Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 70-71. Document électronique également accessible en format PDF. CaQCU

Thesis (Doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1982.

Orientador: Luise Weiss / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T05:31:36Z (GMT). No. of bitstreams: 1 Santos_MarcioElias_M.pdf: 5544235 bytes, checksum: bca16f07cc37307732585e9a2164ad20 (MD5) Previous issue date: 2009 / Resumo: O que originou esta pesquisa talvez tenha sido um certo incômodo, uma situação de desconforto. Situação que não tem outra causa senão a pergunta: é possível pintar? Se é, como? Vejo a pintura como possível por ser um meio expressivo necessário que, como tantos outros, possui problematizações e questionamentos próprios. Depois de tantas sentenças de morte e ondas de ressurgimento, atreladas a circunstâncias históricas, a pintura retornou ao status de médium, de meio para se chegar a algo. Partindo desse princípio, decidi observar como a pintura é feita e como poderia ser feita. O objetivo desta pesquisa é compreender um pouco melhor a pintura, não como fenômeno, mas como experiência, como campo de possibilidades onde se fazem escolhas. Para isso, pretendo utilizar o meu trabalho de pintura a encáustica, analisando o seu desenvolvimento e pontuando as escolhas feitas durante o seu próprio processo prático. As observações e reflexões registradas neste texto estão, de certa forma, submetidas ao trabalho prático, que as precede. Essas observações tentam registrar o processo de criação artística como uma forma de produção do conhecimento, o qual possui um tempo próprio, uma fala própria. O trabalho resultará em uma exposição, uma ocupação física de um espaço, durante um determinado tempo. E, somando-se a isso, o texto indica alguns pontos que julgo importantes na compreensão do seu processo de criação, definindo alguns marcos no desenvolvimento do trabalho, e propõe uma reflexão sobre as escolhas feitas e os sentidos possíveis. / Abstract: What originated this research was maybe a certain disturbance, an uncomfortable situation. Situation that has no other cause but the question: is it possible to paint? If it is, how is it possible? I see painting as a necessary expressive means, and such as other means, it has its own issues and questionings. After a few death sentences and rebirths, attached to historical circumstances, painting has returned to the medium status, a means to get to something. Starting from this principle, I decided to observe how the painting is made and how it can be made. The objective of this research is to comprehend painting better. To comprehend it not as a phenomenon, but as an experience, as a field of possibilities where choices are made. To show that, I intent to use my encaustic painting work, analyzing its development and pointing out the choices made during its own practical process. The observations and reflections registered in this text are in a certain way submitted to the practical work, which precedes them. These observations try to register the process of artistic creation as a way of producing knowledge, which has its own timing, its own language. The work will turn into an exhibition, a physical occupation of a space, during certain time. And adding to that, the text indicates some points that I consider important to the understanding of its creation process, defining some steps in the development of the work, and proposes a reflection on the choices made and its possible senses. / Mestrado / Mestre em Artes

La portée de cette thèse est de montrer le potentiel de l'imagerie térahertz (THz) pour l'évaluation non-destructive et non-invasive d’objets liés à notre héritage culturel. A cette fin, nous avons développé un spectro-imageur THz permettant une analyse spectroscopique des objets sur la gamme de fréquence 0-3 THz. Le système permet aussi de mesurer des variations d’épaisseur inférieures à 30 µm suite à une analyse du « temps de vol » lié à la propagation des impulsions THz entre l’émetteur et le détecteur. Ainsi, nous avons pu révéler des esquisses dissimulées sous diverses couches de peinture ou de plâtre. Nous avons également mis au point un scanner THz portable monochromatique pour une analyse tomographique des objets. Après une étude en laboratoire, une campagne de mesures a été réalisée au Musée d’Aquitaine (France) afin de démontrer l’intérêt de ce système de caractérisation optique 3D pour diverses pièces du musée et notamment certaines antiquités égyptiennes vieilles de 3500 ans qui ont pu ainsi livrer une partie de leurs mystères. / The scope of this thesis is to demonstrate the potential of terahertz (THz) imaging for non-destructive evaluation of various artworks associated with a complete 3D volumetric inspection. For this purpose we used a pulsed THz time-domain spectrometer and a portable millimeter continuous wave scanner. Time-of-flight of THz electric field and material dependent spectroscopic information allows the analysis of various artistic samples. THz imaging was able to reveal buried layer information, covered by several layers of painting and plaster. It was also possible to evaluate the variations of the painting thickness along with their spectroscopic features in the THz range. The portable imaging system was used for the inspection of real historical art samples preserved at museum of Aquitaine (France). THz computed tomography has been performed for visualizing volumetric objects. Different reconstruction methods have been compared in order to enhance final image quality with the optimization of the number of projections. Finally the tomographic technique was used for a complete 3D inspection of historical art objects.

