[pt] O primitivismo no Pau-Brasil de Oswald de Andrade: originalidade nativa como mensagem do espírito novo (1917-1925) é uma Dissertação animada pela vontade de investigar o desenvolvimento da idéia do primitivismo na controversa obra de Oswald de Andrade. E neste sentido, a tentativa de compreender a natureza histórica deste conceito lida de perto com uma reconfiguração sofrida pelas noções de modernismo e vanguarda na América Latina. Composto por dois capítulos, o estudo pretende no primeiro movimento avaliar a participação do escritor no grupo dos jovens artistas de São Paulo, que durante a Semana de Arte Moderna se insurgiu contra a inteligentsia nacional; e no segundo, analisar como se deu a sua redescoberta do Brasil, depois de um contato estreito com as vanguardas históricas sediadas em Paris. / [en] Primitivism on Oswald de Andrade`s Pau-Brasil: native originality as a message of new spirit (1917-1925) is an attempt to analyze the development of the idea of primitivism on Oswald de Andrade`s work. Thus, the effort of comprehension the historicity of this concept needs to understand a reconfiguration suffered by notions as High Modernism and Avant-guard in Latin-America. In two parts, this paper aims at, in first, to evaluate Andrade`s participation inside the group of modernists in São Paulo before the Modern Art Week in 1922; and then, investigate how was possible his rediscovery of Brazil after kept close relationships with the foremost artists in Paris.

[pt] Nesta série de ensaios interdependentes sobre Murilo Mendes, buscamos iluminar diferentes aspectos de sua obra, em especial aquela produzida na Itália, onde o autor se fixou de 1957 até sua morte, em 1975. O fio implícito que liga estes ensaios é a indagação sobre a sua relação com o repertório da cultura ocidental, elemento destacado tanto em sua poesia quanto na prosa. Relação esta que o distingue de outros escritores modernistas, uma vez que, para Murilo Mendes, não se tratava de contrapor uma cultura à outra, mas de formar um conjunto único, em que as diferenças não assumem posição hierárquica, nos moldes, por exemplo, de uma equação centro-periferia. A metáfora do colecionador, que guia o primeiro ensaio, é utilizada como uma chave que permite analisar sua prosa-inventário da tradição ocidental. O surrealismo à brasileira do autor, tema de outro ensaio, mostra o modo peculiar como Murilo absorveu as vanguardas do início do século XX. E o seu projeto universalista é tratado no terceiro capítulo. Os textos que compõem este estudo procuram, assim, acercar-se dessa obra por meio de uma escrita ensaística, conforme definição de Adorno, em que os vários pontos se entrelaçam como em um bordado. Escrita marcada pelo experimento, mais do que pela busca de um pensamento sistêmico e conclusivo. / [en] This is a series of interdependent essays on Murilo Mendes which focus on different aspects of his work, particularly the texts he wrote in Italy, where he lived from 1957 until his death in 1975. The thread that implicitly runs through these essays is his relationship with the Western cultural repertoire, an aspect that stands out in both his poetry and his prose. Indeed, it is this that differentiates him from other Modernist writers. Murilo Mendes was not interested in setting one culture against another, but in uniting them in such a way that their differences were not represented hierarchically, such as center versus periphery. The metaphor of the collector that appears in the first chapter serves as a key for analyzing his body of prose from the Western tradition. His Brazilian-style surrealism is the object of another essay that discusses the particular way he incorporated the European vanguards of the early twentieth century. The third chapter is about his universalism. Overall, this study seeks to address the work of Murilo Mendes using the essay form as defined by Adorno, where points in the different texts interweave like a tapestry. The style is more experimental than strictly systematic or conclusive in its thinking.

Este trabalho tem como objetivo estudar a incorporação de elementos estilísticos do vídeo-clipe pelo cinema, da década de 1990 em diante. Alinharemos o olhar da história cultural, esta entendida como história dos símbolos, com as teorias de McLuhan sobre os meios de comunicação, sobretudo no que diz respeito às mudanças sensoriais impulsionadas pela exposição e utilização de novas tecnologias. Com aplicação simultânea destes enfoques, estabeleceremos a diferença entre a narrativa cinematográfica clássica e uma nova forma narrativa, influenciada pelo estilo de filmagem e montagem dos vídeo-clipes e da MTV. Adotaremos o termo Amálgama, para designar esta nova forma. Demonstraremos como estas mudanças do cinema refletem um novo ambiente cultural ocidental do final do século XX, especialmente no que diz respeito à fragmentação das identidades culturais e ao surgimento de uma cultura mundializada neste período. / This paper aims to study the assimilation of stylistic elements from music vídeos in film as of the 1990s. We shall align natural history, hereby understood as a history of symbols, with McLuhans media theories, which deal with changes in sensitivities due to exposure and utilization of new technologies. With these complementary two premises, we shall stablish a distinction between classic film narrative and this new one, influenced by the style of editing and filming of music videos and MTV. This new narrative shall be named Amalgam. We shall demonstrate how such changes in film making reflect the new western cultural environment of the late 20th century, with emphasis on the fragmentation of cultural identities and the rising of a global, media-centered culture.

