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Made available in DSpace on 2016-12-08T16:19:07Z (GMT). No. of bitstreams: 1 AleteaHM.pdf: 44607 bytes, checksum: 2b791ee3aa6ffc146dde04f165d1221c (MD5) Previous issue date: 2010-10-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study consists in a reflection on the work of artist Elaine Tedesco, focusing on the projection of images on dark spaces and sets of objects and installations. Whereas much of its production is linked to the city as the scene of action and source of creation, seeks to recognize the conceptual issues that emerge from the relationship between the artist's works and this space, what triggers the analysis of art as a possibility to dream and as a proposal for discussion about the body in urbanity. Deepening the problem of image that emerges from the works, it establishes a dialogue with the production of other artists who developed workrelated matter. Arising from this proposition, the city is conceived as a space both real and perceived as a field of dreams, and this combination makes it possible to relate the urban space with Arcádia / Este estudo consiste numa reflexão sobre a obra da artista Elaine Tedesco, tendo como foco as projeções de imagens sobre espaços sombrios e as séries de objetos e instalações. Considerando que grande parte de sua produção está vinculada à cidade como palco de ação e fonte de criação, procura-se reconhecer as questões conceituais que emergem da relação entre os trabalhos da artista e esse espaço, o que desencadeia a análise da arte como possibilidade onírica e como proposta de discussão sobre o corpo na urbanidade. Aprofundando a problemática da imagem que emerge das obras, estabelece-se uma interlocução com a produção de outros artistas que desenvolveram trabalhos relacionados ao assunto. Decorrente desta proposição, a cidade passa a ser concebida tanto como um espaço real e concreto como um campo de sonhos, sendo que esta articulação torna possível relacionar o espaço urbano com a Arcádia

The growing accessibility of quantum mechanics and chaos theory over the past eighty years has opened a new mode of world-creating for dramatists. An increasingly large collection of plays organize their fictional worlds around such scientific concepts as quantum uncertainty and chaotic determinism. This trend is especially noticeable within dramatic texts that emphasize a fictional, not material or metafictional, engagement. These plays construct fictional worlds that reflect the increasingly strange actual world. The dominant theoretical approaches to fictional worlds unfairly treat these plays as primarily metafictional texts, when these texts construct fictional experiences to speculate about everyday ramifications of living in a post-quantum mechanics world. This thesis argues that these texts are best understood as examples of speculative fiction drama, and they speculate about the changes to our understanding of reality implied by contemporary scientific discoveries. Looking at three plays as exemplary case studies—John Mighton’s Possible Worlds (1990), Tom Stoppard’s Arcadia (1993), and Tony Kushner’s Homebody/Kabul (2001)—this thesis demonstrates that speculative fiction theories can be adapted into fictional worlds analysis, allowing us to analyze these plays as fiction-making texts that offer nonclassical aesthetic experiences. In doing so, this thesis contributes to speculative fiction studies, fictional worlds studies, and the dynamic interdisciplinary dialogue between aesthetic and scientific discourses.

This thesis aims to examine how the philosophy of Arcadia is portrayed compared to three paintings from Nationalmuseums exhibition Arkadien: ett förlorat paradis? Firstly, the essay creates a frame for what Arcadia should look like and communicate by analyzing three established Arcadia-motifs with the same title, Et in Arcadia ego by Nicolas Poussin from 1638 and 1627, and Guercino from ca 1620. The framework shows that Arcadia contains three dominating themes, which are the presence of antiquity, the pastoral ideal and the presence of Death. The framework also shows that Arcadia aims to have a clear communication with the viewer by using direct symbols and double linguistic messages. Secondly, the essay compares Poussins and Guercino's Arcadia with Nationalmuseums Claude Lorrains Landskap med Argus som vaktar Io (ca 1644–1645), Francois Només (1593-ca 1645) Trojas brand med Aeneas och Anchises flykt (u.å) and Thomas Blanchets Kleobis och Biton (1650). The results are that Nationalmuseum has a different view of Arcadia compared to Poussin and Guercino, and uses it as an elastic concept, which can categorize paintings that don't fully communicate Arcadia's original thoughts and ideas as truthfully Arcadia-motifs.

