A dissertação tem como proposta apresentar, analisar e comparar os Manifestos Pioneiros da Educação Nova de 1932 e Manifesto ao Povo e ao Governo: Mais Uma Vez Convocados de 1959. Em seguida, destacar as semelhanças, divergências e contribuições dos mesmos para a educação brasileira. O trabalho é de natureza teórica, de caráter filosófico e histórico no âmbito da educação, com base em bibliografia sobre esse tema. A fim de possibilitar esse intento, foi elaborado um panorama histórico com o intuito de interpretar os Manifestos, levando-se em conta os fatos que os envolveram, antes e durante a sua elaboração. O estudo abrange os períodos de 1889 a 1932 e de 1933 a 1959, para o primeiro e segundo Manifestos respectivamente. Esse retrospecto focou a política, economia, sociedade e educação, além de dar destaque aos ideários católico e progressista. Foram apresentados os dados biográficos dos signatários, focando a profissão, data de nascimento e morte, como também, no caso dos participantes do Manifesto de 1932, se houve participação no Manifesto de 1959, com o propósito de obter um perfil dos signatários no tocante à profissão e continuidade ou não do ideal pioneiro. Constam as biografias mais detalhadas de Anísio Teixeira, Fernando de Azevedo e Lourenço Filho, em face da importância dos mesmos no contexto dos Manifestos. Em decorrência das análises apresentadas, busquei melhor compreender esse período, além de possibilitar o levantamento das contribuições oferecidas pelos manifestos, bem como transpôlos para a realidade atual, verificando se no decorrer das décadas, existe algum resquício daquele quadro. / The dissertation proposal is to present, analyze and compare the Pioneer Manifestos of New Education from 1932 and the Manifesto to the People and Government: Once Again Summoned from 1959. The study then highlights the similarities, differences and contributions of those for Brazilian education. The work is theoretical, having a philosophical and historical character that belongs to the field of education, and is based on the literature of that area. In order to allow this, a historical overview was prepared in order to interpret the Manifestos, taking into account the facts surrounding their preparation, both before and after their release. The study spans from 1889 to 1932 and from 1933 to 1959, for the first and second Manifestos, respectively. This retrospective focused on politics, economy, society and education, besides highlighting the Catholic and progressive ideals. The study also presents the biographical data of the signatories, focusing on the profession, date of birth and death, as well as in the case of participants in the 1932 Manifesto, and if there was participation in the Manifesto of 1959 with the purpose of obtaining a profile of the signatories regarding the occupation and the continuation or not of the pioneer ideal. The most detailed biographies of Teixeira, Fernando de Azevedo and Lourenco Filho are included, given their importance in the context of the Manifestos. As a result of the analysis presented, I have a better understanding of this period, besides facilitating a survey of the contributions offered by the manifestos, as well as placing them in the current reality as a way to question the existence of possible remnants of that framework over the following decades.

This work focuses on the evolution of Dada and its manifestation in Czech literature, especially in the twenties of the twentieth century, but, of course, it focuses on later manifestations too. It focuses on the main features of dadaism, like abhor technics, mysticism and rituality, destruction, universality, dada language or humour. Application of dada to czech discourse would be unable, without defining these features. This work focuses on real or potential dadaistic manifestations and theoretical reception in the czech discourse, which is represented by Karel Teige on the side of oppositors and the Devetsil group of Brno on the side of propagators. The last chapter is about the relations between dadaism and carnival culture, that wat theoretically formulated by Bachtin. I focuses especially on identical properties. Key words: Dadaism, carnival culture, humour, destruction, manifesto.

Dwelling on Thresholds reflects upon different modes of living/being, how we feel in different rooms and whom we decide to share space with. It asks how the spaces we dwell in affect our ability to access common and private spheres when needed or wanted. Along the way, tactility has come to play a big part in the work which has visually crystallized into a 30 m2 threshold curtain made up of floor plans of all apartments I have lived in over the past 10 years. An abstract information graphics with textures and colour nuances reflecting levels of well-being, alienation and moods in-between. The accompanying publication investigates our constructed environment as well as modes of thinking and dwelling in ‘the common’.

