Thèse de doctorat : Histoire de l'art : Paris 4 : 2008. / Titre provenant de l'écran-titre.

180 f. / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-03-07T12:38:14Z No. of bitstreams: 1 Hayaldo Copque Fraga de Oliveira.pdf: 10035724 bytes, checksum: e200b729d1e8fef82cbb3690f2108f27 (MD5) / Rejected by Fatima Cleômenis Botelho Maria (botelho@ufba.br), reason: Faltam as palavras-chave do autor. on 2013-04-05T16:10:56Z (GMT) / Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-04-08T13:27:59Z No. of bitstreams: 1 Hayaldo Copque Fraga de Oliveira.pdf: 10035724 bytes, checksum: e200b729d1e8fef82cbb3690f2108f27 (MD5) / Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-04-09T13:04:27Z (GMT) No. of bitstreams: 1 Hayaldo Copque Fraga de Oliveira.pdf: 10035724 bytes, checksum: e200b729d1e8fef82cbb3690f2108f27 (MD5) / Made available in DSpace on 2013-04-09T13:04:27Z (GMT). No. of bitstreams: 1 Hayaldo Copque Fraga de Oliveira.pdf: 10035724 bytes, checksum: e200b729d1e8fef82cbb3690f2108f27 (MD5) / Ao mesclar elementos tradicionais da cultura russo-judaica com as influências das vanguardas artísticas do século XX, o pintor Marc Chagall (1887-1985) desenvolveu um estilo único, criando um mundo mágico, repleto de seres que exercem um verdadeiro fascínio sobre o imaginário humano. O presente trabalho aborda os diversos pontos de conexão entre a obra desse artista e o teatro, de forma a agenciar elementos para a construção do texto dramatúrgico Sobre a aldeia. Num primeiro momento, busco tais elementos através do estudo de aspectos da biografia de Chagall, na qual destaco a forte influência do teatro sobre sua obra, além de suas experiências como cenógrafo. Num segundo momento, a partir de uma discussão sobre o conceito de teatralidade, analiso como tal noção se manifesta em algumas obras do artista. A análise da teatralidade em Chagall constitui uma etapa fundamental em meu processo metodológico de criação dramatúrgica, pois é a partir dela que empreendo a aproximação entre a linguagem da pintura e a linguagem do teatro. Para tanto, articulo ainda o conceito de teatralidade com noções bachelardianas acerca da imaginação criadora, de forma a conceber o espaço da tela como um palco. Será somente após analisar os aspectos históricos que ligam a obra de Chagall à arte do teatro e como essa arte se manifesta em seus trabalhos que, munido de elementos materiais e imaginários suficientes para a criação de meu texto dramatúrgico, apresento Sobre a aldeia.Palavras-chave: Marc Chagall, teatralidade, dramaturgia, história da arte. / Universidade Federal da Bahia. Escola de Dança/ Escola de Teatro. Salvador-Ba, 2012.

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Made available in DSpace on 2016-03-15T19:43:02Z (GMT). No. of bitstreams: 1 Beatriz Mori Leite.pdf: 11444537 bytes, checksum: e2eb22df6a2e83e22a99a3a667d4ebd9 (MD5) Previous issue date: 2015-02-13 / This dissertation presents and analyses the symbol of Marc Chagall The bridegroom and the three musicians", dated in 1972. In this work the symbol is related to the idea of sacrifice as in the part of unconditional love. The analyses of this paint implied in the detailed studies of the artist s life with emphasis in his religious memory. Chagall was born in Russia, Jewish son lived in a traditional Judaic village, in 1887 had begun in the artistic world, in the early 20th century, in 1910, when moved to Paris. His use of symbols allows us to understand more properly his artistic production as well as his personal history. The aim of this study was to identify the relationship between the artist s work of art and the influence he suffered in culture through religious education. Therefore, this research has an interdisciplinary character and fits perfectly in the graduate program of Education, Art and History of Culture at the Mackenzie Presbyterian University. The main references refer to the theories proposed by Jean Paul Ronecker, when referring to the symbolism of the animal in the history of culture and art with contribution of Carl Gustav Jung through the book The man and your symbols . With Theoretical basis in the religious symbolism in the culture, involving Judaism and Christianity were also consulted Anatol Rosenfeld and the Brazilian philosopher Mario Ferreira dos Santos. From a methodological point of view, multiple paths were covered: visits to museums with exhibits of Chagall s works of arts in Brazil and France, as well as interviews with a French artist Jean Claude Pradier and the Brazilian Rabbi Isaac Rabier sharing the same artist Jewish religious line. Interviews were also conducted with Chagall in several stages of his life, acquired in video and audio. It was concluded that in the analysed work, symbolic elements related to Judaism and Christianity, are together as regards to the meanings that refer to human feelings with emphasis in universal love and their relationship with divine love. / Esta dissertação apresenta e analisa o símbolo do cordeiro na obra de Marc Chagall, Os noivos e os três músicos", datado em 1972.Nessa obra, esse símbolo está relacionado à idéia de sacrifício como parte do amor incondicional. A análise dessa pintura implicou no estudo detalhado da vida do artista, com ênfase na sua memória religiosa. Chagall nasceu na Rússia, filho de judeus viveu em uma aldeia tradicionalmente judaica, em 1887 e iniciou-se no mundo artístico no início do século XX, em 1910, quando mudou-se para Paris. O uso que faz dos símbolos permite compreender mais adequadamente sua produção artística, bem como sua trajetória pessoal. O objetivo principal deste estudo foi apontar as relações entre a obra de arte do artista e a influência que sofreu na cultura por meio da educação religiosa. Por isso mesmo, esta pesquisa tem um caráter interdisciplinar e se insere perfeitamente no programa de pós-graduação em Educação, Arte e História da Cultura da Universidade Presbiteriana Mackenzie. As principais referências bibliográficas remetem as teorias propostas por Jean Paul Ronecker, quando se refere ao simbolismo do animal na história da cultura e na arte com as contribuições de Carl Gustav Jung através do livro O homem e seus símbolos. Com base teórica sobre o simbolismo na cultura religiosa, envolvendo o judaísmo e o cristianismo, foram também consultados Anatol Rosenfeld e o filósofo brasileiro Mário Ferreira dos Santos. Do ponto de vista metodológico, vários caminhos foram percorridos: visitas a museus com exposições das obras de arte de Chagall, no Brasil e na França, bem como entrevistas com um artista francês Jean Claude Pradier e o rabino brasileiro Isaac Rabier que compartilha da mesma linha religiosa judaica do artista. Foram também utilizadas entrevistas realizadas com Chagall em diversas fases de sua vida, adquiridas em vídeo e em áudio.Concluiu-se que na obra analisada, elementos simbólicos relacionados ao judaísmo e ao cristianismo, estão juntos no que se refere aos significados que remetem aos sentimentos humanos, com ênfase no amor universal e suas relações com o amor divino.