當代英國小說家吉姆‧克雷斯 (Jim Crace) 在《阿卡迪亞》(Arcadia, 2008)這部城市小說中，以一位隱身人群的專欄作家為敘述者，從城市居民的心理為出發點描寫城市空間，並以傳統露天市場被改建為一現代化購物商場之事件為主軸，刻劃城市居民經歷生存空間遭強制改變的衝擊之後，仍然找到適應的方式和創造空間運用的可能性。本文主要採取甄克斯 (Chris Jenks) 對城市漫遊者 (flâneur) 的論述，以及情境主義的心理地圖 (psychogeography)、漂移 (dérive)、異軌 (détournement)、及景觀 (spectacle) 的理論概念，剖析克雷斯如何以都市漫遊文本，呈現人和空間的互動，凸顯城市居民和其生存空間實為一生生不息的有機體，並揭露都市空間規劃背後暗藏視覺操縱，藉以反對空間商品化和景觀化。論文第一章主要借助甄克斯的都市漫遊者論述以及情境主義的心理地圖和漂移理論，闡述小說敘述者打破心理和地理的界線，以不同的人物心理呈現一幅城市拼貼。第二章以異軌理論為出發點，闡釋此小說將阿卡迪亞的文學概念和都市公共空間議題並置，一方面解構溫室和商場中的鄉村實為自然的複製品，另一方面強調城市生命力在於多樣性以及居民與空間的互動。第三章援引情境主義的景觀概念，著重討論社會關係和城市的空間生產被資本主義塑造的景觀所滲透控制，並強調敘述者以漂移和異軌的空間實踐與其對抗之外，也刻劃了都市居民在景觀的控制之下，仍然找到新的出口，保有空間運用的自主性。 / Jim Crace’s novel Arcadia delineates a city from the perspective of human mentality by means of an incognito critical social observer. The displacement of a modernized shopping mall for a traditional open market is the most important incident that causes a great impact upon the urban people. In this thesis, I would like to use Chris Jenks’ analysis of the flâneur and situationist concepts of psychogeography, dérive, détournement, and the spectacle to analyze how Crace presents the interaction between man and space which is threatened by the visual manipulation hidden behind urban planning. He also points out that urban inhabitants and their living environment form an organic whole that will keep evolving through their mutual influence. Applying Jenks’ discussion on the flâneur and situationist concepts of psychogeography and dérive, I would first show that Crace breaks the boundary between psychology and geography to present a collage of different interpretations based upon several characters’ mentalities. Then, the construction of the new shopping mall named Arcadia brings up the juxtaposition of the topos Arcadia and the issue of urban public space. With the practice of détournement, the narrator deconstructs the countryside in the shopping mall as the duplication of nature and emphasizes that the life of the city does not reside in the spectacular sites but in diverse and mutual interactions between urban space and its inhabitants. With spatial practices of dérive and détournement, the narrator not only criticizes that both social relationship and urban space are saturated with separation caused by the spectacle, but also makes known that urban people still hold the autonomy of creating alternative spatial use even under the dominant representation of the spectacle in the city.

In his Defence of Poetry (c. 1580), Philip Sidney argues that poetry—a category in which he includes all imaginative fiction—aims at the education of its readers. Archepollycyes studies the attempts of a loose group of sixteenth-century writers around Sidney to write fiction that lives up to this aim, in order to understand the methods they developed to educate readers and the relationship between this education and the politics of the monarchical state. Sidnean fiction demands long study on the part of its readers because it aims to transform their mental habits and create new internal resources for right action. The works of fiction I study here—Thomas Sackville and Thomas Norton’s Gorboduc, George Buchanan’s Baptistes, Sidney’s Arcadia, Mary Sidney Herbert’s Antonius and A Discourse of Life and Death, and Fulke Greville’s Mustapha—were products of their authors’ experiments with genre, narrative, translation, and style as tools to achieve this aim. Through the reading experience these works invite, readers exercise their judgment in the interpretation of fictional examples and reflect explicitly on the mental habits of generalization and application that inform decisions about how to act in new circumstances. Readers also come to see these habits of judgment as shared with others and experience the act of reading as participation in both real and imagined interpretive communities. I argue that these interpretive communities are best understood as loose political institutions, networks of organization and affiliation whose members could think and act together through common habits of judgment and the mutual resolution that results from recognizing this commonality. I adopt the term “archepollycyes” from Gabriel Harvey in order to describe the role of such institutions in monarchical politics. Harvey coins the term to describe the foundational forms of political knowledge, action, and organization, in contrast to the day-to-day work of government and the business of political rule. “Archepollycyes” hold a political community together in spite of changes in its ruler or government; understanding and creating such institutions was thus a means of responding to the escalating crises of succession, absolutism, and civil war that confronted early modern monarchies. By reading and writing fiction, I argue, Sidney and a broader network of writers aimed to act at a distance from contemporary political conflicts by founding “archepollycyes,” loose institutions capable of acting independent of the monarchical state and outside of existing structures of government, but on behalf of the long-term stability of a political community. In this way, I offer a new way of thinking about fiction and political institution in relation to the contested emergence of the modern sovereign state.