Made available in DSpace on 2014-06-11T19:30:32Z (GMT). No. of bitstreams: 0 Previous issue date: 2006Bitstream added on 2014-06-13T20:40:34Z : No. of bitstreams: 1 dalessandro_eap_me_ia.pdf: 3215422 bytes, checksum: 2bdb0c90836b2a363d73f414aadb4bba (MD5) / Este trabalho tem como princípio básico estudar alguns aspectos da visualidade da obra Guernica, de Picasso, indicando uma relação de significados que vão compor a gramática do pensamento visual deste artista , descrita numa análise de alguns dos esboços para a confecção do mural, utilizando como base científica os estudos gestálticos de Arnheim. Ainda estão incluídas nesta abordagem algumas breves considerações sobre a atualidade da obra através da presença de sua imagem nos meios multimidiáticos nos últimos dois anos. Apesar de ter a visualidade da própria obra como foco central, os aspectos ligados a vida pessoal do artista e os acontecimentos históricos pelos quais passava a Europa na ocasião da pintura do mural serão abordados, por serem, em minha opinião, de suma importância, nos levando a ampliar a compreensão do universo simbólico e dos sentimentos que Picasso poderia estar vivenciando naquela época, contribuindo no entendimento por exemplo, dos possíveis motivos da documentação da obra em nove fotografias que foi feita por Dora Maar, sua amante na ocasião. Deste modo, esta dissertação oferece aos interessados na obra Guernica uma nova reflexão acerca de sua imagem e aos interessados na vida de Picasso uma visão da ligação entre sua vida e esta que foi uma das mais simbólicas do conjunto de sua obra. / Este trabajo tiene como principio básico estudiar algunos aspectos de la visualidad de la obra Guernica, de Picasso, indicando una relación de significados que van a componer la gramática del pensamiento visual de este artista, descrita en un análisis de algunos de los bocetos para la confección del mural, utilizando como base científica los estudios gestálticos de Arnheim. Están incluidas también en este abordaje algunas breves consideraciones sobre la actualidad de la obra a través de la presencia de su imagen en los medios multimediáticos en los últimos años. A pesar de tener la visualidad de la propia obra como foco central, los aspectos conectados a la vida personal del artista y los acontecimientos históricos por los cuáles pasaba Europa en la ocasión de la pintura del mural serán abordados , por ser, en mi opinión, de suma importancia, llevándonos a ampliar la comprensión del universo simbólico y de los sentimientos que Picasso podría estar vivenciando en aquella época, contribuyendo en la comprensión por ejemplo, de los posibles motivos de la documentación de la obra en nueve fotografías realizada por Dora Maar, su amante en el momento. De este modo, esta disertación ofrece a los interesados en la obra Guernica una nueva reflexión acerca de su imagen y a los interesados en la vida de Picasso una visión de la conexión entre su vida y la que fue una de las más simbólicas del conjunto de su obra.

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Thesis (Ph. D.)--University of Chicago, Division of the Social Sciences, March 1999. / Includes bibliographical references. Also available on the Internet.

