Baigiamajame magistro darbe nagrinėjamas muzikos ir architekturos santykis muzikai atlikti skirtuose pastatuose. Apžvelgiama koncertų salių, eksperimentinių muzikos ir architektūros projektų, garso instaliacijų ir kitų muzikinių erdvių raida, išryškinant ir detalizuojant Šaltojo karo epochos pavyzdžius. Nagrinėjamas teorinis muzikos ir architektūros ryšys, šį ryšį atskleidžiantys projektai, kompozitorių ir architektų iškeltos muzikos įerdvinimo idėjos. Ivairių kartų kūrėju darbuose ryškus siekis transformuoti sustabarėjusį atlikėjo ir klausytojo santyki, šis siekis pasirenkamas ir muzikinės erdvės projekto išeities tašku. Variantinio projektavimo metodu kuriamas muzikos atlikimo centras, vienoje erdvėje apjungiantis skirtingas muzikos atlikimo ir klausymo vietas ir leidžiantis klausytojams individualiai ir naujai patirti muziką erdvėje. Darbą sudaro ivadas, analitinė ir praktinė-tiriamoji dalys, apibendrinimas ir išvados, šaltinių sąrašas, priedai. Darbo apimtis – 67 psl. teksto be priedų, 90 iliustr., 40 bibliografinių šaltinių. Atskirai pridedami darbo priedai. / The Master thesis deals with the relation between music and architecture in the buildings designed for music. Overview the development of concert halls, experimental music and architecture projects, sound installations and other musical spaces, highlighting and detailing the Cold War era examples. Analyse the theoretical relationship of music and architecture, projects revealing this relationship, musical enspacement ideas of composers. Clear ambition to transform a rigid relationship between the performer and the listener, this goal is selected as the starting point of the Musical Space project. Variant design method developed music performance centre, one space combining different music performance and listening locations and allowing an individual to listen and experience music in a space. The work consists of an introduction, analytical and practical parts, summary and conclusions, list of references and appendices. Scope of work - 67 p., 90 figures, 40 bibliographic sources, appendixes.

Viena iš valstybingumo pamatų, laidojanti jos tvirtumą yra šeimos institucija ir šeimos mitas. Šeimos mitas – žmonijos asmeninis laukas, kur susiduria tradicijos, taisyklės, kultūros, interesai, vyriškas ir moteriškas pradai. Puoselėjame šeimą kaip vertybę, galinčią duoti ir išugdyti visuomeniškai sąmoningą asmenybę, suvokiančią savo reikšmę ir aktyviau dalyvaujančią socialinime gyvenime. Jaunąją kartą stiprina ir palaiko vyresniųjų teigiamas pavyzdys, kuris skatina sekti jų pavyzdžiu. Laikas negailestingai atskiria vienus šeimos narius nuo kitų, naujų epochų dvelksmas diktuoja naujas būties taisykles ir kitus – naujus iškylančių problemų sprendimus. Besikeičianti aplinka ir laikas nulemia mūsų būtį. Savo baigiamąjį darbą – autorinę knygą, albumą pavadinau – UŽRAŠAI. Tai nėra mokslininko pastabos apie sudėtingą ir klaidžią žmogiškąją prigimtį, veikiau darbas su šeimos relikvijomis, rinkimas informacijos apie šeimą, jos istoriją. Albumas pasitarnauja kaip medžiaga iliustruoti šeimos praeičiai arba kurti ateitį. Jame pateikiamas mano šeimos – paprastų kaimo žmonių gyvenimas. Pasitelkdama vieną iš išraiškos priemonių – piešinį, perteikiau šeimos kasdieninę buitį. Šiuo savo darbu apibendrinu visos mūsų tautos, nykstančio kaimo gyventojo likimą. Viskas kinta, tad tokio Lietuvos kaimo žmogaus – tradicinio sodiečio nebematysime jau niekada. / One of the founding principles of nationhood, which displays its stability, is the institution of family and its myth. The family myth is humanity‘s personal field where traditions, rules, cultures, interests, male, and female natures collide. We cherish the family as a virtue, which can produce and foster a socially responsible person, who understands his or her significance and actively participates in her community. Younger generations are strengthened and motivated by the elders’ positive example, which encourage them to follow their lead. Time unscrupulously separates family members from others; the dawn of new ages dictates new laws of existence and other new ways to solve problems. The passage of time and the changing environment determines our being. I call my final year project “Notes”, which is an authorial book. They are not observations of a scientist about the difficult and meandering human nature, rather it is a work with a family reliquary, a gathering of information about the family and its history. The album as a source helps with illustrating its past and helps with creating a new future. In it the life of my family as simple country folk is presented. By the expressive medium of drawing, I rendered my family’s everyday life. In this project I summarise the fate of the dying country life in our whole nation. Everything changes, therefore we will never again witness such a Lithuanian farmhouse lifestyle.

