The diploma thesis attempts to identify transcendental elements of "Yzur", a short story by Leopoldo Lugones. The thesis propounds several theoretical-practical methods regarding the matter. One of the methods is to compare "Yzur" to "Persona", the work of art of the Swedish film maker and screenwriter Ingmar Bergman. The comparison of both texts is based on their complementary reading. It is possible to determinate this way the transcendental points of the short story emerging from the following interlaced levels of the texts: the linguistic level, the stylistic level, the structural level, the thematic level and the interpretative one. One of the most outstanding transcendental elements of "Yzur" is precisely the richness of the possible interpretations. Other important transcendental features include the ambiguity, the contrasts and the active participation of the reader. Key words: Leopoldo Lugones, Persona, Ingmar Bergman, transcendental

Fresas salvajes y Persona: el encuentro con uno mismo y las relaciones humanas en el cine de Ingmar Bergman tiene como objetivo analizar la obra de Bergman a través de dos películas, Fresas salvajes (1957) y Persona (1966), realizadas en décadas y contextos diversos, lo que permite establecer considerables comparaciones, tanto a nivel de forma como de contenido. Ingmar Bergman es un cineasta sueco cuya época de mayor actividad cinematográfica se ubica en las décadas de los cincuenta, sesenta e inicios de los setenta. Su filmografía, que incluye más de medio centenar de películas, se explica a la luz del cine de autor; de ahí que el análisis de su obra exija descifrar el universo personal que plantea el director. Este trabajo de investigación considera que Bergman aborda temas existenciales, que a manera de motivos, aparecen en forma reiterada en sus películas. Con la intención de reconocer las variaciones de estos motivos, la presente tesis analiza la evolución en sus filmes de dos características de la existencia, el encuentro con uno mismo y las relaciones humanas. Se trata de dos matrices, cuya delimitación incluye la revisión de tres influencias en la obra de Bergman: el luteranismo, el existencialismo y el entorno sueco. El análisis también considera la vida personal del director. Para comprender el universo cinematográfico de Bergman, se tuvo en cuenta el visionado de un número considerable de sus filmes, así como la revisión de publicaciones en torno al director, el cine y las variables escogidas -el luteranismo, el existencialismo y el entorno sueco. A lo largo del trabajo se realizaron entrevistas a expertos de diversas disciplinas, que -desde sus perspectivas particulares- dieron luces para estudiar la obra de Bergman. La primera parte de este trabajo elabora las definiciones de las dos matrices de investigación a la luz de las variables mencionadas. El segundo y tercer capítulo presentan el análisis de las dos películas, Fresas salvajes y Persona, respectivamente, además de establecer semejanzas y diferencias entre ambos filmes. Los resultados de esta investigación indican cómo la interpretación de Bergman del encuentro con uno mismo y las relaciones humanas varía considerablemente en su obra y cómo se manifiestan estos cambios a través del uso de los recursos cinematográficos. / Tesis

Made available in DSpace on 2016-04-25T19:20:30Z (GMT). No. of bitstreams: 1 Isadora Goldberg Sinay.pdf: 586770 bytes, checksum: 5e3fbe2f23b98023e035b7c6c0fb813a (MD5) Previous issue date: 2014-05-09 / The presente dissertation is composed by the analysis of two fiction feature films, Wild Strawberrys and The Seventh Seal, by Ingmar Bergman. The analysis highlights, in both works, the theme of the Silence of God, importante aspect in the work of the filmmaker. Ingmar Bergman is one of the biggest names in contemporary art and his films articulate philosphy and religion, making then a piece of fundamental interest to the Science of Religions as a manifestation of essential reflections in the artistic production of a society. The analysis supports itself in the works of film analysis by Jesse Kalin and Paisley Livingston and focus in understanding the silence of God as a form of abandom and seeing the carachters search for a personal answer from the divinity as a way of conquering meaning and mercy in their lives. As the analysis goes it is verified that this answer can not be found in the transcendency, by exactly when the caracther stop looking in its direction and turns his sight to the concrete and imanent / A presente dissertação de mestrado é composta da análise de dois longa-metragens de ficção, Morangos Silvestres e O Sétimo Selo, de Ingmar Bergman . A análise busca mapear nas duas obras a temática do silêncio de Deus, aspecto relevante na obra do cineasta em questão. Ingmar Bergman é um dos maiores nomes da arte contemporânea e seus filmes articulam filosofia e religião, tornando-os de interesse fundamental para as ciências da religião como manifestação de reflexões essenciais na matéria artística de uma sociedade. A análise, que tem como substrato teórico os trabalhos de Jesse Kalin e Paisley Livingston no campo da análise fílmica, centra-se no entendimento do silêncio de Deus como abandono e na busca dos personagens por uma resposta pessoal da divindade como maneira de imbuir suas vidas de sentido e misericórdia. Ao longo da análise, contudo, verifica-se que essa resposta encontra-se não na transcendência, mas justamente no ato de retirar os olhos dela e volta-los para a o concreto e o imanente

