Between 1911 and 1913, two Italian brothers named Anton Giulio Bragaglia and Arturo Bragaglia produced Futurist photography which they termed "photodynamism." These images, together with the theoretical manifesto Fotodinamismo futurista, represent a remarkable effort in avant-garde photography and theory in the early 20th century. The Bragaglias' intent in making these photographs was to produce deeply emotional images of modern dynamic motion which convey the spiritual essence of human beings that becomes exteriorized in the process of physical movement. Through a short, intense campaign in 1913, Umberto Boccioni succeeded in expelling the Bragaglias from the Futurist movement. Because of this, the importance of their photography has often been neglected, underrepresented or misrepresented in scholarship. This thesis offers an alternative reading of the photodynamic project based on its occult foundation and a better sense of how to understand photodynamism within the context of the movement and the broader history of photography.

A dissertação analisa a trajetória da Internacional Situacionista durante o período de sua existência, de 1957 até 1972, salientando as ressonâncias dos ideários das vanguardas do Futurismo, Dadaísmo e Surrealismo, no ideário da I.S.. Sua importância está vinculada a reinvenção do espaço público como lugar de criação cultural e ação política, além do fato de serem recorrentes na arte contemporânea as ideias de obra coletiva, participação, construção efêmera e de evento, que nos remete as ações da I.S. e dos movimentos citados. O objetivo da pesquisa é analisar e compreender a ideia de situação construída, a qual era o propósito fundamental dos situacionistas. Nessa abordagem revelamos as origens da ideia de situação construída e como ela é fruto da revisão crítica que a I.S. faz das experiências e conceitos das vanguardas analisadas. A metodologia utilizada examina de forma comparativa os textos produzidos pela I.S. com os do Futurismo, Dadaísmo e Surrealismo, contrapondo suas ideias no campo da arte, cultura, política e meios de ação nos espaços urbanos. A leitura dos textos primários, obras de \"arte\" e jornais situacionistas formam a base da análise. Os textos pré-situacionistas assim como os textos referentes às vanguardas analisadas, indicam a arqueologia do pensamento situacionista, expondo as suas diferenças e aproximações fundamentais entre os movimentos. Enquanto os textos secundários, análise de historiadores e comentadores da I.S., expandem o universo situacionista no contexto das décadas de 50, 60 e 70, auxiliando na compreensão de suas teorias, julgamentos e ações. / The dissertation analyzes the history of the Situationist International (S.I.) during its existence from 1957 until 1972, emphasizing the resonances of the ideals of the vanguards of Futurism, Dadaism and Surrealism, the ideals of S.I.. Its importance is linked to the reinvention of public space as a place of cultural and political action. Besides the fact they are recurrent in contemporary art, the ideas of collective work, participation, construction and ephemeral event, which brings us the action of S.I. and movements mentioned. The objective of this research is to analyze and understand the idea of constructed situation, which was the fundamental purpose of the Situationists. In this approach reveal the origins of the idea of constructed situation and how it is the result of the critical of the S.I. makes the experiences and concepts of the vanguards analyzed. The methodology examines in a comparative way the texts produced by S.I. with Futurism, Dadaism and Surrealism, opposing ideas in art, culture, politics and means of action in urban areas. The reading of primary texts, works of \"art\" Situationist and newspapers form the basis of the analysis. The pre-situationist texts as well as texts concerning vanguards analyzed, indicate the archeology of Situationist thought giving the fundamental differences and similarities between the movements. While the secondary texts, analysis of historians and commentators of the S.I., situationist expand the universe in the context of the 50, 60 and 70, assisting in the understanding of his theories, judgments and actions.

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The art series A Sexual Series is based on posthumanist theory and asexual experience. Shapes of performative alter egos materialized from a queer cyborg position of technologically enhanced crip experiences (the strong symbolical constructing process of straightening scoliosis surgery). From the position of a glitch reflecting a postindividualist future, the AI sexbot is a metaphoric, elevated cyborg drag version of the artist to embody asexuality and queer Otherness. Based on multitudes of contradictions to encourage self-reflection, the series explores the complexities of ob/scene and on/scene performances; the position of a sex positive asexual as well as questions of belonging as a naturally artificial rebel. This essay touches upon rituals as well as performative methods of disidentification as a tool to reimagine shame, to ghost the own body and to stop being a pleaser.