This dissertation considers the figural bronze statuettes crowning Etruscan candelabra (c. 520- c. 350 BCE) to discuss the value and role of body images in Etruscan art and domestic as well as funerary contexts. Candelabra rose over a meter in height to present these radiant bodies in isolation, framed by flames. The finial figures were bodies on conspicuous display, as flickering and gleaming light attracted the viewer’s gaze and focused attention on the body’s exposure, dress, and gestures. The emitted light defined social spaces such as the banquet and enhanced the interactions between participants, while candelabra themselves were objects of communal pleasure and viewing. In more personal contexts, candelabra also facilitated interaction with one’s own body by lighting activities such as grooming and self-adornment. Ultimately, this dissertation considers the unique contributions of finial bodies in making candelabra personally and socially meaningful in domestic life, and therefore important memorial objects during a funerary transition at the end of life.By foregrounding the finials and their cultural contexts, I aim to make contributions not only to ancient or Etruscan domestic and funerary culture generally, but particularly to the role that images of the body played as they were incorporated within personal and social objects in these contexts. To this end, I apply theories of phenomenology, embodiment, and perception while considering the value of finials as body images rather than simple subject matter. Because of the relationships that candelabra developed with their users specifically through the body, as well as their conspicuous display of body images, Etruscan candelabra earn a place in these greater theoretical discussions and have value for scholars outside the Etruscan or Ancient world.

This dissertation builds and theorizes a corpus of the many feitiços, fetissos, fetiches, and fetishes that, with the advent of Iberian traders along the Atlantic coastlines, materialized and circulated in early modern West Africa before the institution of what we now refer to, in the singular, as “the fetish.” It contends that the techniques and forms that elicited the accusation of fetishes were devised in response to new and varied pressures of the highly dynamic trading contexts of early modern coastal Guinea: to make meaning out of confusion, to anchor unstable notions of value and truth, to shape outcomes by bending fortune to human will, and to assert control and possession in the face of disorder and dispossession. These forms and techniques are the subject of this dissertation, which departs from the thesis that, coded into each use of the term “fetish,” there is an interpretation of the shifting social circumstances that precipitated its fabrication and use. Part I, In the Marketplace, draws on Iberian and Caboverdean merchant treatises and descriptions to map the circulation, and creolization of the Iberian discourse of feitiçaria along the trading routes of West Africa, while collecting and interpreting the feitiços, fetiches, and fetishes that multiplied in its wake. Part II, Before the Holy Office, reverses course and tracks the Africanization of the problem of the feitiço (exemplified in the idiom of mandinga) in the trials of Cacheu-native Crispina Peres (in 1665–1669) and Cabo Verdean Patrício de Andrade (in 1690) for feitiçaria at the Lisbon Tribunal of the Inquisition. Each chapter is articulated around a different technique of feitiçaria—writing, metallurgy, ligature, and gleaning—its social importance, and its perceived effects. Ultimately, this study is built on the conviction that “the problem of the fetish” is best approached as a historical accumulation of problem objects, troubling forms that elicited accusations of fetish and that were thus subject to discursive attempts, both systematic and ad-hoc, to classify and serialize them into a corpus and a theory.