Esta dissertação estuda dois importantes autores de língua portuguesa na literatura moderna: Mário de Sá Carneiro (português) e João do Rio (brasileiro). Ambos viveram as diversas transformações sofridas pela sociedade ocidental no final do século XIX e início do século XX. Nessa época as relações entre Brasil e Portugal estavam abaladas, mas havia um movimento de aproximação entre esses países, já que Portugal nunca deixaria de ser o berço do Brasil, não havia por que negar as afinidades. O que parece aproximar a escrita de Sá Carneiro e João do Rio são as transformações, em âmbito geral, sofridas no espaço temporal citado. Ambos influenciados pelas tendências que se originaram no centro cultural da época: a França. Essas tendências, chamadas de vanguardas, deram origem no Brasil e em Portugal ao movimento Modernista na Literatura. Em Portugal, Mário de Sá Carneiro participou da criação desse novo movimento literário com a revista Orpheu. No Rio de Janeiro, havia uma crescente modernização da vida política, social e cultural, era a verdadeira belle époque carioca, da qual João do Rio participou, ajudando no crescimento da crítica e do jornalismo de forma geral. Analisamos aqui alguns contos de Sá Carneiro e algumas crônicas de João do Rio. Nelas encontramos muito da crise moderna vivida por eles, realizamos através desse corpus aproximações entre os dois autores. Nesse processo de comparação, enfatizamos alguns aspectos modernistas, problematizando as diferenças e semelhanças, tendo intenção de identificar as influências e as circunstâncias que levaram tais escritores a escreverem da forma com que viam e viviam a cidade, a vida, a história de seus países como pano de fundo, apresentando de que forma essas duas personagens contemporâneas da vida artística cultural portuguesa e brasileira apresentaram em seus escritos a presença do cotidiano, o dia a dia da cidade, e a contradição com as correntes da época / This dissertation studies two important authors from portuguese language at modern literature: Mário de Sá Carneiro (portuguese) and João do Rio (brazilian). Both of them have lived the many changes suffered by ocidental society in the end of 19Ћ century and the beggining of the 20Ћ century. At this time the relations between Brazil and Portugal were disturbed, but there were an approach movement between these countries, but Portugal would never let being the birthplace of Brazil, there was no reason to deny the affinities. What seems approach the written of Sá Carneiro and Joao do Rio are the changes, in general scope, suffered in the mentioned time. Both were influenced by tendencies that were originated in the cultural center of that period: France. These tendencies called vanguards, they gave origin to the Modernist Movement in Brazil and Portugal. In Portugal, Mario de Sá Carneiro participated of the creation of this new literary movement with the magazine Orpheu. In Rio de Janeiro, there was a growing modernization at politics, social and cultural life, was the real belle époque of the city, wich Joao do Rio participated, helping the growing of the criticism and journalism in general. We analyze here some tales from Sa Carneiro and some chronicles from Joao do Rio. We find into them lot from the modern crisis lived by them, produce through that corpus approaches between both authors. In this process of comparison, we emphasize some modernists aspects, making troubles with the differences and the similarities, intending to identify the influences and the circumstances that took those writers to written the way they saw and lived the city, the life, the history from their countries as background, presenting wich way these two contemporary characters of cultural artistic life introduced in their papers the presence of the routine, the day by day of the city, and the contradiction with the currents of that period

