Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-07-11T12:43:29Z No. of bitstreams: 1 Fernanda Raquel.pdf: 2877813 bytes, checksum: b6ea457b9b8db6a5ec8d0a2c05ec6e12 (MD5) / Made available in DSpace on 2017-07-11T12:43:29Z (GMT). No. of bitstreams: 1 Fernanda Raquel.pdf: 2877813 bytes, checksum: b6ea457b9b8db6a5ec8d0a2c05ec6e12 (MD5) Previous issue date: 2017-06-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP / The thesis analyzes the constitution of the body in contemporary theatrical experiences where, through failures, deactivations and impossibilities, states that generate perceptual impacts, both in actors and spectators, are activated. Examples of those creation modes were selected works of the Japanese group Chelfitsch, Cia. Brasileira de Teatro and two plays directed by Carolina Mendonça, and also a practical experience, which proposes an alliance between academic and artistic research. The theoretical foundation relies on the indisciplinary methodology proposed by the corpomídia theory (KATZ and GREINER, 2005) which organizes networks between different areas of knowledge. Moreover, theoretical references from the field of theater and body studies are mobilized, as well as philosophical formulations of authors such as Giorgio Agamben (2008, 2014), Judith Halberstam (2011) and Jacques Derrida (2012). The expected result is to explicit the ways the operators - terms and concepts - are articulated to the bodily actions that cause destabilization in their usual functionality in life and aesthetic models given a priori, finding these same displacements, their political and performative potency / A tese analisa a constituição do corpo em experiências teatrais contemporâneas nas quais, através de falhas, desativações e impossibilidades, são ativados estados que geram impactos perceptivos, tanto em atores como em espectadores. Como exemplificações desse modo de criar foram selecionados trabalhos do grupo japonês Chelfitsch, da Cia. Brasileira de Teatro e duas peças dirigidas por Carolina Mendonça, além de incluir uma experiência prática, que propõe uma aliança entre pesquisa acadêmica e artística. A fundamentação teórica apoia-se na metodologia indisciplinar constituída pela teoria corpomídia (KATZ e GREINER, 2005) que organiza redes entre diversas áreas do conhecimento. Além disso, são mobilizadas referências teóricas do campo de estudos teatrais e do corpo, assim como, formulações filosóficas de autores como Giorgio Agamben (2008, 2014), Judith Halberstam (2011) e Jacques Derrida (2012). O resultado esperado é a explicitação de modos de articular operadores – termos e conceitos – a ações corporais, que provocam desestabilizações em suas funcionalidades habituais na vida e nos modelos estéticos dados a priori, encontrando nestes mesmos deslocamentos, a sua potência política e performativa

