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1	August Sander e Homens do século XX: a realidade construída / August Sander and People of the 20th century: the constructed reality Rossi, Paulo José 08 March 2010 (has links) O fotógrafo alemão August Sander (1876-1964) foi autor de uma das mais apreciadas obras fotográficas do século passado, Homens do século XX (HHSX), um projeto de fotografia documental de grande envergadura, iniciado na década de 1920, composto basicamente por retratos, por sua vez organizados segundo o critério de classificação de tipos da sociedade elaborado pelo próprio fotógrafo. Alguns dos retratos são descritos neste trabalho pormenorizadamente a fim de encontrar nas suas propriedades visíveis indicações referentes aos esquemas de percepção que Sander empregava em sua visão de mundo. As análises dessas imagens são confrontadas com os critérios de classificação por ele adotados e articuladas a um manancial de informações relacionado ao ambiente fotográfico da época, ao contexto sócio-político da Alemanha e à biografia do fotógrafo. Este procedimento levou à hipótese central da pesquisa: mais do que representações de tipos sociais, como de fato acreditava Sander, HSXX é antes um conjunto de estereótipos no sentido de seus retratos serem realidades construídas que correspondem a um modo de percepção social. Enquanto à percepção do real, a maioria dos retratos corresponde a estereótipos pré-concebidos socialmente. O presente estudo parte do princípio de que Homens do século XX é a narração da interpretação de Sander sobre aquele período histórico da Alemanha. Deste ponto de vista, a análise empreendida não interpreta somente a obra, mas também interpreta a interpretação circunstanciada daquele que a concebeu. Não se trata, portanto, de um estudo sobre os fatos narrados, mas sim sobre a forma como Sander os narrou, sua percepção do mundo inscrita na interpretação que ele faz do real circunstanciada por diversos fatos sociais. / The German photographer August Sander (1876-1964) was the author of one of the most appreciated photographic work from last century, Man in the Twentieth Century, a vast documental photography project, started in the 1920s, basically composed by portraits, organized by the author according to societys kinds of occupations. Some of the portraits are described here in detail in order to find in its visible proprieties, indications related to the aspects of perception which Sander used in his view of the world. The analysis of those images are confronted with the classification criteria adopted by him and articulated with several pieces of information related to the photographic environment from that time, to the German social political context and to the photographers biography. This procedure took us to the researchs central hypothesis: more than representations of social types, as Sander believed, Man in the Twentieth Century is a whole of stereotypes in the sense that his portraits are constructed realities that correspond to a kind of social perception. As for the perception of the real, most of the portraits correspond to the stereotypes that are socially understood. The current study essentially states that Man in the Twentieth Century is the narration of Sanders interpretation about that German historic period. From this point of view, the analysis done not only interprets the art work, but also interprets the circumstanced interpretation from the one who idealized it. Therefore, it is not a study about the narrated facts, but about the way Sander narrated them, his perception of the world enrolled in the interpretation that he does about the real, circumstanced by several social facts. Habitus Habitus Homens do século XX People of the 20th Century August Sander August Sander Constructed reality Estereótipo Fotografia Photography Portrait Realidade construída Retrato Stereotype
2	August Sander e Homens do século XX: a realidade construída / August Sander and People of the 20th century: the constructed reality Paulo José Rossi 08 March 2010 (has links) O fotógrafo alemão August Sander (1876-1964) foi autor de uma das mais apreciadas obras fotográficas do século passado, Homens do século XX (HHSX), um projeto de fotografia documental de grande envergadura, iniciado na década de 1920, composto basicamente por retratos, por sua vez organizados segundo o critério de classificação de tipos da sociedade elaborado pelo próprio fotógrafo. Alguns dos retratos são descritos neste trabalho pormenorizadamente a fim de encontrar nas suas propriedades visíveis indicações referentes aos esquemas de percepção que Sander empregava em sua visão de mundo. As análises dessas imagens são confrontadas com os critérios de classificação por ele adotados e articuladas a um manancial de informações relacionado ao ambiente fotográfico da época, ao contexto sócio-político da Alemanha e à biografia do fotógrafo. Este procedimento levou à hipótese central da pesquisa: mais do que representações de tipos sociais, como de fato acreditava Sander, HSXX é antes um conjunto de estereótipos no sentido de seus retratos serem realidades construídas que correspondem a um modo de percepção social. Enquanto à percepção do real, a maioria dos retratos corresponde a estereótipos pré-concebidos socialmente. O presente estudo parte do princípio de que Homens do século XX é a narração da interpretação de Sander sobre aquele período histórico da Alemanha. Deste ponto de vista, a análise empreendida não interpreta somente a obra, mas também interpreta a interpretação circunstanciada daquele que a concebeu. Não se trata, portanto, de um estudo sobre os fatos narrados, mas sim sobre a forma como Sander os narrou, sua percepção do mundo inscrita na interpretação que ele faz do real circunstanciada por diversos fatos sociais. / The German photographer August Sander (1876-1964) was the author of one of the most appreciated photographic work from last century, Man in the Twentieth Century, a vast documental photography project, started in the 1920s, basically composed by portraits, organized by the author according to societys kinds of occupations. Some of the portraits are described here in detail in order to find in its visible proprieties, indications related to the aspects of perception which Sander used in his view of the world. The analysis of those images are confronted with the classification criteria adopted by him and articulated with several pieces of information related to the photographic environment from that time, to the German social political context and to the photographers biography. This procedure took us to the researchs central hypothesis: more than representations of social types, as Sander believed, Man in the Twentieth Century is a whole of stereotypes in the sense that his portraits are constructed realities that correspond to a kind of social perception. As for the perception of the real, most of the portraits correspond to the stereotypes that are socially understood. The current study essentially states that Man in the Twentieth Century is the narration of Sanders interpretation about that German historic period. From this point of view, the analysis done not only interprets the art work, but also interprets the circumstanced interpretation from the one who idealized it. Therefore, it is not a study about the narrated facts, but about the way Sander narrated them, his perception of the world enrolled in the interpretation that he does about the real, circumstanced by several social facts. Habitus Homens do século XX August Sander Estereótipo Fotografia Realidade construída Retrato Habitus People of the 20th Century August Sander Constructed reality Photography Portrait Stereotype
3	Walter Benjamin und die Kunst des Graphischen / Photo-Graphie, Malerei, Graphik Matsui, Takaoki 16 June 2008 (has links) Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money. Aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Paul Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raffael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer Antinomie des Geschmacks ästhetische Idee Drogen Farbkonstanz Geldschleierthese Horizontalität Humor Mal Melancholie Tiergarten Todestrieb Urphänomen aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raphael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer aesthetic idea antinomy of taste color constancy death drive drugs goethean phenomenology horizontality humour „Mal“ melancholy veil of money zoo 750 Malerei und Gemälde 47 Photographie CI 1397 ddc:750

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