O objetivo desta tese é trabalhar os indícios da leitura do expressionismo alemão feita por Mário de Andrade, vinculados a um diálogo que implica apropriação, ou seja, a criação poética ou teórico-estética do modernista brasileiro, vinculada ao \"Prefácio interessantíssimo\", a poemas de Paulicéia desvairada, à poesia em Losango cáqui e em Clã do jabuti, bem como à poética traçada em A escrava que não é Isaura. Pesquisa que se inscreve no estudo de biblioteca de escritores, na crítica genética, inclina-se sobre o diálogo intertextual que as notas autógrafas, nas margens de obras, e a leitura não anotada instaura. A tese compõem-se de duas partes. A primeira, o ensaio, explora o encontro e o débito da criação de Mário de Andrade com poetas na antologia Menschheitsdämmerung, e com os teóricos do movimento Worringer, Pinthus, Landsberger e Schreyer. A segunda, uma edição eletrônica (CD-ROM) apresenta, em fac-símile, o conjunto das leituras e das anotações do escritor/leitor, acompanhado da transcrição diplomática dessas notas e de dados históricos a respeito de autores, livros e revistas do expressionismo. / The objective of this thesis is to work on the traces of expressionism reading made by Mário de Andrade, connected with a dialogue which implies an apprehension, that is, the Brazilian modernist´s poetical and theoretical-esthetical creation, related to \"Prefácio Interessantíssimo\", the poems from Paulicéia desvairada, the poetry in Losango cáqui and Clã do jabuti, as well as the poetics developed in A escrava que não é Isaura. This research is articulated with the study of writer´s library and genetic criticism, focusing, therefore, on intertextual dialogue established by handwritten notes in the margin of books or even by readings without notes. The thesis is composed of two parts: the first, an essay, exploits the encounter and debt of Mário de Andrade`s creation with poets from the Menschheitsdämmerung antology and also with theoreticians from the movement (Worringer, Pinthus, Landsberger and Schreyer). The second part, an electronic edition (CD-ROM), presents in fac-simile, the total of readings and notes from the writer/reader, followed by diplomatic transcription of these notes and historical information on expressionist authors, books and magazines.

A presente pesquisa investiga como os elementos visuais ao dispor dos cineastas podem contribuir para a representação de estados alterados de percepção no cinema, de modo a ampliar a discussão sobre a expressividade do trabalho de direção de fotografia. Por meio da análise e interpretação de três filmes brasileiros que apresentam personagens fora de si e construções visuais contundentes - Estorvo (2000), de Ruy Guerra, Filme de Amor (2003), de Júlio Bressane e A Concepção (2005), de José Eduardo Belmonte -, a pesquisa discute de que maneira as características da imagem podem contribuir para a criação de pontos de vista, atmosferas e sentidos, que permitem a apreensão do filme para além de sua compreensão intelectual. Partindo do reconhecimento da ligação entre narrador e personagens, a análise se volta à força expressiva das imagens usadas ao longo dos filmes, tomando como referência reflexões sobre o expressionismo na pintura e no cinema. Essa discussão serve de base para a identificação de um imaginário sobre os estados alterados de percepção e suas relações com a sociedade presente na cinematografia brasileira dos anos 2000. / The present research investigates how the visual elements available to the filmmakers can contribute to the representation of altered states of perception in the cinema, in order to broaden the discussion about the expressiveness of the cinematography work. Through the analysis and interpretation of three Brazilian films that present characters out of their minds and rich visual constructions - Estorvo (2000), by Ruy Guerra, Filme de Amor (2003), by Júlio Bressane and A Concepção (2005), by José Eduardo Belmonte -, the research discusses how the characteristics of image can contribute to the creation of points of view, moods and senses, which in turn make possible the apprehension of the film beyond its intellectual understanding. Acknowledging the connection between narrator and characters, the analysis focus on the expressive force of the images used throughout the films, taking as reference reflections on Expressionism in painting and in cinema. This discussion serves as basis for the identification of a position regarding altered states of perception and their relations with society in Brazilian cinematography of the 2000s.

Orientador: Cláudio Bertolli Filho / Banca: Marcelo Magalhães Bulhões / Banca: Rosangela Marçolla / Resumo: Este estudo mostra como o Romantismo alemão influenciou e moldou uma geração de filmes que se transformaram em ícones da cinematografia mundial e constituíram um gênero próprio de seu tempo, o expressionismo. Através da metodologia de análise cinematográfica de Vanoye e Goliot-Lété, apoiada pela concepção de contextualização histórica de Marc Ferro, apresenta-se uma leitura dos aspectos românticos presentes nos filmes O Gabinete do Dr. Caligari (1919), de Robert Wiene, O Golem - Como veio ao mundo (1920), de Paul Wegener, e Nosferatu (1922), de F. W. Murnau. A análise evidencia que essa influência está presente em todos os aspectos dos filmes, sendo notada nas narrativas, na estética e no uso das técnicas cinematográficas, construindo uma mise-en-scène que estabelece uma atmosfera para cada obra e revela uma crítica em relação à modernidade / Abstract: This study shows how Romanticism influenced and shaped a generation of movies that became icons of the world cinematography and constituted a genre of its time, the expressionism. Through Vanoye and Goliot-Lété film analysis methodology, supported by Marc Ferro's conception of historic contextualization, it presents an interpretation of the romantic aspects present on the following movies: The Cabinet of Dr. Caligari (1919), by Robert Wiene, The Golem (1920), by Paul Wegener, and Nosferatu (1922), by F. W. Murnau. The analysis evince that this influence is present in all aspects of the movies, being noted in narrative, aesthetics and in the use of cinematography techniques, building a mise-en-scène that creates an atmosphere for each work and reveals a criticism about the modern times / Mestre

