Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-12-16Bitstream added on 2014-06-13T19:48:47Z : No. of bitstreams: 1 rodrigues_ww_me_ia.pdf: 4116969 bytes, checksum: 5c2fb408175a773d2ce0dc6baa12372b (MD5) / O presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON – Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto “estopim do modernismo”. O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores / This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments “KLAXON” – a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called “boom of Modernist Movement”. The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the “Academia Nacional de Belas Artes”, in Rio de Janeiro, and its goes up to the end of the 30’s, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists’ presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs (“The Courtesans”, those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita

This thesis is a comprehensive re-examination of Maritime Southeast Asia's (or the Nusantara's) Islamic conversion history between the late thirteenth and early seventeenth centuries. Traditionally, academia has attributed this event to Muslim traders and/or Sufis from either India and/or the Middle East. During the late twentieth century, however, a number of scholars began to consider the possibility of Chinese Muslim involvement. The resulting discussions focused on a re-evaluation of Javanese history in the context of attempts to re-conceptualise pre-modern Nusantara trade (considered the catalyst for Islamisation) as fundamentally orientated towards Southern China, where Muslims played a significant commercial role from the seventh through to the early fifteenth centuries. Despite the intrinsic merits of these efforts, however, they have all been limited by an overwhelming focus on Java and a tendency to examine the relevant issues over only a very narrow time span. This thesis seeks to rectify these problems. First, it will evaluate the validity of the new commercial framework over a much longer period – from the rise of Śrīvijaya in the seventh century CE to the establishment of the early seventeenth-century European trade monopolies. This longue dureé view will provide a much stronger basis for both conclusively re-orientating pre-modern Nusantaran trade towards China and also positing it as the catalyst for conversion, with Chinese Muslims at its heart. Second, the thesis will look beyond Java to examine the conversion histories of several other important Nusantara locations (Samudera-Pasai, Melaka and Brunei), as accessed through early written texts (indigenous, European and Chinese) and archaeology. The thesis then, and thirdly, couples this examination with a consideration of the Islamic influences which came to bear on the Nusantara’s early intellectual and architectural expressions of Islam. Ultimately, by taking this broad chronological, geographical and cultural approach, the thesis aims to more reliably assess the possibility that Chinese Muslims influenced the Nusantara’s initial Islamisation process.

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Marisol Escobar, known in the 1960s as the "Latin Garbo," is a sculptor famous for showing with the Pop art greats. However, Marisol holds a curious position in art history, stranded between the formalism of the fifties' and sixties' male-dominated Pop movement and the conceptual experimentation and radicalism that followed. Trained as a draftsman and painter early in her career, Marisol's main body of work mostly consists of large-scale wooden and mixed-medium sculpture. Lesser known, her lithographs, drawings, collages and small figurines further prove her technical and artistic validity. Preferring to go by surname only, Marisol’s quiet yet intense observation pinpoints the overriding human elements present in the objects of her scrutiny. Most notable for turning her gaze inwards, her self-portraiture defies easy categorization. Meshing American art and non-Western art styles while bridging the gap between intellectual understanding and empathetic approachability, Marisol represents a unique perspective that remains relevant today. Marisol's approach to self-portraiture is, first and foremost, in service to the exploration of her own identity. Furthermore, her choice of subject matter, artistic methodology and style appear closely aligned with Postmodern discourse. Each period of her work from the 1950s to the present day includes different guises and methods that subtly critique societal roles and norms, all presented through the lens of the artist's acute wit. Internationalism, gender roles, and explorations of identity are inherent in each of her works, proving that Marisol deserves further examination to explore her relation to Postmodern thought.

This dissertation reframes the history eighteenth-century British art as a history of textiles. Women across England, Ireland, and Scotland grew, dressed, spun, and wove the hemp, flax, and wool textiles that were the basis for both the cultural implements and practical tools of empire: oil paintings on linen canvas and needlework of worsted thread hung in metropolitan exhibition spaces, while hemp rope, sail cloth, and coarse linen facilitated Britain’s global reach and transportation of commodities. Over the course of three chapters, “Rope,” “Linen,” and “Thread,” I demonstrate how ordinary textiles made and used by women were key tools for the funding, making, and aesthetics of art. In the first chapter, “Rope,” I trace the labor of female models in British drawing academies through their poses supported by rope, and consider historical encounters between rope and the female working body in carceral contexts. Following the entwined forms of life models and rope demonstrates just how entangled the spaces of punishment and the life studio were. The second chapter, “Linen,” is about the structure, materiality and hidden histories embedded in linen painting canvas. First, by comparing linen weaves, thread counts, stamps, and fiber content, I demonstrate the material connections between the world of coarse linen goods and the textile supports of oil paintings. I then argue that the texture of canvas was crucial to the “unfinished” aesthetic of portraiture that became fashionable in the late eighteenth century and attend to the racialized and gendered discourses intrinsic to this painting style. The last chapter, “Thread,” examines spinning and needlework as elite performances of female industry against the backdrop of mechanization, nascent labor movements, and imperial expansion. I contend that these conflicts played out in romanticized depictions of women spinning and the celebration of public exhibitions of worsted embroidery, namely Mary Linwood’s Gallery. While scholars from the fields of economic history, material culture, and art history have considered the topics of industrialization, labor, textiles, and art separately, this is the first study to bring them together as an intervention in eighteenth-century British art history. By rendering textile labor visible in eighteenth-century British art, I argue that manufacturing, imperialism and the visual arts were financially, materially, and ideologically enmeshed processes.