My thesis aims to map the art historical, religious and cultural influences in Chiho Aoshima’s work, particularly in her 2015 solo show Rebirth of the World at Seattle Asian Art Museum. I will start with an outline of the artist’s overall oeuvre, focusing specifically on her aesthetic development. This will set up an introduction of the main elements I see in her work (Shinto beliefs, yōkai/ukiyo-e aesthetic references, and references to A Cyborg Manifesto). The thesis will essentially be a case study of Rebirth of the World, using specific mediums as evidence for the presence of these influences in her work. My thesis is essentially Chiho Aoshima’s work is a seamless blend of the history and culture of Japan, while still grounding her practice in critical, contemporary theories of subversion. Her work is a gripping nod to the past but it is very much contemporary and critical, and it is easy to overlook all the threads woven into the fabric of her oeuvre.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Sociais, Departamento de Sociologia, 2007. / Submitted by Fernanda Weschenfelder (nandaweschenfelder@gmail.com) on 2009-12-08T15:38:11Z No. of bitstreams: 1 2007_LuisaGuntherRosa.PDF: 1338193 bytes, checksum: c4d33c52b10e6a373a9cf675d972a709 (MD5) / Approved for entry into archive by Carolina Campos(carolinacamposmaia@gmail.com) on 2009-12-21T20:11:47Z (GMT) No. of bitstreams: 1 2007_LuisaGuntherRosa.PDF: 1338193 bytes, checksum: c4d33c52b10e6a373a9cf675d972a709 (MD5) / Made available in DSpace on 2009-12-21T20:11:47Z (GMT). No. of bitstreams: 1 2007_LuisaGuntherRosa.PDF: 1338193 bytes, checksum: c4d33c52b10e6a373a9cf675d972a709 (MD5) Previous issue date: 2007-05 / Esta dissertação trata da contribuição das vanguardas artísticas para a dimensão cultural, especificamente para a realidade brasileira. O foco da pesquisa foi centrado no Manifesto Neoconcreto, documento que marca a especificidade existente entre dois coletivos de artistas não-figurativos brasileiros da década de 1950: o Grupo Ruptura e o Grupo Frente. A argumentação buscou considerar a recorrente dicotomia postulada entre arte pura vs. arte expressiva; vanguarda formal vs. vanguarda engajada; razão vs. sensibilidade. Para tanto, foram considerados os significados atribuídos ao fazer artístico, à função pública do artista e a função política da arte. Em última instância foi questionado o teor complexo e acadêmico do manifesto de modo a propor mais um marco literário para o neoconcretismo, sem, no entanto, desconsiderar o manifesto de 1959 em sua expressão. _________________________________________________________________________________________ ABSTRACT / This dissertation deals with the contribution of artistic vanguards to the cultural dimension of life, taking particular interest in the Brazilian context. The focus of this research was centered in the neoconcreto manifesto, document that marks the specificity that exists between two collectives of Brazilian non-figurative artists active in the 1950’s: Grupo Ruptura and Grupo Frente. The argument considered the recurrent dichotomy claimed to exist between pure art vs. expressive art; formal vanguard vs. engaged vanguard; reason vs. sensitivity. For this to be accomplished, attention was given to the meanings associated to the artistic process, the artists social responsibility and the political purposes of art itself. Last, but not least, the complexity and academic structure of the manifesto is questioned in order present another literary mark for the neoconcretismo, without, however, disregarding the manifesto of 1959 in its expression.

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The research presents a practice-based examination of the politics and poetics of the manifesto form, drawing on feminist theoretical writing and activism alongside contemporary iterations of socially engaged art. It offers feminist manifestos as a lens through which to reconsider the form and intentions of socially engaged art, which is reframed in the light of these feminist insights as social art practice (Ross, 2000). To draw feminism alongside social art practice the research occupies the metaphorical territory of the manifesto in order to open up a dialogue with, and directly experience, unfolding forms of social art practice. The thesis is structured in the form of an archive, consisting of three distinct but interrelated concepts – the manifesto, hospitality and archives. This structure sets out to highlight the relational and political nature of archives suggesting their potential to be reimagined as manifesto forms. In addition the structure reveals how both manifesto and archive function as explicit, politically radical forms of hospitality. These topics are discretely contained in physical form within three archival boxes, one for each concept, and in an online audio archive ‘giving voice’ to each of the concepts. Taken as a whole the thesis articulates a missing feminist history within current critical discourse around social art practice -­ despite the early presence of important feminist artists like Lacy and Ukeles. This research explores the implications of this absence, seeking to acknowledge the effects it could have not only on feminism as a political and intellectual practice but on the criticality and depth of social art practice. It is possible to encounter the archive as a cartography that can be laid out, navigated and read in any order. This movement between forms of knowledge mirrors the subjects it approaches which are conceived as interstitial forms, negotiating multiple perspectives to produce active subjectivity. Each section juxtaposes knowledge about practice, engaging with history to search for precedents, and knowledge with practice as a generative method, curating events and producing written contributions. Moving between these two methodologies the research sets out to find an appropriate voice to articulate the complexities of social art practice and its feminist histories.