Baigiamajame magistro darbe apžvelgiami pasakos „Eglė žalčių karalienė“ mitologiniai ir tautosakiniais niuansai, šią pasaką vertina kaip viena svarbiausių lietuvių ir daugelio kitų šalių mitą, kuris apima visą Dievų panteoną, pasakoja žmogaus, vandens ir žemės pradžios istoriją. Šis mitas glaudžiai susijęs su žalčio, kaip šeimos saugotojo ir globėjo kultu, todėl aptinkama daug skirtingų šios pasakos variantų ir tęsinių įvairių kultūrų mitologijoje. Remiamasi tik lietuvių autorių atlikta šios pasakos analize. Pagrindinė pasakos analizė skirta šios pasakos atsiradimo ir dominavimo įvairiose pasaulio kultūrose ir variantų gausumo problemai. Apsistojama ties mitologiniu „Eglė žalčių karalienė“ kontekstu, lyginant ją su kūrybiniam darbui pasirinkta pasaka „Dvylika brolių juodvarniais lakstančių“, nagrinėjant šios pasakos interpretaciją teatre remiamasi Vitalijaus Mazūro spektakliu „Eglė žalčių karalienė“ (2007). / The myth overlooks entire Gods pantheon, talks about mankind’s, water’s and earth’s origin stories. This folk tale is valued as one of the most important Lithuanian myths which is as much valued in other countries, so the final paper of masters degree overlooks folk tale „Eglė the queen of serpents“ mythological and folk shadings. In mythological culture many other versions of this tale can be seen, that is because this myth is closely associated with serpents, as a family guardian cult. Only Lithuanian author’s analyses of the folk tale are used in this final paper. The main analyses of the folk tale are dedicated to analyze the folk tales origins and domination in many cultures of the world. Vitalijus Mazuras play “Eglė the queen of serpents” (2007) is used in other to analyze folk tales interpretation in theatre, while mythological context of the folk tale “Eglė the queen of serpents” is used in other to compare it with the tale “The Twelve Brothers, Twelve Black Ravens”.

This study comprises the basic of Heraldy and Military insignia of the Lithuanian Armed Forces and the other signs used in the Military. The first part of the study introduces the evolution of the military insignia used at the interwar time by Lithuanian Military Corps and nowadays modern Military insignia as well. Military Heraldy describes and represents the kind of Military Forces, Military corps, specialization even the country that the Military corps belong to. Also reflects the short details of country’s history and culture. Taking the artistical approach understanding of the Military insignia is related to the fine arts (painting, sculpture and graphics) to art of computer graphics (scanning, installation, composition) and communication (information delivery). Insignia of the Lithuanian Armed Forces are created according the rules of Heraldy and confirmed by the commission of the Lithuanian Heraldy. Second part of the study analyses the cumulate material by the angle of the assumption of art cognition. Creation of the Military insignia requires deep knowledge and of art and good skills in practice. Such as tune-up of metal and colour, detail compositions are highly required. Colours and metals are usually selected regarding the Military inheritance. If the Military corps are named on the name of one of the great duke’s of Lithuania, than the colours and metals are taken from the duke’s family blazon. Third part of the study describes the pedagogical experiment... [to full text]

ix, 100 p. : ill. (some col.) / In 1972 ceramist Ken Price (b. 1935) embarked on Happy's Curios , a six-year long project that he described as an homage to Mexican folk pottery. It ended with a 1978 exhibition of the same name held at the Los Angeles County Museum of Art. The project and the related exhibition integrated and critically investigated three common classifications of cultural objects: fine art, folk art, and craft. This thesis argues that the Happy's Curios project deploys these categories in a manner that challenges and deconstructs how they are used. The thesis offers a critical history of the Happy's Curios project and its reception in order to interrogate how the project engages the taxonomy of fine art, folk art, and craft, as well as its relevance to a broader art historical context. / Committee in charge: Kate Mondloch, Chair; Sherwin Simmons, Member; Brian Gillis, Member

Esta pesquisa discute a obra de Jorge Guinle (1947-1987) e o diálogo que o artista travou com a pintura moderna e contemporânea brasileira e internacional. Argumenta que a pintura de Jorge Guinle, embora concentrada apenas nos últimos sete anos da vida do artista, estabeleceu um diálogo profundo com a arte do século XX, sem, com isso, deixar de se lançar a uma indagação de seu próprio tempo. / This research discusses the work of Jorge Guinle (1947-1987) and the dialogue the artist sustained with the Brazilian and international modern and contemporary painting. It argues that Jorge Guinle\'s painting, although concentrated only in the last seven years of the artist\'s life, established a profound dialogue with the art of the twentieth century, without failing, however, to undertake an investigation of its own time.