Esta dissertação se propõe a investigar a comunicação a partir da obra cinematográfica do diretor sueco Ingmar Bergman (1918-2007). Em oposição a uma ideia corrente na literatura sobre esse cineasta, a de que seus filmes seriam uma expressão da incomunicabilidade, buscamos caracterizar a partir deles uma comunicação de caráter afetivo, que está relacionada ao uso por parte do diretor do rosto em primeiro plano. Nossa fundamentação teórica tem como centro os conceitos de imagem-afecção, de Gilles Deleuze (1985; 2011), e de rostidade, de Deleuze e Félix Guattari (2012). Realizamos nossas análises com base em 16 filmes de Bergman, a partir de um procedimento de desmonte e arranjo, que deram a ver o que compreendemos como figuras da comunicação afetiva em Bergman: mãos, relógios, óculos, máscaras, espelhos, estátuas e multidão. As análises permitiram identificar os parâmetros dessa comunicação afetiva. / This dissertation aims to investigate communication in the cinematographic work of Swedish director Ingmar Bergman (1918-2007). In contrast to a recurrent idea in the literature about this filmmaker – that his movies are an expression of incommunicability –, we look to characterize a form of communication that is affective and related to the use by the director of the face in close-up. Our theoretical foundation has at its center the concepts of affection-image, by Gilles Deleuze (1985; 2011), and that of faciality, by Deleuze and Félix Guattari (2012). We did our analyses of 16 Bergman movies based on a break and rearrange procedure, which led to what we see as figures of the affective communication in Bergman: hands, clocks, glasses, masks, mirrors, statues and the multitude. The analyses have permitted us to identify the parameters of that affective communication.

<p>Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created.</p><p>By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action.</p><p>The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions.</p><p>A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.</p>

<p>Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.</p>

Developments in technology and new aesthetic idioms in the past decades have changed the preconditions for the scenographer’s work in the theatre. Therefore, it has become problematic indeed to describe scenography as the sum of costume and set, although this continues to be the common definition of the concept. This study focuses on the interaction of different features in a theatre performance, such as scenography, actors, light and sound. The aim is to show that scenography, as opposed to set and costume, cannot be separated from the live performance, i.e. the context for which it is created. By investigating scenography from the parameters space, time, and movement, the thesis demonstrates that the art is anything but stable. On the contrary, it continuously changes shape, size, and appearance. The actors in particular play an important role in the organization of the space, thus exposing the instability of scenography in action. The analytical chapters in the thesis discuss four different movements, or transformations, in scenography, appearing in eight theatre productions staged by Swedish director Ingmar Bergman between 1984 and 1998. The first chapter, "Expansion," discusses how scenography incorporates new spaces, either through the actors’ movements or by quoting architectonic details from other parts of the theatre building. "Revolution" shows different ways of revolving scenography without the aid of technical devises such as the revolve stage. "Perforation," the third chapter, analyses the effects of a perforated set and its consequences for the spectators’ apprehension of scenography. The last chapter, "Metamorphoses," highlights actions that undermine the definition of some central concepts in performance, such as “performers,” “props,” and “spectators,” all of which are intertwined in the analysed productions. A concluding part of the dissertation elaborates on the effects of these movements and transformations in scenography, in particular as related to the physical and mental relationship between actor and audience.

Projektiv identifikation är enligt den psykoanalytiska teorin grundläggande vid mellanmänskliga relationer. Samtidigt som begreppets betydelse och användningsområde är omdiskuterade finns förvånansvärt få empiriska forskningsresultat. Denna teoretiska, explorativa och kvalitativa studie utgår ifrån Ingmar Bergmans manus Scener ur ett äktenskap för att utforska begreppets användbarhet på en parrelation. Texten analyseras med tematisk analys och diskuteras utifrån hur projektiv identifikation kan förstås genom karaktärerna Johans och Mariannes relation. I texten illustreras en process som mynnar ut i ett återtagande av projektioner via tre olika tillstånd av inre relaterande: rigitt, rollbytande och rörligt. Dessa faser liknar ett kluvet, pre-ambivalent och ambivalent relaterande. Parenheten bildar ett projektivt system som kan utgöra ett grundläggande fokus i en parterapi. Mer empirisk forskning kring ämnet vore önskvärt för att denna teoretiska förståelse skulle kunna tillämpas i större utsträckning.

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"The Journey Within" deals with how the receiver (reader/viewer) engages with the novel and the film. The thesis primarily focuses on Faulkner's novel, incorporating Persona largely as a means by which to illustrate the more carefully concealed reader-engagement strategies in Absalom, Absalom! Starting with a review of Faulkner criticism that opens itself up to this inquiry, the thesis leads into a detail study of the engagement strategies used to foster identification, alignment, sympathy, and empathy among receivers. Employing Umberto Eco's criticism involving "Model Readers" who "actualize" texts, as well as other reader and viewer response theory, I demonstrate that certain receivers experience a specific, heightened engagement with the work. This "Model" receiver restructures her ideologies to accord with what the work expects from her. Ultimately, this particular engagement leads to ontological participation in the work among its receivers. Martin Heidegger's phenomenological investigation, Being and Time, helps illustrate this ontological participation.