Submitted by admin tede (tede@pucgoias.edu.br) on 2016-12-01T17:22:17Z No. of bitstreams: 1 CRISTIENE DE PAULA ALENCAR.pdf: 13395032 bytes, checksum: 6224583cfffece981d40cf3138a0e9c8 (MD5) / Made available in DSpace on 2016-12-01T17:22:17Z (GMT). No. of bitstreams: 1 CRISTIENE DE PAULA ALENCAR.pdf: 13395032 bytes, checksum: 6224583cfffece981d40cf3138a0e9c8 (MD5) Previous issue date: 2016-08-31 / The paper review part of Education Research, Society and Culture, proposed by a qualitative research bibliographic database to perform a critical-reflective reading of the Manifest of New Educativo Pioneers in 1932 Brazil, according to Teixeira, one of his 26 Signatories and philosopher Michel Foucault analyze as HAPPENING, SPEECH (training and annunciation) and TRUTH as expressed by their real devices. This is an important and recurring theme in terms of research in the field of Brazilian education in order to launch new comprehensive and interpretive lights because, considered a structural and political in the history of Brazilian Education. The aim in this thesis, verticalization of the analyzes with the guiding question the role of real devices, we selected, "Pioneers" and "New Education", his senses in order to make it legitimate, as set out by the famous Bahian educator Teixeira. The theoretical corpus was made up of the contributions of Foucault (1986, 1996, 1997, 2002, 2003), Ghiraldelli Jr (2003), Ianni (1978, 1992, 2003), Saviani (2012, 2013a, 2013b), Monarcha (1989), Cury (1988, 2001, 2007), among others. The empirical corpus consisted of an investigative theme bibliographical balance on theses and dissertations in education 2005-2015 (Source: BDTD) and intellectual production Teixeira 1920-1934 (Source: Virtual Library Teixeira-UFBA), 03 Literary- 1928,1934a and 1934b; 04 Periodicals-1924,1930,1932a and 1932b; 02 Speeches- 1924 and 1931, 02 Reports-e1928 1925; 02 Texts Unpublished- 1925 and 1927, 01 Brochure- 1925; 01 Translation- 1930. All theoretical and bibliographic contribution was assesed by content analysis methodology (FRANCO, 2008). The main findings pointed to the Manifest as detailed event by a particular historical-politicaleducational environment. The hypothesis of this research to compose this formulator speech, two truths devices "Pioneers" and "New Education" present in the Manifesto of the speech was proven. As devices, structured way seized in bibliographical works of 1920-1934 Teixeira. The device "New Education" enlightened by modern liberal ideas is more recurrent in making the Truth Discourse a legitimate political enunciation. / Este trabalho inserido na Linha de Pesquisa Educação, Sociedade e Cultura, propõe, por meio de uma pesquisa qualitativa de base bibliográfica, realizar uma leitura crítica-reflexiva do Manifesto dos Pioneiros da Educação Nova no Brasil de 1932, à luz do pensamento de Anísio Teixeira, um de seus 26 Signatários, e do filósofo Michel Foucault, a partir do recorte ACONTECIMENTO, DISCURSO (formação e anunciação) e VERDADE, expresso pelos seus dispositivos de verdade. O Manifesto tem se constituído historicamente como temática relevante e recorrente em termos de investigações no campo da educação brasileira, com o propósito de lançar sobre ela novas luzes compreensivas e interpretativas consideradas um marco estrutural e político na história da Educação Brasileira. Pretende-se, nesta tese, verticalizar as análises, tendo como questão norteadora o papel dos dispositivos de verdade, por nós selecionados, “Pioneiros” e “Educação Nova”, procurando desvelar seus sentidos a partir de sua enunciação pelo célebre educador baiano, Anísio Teixeira. O corpus teórico foi constituído pelas contribuições de Foucault (1986, 1996,1997, 2002, 2003), Ghiraldelli Jr (2003), Ianni (1978, 1992, 2003), Saviani (2012, 2013a,2013b), Monarcha (1989), Cury (1988, 2001, 2007), dentre outros. O corpus empírico foi constituído por um balanço bibliográfico temático investigativo acerca das teses e dissertações em educação 2005-2015 (Fonte: BDTD) e a produção intelectual de Anísio Teixeira 1920-1934 (Fonte: Biblioteca Virtual Anísio Teixeira-UFBA, 03 Obras Literárias-1928,1934a e 1934b; 04 Periódicos-1924,1930, 1932a e 1932b; 02 Discursos - 1924 e 1931; 02 Relatórios- 1925 e1928; 02 Textos Inéditos- 1925 e 1927; 01 Folheto- 1925; 01 Tradução- 1930. Todo o aporte teórico-bibliográfico foi avaliado à luz da metodologia de análise de conteúdo (FRANCO, 2008). As principais conclusões apontaram o Manifesto como acontecimento circunstanciado por uma determinada conjuntura histórico-políticopedagógica. A hipótese desta pesquisa de compor este discurso formulado a partir de dois dispositivos de verdade, “Pioneiros” e “Educação Nova”, presentes no interior do discurso do Manifesto, foi comprovada. Como dispositivos, estruturam os sentidos apreendidos nas obras bibliográficas 1920-1934 de Anísio Teixeira. O dispositivo “Educação Nova”, iluminado pelas ideias liberais modernas, é mais recorrente no sentido de tornar a Verdade do Discurso uma enunciação política legítima.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.