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-12-15T11:38:55Z No. of bitstreams: 1 Wagner Miranda Dias.pdf: 128984620 bytes, checksum: 6040271e677a1e39c6512d148ae7f5d0 (MD5) / Made available in DSpace on 2017-12-15T11:38:55Z (GMT). No. of bitstreams: 1 Wagner Miranda Dias.pdf: 128984620 bytes, checksum: 6040271e677a1e39c6512d148ae7f5d0 (MD5) Previous issue date: 2017-12-07 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Fundação São Paulo - FUNDASP / This research investigates the paths of the artist's artistic composition - theater, dance and performance - Roberto Alencar, reflecting on his creative, authoring and communication processes, observing the procedures that involve his thought and practice in the production of his scene, highlighting the relations between drawing, verb and body. The investigation of the transit between languages inserted in the creative processes is essential to think critically about contemporary communication systems and networks, throwing glances on the construction of the diverse communicative objects that act in hybridization, revealing different modes of action and creative structures. The hypothesis is that the artist of the body who possesses consciousness and mastery of the visual / verbal transit of the scene arts, engendered as body space experience, can trigger effective creative and communicational processes between the stages of elaboration of the scene, with the artistic collective and with the public. The theoretical foundation is structured from the studies of Cecilia Almeida Salles, who investigate creation processes within the complexity of the systems; the authors RoseLee Goldberg, Silvia Fernandes and Flávio Desgranges, will be used in regard to historical and social reflection on the artist of the body. Renato Cohen will be convened to discuss performance and language issues; Christine Greiner, Helena Katz, Lucia Santaella, Norval Baitello, for concepts about image and body; Vincente Colapietro for his studies on Peircian semiotics and subjectivity. The theoretical framework proposes dialogues with thinkers fundamental to the study of body and culture (Edgar Morin, Zigmunt Bauman, Mikhail Bakhtin). The scientific methodologies will be the one of bibliographical research, seeking to establish a critical approach on the relation creation, authorship and communication and the field research, that will be based on the investigation of drawings, drafts, videos, audio recordings, interviews and documents of process / Esta pesquisa investiga os percursos da composição artística do artista do corpo – teatro, dança e performance – Roberto Alencar, refletindo sobre seus processos criativos, de autoria e comunicação, observando os procedimentos que envolvem seu pensamento e sua prática na produção de sua cena, destacando as relações entre desenho, verbo e corpo. A investigação do trânsito entre linguagens inserido nos processos criativos é essencial para pensarmos criticamente sobre sistemas e redes comunicacionais contemporâneas, lançando olhares sobre a construção dos diversos objetos comunicativos que atuam em hibridização, revelando diferentes modos de ação e tessituras criativas. A hipótese é que o artista do corpo que possui consciência e domínio do trânsito verbo/visual das artes da cena, engendrado como experiência espaço corporal, pode desencadear processos criativos autorais e comunicacionais efetivos entre as etapas de elaboração da cena, com o coletivo artístico e com o público. A fundamentação teórica se estrutura a partir dos estudos de Cecilia Almeida Salles, que investigam processos de criação no âmbito da complexidade dos sistemas; os autores RoseLee Goldberg, Silvia Fernandes e Flávio Desgranges, serão utilizados no que se refere à reflexão histórica e social sobre o artista do corpo. Renato Cohen será convocado para discutir questões sobre performance e linguagem; Christine Greiner, Helena Katz, Lucia Santaella, Norval Baitello, por conceitos sobre imagem e corpo; Vincente Colapietro por seus estudos sobre a semiótica Peirciana e a subjetividade. O referencial teórico propõe diálogos com pensadores fundamentais aos estudos do corpo e da cultura (Edgar Morin, Zigmunt Bauman, Mikhail Bakhtin). As metodologias científicas serão a de pesquisa bibliográfica, buscando estabelecer uma abordagem crítica sobre a relação criação, autoria e comunicação e a pesquisa de campo, que será baseada na investigação de desenhos, rascunhos, vídeos, áudio gravações, entrevistas e documentos de processo

Thesis (doctoral)--Universität Tübingen. / Includes bibliographical references (p. 251-272) and index.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Comparative Literature, 2008. / Includes bibliographical references.

No description available.

My study explores the politics of viewing and the gaze. I argue that the gaze both arrests and objectifies the body, which in turn transforms subjects into objects therefore regulating social behaviour. The basic notion of the gaze will be explored throughout this thesis and thereby contextualizes my sculptures, which are casts of my naked body. My particular concern lies in how the ideas of surveillance have had an influence on architecture and buildings in Grahamstown. Throughout this mini thesis, I will explore a number of architectural spaces of Grahamstown such as the Provost prison, Fort Selwyn and the Camera Obscura which I argue were all designed based on the ideas of surveillance. The entanglement of Grahamstown architecture and the female form as a subject of voyeurism forms an important part of this thesis, as the context of Grahamstown architecture is centered on visibility, which in turn subjects people to a form of discipline. The Provost Prison, the Camera Obscura and the forts of Grahamstown are all good examples of this. Outside of this, the female body is also subjected to the gaze, which in turn suggests that the female body is also under surveillance and as a result also becomes disciplined. My installation is a response to Antony Gormley’s Event Horizon, in which he placed 33 steel and fibreglass casts of his own naked body at an elevated level on buildings around Manhattan and Brazil. In this discussion I have contextualized my work with reference to the ideas of different theorists. The three main theorists I have cited are Michel Foucault, Jonathan Crary and Laura Mulvey. Foucault is specifically cited due to his discussion on Panoptic power, surveillance and docile bodies. Crary makes a number of important points with regards to the ideological operations of the Camera Obscura as well as its history while Laura Mulvey’s writings form the basis of the voyeuristic gaze from the perspective of a feminist.

This dissertation aims to interpret holiday imagery in the media, as a site of South African cultural production, on the basis of newspaper images of local white and black people published in the Natal Mercury from 1966 to 1996. A strong historical approach (the history of the Western holiday) has been taken in order to analyze existing social structures relating to the holiday in South Africa, specifically gender, race and class. These social structures have been examined in depth, with the result of numerous interpretations being made about behaviour and the depiction of behaviour in the context of Durban beaches and leisure. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.