Made available in DSpace on 2016-04-28T20:40:10Z (GMT). No. of bitstreams: 1 Julie Coelho.pdf: 1488261 bytes, checksum: 48605dae20a07bedafcbdd420f5f5d44 (MD5) Previous issue date: 2009-10-23 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Which phenomenon is related to the experience that occurs between spectator and work of art? This is the question that will outline the following hypothesis: sublimation makes this experience possible by moving the spectator and eliciting one s desire to create. The idea that the work of art puts the spectator in an unsettled state that demands meaning will be explained by Freud s experience with Moses s statue, André Green s experience with the London Cartoon and Ada Morgenstern s experience with Perseus and Medusa. These authors will lead the readers into thinking sublimation as being closely related to artistic production. Moreover, this concept will be analyzed based on the psychoanalytical theory, going from Freud to other authors such as Laplanche, Loewald and Lacan, who also contributed to the development of the subject. The appreciation of Picasso s Guernica will be used in order to articulate appreciation and sublimation. This painting was responsible for a great psychic mobilization, which inspired reflection and an investigation about this state and its meanings. As an active part of the process, the writer s/spectator s associations will guide the research. In the moment the spectator is touched or surprised by the work of art, one s network of meanings is struck and one seeks significance to the cause of this surprise. The work of art, therefore, provokes ones desire to create / O que está atrelado à experiência que ocorre entre a obra e o espectador? Essa questão irá delinear a hipótese de que a sublimação propicia essa experiência ao mobilizar o espectador e suscitar nele o desejo de criar. A partir da experiência de Freud diante da estátua de Moisés, André Green diante do Cartão de Londres e de Ada Morgenstern diante de Perseu e Medusa, será desenvolvida a idéia de que a obra põe o espectador em um estado desconcertante que demanda um sentido. Esses autores nos farão pensar na noção de sublimação, a qual se encontra muito relacionada à produção artística. O conceito de sublimação será trabalhado à luz da teoria psicanalítica, partindo de Freud e buscando autores que contribuíram para o desenvolvimento dessa noção, entre estes, Laplanche, Loewald e Lacan. Para articular a apreciação e a sublimação, tomaremos a apreciação do quadro Guernica, de Picasso, que suscitou em mim uma enorme mobilização psíquica e motivou uma reflexão, uma análise acerca desse estado e suas conseqüentes significações. O que guia o desenvolvimento da pesquisa são as associações da escritora/espectadora implicada em todo o processo. Ao se ver impactado pela obra, o espectador é atingido na sua rede de significações e busca dar um sentido a isso que o surpreende. A obra, portanto, provoca nele o desejo de criar

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La recherche se donne pour objectif de définir comment la construction des régimes de valeurs artistiques, mémorielles et historiques du Guernica - œuvre d’art réalisée par Pablo Picasso en 1937 - participe à l’écriture patrimoniale du tableau-monument, d'une part, et devient opératoire dans la réactivation ou l’actualisation de la mémoire des événements auxquels il réfère, dans le cadre de la visite muséale, d'autre part. Trois niveaux de recherche ont été pensés. Le premier a été de circonscrire l’objet Guernica en tant qu’objet d’art en posant un socle d’analyse de l’objet détaché de tout contexte, et ce, afin de mieux appréhender ceux par lesquels il existe en tant qu’objet culturel signifié dans des contextes temporels et géographiques. Dans un deuxième temps, l’analyse des différentes mises en exposition du Guernica ont permis de saisir les différentes valeurs d’usage qui lui ont été attribuées et comprendre ainsi comment il s'est construit en tant qu’objet patrimonial. Enfin, dans un troisième temps, au regard d’une analyse détaillée de la mise en exposition du Guernica au MNCARS en 2009 et 2013, 60 entretiens menées selon une méthodologie qualitative après la visite ont été analysé afin de comprendre les valeurs d’usage que mobilisent les espagnols lors de la réception et pour quelles raisons. L’intérêt de l’enquête est d’avoir révélé qu’il existait un éventail de mémoires et d’appréhensions afférentes à l’objet Guernica. Les enquêtes ont été analysées sous le prisme de la sensibilité politique (Républicains et Nationalistes), mais surtout sous celui du prisme générationnel, et pour lequel quatre générations sont identifiées. Les résultats d’analyse par générations, permettent de distinguer deux types de rapport au Guernica : réactivation et actualisation. Les notions de réactivation et d’actualisation (Georgescu-Paquin, 2013) s’insèrent dans une logique de rupture-continuité, nécessaire à tout processus de patrimonialisation (Davallon, 2006). Dans ce cas d’étude, le MNCARS propose un cadre portant sur un versant de l’histoire qui, à défaut d’apaiser les tensions, les ravivent pour certains (Nationalistes) ; tandis que d’autres, se retrouvent dans un processus entamé depuis peu (Républicains), suite à la Loi dite de « mémoire historique » (2007). En revanche, les nouvelles générations présentent un regard apaisé et distancié qui leur permet de rendre