Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

Le présent mémoire de maîtrise étudie la fortune critique de l'artiste états-unienne d'origine française Louise Bourgeois. Il suit le parcours de l'artiste vers une reconnaissance critique et publique plutôt tardive, et une consécration comme figure importante de l'art de la deuxième moitié du 20e siècle. Favorisant une approche historiographique qui porte attention au genre d’écrits comme les survols et les monographies, il procède à l'analyse d'ouvrages concernant la place de Bourgeois dans le cadre des histoires de la sculpture moderne et des textes de nature diverse (historiques, théoriques et critiques) émanant de la mouvance féministe en art, avant de considérer les études réservées exclusivement à la trajectoire de Bourgeois et au développement de son œuvre. Plus largement, cette étude propose d'examiner les subtilités de la construction d'un réseau d'interprétations qui puisse répondre de la complexité d'une production artistique s'étalant sur près de soixante-dix ans, faisant appel à une grande variété de matériaux non conventionnels, oscillant entre la fascination pour la figure totémique et l’installation, tout en résistant aux classifications conventionnelles de mouvements et d’écoles, de même qu’à celles de développements formels et stylistiques continus. / This master's thesis is a study of the French born American artist Louise Bourgeois' critical review. More precisely, it considers the artist’s progress from her beginnings as an American sculptor in the forties to her critical but albeit late public recognition as an important figure in the art of the second half of the twentieth century. From a historiographical perspective, and working with texts dealing with modern sculpture in the U.S.A., feminism in the visual arts and more specifically the career of Bourgeois, we want to examine the situation of this artist amidst the different interpretations of her artworks. This study proposes to look at the subtleties in the construction of a web of interpretations. This web, we will see, is as complex as the production of an artist who created for more than seventy years. The intent of the first chapter is to grasp the position occupied by Bourgeois in some of the major texts constituting the history of modern sculpture. This overview will lead us to the second chapter where we will analyze the manner Bourgeois' work is addressed by feminist literature and practice. In this context, and by the fact that Bourgeois revealed tragic aspects of her childhood at the turn of the eighties, we will seek to understand the changes in the way her work has been perceived. The third chapter focuses on the study of the artist’s national and international recognition in parallel to the monographs having her as their main subject. Those texts, which have been often tied to biographical writing, reassess in a certain way the old concept of the mythical artist. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio-visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal

Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte / This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

Adrienne Maillet a fait paraître huit romans, un recueil de nouvelles et deux biographies en à peu près vingt ans, soit de 1937 à 1954. Malgré cette production importante, une réception critique favorable et quelques rééditions, très peu d'études lui ont été consacrées. Le présent mémoire vise donc à faire connaître cette écrivaine prolifique méconnue et son œuvre romanesque. Une grande partie des critiques et des relectures des romans de Maillet a insisté sur l’aspect sentimental ainsi que sur la grande moralité qui s’en dégage. Or, quelques récentes relectures de ceux-ci laissent entendre qu’il pourrait y avoir, derrière l’allure conformiste, une certaine part d’innovation. Il s’agit donc, dans le cadre de cette recherche, de vérifier si l’œuvre romanesque de Maillet se révèle idéologiquement ambigüe, entre conformisme et nouveauté, et comment elle développe ce double aspect. Pour ce faire, ce mémoire se décline en trois temps. Le premier chapitre établit tout d’abord le contexte historique et littéraire des années 1930-1940. Cette période est marquée par de nombreux bouleversements, de même que par le double sceau de la tradition et de la modernité. L’analyse de l’œuvre de Maillet se déroule pour sa part en deux temps. Le second chapitre porte sur l’aspect plus traditionnel des romans, leur appartenance au genre sentimental. Ceux-ci sont analysés à l’aide des théories sur le roman sentimental et le roman d’amour catholique, plus particulièrement celles d’Ellen Constans (1999). Par la forme qu’ils empruntent, les récits permettent l’inscription d’un premier discours conservateur à l’intérieur de l’œuvre romanesque de Maillet. Le dernier chapitre aborde pour sa part les différents aspects plus novateurs qui se retrouvent dans la production de la romancière. Il est entre autres question des particularités thématiques présentes dans les romans, soit la mise en place d’un espace urbain et bourgeois, de même que de certaines revendications féminines, voire féministes. Cette relecture de l’œuvre de Maillet permet tout d’abord de montrer que celle-ci n’est pas aussi univoque que la critique et la recherche l’ont d’abord cru, mais elle permet aussi d’enrichir nos connaissances en ce qui a trait à un domaine encore méconnu, l’écriture des femmes dans les années 1930-1940.