Quais as relações entre as artes visuais e a cidade? Como isto ocorre especialmente na América Latina? Como podemos situar conceitualmente o lugar deste fenômeno artístico no panorama geral da arte contemporânea? Essas questões pontuam as preocupações basilares deste trabalho, que aborda os inúmeros aspectos da nova arte urbana a partir de um estudo comparativo entre São Paulo e Buenos Aires. Utilizando o conceito de \"cidades-suporte\", que remonta à origem do termo \"suporte\" nas artes e sua ligação com a materialidade da obra, a pesquisa está ancorada em um corpus teórico multidisciplinar. A proposta é analisar o caráter simbólico da cidade e a relação da nova arte urbana com os campos da História, da Teoria e da Crítica da Arte, e sua condição frente às problemáticas apresentadas pela arte contemporânea. Sobretudo, procura-se enfatizar que a arte realizada no suporte da cidade reafirma o caráter presencial e transformador da experiência estética. / What are the relationships between visual arts and the city? How is it like in Latin America? How can we identify conceptually the place of such artistic phenomenon in the general panorama of the contemporary art? Such issues underlie the fundamental purposes of this work which approach the countless aspects of the new urban art from a comparative study between Sao Paulo and Buenos Aires. Using the concept of \"cities-support\" which traces back the origin of the term \"support\" in the arts and its link with the materiality of the work, the research is anchored in a multidisciplinary theoretical corpus. The proposal is to analyze the symbolic character of the city and the relationship of the new urban art with the fields of History, Critical Art Theory and its condition before the problematical scenario exhibited by the contemporary art. Above all, it is intended to point out that the achieved art in the city support reaffirms the concrete character and changing of the aesthetic experience.

A presente dissertação de mestrado propõe-se a analisar o processo de criação da primeira e única edição da Bienal Latino-Americana de São Paulo, que teve como título-tema Mitos e Magia, realizada no período de 3 de novembro a 17 de dezembro de 1978, na cidade de São Paulo. Os registros remanescentes, deste acontecimento, testemunham a importância do encontro entre críticos de arte, artistas e intelectuais das humanidades em debate sobre as questões polêmicas relativas às identidades culturais da América Latina, na sua produção artística contemporânea. O centro dessa discussão girou em torno do tema, sua expansão e seus limites. Observou a regulamentação da mostra e a análise do processo da I Bienal Latinoamericana de São Paulo, trouxe à luz a falta de um ideário capaz de abranger o universo plural das nossas culturas. / The remaining records of this event attest to the importance of this meeting among art critics, artists and intellectuals of humanities who debated about controversial issues related to cultural identities in Latin America, in its contemporary production. The focus of their discussion was the Biennials theme, its expansion and limits. The regulation of the display and the development of the process of the I São Paulo Latin American Biennial were analyzed in this research. It also raises issues concerning the lack of a body of ideas that comprises the plural universe of the Latin American continent.