opératoire l’écriture patrimoniale du Guernica. / The research aims to define how the construction of regimes of artistic, memorial and historical values ​​of Guernica - a work of art made by Pablo Picasso in 1937 - participates in the patrimonial writing of the painting-monument, on the one hand, and becomes operative in the reactivation or updating of the memory of the events to which it refers, as part of the museum visit, on the other hand. Three levels of research have been thought out. The first was to circumscribe the Guernica object as an art object by placing a base of analysis of the object detached from any context, and this, in order to better understand those by which it exists as a cultural object signified in temporal and geographical contexts. In a second step, the analysis of the different exposures of Guernica made it possible to grasp the different values ​​of use which were attributed to him and this to understand how it was constructed as a patrimonial object. Finally, in a third step, in the light of a detailed analysis of the exhibition of Guernica at MNCARS in 2009 and 2013, 60 interviews conducted according to a qualitative methodology after the visit were analyzed in order to understand the use values ​​that mobilize the spaniards at the reception and for what reasons. The interest of the investigation is to have revealed that there was a range of memories and apprehensions related to the Guernica object. The surveys were analyzed under the prism of political sensitivity (Republicans and Nationalists), but especially under that of the generational prism, and for which four generations are identified. The results of analysis by generations, allow to distinguish two types of report to Guernica: reactivation and actualization. The notions of reactivation and actualization (Georgescu-Paquin, 2013) are part of a logic of rupture-continuity, which is necessary for any heritage-making process (Davallon, 2006). In this case of study, the MNCARS proposes a framework on a side of the history which, if not soothing the tensions, revives them for some (Nationalists); while others, find themselves in a process started recently (Republicans), following the so-called law of "historical memory" (2007). On the other hand, the new generations present a calm and distanced glance which allows them to make operative the patrimonial writing of Guernica.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-10-24T13:14:04Z No. of bitstreams: 1 TES_MOEMA_VILELA_PEREIRA_PARCIAL.pdf: 9263620 bytes, checksum: 7cdee2140d395b3add7bd1429ffc3285 (MD5) / Made available in DSpace on 2017-10-24T13:14:04Z (GMT). No. of bitstreams: 1 TES_MOEMA_VILELA_PEREIRA_PARCIAL.pdf: 9263620 bytes, checksum: 7cdee2140d395b3add7bd1429ffc3285 (MD5) Previous issue date: 2017-01-25 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This Thesis comprehends one book and two booklets of fiction, followed by four essays on and built on Creative Writing. The works investigate forms of short fiction as well as less central issues of literary theory and creation: the fictional works and the essays discuss short-short story and minifiction, gestures and the notes of a writer. The longest essay examines the contemporary theorization about minifiction, relating Hispanic American authors, to trace and problematize options for terminology, genre relations, formal, structural, and pragmatic characteristics. It also observes the consequence produced by the theoretical perspectives chosen to address these mentioned forms. On the other hand, the essays on notes and gestures develop examples for a theoretical-critical proposal within Creative Writing; the first case affiliated to the personal essay, a contemporary descendant of Montaigne, and the latter to the writing manual, teaching aspiring writers technical artifices and analyzing its different effects based on concrete cases. This Thesis presents artistic Creative Writing and theoretical Creative Writing works, for examining different possibilities within this relatively new research area in Brazil at PhD level, and the intersections of theory, criticism and creation. / Esta tese compreende um livro e dois livretos de fic??o, acompanhados de quatro ensaios sobre e a partir da Escrita Criativa, que investigam formas de extens?o curta, bem como problem?ticas menos centrais da teoria liter?ria e da cria??o: a fic??o e os ensaios tratam do miniconto e da minificc?o, dos gestos e das anota??es de um escritor. O ensaio mais longo observa a teoriza??o contempor?nea sobre a minificc?o, relacionando autores hispano?americanos para tra?ar e problematizar op??es de terminologia, rela??es geol?gicas, caracter?sticas formais, estruturais e pragm?ticas, e tamb?m a consequ?ncia das perspectivas te?ricas escolhidas para abordar essas formas, enquanto os ensaios sobre notas e gestos desenvolvem exemplos mais singulares de um material te?rico-cr?tico de Escrita Criativa, sendo o primeiro caso filiado ao ensaio pessoal, descendente contempor?neo de Montaigne, e o ultimo ao manual de escrita, ensinando aos aspirantes a escritores artimanhas t?cnicas e analisando seus diferentes efeitos a partir de casos concretos. Para examinar diferentes possibilidades de trabalho acad?mico em n?vel de doutorado nesta ?rea de concentra??o rec?m-criada no Brasil, a tese apresenta obras de Escrita Criativa art?sticas e te?ricas, no transito entre teoria, critica e cria??o.