Orientador: José Leonardo do Nascimento / Banca: Rejane Coutinho / Banca: Loris Graldi Rampazzo / Resumo: O presente trabalho tem como tema a visão dos modernistas sobre o universo feminino, a partir de KLAXON - Mensário de Arte Moderna, primeiro periódico modernista. Foram utilizados conceitos do sociólogo francês Pierre Bourdieu (1930-2002), como referência teórica para estabelecer ligações entre o campo artístico e o campo social, no momento em que aconteceram os movimentos Modernista e Feminista emergentes. A investigação seguiu os rumos que a arte brasileira tomava para a inserção da mulher neste campo, como agente ativo, tendo em mente, principalmente, o papel desempenhado pela pintora Anita Malfatti enquanto "estopim do modernismo". O período analisado compreende as mudanças ocorridas no final do século XIX (com a aceitação de matrícula de mulheres na Academia Nacional de Belas Artes), no Rio de Janeiro e se estende até o início da década de 30, quando o Modernismo se consolida como movimento com grande participação feminina. O recorte se dá com base nas artistas citadas em KLAXON: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889-1938), Sarah Bernhardt (1844- 1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900-1967). Inclui, também, o estudo de três textos sobre mulheres: Sarah, de Rubens de Moraes; As Cortesãs (das canções gregas), de Guilherme de Almeida; e A Extraordinária História da Mulher que se tornou Infinita, de Antonio Carlos Couto de Barros. Os resultados apontam uma visão mais aberta sobre o universo feminino, em relação ao século precedente, mas ainda com aspectos conservadores / Abstract: This work aims to reveal the judgments of Brazilian male modern artists concerning to female universe, and adopts as a main stream of arguments "KLAXON" - a monthly magazine of Modern Art, and the very first newspaper of Modernist Movement, in Brazil. Therefore, concepts and theories of the French-sociologist Pierre Bourdieu (1930-2002) were equally applied in order to put in a well-connected association some events from artistic camp and those from social camp, just a time when both Modernist and Feminist movements were exactly taking place in Arts and in society. This investigation keeps on following the route that had to be traced on Brazilian art and that had to give to those women some insertion at a powerful artistic scale, an example to have in mind is that one taken from the presence of the Brazilian female painter Anita Malfatti, whose role was very important for the so called "boom of Modernist Movement". The historical period analyzed includes the changes that occurred by the final of the XIX century, when women were being admitted on the "Academia Nacional de Belas Artes", in Rio de Janeiro, and its goes up to the end of the 30's, a period when Modernist Movement is consolidated as a real movement, accompanied from a large contribution of women. The most precious examples that can be illustrated with female artists' presence, cited by KLAXON, are: Agnes Ayres (1898-1940), Anita Malfatti (1889-1963), Antonietta Rudge (Miller) (1885-1974), Bebé Daniels (1901-1971), Céline Arnauld (1893-1952), Gloria Swanson (1899-1983), Guiomar Novaes (1894-1979), Perola White (Pearl White) (1889- 1938), Sarah Bernhardt (1844-1923), Tarsila do Amaral (1886-1973) e Zina Aita (1900- 1967). It also includes a study of three texts about women: Sarah, by Rubens de Moraes; As Cortesãs ("The Courtesans", those from the Greek songs), by Guilherme de Almeida; and A Extraordinária História da Mulher que se tornou Infinita / Mestre