Outer Edges of the Middle Kingdom is a narrative by the author about his two years as a teacher in the People's Republic of China. Organized chronologically, the account begins in August, 1985, and ends in June, 1987. The narrator describes meeting students at Tianjin University, Tianjin, China, designing English classes for English majors, daily episodes in the classroom, and interaction with Chinese colleagues. The narrative alternates between life on a university campus and extensive trips the narrator made to various cities in China, including Beijing, Shanghai, Chengdu, Kunming, Guilin, Harbin, Hohot, and Guangzhou. Also recounted are the narrator's reactions to the student demonstrations of December, 1986, and the resulting anti-bourgeois liberation campaign of January-April, 1987.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-18T11:34:16Z No. of bitstreams: 1 Angela Michele Suave.pdf: 2432450 bytes, checksum: 6cb1885c342906e2072d51aac90fb357 (MD5) / Made available in DSpace on 2016-11-18T11:34:16Z (GMT). No. of bitstreams: 1 Angela Michele Suave.pdf: 2432450 bytes, checksum: 6cb1885c342906e2072d51aac90fb357 (MD5) Previous issue date: 2016-09-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The socio-political reconfiguration of “Pinheirinho Movement” in the right of conquest to city: Sao Jose dos Campos, 2011-2015, is an issue that arises from the urban process having as genesis the conflicts of the relation between capital and work. The “Pinheirinho Movement” became symbolic in the country by portraying the reality of Brazilian cities. It was analyzed that the eviction expressed the achievement of hegemony and power strength of the city ledgerbait. The intensification of the conflict caused a sociopolitical reconfiguration of “Pinheirinho Movement”. It was considered to study the sociopolitical reconfiguration of Pinheirinho movement, with its reorganization to the conquest of the city, it was essential to highlight the mediation’s that express the antagonistic interests that pervade the relations of the social classes of the capitalist system of production. It was chosen a qualitative research, starting with a bibliographic survey and documentary research, in which was used sources containing records about the “Pinheirinho Movement”, the local press (by virtual means). It was utilized to meet the socio-political configuration of the movement, unsystematic participant observation. The answers to this sociopolitical process “Pinheirinho Movement” signaled that the struggles for housing and the citinzenship as the constituents of conflicts intensification between classes in the urban space, which suggested the study of the State, Bourgeois Democracy and the Right to the City as theoretical categories foundational to our analysis. In Chapter I, it was made an analysis of the continuing struggle for housing of Pinheirinho's former occupants in the post-eviction process, bringing elements of the previous situation of stability. In Chapter II, the reflections on the housing policy achieved by “Pinheirinho Movement” sought to consider the process of social reproduction in a society divided into classes. In Chapter III, it was studied the importance of Social Work to contribute to the workers movement into a professional exercise that has the purpose of strengthening its struggle. The experience of “Pinheirinho Movement” demonstrated that workers' awareness of regarding urban problems as well as transportation, housing, health, among others, is an important element to demonstrate the possibilities of promoting fights for the right to the city and the materialization of the actions of the workers social movements that can boost the working class to the head of the revolutionary transformation process / A reconfiguração sociopolítica do movimento Pinheirinho na conquista do direito à cidade: São José dos Campos, 2011 a 2015 é uma temática que advem do processo urbano, tendo por gênese os conflitos da relação capital X trabalho. O movimento Pinheirinho tornou-se simbólico no país por retratar a realidade das cidades brasileiras. Analisamos que a desocupação expressou a concretização da hegemonia e da força do poder da alta burguesia da cidade. O acirramento desse conflito provocou uma reconfiguração sociopolítica do movimento Pinheirinho. Considera-se que estudar a reconfiguração sociopolítica do movimento Pinheirinho, com a sua reorganização para a conquista da cidade, foi fundamental para evidenciar as mediações que expressam os interesses antagônicos que perpassam as relações das classes sociais do sistema capitalista de produção. Optamos por uma pesquisa de natureza qualitativa, iniciando-a com um levantamento bibliográfico e com uma pesquisa documental, na qual usamos fontes que contêm registros sobre o movimento Pinheirinho, da imprensa local (por meio virtual). Foi usada, para conhecer a reconfiguração sociopolítica do movimento, a observação participante assistemática. As respostas para esse processo sociopolítico do movimento Pinheirinho sinalizaram que as lutas por moradia e pela cidade são constituintes do acirramento dos conflitos entre as classes no espaço urbano, o que sugeriu o estudo do Estado, da Democracia Burguesa e do Direito à Cidade como categorias teóricas fundantes para a nossa análise. No capítulo I, fizemos uma análise da continuidade da luta por moradia dos ex-ocupantes do Pinheirinho no pós-desocupação, trazendo elementos da anterior situação de estabilidade. No capítulo II, nossas reflexões acerca da política habitacional alcançada pelo movimento Pinheirinho buscaram considerar o processo de reprodução social em uma sociedade dividida em classes. No capítulo III, trabalhamos a importância de o Serviço Social somar-se aos movimentos de trabalhadores para um exercício profissional que tenha a finalidade de fortalecer sua luta. A experiência do movimento Pinheirinho demonstrou que a tomada de consciência dos trabalhadores em relação aos problemas urbanos, bem como os problemas de transporte, de moradia, de saúde, dentre outros, é um elemento importante para demonstrar as possibilidades de impulsionar lutas pelo direito à cidade e para a materialização das ações dos movimentos sociais de trabalhadores e pode impulsionar a classe operária no processo dirigente da transformação revolucionária