Depuis plus d’une dizaine d’année, l’on assiste à une résurgence de la mémoire historique en Espagne. Qu’il s’agisse des contemporains ou de leurs héritiers, la mémoire des vaincus de la Guerre Civile, autrefois passée sous silence, est devenue incontournable aussi bien sur le plan historiographique que culturel et même politique (loi dite de « mémoire historique »). Les nombreux succès éditoriaux et cinématographiques relatifs à cette période douloureuse ont contribué à la diffusion d’épisodes méconnus et à la réappropriation d’un passé qui n’avait pas toujours été transmis aux générations successives. Toutefois, l’activisme des uns ne fait pas l’unanimité. Entre ceux qui ne souhaitent pas rouvrir les blessures du passé au nom d’une concorde nationale difficilement obtenue, et ceux qui se sentent mis en accusation par un « triomphe des vaincus » qui tend à ne présenter le conflit civil que sous l’angle de la lutte des « bons » contre les « méchants », l’on a pu observer une crispation partisane des débats au détriment de la science historique. La question mémorielle a atteint de telles proportions que certains commentateurs se sont demandés si la Guerre Civile était ou non terminée. Quoique l’évolution de l’historiographie soit indéniable depuis 1931, elle ne saurait s’expliquer entièrement par la lutte partisane des héritiers des deux camps. En effet, il nous faut nous intéresser également à des causes plus profondes qui en sont à l’origine. Si le cas espagnol s’inscrit dans un contexte européen d’irruption de la mémoire dans l’histoire, il s’explique aussi par des raisons propres qui touchent bien d’autres domaines. / Over the past decade, the question of Spanish historical memory has been debated a lot. Whereas the memory of the Spanish Civil War’s defeated had been kept silenced for years, nowadays, the story of direct witnesses – often told by themselves or their heirs – has become inevitable from a historical, cultural and political point of view (see the “historical memory” Act). Many best-selling books and box-office hit films dealing with this painful historical period have contributed to generalise some neglected events which had not always been properly transmitted to the younger generations. However, the memorial activism of various individuals is not unanimously accepted. Indeed, some people consider that such a revival of a painful past might pose a threat to a national harmony which was not easy to obtain. Others, belonging to the national fraction, feel directly accused by the late “triumph” of yesterday’s defeated. The frequent parallel drawn between the Civil War and a would-be fight of the “goods” against the “evils”, has fuelled a partisan debate at the expense of historical truth. The debate on historical memory has become so serious that some analysts do wonder if the Civil War is over or not. The evolution of historiography since 1931 is real, but it should not be explained exclusively by the biased opposition of the heirs of both camps. In fact, we have to take into account deeper reasons at the roots of the problem. The Spanish case cannot be dissociated from a European context, even if it has to be explained by its own particular reasons which affect many other knowledge domains.