published_or_final_version / Fine Arts / Doctoral / Doctor of Philosophy

1Lothar von Falkenhausen, Chinese Society in the Age of Confucius (1000-250 BC): The Archaeological Evidence (Los Angeles: Cotsen Institute of Archaeology, University of California, 2006). / Furthermore, differentiation of jades used among different social classes is also considered throughout these discussions. Finally, this research concludes with the discussion of the discourse of the existence of regional differences of jade from the Eastern Zhou period; the outcome of the "Restructuring" and the characteristics of jade excavated from the Tomb of Marquis Yi of Zeng. This research is the only in-depth study of the Marquis Yi's jades known to date and should fill a major gap thirty years after their excavation. / Lothar von Falkenhausen proposed that a political movement occurred around 600 B.C., which resembled the Late Western Zhou Ritual Reform (circa 850 B.C.). He entitled this movement "the Middle Springs and Autumns Ritual Restructuring." 1 This "Restructuring" was advocated by a group of rulers of local polities who wished to strengthen their newly established kingdoms and reinstate social order through the restoration of religious and ritual ceremonies of the Western Zhou period. The "Restructuring" was characterized by a shift of social hierarchy and a change in religious content which had significant impact on people's lives in Eastern Zhou society. The main intention of this research is to find out the characteristics of jades from the Eastern Zhou Period and their relationship with the "Restructuring". / The focus and starting point of this study is a group of jades excavated from the tomb of the Marquis Yi of Zeng (died 430 BC). This undisturbed tomb yielded nearly three hundreds pieces of jade; they were well preserved and were highly representative for their remarkable quality and workmanship. / The third section will look at the issues surrounding the use and understanding of archaic jades during this period. The "Restructuring" advocated the restoration of religious cult and ritual of Late Western Zhou period, which lead to the employment of archaic jade and motifs borrowed from bronzes as potent political symbol and legitimacy. The fourth section discusses the ways in which the emergence of new religious ideologies affected the manufacturing of jades for burial. The belief of the afterworld and the existence of soul affected the production of burial jades in terms of functions, form and style. These burial jades show that the religious transformation of the Qin and Han Dynasty was, in fact, originated during the Warring States Period. / This investigation proceeds from four major perspectives. The first section studies how the set of sumptuary rules in the ceremonial system established after the "Western Zhou Ritual Reform" have been restored by the ruling class after the "Restructuring". This research has revealed that a new ceremonial system has been established after the "Restructuring" to justify users' political and social status. The second section examines the changing roles of jade in everyday contexts after the "Restructuring", from the perspectives of its value, function, and significance in society. The research has shown that although the feudal system has collapsed gradually with rapid social mobilization, jades were mostly confined to the upper class during the entire Eastern Zhou period. Their marvelous craftsmanship and enormous size were used to display users' political power, extraordinary taste and wealth. / 邱嘉汶. / Adviser: Jenny F. So. / Source: Dissertation Abstracts International, Volume: 72-01, Section: A, page: . / Thesis (doctoral)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 255-315). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Qiu Jiawen.

Queen Christina of Sweden (1626-1689)--one of the most celebrated, if controversial, converts of all times--settled in the papal city after her abdication in 1654. Her palace--the Palazzo Riario (today Corsini)--became one of Rome's leading cultural institutions: a site where learned, artistic, and elite culture converged. This study examines Christina's practice of collecting, and argues that her ambition was to create a center for learning and the arts in the Palazzo Riario modeled on the ancient Musaeum of Alexandria. While Christina's importance as a patron of art and learning has long been recognized, this dissertation offers the first comprehensive discussion of Christina's practice of collecting, and the architecture and ambience of her Roman palace. Based on both published and unpublished architectural drawings, inventories, household accounts, and contemporary travel descriptions, this dissertation establishes the contents and the display of Christina's collection, and the architectural plan of the Palazzo Riario. This study examines the intersection between objects and their display, issues of etiquette and decorum, and the social use of architecture in seventeenth-century Rome. It aims to contribute to the history of collecting and early museums, and to the broader field of seventeenth-century culture.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2003. / Bibliogr.: f. [54]-55. Document électronique également accessible en format PDF. CaQCU