Orientador: Maria Eugênia da Gama Alves Boaventura Dias / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-21T13:59:44Z (GMT). No. of bitstreams: 1 Cruz_BeniltonLobato_D.pdf: 1258473 bytes, checksum: 1cc6002be87922d5f52ff282d4f26201 (MD5) Previous issue date: 2012 / Resumo: O presente trabalho investiga a recepção do Expressionismo alemão em Amar, verbo intransitivo como romance de dissimetria. O dissimétrico reside na teomorfização das formas plásticas da teoria estética de Worringer, contrastando com as formas menores sublimadas por Mário de Andrade. A tese prova a escolha pelo diminuto devido ao "sublime pequenino" derivar da tradição barroca brasileira. A metodologia utilizada tratou de verificar analogias entre artes plásticas e o texto literário. Essa escolha se justifica pelo romance estar integrado a um projeto estético-gramatical. A pesquisa identifica idéias de diminuição na descrição de Elza, especificamente, naquilo que vamos chamar de "metamorfose do diminuto". O estudo evidencia um Mário de Andrade teórico dentro da obra de ficção marcada pela incidência do olhar limitado por estereótipos da época. A leitura encontra um aproveitamento informal da empatia worringeriana como identificação cultural entre o deformismo da vanguarda alemã e o Barroco. A análise mais detalhada constata a admiração de Mário de Andrade por mestres, "deformadores da natureza", nas artes plásticas e na música. A presença dos expressionistas reforça o tema da fraternidade entre os imigrantes Elza e Tanaka no paralelo com a poesia de Franz Werfel. A abordagem sobre a protagonista enxerga uma leitora de grandes epistolografistas da literatura universal. O ponto forte do Expressionismo, a Representação Schrei de Fräulein, aparece como figuração rebaixada diante da riqueza de nossa fala, literatura e natureza, todavia, existe uma Elza "modernista" como personagem gramatical. A pesquisa comprova a flexibilidade das novas formas estéticas influenciando o texto e reconstitui um cânone artístico contrário ao de Monteiro Lobato, do famoso artigo de 1917. A investigação aponta um idioma elástico, agigantado pela força da "obra-ação", dilatando o texto, sob o influxo de uma operação similar da "teomorfização" de procedência expressionista. O trabalho identifica indícios da influência sterne-machadiana na performance do narrador multicrítico, opinativo e "esparramado". A tese defende o recurso ordenador de natureza verbal acima do comportamento prospectivo da visualidade modernista / Abstract: This study investigates the reception of German Expressionism in Amar, verbo intransitivo as asymmetry's novel. The dissymmetric "Vergottung" lies in the plastic forms of aesthetic theory of Worringer, contrasting with the smaller forms sublimated by Mario de Andrade. The analysis shows that the choice of the writer by small, artistically worked, is because these kind of art are synthetic forms of representation of Brazilian baroque tradition. The methodology sought to determine similarities between art and literary text. This choice is justified by the novel to be integrated into a design aesthetic and grammar. The thesis identifies mainly decrease ideas reverberating in the description of Elza, specifically, what we call "metamorfose do diminuto." The investigation provides evidence that Andrade in the theoretical work of fiction marked by the impact of the look limited by stereotypes. It find a casual use of empathy as worringeriana deformism cultural identification between German avantgarde and Baroque. The search notes the admiration by Mario de Andrade to the "deformadores da natureza" in art and music. The study identifies the theme of brotherhood between the immigrants Elza and Tanaka, in the comparative analysis with the expressionist poetry of Franz Werfel. It signals the protagonist as reader of great literature writer of letters. The search discover a Schrei-representation of Fräulein, figuration lowered before the richness of the brasilian speech, literature and nature. Elza reveals a "modernist" grammar as a character. The thesis proves the flexibility of the new aesthetic forms influencing the modernist text. The view reconstitutes an artistic canon to the contrary by Monteiro Lobato, the famous paper of 1917. The theory points a language elastic force of the gigantic "work action" by dilating the text under the influence of an operation similar to "Vergottung" provenance expressionist. It proves also evidence of the influence sterne-Machado performance of the narrator, opinionated and "esparramado". Therefore, the thesis advocates of the resource officer of verbal nature chiefly on the behavior of prospective modernist visuality / Doutorado / Literatura Brasileira / Doutor em Teoria e História Literária