Made available in DSpace on 2017-07-10T18:56:30Z (GMT). No. of bitstreams: 1 ana_maria_texto_protegido.pdf: 1378474 bytes, checksum: 954afb3cb399f6bd216cc1b1a5536694 (MD5) Previous issue date: 2011-08-31 / The present study is dedicated to Helena Kolody s work. During her lifetime she was a substantiated poet and has been considered the most important female voice in the poetry from Paraná, she produced a remarkable poetry and she was the precursor of determined forms in the Brazilian literary history. The religiosity as the central axis pervades Kolody s work to meet significant and deep relations toward the theme of love. In a last moment, by approaching the intrinsic relation between the poetry and the image, a parallel is traced between Helena s and the painter and poet Marc Chagall s work. The work outlines the particular way used by Helena Kolody to lead to a view of transcendence from an impossible love. / O presente estudo se dedica à obra de Helena Kolody. Poeta consubstanciada ainda em vida como a mais importante voz feminina da poesia paranaense, produziu uma poética marcante e foi precursora de determinadas formas na história literária brasileira. Tomando como eixo central a questão da religiosidade, perpassa-se a obra de Kolody encontrando relações significativas e profundas com a temática do Amor. Num último momento, abordando a relação intrínseca entre imagem e poesia, traça-se um paralelo entre a produção de Helena e a obra de Marc Chagall, o pintor-poeta. O trabalho delineia o modo particular como Helena Kolody conduziu uma visão de transcendência a partir de um amor impossível. Constatou-se que uma estrutura profundamente cristã sobressai-se no todo da obra Kolodyana.

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal. / Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvelle, à la fois au niveau des dispositifs figuratifs et du traitement pictural, apportée par le modernisme dans l’approche des grands genres traditionnels dont relève la peinture religieuse. Dans un tout autre registre, le mémoire se penche sur les circonstances historiques exceptionnelles ayant exercé une pression pour que l’expérience tragique des Juifs du XXe siècle trouve à s’exprimer dans des images à portée universelle. / Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance.

Marc Chagall est un artiste juif qui a défié l’interdiction mosaïque de représenter la divinité. Il a entre autres réalisé plusieurs tableaux sur le thème de la Crucifixion, un sujet particulièrement délicat pour un artiste attaché à son identité juive et à un art à tendance autobiographique. Ce mémoire examine les conditions qui ont permis l’adoption et le développement, par Chagall, d’une iconographie revisitée d’un important motif chrétien. Parmi les circonstances qui ont facilité l’hybridation culturelle à laquelle se livre Chagall dans ses Crucifixions, il faut signaler la liberté nouvelle, à la fois au niveau des dispositifs figuratifs et du traitement pictural, apportée par le modernisme dans l’approche des grands genres traditionnels dont relève la peinture religieuse. Dans un tout autre registre, le mémoire se penche sur les circonstances historiques exceptionnelles ayant exercé une pression pour que l’expérience tragique des Juifs du XXe siècle trouve à s’exprimer dans des images à portée universelle. / Marc Chagall is a Jewish artist who challenged the Mosaic interdiction to represent the deity. He has among others in the modern period made several paintings on the theme of the Crucifixion, a particularly sensitive issue for an artist attached to his Jewish identity and practising an art with a strong autobiographical component. This dissertation examines the conditions which allowed the adoption and the development, by Chagall, of an important Christian subject whose iconography he freely revisited. Among the circumstances that facilitated the cultural hybridization in which Chagall engaged in his Crucifixion, we must point out the new freedom, both at the level of figurative devices and pictorial treatment, brought by modernism in the approach of major traditional genres to which religious painting belongs. On a quite different register, the dissertation examines the exceptional historic circumstances met by Chagall before and during the execution of the Crucifixions. These circumstances have exerted pressure that allowed the tragic experience of the Jews of the XXth century to find expression in images of universal significance. / Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels et audio‐visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This thesis covers the interpretation of life and work of Marc Chagall, jewish painter of 20th century. Goal of the thesis is to highlight symbolic motives of his work, and later on interpret those on selected pieces. The thesis is divided into four parts. First part is devoted to the life of the painter and his jewish origin, which had a significant influence on the character of his work. Second part covers the meaning of symbols in art and religon in general. Third tries to compare Chagall's conveyance with two jewish philosophers of the dialog: E. Lévinas and F. Rosenzweig. Fourth then interprets selected pieces with philosophical or religious extent. Whole thesis is based on the conception that art is able to convey messages and interpret the world around us.