Motivos azuis recorrentes na última fase (1912 a 1914) do poeta austríaco Georg Trakl são comentados à luz de influências românticas. As imagens azuis desta lírica revelam vertentes românticas como o tributo à noite, a remitização, o clima crespuscular e de obscurecimento progressivo a partir do final do século XIX. A atribuição inusitada de cores a seres do mundo empírico traduz um procedimento comum às vanguardas plásticas e líricas deste período. / This study comments the recurrent blue motifs in the latest phase of poet Georg Trakl according to romantic influences. In this poems blue images reveal typical axes of Romanticism as the tribute to the night, remythologization and the progressive darkeness at the turn of the century. The uncommon use of blue color had become a hallmark of pictorial and poetical avant-garde of the 20th century.

The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination. The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.

I struggle to present work that reflects a psychological expressivity which at the same time conveys intellectual concepts that are of concern to me. It seems that the fluidity of an image can communicate a certain pathos, and correspond to the fluid nature of one’s identity. Drippy paint, distorted bodies, and vertiginous video clips can give an indication about what a body feels like from within. Depictions of these bodily feelings help to communicate ideas about what it means to be alive in general, and a mixed race woman, in particular.

Master of Philosophy / This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.

<p>Denna uppsats är en studie av eventuella likheter mellan Pär Lagerkvist tidiga prosa och stildrag hos den tyska expressionismen, som hade sin blomstringstid samtidigt som Lagerkvist publicerade sina första samlingar med prosa och poesi. Jämförelser har tidigare gjorts, främst gällande lyriken och har då visat på flera gemensamma drag. Denna uppsats jämför prosatexter ur Lagerkvists tre tidiga samlingar Motiv (1914), Ångest (1916) och Kaos (1919) med centrala drag för den tyska expressionismen. Dessa omfattar nutidskänslan, fokuseringen på det subjektiva, verkligheten som mardröm och kritik mot det borgerliga. Andra motiv som behandlas är de groteska inslagen, vitalismen, sinnessjukdomen, Fader-Son-konflikten och kriget.</p>

Denna uppsats är en studie av eventuella likheter mellan Pär Lagerkvist tidiga prosa och stildrag hos den tyska expressionismen, som hade sin blomstringstid samtidigt som Lagerkvist publicerade sina första samlingar med prosa och poesi. Jämförelser har tidigare gjorts, främst gällande lyriken och har då visat på flera gemensamma drag. Denna uppsats jämför prosatexter ur Lagerkvists tre tidiga samlingar Motiv (1914), Ångest (1916) och Kaos (1919) med centrala drag för den tyska expressionismen. Dessa omfattar nutidskänslan, fokuseringen på det subjektiva, verkligheten som mardröm och kritik mot det borgerliga. Andra motiv som behandlas är de groteska inslagen, vitalismen, sinnessjukdomen, Fader-Son-konflikten och kriget.

Believing that one thing was real only if it corresponded with others, Ray Johnson highlighted the connections between himself and famous artists such as Marcel Duchamp. The ways the two artists thought and how they shaped their lives corresponded like two elements in Johnson's collages. My study of Johnson through the lens of Duchamp allows me to discuss two highly intellectual and creative artists. I address the few direct interactions between Johnson and Duchamp as well as their mutual acquaintances who served as conduits of information, particularly in Johnson's direction. This dissertation focuses on Johnson's creative engagement with Duchamp and begins to explicate the depth and richness of that interchange. Each chapter focuses on several key works by Johnson, ranging from some of his earliest collages to what was perhaps the last work he completed. Through these works I explore the correspondences between the two artists outside of their individual works, with each chapter looking at one major theme including language, the viewer, performance, and identity. I outline the relationship between Duchamp and Johnson, using the selected collages to demonstrate how the synergy of the two artists is manifested in Johnson's work. My work sheds light on the enigmatic Johnson who has only very recently come under critical and historical investigation. By looking at Duchamp from this unique perspective I am also contributing to our understanding of one of the most influential artists of the twentieth century. Most artists after Duchamp felt that they worked in his shadow but Johnson's relationship to the elder artist was different. He seems to have understood Duchamp better than almost anyone and therefore was able to selectively choose his inheritance--defining himself alongside and against Duchamp. / text