許曉東. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 112-114) / 附中英文摘要. / "2001 nian 6 yue" / Xu Xiaodong. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 112-114) / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 遼代玉器硏究的回顧與考古材料 --- p.（1) / Chapter 第一節 --- 硏究的緣起 --- p.（1) / Chapter 第二節 --- 硏究的回顧 --- p.（3) / Chapter 第三節 --- 考古材料 --- p.（6) / Chapter 第二章 --- 遼代玉器的製作與使用 --- p.（13) / Chapter 第一節 --- 玉器的製作 --- p.（13) / Chapter (1) --- 遼代手工業概況 --- p.（13) / Chapter (2) --- 多層次的生產組織形式 --- p.（18) / Chapter (3) --- 製作技術 --- p.（22) / Chapter 第二節 --- 玉器的使用 --- p.（22) / Chapter (1) --- 朝廷用玉 --- p.（23) / Chapter (2) --- 日常用玉 --- p.（27) / Chapter (3) --- 賞賜與貢奉 --- p.（29) / Chapter (4) --- 朝聘往來 --- p.（30) / Chapter (5) --- 佛教用玉 --- p.（32) / Chapter (6) --- 喪葬用玉 --- p.（33) / Chapter 第三章 --- 遼代玉器的形制分析與分期 --- p.（40) / Chapter 第一節 --- 形制分析 --- p.（40) / Chapter (1) --- 玉帶 --- p.（40) / Chapter (2) --- 碗 --- p.（43) / Chapter (3) --- 杯 --- p.（45) / Chapter (4) --- 瓶 --- p.（47) / Chapter (5) --- 盒 --- p.（48) / Chapter (6) --- 組佩 --- p.（49) / Chapter (7) --- 肖生玉器 --- p.（53) / Chapter (8) --- 帶T形、心形墜之項飾 --- p.（55) / Chapter (9) --- 胸飾與臂飾 --- p.（57) / Chapter (10) --- 分髮簪、珠鏈、瓔珞 --- p.（59) / Chapter (11) --- 轡飾 --- p.（60) / Chapter (12) --- 飛天、佛塔、舍利罐、斧錘形器、金剛杵、海螺、法輪 --- p.（61) / Chapter (13) --- 水盂、硯、圍棋子、臂韛、嘎拉哈 --- p.（64) / Chapter (14) --- 花冠形飾、葉形飾、彎月形飾、三角形飾片、玉竹節… --- p.（65) / Chapter (15) --- 璧、玦、環、勾雲形器、玉錢、帽形飾、器柄 --- p.（66) / Chapter 第二節 --- 分期 --- p.（67) / Chapter (1) --- 早期 --- p.（68) / Chapter (2) --- 中期 --- p.（69) / Chapter (3) --- 晚期 --- p.（70) / Chapter 第四章 --- 遼代玉器與唐、宋、金玉器之比較 --- p.（73) / Chapter 第一節 --- 遼代玉器之特色 --- p.（73) / Chapter (1) --- 選材 --- p.（73) / Chapter (2) --- 工藝 --- p.（74) / Chapter (3) --- 文化構成 --- p.（75) / Chapter 第二節 --- 與唐代玉器之比較 --- p.（75) / Chapter (1) --- 器形 --- p.（75) / Chapter (2) --- 玉雕工藝與表現技法 --- p.（79) / Chapter (3) --- 對金銀器的借鑒 --- p.（82) / Chapter 第三節 --- 與宋代玉器之比較 --- p.（83) / Chapter (1) --- 鏤雕、淺浮雕技藝的吸收 --- p.（83) / Chapter (2) --- 寫實藝術風格的借鑒 --- p.（85) / Chapter (3) --- 仿古器的製作 --- p.（86) / Chapter (4) --- 中原傳統吉祥意象的接受 --- p.（86) / Chapter 第四節 --- 與金代玉器之比較 --- p.（89) / Chapter (1) --- 雕刻技法 --- p.（89) / Chapter (2) --- 題材 --- p.（90) / Chapter 第五章 --- 相關問題的探討 --- p.（97) / Chapter 第一節 --- 玉器發展的新機遇 --- p.（97) / Chapter 第二節 --- 多元文化因素的融合與民族特色的淡化 --- p.（100) / Chapter (1) --- 多元文化因素的融合 --- p.（100) / Chapter (2) --- 民族特色的淡化 --- p.（104) / Chapter 第三節 --- 歷史定位 --- p.（106) / Chapter 第四節 --- 硏究展望 --- p.（108) / 附錄 / 附錄一參考書目 --- p.（1) / 附錄二遼、五代、北宋、金紀年對照表 --- p.（2) / 附錄三遼代出土玉器一覽表 --- p.（3~1) / 附錄四圖版目錄 --- p.（4) / 附錄五彩色圖版說明 --- p.（5~1) / 附錄六黑白圖版 --- p.（6~1) / 圖錄七彩色圖版 --- p.（7)