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Echoing through the lecture theatres, conference halls and pages of the contemporary Urban Studies discourse is the oft-repeated refrain that today over half the world’s population live in urban areas, and that by 2050 this proportion is expected to be upwards of 70%. The place of the leftover 50% of people inhabiting a vast and seemingly forgotten 98% of the planet’s rural territory is externalised, apparently lying outside the purview of marching urbanisation. Yet the theory of ‘Planetary Urbanisation’ has emerged in recent years positing a contentious epistemological questioning of Urban Studies’ focus sites, objects and processes. In this it argues for a reorientation of the field towards the ignored rural hinterlands of ‘extended urbanity’ falling under the influence of the fluid process of urbanisation which is transforming the countryside through processes of rationalisation, functionalisation and disintegration. Critiqued as overly abstract, empirically shallow and puritanically ignoring form, this paper investigates and experiments with the theory of planetary urbanisation in a grounded study of a corridor of the Swedish countryside and the village of Röstånga. It does so by a concrete, detailed and dualistic approach to sites of extended urbanisation, integrating both form and process in its analysis. This research exercises this analysis through extricating the city-bound flâneur out into the non-city through a phenomenological 60km, 2 day walk from the city of Malmö to Röstånga. Arriving in Röstånga, this paper then turns its attention to multiple, triangulated methodologies of mapping, observations and interviewing in order to bind our flâneur reflections to the built environment of rurality. In doing so, this research details a changing spatial and social landscape of the Skåne countryside and the village of Röstånga with results exposing an urbanised rurality of hybridity, control and decay and a village of operationalised suburbia, of an externally orientated centre and of disparate social innovations. A discussion of these results then exposes a rural realm simultaneously surrendering to its new reality of extended urbanity and desperately searching for meaning and purpose within it; a landscape wilting under what this paper terms as the shadow of post-political urbanisation. This research than calls for ‘politics of the possible’ in a re-politicisation of the rural and concludes by challenging planners, architects and governments to re-imagine alternatives for this vital if forgotten space.

This thesis argues for a critical examination of the published writings of Le Sony'r Ra, also known as Sun Ra, a groundbreaking jazz musician and philosopher of the 20th century. Recent redistribution of Sun Ra's musical output, which includes hundreds of releases on many record labels from the 1950's onward, has prompted a critical renaissance towards his influence on jazz orchestration, band management, do-it-yourself ethics, and structured improvisation In spite of this resurgence of interest in his music, his written corpus has failed to produce a comparable level of criticism or discussion. It is my firm belief that it is the body of work's relative scarcity in print, not its value as literature, that has kept the material underground for such a lengthy period of time. With the recent republication of Sun Ra's daunting body of poetry and prose, the discovery of early manuscripts, and the surfacing of relevant critical essays, the time has come to analyze his poetic position within the context of African-American philosophical thought. / Master of Arts

