Diss.--Zugl., Marburg, Universität, 1997. / Bibliogr. p. 334-396.

Univ., Magisterarbeit, 1988--Frankfurt (Main)

Köln, Univ., Mag.-Arb., 2004.

Diss.--Münster--Westfälische Wilhelms-Universität, 1990. / Bibliogr. p. 307-314.

Revision of Thesis (Ph. D.)--University of California at Los Angeles, 1977. / Includes bibliographical references (p. [203]-210) and index.

Thesis (M.A.)--Marshall University, 2001. / Typescript. Includes bibliographical references (leaves I-V).

Ph.D.--New York--Columbia University, 1988. / Bibliogr. p. 334-384.

Thesis (Ph. D.)--University of Sydney, 2007. / Title from title screen (viewed February 23, 2010) Degree awarded 2007; thesis submitted 2006. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, School of English, Art Histoty, Film and Media, Faculty of Arts. Includes bibliographical references. Also available in print form.

Ce mémoire amorce une critique sur la problématique des procédés figuratifs à propos des tableaux niçois matissiens (1916-1930), qui se présentent à nous comme les apories d'une pratique picturale vue comme embrayage d'une toute nouvelle figuration. Cette recherche fait le point sur le mouvement des conflits non-résolus, où le repérage de contradictions, de nouvelles mises en rapport, en dehors du discours dominant des oeuvres, sert la transformation du conformisme de notre vision. Le premier chapitre clarifie la notion du retour à l'ordre. Le second analyse les odalisques comme connotant les avants possibles de la figure. Et le troisième est une critique de la théorie réifiée de la valeur esthétique. Dans cette perspective, ce travail cherche à éclaircir la praxis matissienne de la figuration comme catégorie possible de la peinture. / Montréal Trigonix inc. 2018

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-30T09:42:26Z No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-01-31T13:18:35Z (GMT) No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Made available in DSpace on 2014-01-31T13:18:35Z (GMT). No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT / The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.