Jouzová, T.: Connection between film and visual art in the 1st half of the 20th century, [Master thesis], Prague 2017-Charles University, Faculty of Education, Department od Art Education, , 150p. (Attachments: art work of pupls and my own work on DVD) Master thesis is focused on connection between visual art and film in the1st half of the 20th century from the perspective of art history and film history and theory of filmu. It deals with significant art and cinematic styles, trends and lines which connects the sphere of film and visual art. I enrich the historical context through etymological point of view on the modern art and I use subjective associations to this etymological contexts. The mutual content, stylistic and artistic bases are substantiated by the examples of visual artists interested in making movies. In the theoretical text are indicated some didactic subtopics related to the subscribed topics out of artistic view. Some of these inserts can be used separately, some of these are connected to the didactical part of the work. There are the projects linking art and film production in a historical context. Knowledge and experience I've gained of the preceding parts of the text are reflected in my own multimedial instalation. KEYWORDS film avantgarde, modern art, expressionism,...

Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.

The question of the existence of the right art has been solved by many theorists and artists themselves. The first half of the twentieth century was affected by the coming world wars, Nazism and socialism. The establishment of avant-garde was associated with it and new movements tried to confront such society. Along with avant-garde artistic critics appeared, those who more or less influenced artists themselves. Theories of Friedrich Nietzsche, Theodor Adorno, Jean Francois Lyotard, Clement Greenberg and Leo Steinberg are different, but are also consistent with the fundamental thing. That is the desire for a change and accuracy of art. The first two authors think that the right art was already there, but it was destroyed. Others are looking into present and future. In the shadow of modern technologies they try to find something that will be unique and original. These thoughts come to the imagination of unrepresent-able things and abstraction. Abstract Expressionism is a movement, which was originally established in the thirties in the USA. Along with it, the art center moved from Paris to New York. Abstract Expressionists were divided into two groups. One of them, artists such as Jackson Pollock and Willem de Kooning, has been called action painters. The second group, in which Barnett Newman and...

In this hermeneutic and autoethnographic study I explore and analyze two different music projects, and the process of working with them at the same time. The purpose of this is to find practical, psychological, and artistic insights.The results ascertain that tech-death and neo-soul are linked together by jazz and early twentieth century classical music, both culturally and music-theoretic. Further conclusions illuminated my own constructed role in music production and defined similarities in workflow in terms of both genres.

Bibliography: pages 232-240. / This dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.

Throughout the centuries artists have used art to express their identity. Art can be used as a tool to question stereotypes and conventions that shape our societies. Black artists emerging from the Civil Rights movements in America questioned social injustices and prejudiced violence that was targeted towards black people. Jean-Michel Basquiat (1960-1988) was an artist who went against the status quo of a predominantly white art world in America during the 1980s. Basquiat’s art presents a fragmented vision of a colonized” self” in search of reassurance for being a black man and artist during a time when black peoples right where less than equal.Considering recent historic events that has reshaped the conditions and rights that black people and other ethnic minorities hold in American society, it is only suitable to re-read Basquiat’s art all over again through a post-colonial perspective. This is done in order to seek answers to how colonialism and other forms of institutionalized racism has shaped the world. Whose results could prove beneficial for current discourses regarding society’s ethical and racial ethical dilemmas.

För att undersöka hur konströrelser kan användas för att beskriva spelgrafisk stil besvarar denna fallstudie frågeställningen: Hur stämmer de grafiska stilarna i Disco Elysium (2019) in på impressionismen, postimpressionismen och expressionismen i stil, motiv och tema? Detta gjordes genom en komparativ metod med formal- och ikonlogisk bildanalys grundad i konsthistorisk litteratur. Studien drar slutsatsen att de valda konströrelserna stämmer olika bra in på de grafiska elementen i Disco Elysium (2019). Den fann att impressionism inte är en användbar klassificering av något av de undersökta grafiska elementen, men att postimpressionism och expressionism var lämpliga klassificeringar för vissa av de grafiska elementen.

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