Esta tese tem como proposta uma leitura de aspiração ensaística da correspondência entre os escritores Carlos Drummond de Andrade e Mário de Andrade durante o Modernismo, entre 1924 e 1929, com destaque para a afirmação da identidade do poeta brasileiro em sua relação com o nacionalismo. A correspondência, abordada como diálogo epistolar, é analisada cronologicamente, relacionando os temas propostos à produção artística dos escritores. A troca de opinião sobre originais dos próprios autores é um dos focos da análise do texto, em especial as cartas que envolvem a gênese do livro Alguma poesia, publicado por Carlos Drummond de Andrade em 1930. As cartas têm como antecedente o cuidado de si, oriundo da cultura greco-romana, exercido pelos antigos filósofos como um exercício espiritual e de reflexão sobre o cotidiano. Desse modo, a partir do convite epistolar de devotar-se ao Brasil feito por Mário, Carlos elabora poemas como respostas, em um diálogo que ganha permanência poética / This dissertation presents a reading of the correspondence between the writers Carlos Drummond de Andrade and Mario de Andrade from 1924 to 1929, during the Modernism period, highlighting the identity assertion from the Brazilian poet in relation to nationalism. The mentioned correspondence is approached as an epistolary dialogue and it is chronologically analised relating the topics of literary works of both writers. The exchange of opinions between the writers about their own original texts is one of the focus of the reading presented here, including commentaries about Alguma poesia, published in 1930 by Carlos Drummond de Andrade. The letters are associated by the author of this text to the idea of "the care of the self", proposed by Michel Foucault. The writers epistolary dialogue is determined and associated to their literary production especially considering the poetic work. Therefore from the epistolary invitation done by Mario to devote himself to Brazil, Carlos elaborated poems as answers. These answers remain in his poetry work

Made available in DSpace on 2014-06-11T19:32:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2003-12-17Bitstream added on 2014-06-13T20:43:31Z : No. of bitstreams: 1 gava_je_dr_assis.pdf: 7246033 bytes, checksum: a7edb5a955647fa8ca7257d9a443e853 (MD5) / Os anos de 1959 a 1962 são considerados como período Bossa Nova, época em que o estilo musical floresceu e se afirmou como marca distintiva. Sabe-se, porém, que o termo Bossa Nova foi desde logo utilizado para rotular o mais variado leque de atividades, objetos e situações. Por sua força sugestiva, relacionada a dinamismo e novidade, a sigla BN integrou o imaginário e representações de uma época, para a qual o Brasil aparecia como país jovem, moderno e promissor. Esta pesquisa aborda justa-mente essa movimentação bossanovista em sua vertente não-musical. Para tanto, em-prega a revista O Cruzeiro como fonte de material e objeto de estudo em si, haja vista a quantidade substancial de menções e utilizações que fez do termo Bossa Nova. Ana-lisam-se, aqui, os vários sentidos conferidos ao neologismo da moda e a função da música como polarizadora dessas representações. Contudo, dá-se atenção especial a um tipo peculiar de design gráfico explorado pela revista nos anos de 1959 e 1960, intitulado paginações Bossa Nova. As matérias assim configuradas se caracterizaram pela geometrização, economia de elementos e amplo uso de fotomontagens. Além disso, propuseram interessante mescla entre coluna social, biografia, humor, expe-rimentação e manifesto pela atualização da forma de acordo com as linhas constru-tivistas que vigoravam em São Paulo e Rio de Janeiro naquele momento. Esses no-vos formatos de reportagens são analisados com base na história do jornalismo ilus-trado e nos intercâmbios havidos entre a imprensa periódica e campos dedicados à pesquisa formal mais pura. Demonstra-se, por fim, como alguns artistas, intelectu-ais e jornalistas brasileiros situados na transição entre as décadas de 50 e 60 co-mungaram ideais de modernidade análogos e os difundiram como ferramentas para a construção de mentalidades e representações sociais. / The years between 1959 and 1962 are considered as Bossa Nova period, an ep-och on which the musical style flourished and settled as a distinctive brand. It is known that the term Bossa Nova was used soon to label the most varied fan of activities, objects and situations. Due to its suggestive strength related to dynamism and novelty, the label BN integrated the imaginary and representations of a time to which Brazil came up as a young country, modern and promising. This research holds such bossanovistic move-ment in its non-musical expression. This way, the weekly magazine O Cruzeiro is used as source of material and object of study in itself, regarding the substantial quantity of references and uses on Bossa Nova term. Several senses referring to the neologism and the function of music polarizing such representations are analyzed hereby. Nevertheless, special attention is given to a peculiar type of graphic design explored by the magazine in 1959 and 1960, named Bossa Nova pages. The issues thus configurated are charac-terized by the geometry, economy of elements and wide use of photomontage. In addi-tion, an interesting mingle among social article, biography, humor, experiment and manifestation for the updating of the graphic form was proposed according to the con-structivists thoughts which were coming out in São Paulo and Rio de Janeiro at the time. Such new formats of reports are both analyzed and based upon the history of the illustrative journalism as well as in the interchanges that there have been between the periodical press and fields dedicated to a purer formal research. Eventually, it is demon-strated how some artists, intellectuals and Brazilian reporters situated in the transition between fifties and sixties joined similar ideals of modernity, widespreading them as tools for the construction of mentalities and social representations.