Função-historiador é o termo apresentado nesta tese como proposta teórica de uma nova relação entre artes visuais e conflitos políticos no cenário artístico contemporâneo, para a qual a prática artística de Walid Raad sobre as guerras civis libanesas ocorridas entre 1975 e 1990, concentrada no Projeto Grupo Atlas (1989-2004), é fundamental. Observando a reunião de dossiês, documentos, arquivo, textos e conferências performáticas que formam esse extenso, complexo e multifacetado trabalho, a tese propõe similaridades entre os materiais, estruturas e procedimentos que o constituem e os recursos utilizados pelo campo da história na construção de suas narrativas. O argumento é que por meio dessas aproximações pode-se identificar interações entre artes visuais contemporâneas e conflitos políticos que se elaboram pela via de um interesse, inteligência e ambição históricos. Mais especificamente, reconhecemos que por meio da semelhança dos recursos plásticos, o Projeto Grupo Atlas apresenta, no campo das artes, formas de compor/contar histórias sobre guerras civis libanesas. Nisto, essa prática artística distingui-se das preocupações habituais em relação à discursos de memória e os limites de representação da experiência de violência, tão presentes em trabalhos centrados neste recorte temático específico. Sua aproximação com a história tem por fundamento uma cisão entre um sujeito-artista Raad e uma posição-de-autoria artística que funda o trabalho de arte, evitando-se que uma experiência de conflito do artista seja tomada como ferramenta explicativa de sua prática. A função-historiador, enquanto atividade, é reconhecida no nível das produções artísticas, na junção de uma série de elementos, discutidos nesta tese, por meio dos quais identificamos uma autoridade artística no Projeto Grupo Atlas que propõe formas de compor/contar histórias sobre conflitos políticos recentes, ao mesmo tempo em que, por meio delas, formula críticas aos métodos de composição de narrativas históricas. / Function-historian is the term presented in this thesis as a theoretical proposal of a new relationship between visual arts and political conflicts in the contemporary artistic scene, to which Walid Raad\'s artistic practice on the Lebanese civil wars between 1975 and 1990, concentrated in the The Atlas Group Project (1989-2004) is fundamental. The thesis proposes similarities between the materials, structures and procedures that constitute it and the resources used by the field of history in the construction of its narratives. The argument is that through these approaches we can identify interactions between contemporary visual arts and political conflicts that are elaborated through historical interest, intelligence and ambition. More specifically, we recognize that through the resemblance of plastic resources, he Atlas Group Project presents, in the field of the arts, ways of compose/tell stories about Lebanese civil wars. In this, this artistic practice distinguishes itself from the habitual preoccupations with the discourses of memory and the limits of representation of the experience of violence, so present in works centered in this specific thematic cut. His approach to history is based on a split between an artist-subject Raad and an artistic position of authorship that ground the work of art, avoiding that an experience of conflict of the artist is taken as an explanatory tool of his practice. The function-historian, as an activity, is recognized at the level of artistic productions, at the junction of a series of elements, discussed in this thesis, through which we identify an artistic authority in the Atlas Group Project that proposes ways of composing/ telling stories about recent political conflicts events, while at the same time criticizing the methods of composing historical narratives.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-01-04T13:19:35Z No. of bitstreams: 1 lucianaferreiracosta.pdf: 4681835 bytes, checksum: c8ff21e122501c69fd7506e2be90a6be (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2017-01-31T10:33:21Z (GMT) No. of bitstreams: 1 lucianaferreiracosta.pdf: 4681835 bytes, checksum: c8ff21e122501c69fd7506e2be90a6be (MD5) / Made available in DSpace on 2017-01-31T10:33:21Z (GMT). No. of bitstreams: 1 lucianaferreiracosta.pdf: 4681835 bytes, checksum: c8ff21e122501c69fd7506e2be90a6be (MD5) Previous issue date: 2016-07-27 / O objetivo principal deste trabalho foi investigar a produção artística de Achille Perilli (1927-) para entendermos a importância de suas obras presentes na coleção de arte moderna do poeta Murilo Mendes (1901-1975), e a relação entre os dois. Esta coleção de arte pertence ao acervo do Museu de Arte Moderna Murilo Mendes da Universidade Federal de Juiz de Fora (MAMM/UFJF). O Acervo de arte modernada em questão é composto por obras de diversos artistas nacionais e internacionais, contando com significativa representação de vinte e cinco artistas italianos, dentre os quais Achille Perilli, um dos mais importantes protagonistas da arte moderna italiana no imediato pós- Segunda Guerra, fundador do Gruppo Forma1 em 1947. Perilli é um artista romano, pesquisador da forma no espaço, sua poética se afirma no abandono absoluto de qualquer referência ao real. A sua pesquisa orientou-se para o alcance da forma enquanto uma compreensão lógico-estrutural ou mesmo ilógico-estrutural (termos do artista), sendo para ele como um ato de pura espacialização. A presença desse artista na coleção de Murilo Mendes permite-nos conhecer e ponderar sobre as experiências da arte concreta de filiação italiana e, especialmente, a proximidade destas experiências com o pensamento poético de Murilo Mendes. O poeta é natural de Juiz de Fora, e viveu por dezoito anos em Roma onde lecionou e atuou como poeta, ensaísta e crítico de arte. Ele tinha 56 anos quando se transferiu para a Itália definitivamente, onde viveu até o fim de sua vida, vindo a falecer em Portugal. Achille Perilli foi amigo do poeta, uma amizade que durou para sempre. / The main objective of this study was to investigate the artistic production of Achille Perilli (1927-) to understand the presence and importance of his works in the modern art collection of the poet Murilo Mendes (1901-1975). This art collection now belongs to the Museum of Modern Art Murilo Mendes of Universidade Federal de Juiz de Fora (MAMM / UFJF).The moderna Art Collection in question, consists on works of several national and international artists, with significant representation of twenty-five Italian artists, among them Achille Perilli, one of the most important protagonists of Italian modern art in the immediate postWorld War II , and founder of Gruppo Forma1 in 1947. Perilli is a Roman artist, researcher of form in space, his poetic stated in absolute abandonment of any reference to the real. His research was oriented to the achievement of the way while a logical-structural or even illogical-structural understanding (terms of the artist), and for him as an act of pure spatiality. The presence of this artist in the collection of Murilo Mendes, allows us to know and reflect on the experiences of concrete art of Italian parentage, and especially the proximity of these experiences with the poetic thought of Murilo Mendes. The poet was born in Juiz de Fora, and lived for eighteen years in Rome where he taught and served as poet, essayist and art critic. He was 56 years old when he moved to Italy permanently, where he lived until the end of his life, even though he died in Portugal. Achille Perilli was a friend of the poet. A friendship that lasted forever.