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A trajetória literária de Giovanni Papini pode ser dividida em duas fases: a iconoclasta e a católica. A presente pesquisa tem como objetivo o exame da recepção do escritor florentino no Brasil, por meio de suas obras traduzidas para o português norma brasileira e pelo mapeamento de notas, resenhas, crônicas e artigos publicados em alguns dos principais periódicos nacionais. Em um primeiro momento, ele é lido e discutido, especialmente pelos intelectuais modernistas, no embate entre futurismo italiano e modernismo brasileiro; em um segundo, pelo viés da tradução, principalmente através das obras de temática religiosa. Como fundamentação teórica da análise, são abordados conceitos relacionados aos estudos da tradução, como polissistema literário, mecenato, reescrita e gatekeeping, desenvolvidos nos estudos de Itamar Even-Zohar, André Lefevere e Susan Bassnett. De igual forma, as relações que se estabelecem entre escritor e público-leitor são pensadas sob a perspectiva das teorias da estética da recepção relacionadas à história e à sociologia da literatura, nos estudos de Hans Robert Jauss e Regina Zilberman. / The literary career of Giovanni Papini can be divided into two phases: the iconoclast and the catholic. The present research aims to test the reception of the Florentine writer in Brazil, through his works translated into Brazilian Portuguese and by the survey of notes, reviews, short stories and articles published in some of the major national newspapers. In the beginning, he is read and discussed, especially by modernist intellectuals, in the clash between Italian Futurism and Brazilian Modernism; later, through the translation approach, mainly by religious themed works. As the theoretical foundation of the analysis, concepts relating to translation studies are discussed, as literary polysystem, patronage, rewritten and gatekeeping, developed in the studies of Itamar Even-Zohar, André Lefevere and Susan Bassnett. Similarly, relations that are established between writer and readers are thought from the perspective of the theories of aesthetics of reception related to the History and Sociology of Literature, in the studies of Hans Robert Jauss and Regina Zilberman.

Dès son arrivée à Paris en 1909, jusqu’au déclanchement de la guerre en 1914, Alexander Archipenko réalise environs cinquante sculptures, qu’il présente lors des salons des Indépendants et d’Automne, à l’occasion des manifestations cubistes, ainsi que dans deux expositions personnelles organisées en Allemagne, à Hagen et Berlin. Son nom apparaît souvent dans les comptes-rendus des salons publiés dans la presse de l’époque. Indiqué à la fois comme ‘sculpteur cubiste’ ou ‘novateur élégant’ (à savoir, à l’esprit décoratif), il participe avec son travail à ce croisement de chemins qui caractérise, au début du XXe siècle, le développement de la sculpture moderne. Cependant seulement une partie de cette production majeure est aujourd’hui connue, plusieurs œuvres ayant été dispersées ou retravaillées au cours du temps. Le but de la thèse a été celui de reconstituer ce corpus dans son état d’origine ainsi que son parcours d’exposition, afin de replacer l’œuvre d’Archipenko à l’intérieur de la scène artistique parisienne de l’avant-guerre pour la faire dialoguer avec celle de ses collègues, peintres et sculpteurs. Cela a été possible par le biais d’une analyse formelle pointue et d’un travail croisé sur la presse et les catalogues d’exposition de l’époque, et grâce au dépouillement de plusieurs fonds d’archives. Parmi lesquels, celui de la revue « Der Sturm » (Staatsbibliothek, Berlin), ainsi que les archives de la Archipenko Foundation (Bearsville, NY), et les Archives of American Art (Smithsonian Institution, Washington, D.C.). Il en sort le portrait d’un artiste qui, avec sa recherche, a pleinement embrassé l’esprit de découverte propre à son temps. / Between his arrival in Paris in 1909, and the outbreak of World War I in 1914, Alexander Archipenko created nearly fifty sculptures, which he presented at the Salon des Indépendants, the Salon d’Automne, numerous cubist exhibitions, as well as two personal exhibitions organized in Germany (Hagen and Berlin). His name appeared often in the reviews of the Salons that were published in the press. Considered as both a ‘cubist sculptor’ and a ‘novateur élégant’ (in the decorative sense), Archipenko actively participated in both of these artistic currents, which together led to the development of modern sculpture. Despite his importance, only part of his artistic production from this period is generally known today, many of the works were lost or re-worked at a later date. The aim of this thesis is to reconstitute his corpus of work in its original state, as well as document his participation in expositions, in order to place Archipenko’s artwork within the Parisian antebellum artistic scene, and in doing so, create a context in which his work may be compared to that of other sculptors, colleagues, and painters of the epoch. This work is based upon an attentive formal analysis of these works, and thorough review of the exhibition catalogue of the period. And also, by the analysis of different archives, among which the “Der Strum” archives (Staatsbibliothek of Berlin), the Archipenko Foundation’s ones (Bearsville, NY) and those of American Art (Smithsonian Institution, Washington, D.C.). From this research emerges the portrait of an artist who fully embraced the spirit of discovery of his times.