Wanderers in Contradiction. The Italian Road to Modernism (1903-1922), analyzes how a generation of intellectuals approach the cultural revolution brought by Modernism. In Chapter One, dedicated to Pirandello’s essay On Humor, modernist themes, such as the perception of life as an unstoppable and unrepresentable flux, are examined in the Italian work that best represents them in the context of nineteenth-century ‘negative thought.’ Chapter Two, which is devoted to the writings of Giovanni Papini and Giuseppe Prezzolini, and Chapter Three, in which I focus on the work of Ardengo Soffici and Aldo Palazzeschi, analyze the ‘positive’ response to Modernism. These intellectuals highlighted how the cultural crisis was an opportunity to reject dangerous forms of essentialism, and opened the way for a new form of art committed to the representation of contingency. Conversely, Chapter Four, which deals with Giovanni Boine and Piero Jahier, and Chapter Five, on Scipio Slataper and Carlo Michelstaedter, illustrate the ‘negative’ reaction to the modernist crisis of values. These authors, who abandoned a purely epistemological perspective in favor of a religious or ethical one, manifest an anti-modernist thread within Modernism itself. Therefore, my research contributes to three different general areas of scholarship: literature, philosophy, and history. Broadly speaking, it advances the understanding of Italian culture and the way Italian intellectuals participate in and are influenced by European interactions. It also engages with philosophical debates concerning the crisis of metaphysical Foundations, including the role of Italian writers in this process.</p> / Dissertation

Herman, Alexandr. Lirical elements in Lorca´s theatre - Bloody wedding. České Budějovice: Pedagogická fakulta Jihočeské univerzity v Českých Budějovicích, 2011, 103 s., Diploma thesis. This diploma thesis presents lyrical elements in teatral work of Federico García Lorca. Author himself belogs among top members of an avantgarde movement in Spain. His dramas are up to now very often shown at the most prestigious theatre house in the world, his poetry, very often explained in new interpretation, absorbing an echoe of the folk lyric. The author was bor in the year 1898, year that ment withdrawal from its ancient position. This new situation is reflected at a new actitude towards an art and Spain. This work is divided into three parts.

Thesis (M.F.A.)--Boston University

In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.

Orientador(a): Mauricio Funcia De Bonis / Banca: Alberto Tsuyoshi Ikeda / Banca: Gustavo de Moura Valença Motta / Resumo: Na segunda metade do Século XX, em especial nas décadas de 1960 e 1970, artistas e intelectuais discutiram calorosamente acerca da relação entre a atuação poética (criativa) do artista e sua influência no campo político e ideológico social. Nesse contexto, o compositor inglês Cornelius Cardew (1936 - 1981) se destacou por desenvolver um trabalho composicional e teórico contundente, crítico e autocrítico sobre a vanguarda musical e sua dimensão ideológica. Transitou entre duas das mais influentes orientações estéticas da segunda metade do Século XX, a música de vanguarda e a música politicamente engajada, ambas fundamentais na construção de chaves de leitura acerca da relação entre o compositor e a sociedade ocidental capitalista. Cardew se dedicou no decorrer de toda a década de 1960 na criação e divulgação de obras diretamente influenciadas pela escola americana experimental. Compôs obras que trabalhavam com a aleatoriedade, a improvisação (The Great Learning, Schooltime Compositions, etc.) e a notação gráfica, dentre essas, Treatise (1963-7) se destaca. Em 1969, ainda ligado às diretrizes aleatórias e ritualísticas da escola americana, o compositor fundou a orquestra experimental Scratch Orchestra (1969-74). Não obstante, influenciado pelo trabalho de pesquisa feito em conjunto com a orquestra (haja a existência de um núcleo de estudos teóricos chamado de Ideological Group), nos anos seguintes ao encerramento das atividades do grupo, Cardew se engajou na utilização da (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: In the second half of the twentieth century, especially in the 1960s and 1970s, artists and intellectuals intensify argued about the relationship between the poetic (creative) performance of the artist and his influence on the political and ideological social field. In this context, the English composer Cornelius Cardew (1936 - 1981) stood out for developing a compelling, critical and self-critical compositional and theoretical body of work about the musical avant-garde and its ideological dimension. He transited between two of the most influential aesthetic orientations of the second half of the twentieth century, avant-garde music and politically engaged music, both fundamental in the construction of reading about the relationship between the composer and western capitalist society. Throughout the 1960s, Cardew devoted himself in the creation and dissemination of works directly influenced by the experimental American school. He composed works that worked with randomness, improvisation (The Great Learning, Schooltime Compositions, etc.) and the graphic notation - among these, Treatise (1963-7) stands out. In 1969, still attached to the random approach and ritualistic directives of the American school, the composer founded the experimental orchestra Scratch Orchestra (1969-74). Nevertheless, influenced by the research work done in conjunction with the orchestra (strictly related to the theoretical studies group called the Ideological Group), in the years following the closing... (Complete abstract click electronic access below) / Mestre