Composé de deux parties, le mémoire « Posthumes. Inventaire » suivi de « Fragments et photos exhumés du garde-robe, un archivage » s'intéresse à la consignation de souvenirs d'enfance rattachés à un événement traumatique. Il cherche à saisir de quelle façon un adulte arrive à consigner sa mémoire lorsque, dans l'enfance, on l'a tenu à l'écart d'un événement traumatisant. Dans un premier temps, la partie de création du mémoire offre, sous forme de fragments, une accumulation de souvenirs qui, à l'image d'un album photos, dresse le portrait d'une enfance marquée par le suicide d'un proche. À travers les souvenirs relatés, la narratrice retrouve et expose des lieux et des situations de son enfance dont le sens est teinté par le suicide de la conjointe de son père. La seconde partie, quant à elle, est constituée d'un dossier d'accompagnement offrant un éclairage théorique sur l'œuvre de création. Dans cette partie, l'auteure présente et explique sa démarche de création, tant sur le plan de la forme que de la méthode de travail, tout en définissant les diverses influences et réflexions qui ont mené à la rédaction du mémoire de création. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Souvenirs, mémoire, enfance, suicide, traumatisme, filiation, fragments, perte, famille, deuil, Louise Bourgeois, Mélanie Gélinas, Denise Desautels.

This thesis problematizes the phenomenon of privatization of security within the context of the neoliberal transformation of the capitalist state in Turkey. On the basis of the critique of neo-Weberian and Foucauldian literatures, it attempts to construct its peculiar theoretical-historical pathway on the relationship between state-coercion-class. It problematizes the historical constitution of this relationship within the context of the historical specificity of the capitalist state power. In this regard, the formation of the public police in the 19th century is discussed as an important, albeit contradictory, aspect of the materialization of this specificity. Furthermore, it is asserted that it was a reformative movement within which class practices of private provision of security were not totally eliminated, but incorporated into the impartially presented institutional materiality of the modern bourgeois state in and through class struggles. On this basis, the thesis discusses the privatization of security in Turkey as a contradictory transformation determined by the tension between the alleged impartiality and class nature of the state. It critically analyzes the historical period from the 1960s to the 2000s to identify different dynamics of transformation in terms of the privatization of security and institutional restructuring of the state. Within this framework, it argues that the institutionalization of private security in Turkey has signalled a trend towards the fusion of state power and class power in a new form with novel contradictions.

The aim of this paper is to examine how the press describes the public and private role of the Swedish monarch in texts that report about the biography Carl XVI Gustaf – den motvillige monarken (Sjöberg et al. 2010) when it is published in November 2010. The examined period ranges between the days just before the release and a fortnight after. The analysis is limited to standard Swedish papers: a daily, Svenska Dagbladet, and an evening paper, Expressen. Questions asked in the study are: In what ways do the analysed texts raise a discussion about the monarchy’s importance or function in the society of today, that is a public debate on the monarchy? To what extension are status symbols used in the constructing of royalty, that is what Jürgen Habermas (2003) describes as representative publicity? What similarities and differences are found when comparing the news articles in the daily and in the evening paper? The method used to answer the aim and questions is the critical discourse analysis, as Norman Fairclough (1995) describes it, and the theoretical perspective of the essay is Jürgen Habermas’ (2003) theory about the bourgeois public sphere. The result shows that the news articles in the daily unsurprisingly construct only a public who wants to debate on the monarchy. The evening paper instead addresses its readers both as cultural consumers, which the study sees as representative publicity, and as civilians who want to discuss the monarchy’s importance or function of today’s society. Important to notice is that when the evening paper is challenging the monarchy it’s always made in an implicit manner. The public role of the monarch is in both the daily and the evening paper said to be powerful and his public role is said to influence his private role in different ways. It is also obvious that the focus in Expressen is upon the most intimate sphere of the privacy of the monarch. The description of the private room is important here, in addition the spatial portraying uses status symbols when constructing royalty. Finally, the analysis shows that the monarch simultaneously portrays both as an ordinary human being and as a very special person in exclusive surroundings. Earlier research has proved that Swedish media wants to describe royalty like this.

This is a study of Charles Dickens David Copperfield and Herman Melville Moby Dick from a Marxist perspective, exploring the different manifestations of the capitalist system, with critical reference to the theories of Raymond Williams and Terry Eagleton. It will attempt to understand cultural differences, values and moral codes, that the two novels reveal about Victorian England and Antebellum America, at this point in literary history, the decade of time with 1850 at its centre. The thesis will explore how the cultural legacy and ambitions of each nation is represented in each of the novels. By comparing the central themes of each work, the study will attempt to illustrate how capitalism is expressed specifically in each nation.