Orientador: Claudia Valladão de Mattos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-22T10:23:25Z (GMT). No. of bitstreams: 1 Costa_RichardSantiago_M.pdf: 19493104 bytes, checksum: 5f25f91acbf60eab43f89b48112b2700 (MD5) Previous issue date: 2013 / Resumo: O presente projeto de pesquisa pretende estudar duas obras específicas do pintor brasileiro Rodolfo Amoedo intituladas O último Tamoio (1883) e Marabá (1882). Tais obras serão analisadas dentro do contexto de sua produção na segunda metade do século XIX buscando identificar aspectos formais e programáticos que as aproximam e ao mesmo tempo afastam da política de criação de uma identidade nacional implementada pela Academia Imperial de Belas Artes no decorrer do século XIX. Buscaremos associar essas pinturas, tão importantes no conjunto da obra de Amoedo, ao ambiente sócio-político e cultural do Brasil oitocentista, investigando suas intenções políticas e culturais no contexto artístico do período. Além disso, interrogaremos tais pinturas na tentativa de reconhecer traços do estilo de Amoedo que as ligassem à sua formação artística tanto no Brasil quanto na Europa, trazendo referências diversas nas áreas da literatura e pintura que contribuíram para sua feitura. Será fundamental investigar como Amoedo desmonta o aparato de exaltação do mito do "índio herói nacional", identificando os traços de um indianismo tardio sem fôlego, esgotado às vésperas da proclamação da República. Para tanto, será importante confrontar literatura e artes plásticas dentro das premissas do ut pictura poesis, visto que naquela floresceu primeiro o que se convencionou chamar de "indianismo". Propomos uma reflexão sobre a figura do índio melancólico e trágico das pinturas supracitadas de Amoedo em detrimento do índio heróico e guerreiro da produção literária do período anterior e seu papel na constituição de um imaginário nacional que tinha o índio como símbolo pátrio: através das diversas ressiginificações por que passou o corpo indígena, seja no campo da pintura e da escultura, seja no campo da ilustração e da literatura, analisaremos como Amoedo se insere como renovador do indianismo acadêmico, rearranjando os elementos próprios da retórica nacionalista no final do Segundo Império / Abstract: This research project aims to study two specific works of the Brazilian painter Rodolfo Amoedo titled The Last Tamoio (1883) and Maraba (1882). Such works will be examined within the context of his production in the second half of the nineteenth century trying to identify formal and programmatic aspects which approach and at the same time move back them from the creation policy of a national identity implemented by the Imperial Academy of Fine Arts during the nineteenth century. Trying to associate these paintings, very important in Amoedo's whole works, to the social, political and cultural environment of nineteenth century on Brazil, looking for his political and cultural intentions in the artistic context of that period. Furthermore we will study such paintings trying to recognize aspects of Amoedo's style that link them to his artistic development both in Brazil and in Europe, bringing different references in literature and painting areas which was a contribution to its conception. It will be essential to investigate how Amoedo disjoints the apparatus of exaltation of the "national Indian hero" myth, identifying aspects of a late breathless "indianism", exhausted on the eve of the Republic's proclamation. Therefore, it will be important to confront literature and fine arts within the premise of ut pictura poesis, since that first grew what is conventionally called "indianism". We propose a reflection about the image of the melancholic and tragic indian of the Amoedo's paintings above in detriment of the heroic and warrior indian of the literary production of the previous period and their role in the constitution of a national imaginary that used to have indian as a native symbol: through the different reinventions of its meaning which passed the indigenous body, whether in painting and sculpture, or in the field of illustration and literature, we are going to analyze how Amoedo introduces himself as a re-newer of the academic indianism, rearranging the specific elements of the nationalist rhetoric at the end of the Second Empire / Mestrado / Historia da Arte / Mestre em História da Arte

The broad focus of this study is on how, through inequalities in power in constructed human socio-political, socio-economic and legal structures, the value and dignity of human life is destroyed. The researcher as artist wished to represent these observations though visual metaphor, metonymy and synecdoche in an installation, "Follow the thread". The dissertation contextualises that work within the works of Sheila Hicks, Amita Makan, Magdalena Abakanowicz and Ana Mendieta, all of whom use organic materials related to ideas about life and death. The first three use fibres as a metaphor for life. Through the analysis of metaphors in the selected artworks, the allusiveness of these metaphors is examined to offer insights about their indirect, referential, and evocative nature. It is revealed in the study that the success of metaphors operating within the visual language is closely linked to their complexity, their range scope and multimodality, and their ability to provoke multivalent, layered interpretations of artworks. My sculptural drawings that resemble fragments of the human body in the installation are a metaphor for the abuse of human dignity and for the disregard those in power have when life is reduced to bare life, rather than life appropriate to a legal citizen. / Arts and Music / M.V.A.