Héritière des anciennes milices du royaume de France, la garde nationale a été officiellement créée en 1791 et était initialement chargée du maintien de l’ordre. Elle connut bien des vicissitudes au gré des régimes qui se sont succédé et fut dissoute en 1852. Devant la menace que la victoire prussienne de Sadowa, en 1866, faisait peser sur la France, Napoléon III créa la garde nationale mobile en 1868 et c’est elle qui, avec la garde nationale mobilisée et les francs-tireurs, suppléa l’armée française, défaite à Sedan et enfermée dans Metz, pour continuer la lutte contre l’envahisseur en 1870-1871. L’arrondissement de Beaune dut lever quatre bataillons et demi qui furent principalement appelés à participer à la défense de Paris et à la répression de la révolte kabyle. À l’instar des corps auxiliaires recrutés dans les autres départements, ces troupes, levées dans l’impréparation la plus totale, ont suscité l’espoir et n’ont pas démérité. À défaut d’avoir pu rétablir la situation en France, elles ont permis qu’à la défaite ne s’ajoute pas la déstabilisation en Algérie. Après la guerre, les anciens de ces corps ont pleinement imprégné la société et contribué à forger l’esprit de revanche. / The National guard was established in 1791 as a direct descendent of the former militias in the Kingdom of France. The National guard was first tasked with policing, and, during the regimes that followed, experienced various ups and downs before disbanding in 1852. In 1868, however, Napoléon III created the garde nationale mobile to address the impending threat from the Prussian victory in Sadowa in 1866. In 1868, the garde nationale mobile supplemented the regular Army, which had suffered defeat in Sedan and had been pinned down in Metz. Alongside the mobilized garde nationale and the franc-tireurs, the garde nationale mobile continued fighting the invasion forces in the years 1870-1871. The arrondissement of Beaune had to form four battalions and a half through levée en masse. These were mainly tasked with the defense of Paris and the repression of the Kabyle revolt. Just like the corps auxiliaires recruited in the other départements, these conscripted troops were thoroughly unprepared, although they did raise hopes and fought bravely. Despite failing to restore the status quo in France, they did ensure that destabilization was not exacerbated in Algeria. After the 1870 war, the veterans of these forces were at the heart of the society and contributed to forge the spirit of revenge.

Submitted by DANILO PINHEIRO DE AVILA null (danilo.avila@gmail.com) on 2016-10-28T19:38:33Z No. of bitstreams: 1 DISSERTAÇÃO - FINALMENTE - REPOSITÁRIO.pdf: 1241131 bytes, checksum: 297f528d21a6afcdc6b76f2b5c034241 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-11-03T19:40:47Z (GMT) No. of bitstreams: 1 avila_dp_me_fran.pdf: 1251094 bytes, checksum: 15d632fc0bed4576aa94a04a5959177d (MD5) / Made available in DSpace on 2016-11-03T19:40:47Z (GMT). No. of bitstreams: 1 avila_dp_me_fran.pdf: 1251094 bytes, checksum: 15d632fc0bed4576aa94a04a5959177d (MD5) Previous issue date: 2016-09-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta pesquisa objetiva compreender as diversas atividades musicais construídas ao longo da década de 1940 pela participação de Hans Joachim Koellreutter no Música Viva. Se, nos primeiros anos desta década, este é entendido como grupo e sociedade, após 1944 assume uma feição específica em torno da liderança de Koellreutter em função dos seus alunos e ex-alunos. Compositor e professor advindo dos círculos da Neue Musik alemã, sua personagem é controversa e suscita uma movimentação neste período que pretende fundar uma nova etapa da modernidade musical brasileira – pelo menos é deste consenso que partem as principais interpretações. A fim de propor uma leitura histórica da sua trajetória, a presente dissertação se divide em três diferentes capítulos de coerência documental e interpretativa própria, verticalizando dilemas específicos a cada movimento dado pelo compositor, procurando compreendê-lo em sua historicidade. Este gesto visa se distanciar dos recursos de memória e se ater ao elo entre as fontes documentais e musicais – principalmente para interrogar a forma serial específica que é trabalhada pelo compositor teuto-brasileiro. Neste horizonte, o conceito de vanguarda surge como um elemento de contradição, partindo-se do pressuposto de que é um termo autorreferido pelo grupo e construído teoricamente; entretanto, ao pensarmos na trajetória do “estilo” de Koellreutter e a filosofia do material que a engendra, temos uma tessitura que não se identifica ao modernismo precedente, nem às intenções do mercado. / This research aims to comprehend the whole musical activities constructed along the 40's decade by the participation of Hans Joachim Koellreutter in Música Viva. If, in the first years of this decade, it is understood as a group or society, further than in 1944 it assumes a specific feature around the leadership of Koellreutter in relation of his students and ex-students. Composer and professor arising from the German Neue Musik circles, his character is controversial and raises a movimentation in this period that pretends to found a new stage in Brazilian musical modernity (at least the main interpretations start from this consensus). In order to propose an historical reading of his trajectory, the present dissertation divides itself in three different chapters with particular interpretative and documentary coherence, deepening specific dilemmas on each step given by the composer, looking forward to comprehend him in his historicity. This gesture aims to distance the resources of memory and attain us to the link between the documentary and musical sources, without identifying them – above all in order to question the specific serial form that is created by the german-brazilian composer. In this horizon, the concept of the avant-garde comes up as an element of contradiction, following the assumption that it is a self-said term and that it is constructed theoretically. However, when we think in the route of the “style” of his compositions and the philosophy of the material that begets it, there is a process that cannot be compared to the precedent modernism. / FAPESP: 2014/03349-7