Dan Kiley (American, 1912-2004) is one of the most highly regarded modernist landscape architects of the 20th century. As described in Kiley scholarship to-date, his decades-long practice exhibits a commitment to modernism inspired by classical landscape elements and modernist spatial techniques as a means of recreating the experience of a “walk in nature”. An unexamined aspect of Kiley scholarship is his consistent references to infinity in published writing and interviews, references which date as far back as the 1960s and continue into the 1990s, and therefore span much of his professional career. These references to infinity are often used to describe a personal appreciation of nature as well as an intentional approach to design. Through an analysis of these references, literature review of Kiley scholarship, interviews with selected Kiley colleagues, and archival research and site visits of five case studies (Miller Garden, North Christian Church, Fountain Place, Kiley Garden, and Donald J. Hall Sculpture Garden), this thesis examines the way in which Kiley referred to infinity and how he may have expressed infinity in his designed landscapes. This examination is contextualised within the histories of the ideas of infinity and artificial infinity in mathematics, theology, cosmology, art, and design. The history of the artificial infinite is synthesised into an updated taxonomy of expressions of the artificial infinite which is applied for an analysis of the case studies. The five case studies illustrate varying levels of richness and clarity, where expressions of the artificial infinite are spatially distributed and/or layered, connective and/or isolated (horizontally and/or vertically), and clearly expressed and/or interrupted. This analysis of the artificial infinite in the landscape architecture of Dan Kiley deepens our understanding of his design approach, connects Kiley to a longer and broader history of cultural ideas and expression, leads to a more nuanced understanding of modernist landscape architecture in the USA, broadens our understanding of the expression of infinity in landscape architecture, and demonstrates the applicability of an interpretive technique grounded in aesthetic analysis that could be applied to both art and design.

abstract: Environmental Justice Witnessing in the Modernist Poetry of Lola Ridge, Muriel Rukeyser, Gwendolyn Brooks, and Elizabeth Bishop analyzes the poetic forms used by four modernist American women poets to trace depictions of social oppression that are tied to specific landscapes. My focus is on what I term "environmental justice witnessing," which I define as accounts that testify to experiences of injustices that affect humans and the environments they inhabit. Integrating theories of witnessing, which to date have focused exclusively on humans, with environmental justice criticism, I fashion a lens that highlights the interconnectedness of social and environmental problems. In this way, I theorize the study of texts of witness and how they document the decay, disease, and exploitation of urban and rural landscapes in the twentieth century. In this dissertation, I focus on Lola Ridge's "The Ghetto" (1918), Muriel Rukeyser's "The Book of the Dead" (1938), Gwendolyn Brooks' "In the Mecca" (1968), and poems about Brazil from Elizabeth Bishop's Questions of Travel (1965) and New Poems (1979). I argue that these women poets depict environmental injustices as an inherent facet of social injustice and do so by poetically connecting human bodies to environmental bodies through sound, diction, figurative language, and imagery. In Environmental Justice Witnessing, I expand arguments made by environmental scholars about the exchange of environmental elements among humans, animals, and landscapes to include the way poets reflect this transfer poetically. The poetry of Ridge, Rukeyser, Brooks, and Bishop allows me to investigate the ways the categories of race, gender, and class, typically thought of as human qualities, are integrally tied to the geographic, national, and cultural bounds in which those categories are formulated. This argument has clear implications on the study of poetry and its environmental contexts as it invites discussions of the transnational conceptions of global citizenship, examinations of the relationships among communities, the environment, and overarching power structures, and arguments surrounding the ways that poetry as art can bring about long-term social and environmental awareness. / Dissertation/Thesis / Doctoral Dissertation English 2015

Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera angles, lenses, lighting, and music, which constitute his pictorial world. My assertion is that Wong’s juxtaposition of time and space createsan elusive and ambiguous fictional world in response to his reflection on the dehumanization of an integral individual subject in the modernized world.

Submitted by ROSANA DE MORAIS (anasoredsearom@gmail.com) on 2017-07-31T14:06:42Z No. of bitstreams: 1 Morais_R_ME_IA.pdf: 9034372 bytes, checksum: 179a3d2e11252a3998bb821e844585cf (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-08-03T14:54:35Z (GMT) No. of bitstreams: 1 morais_r_me_ia.pdf: 9034372 bytes, checksum: 179a3d2e11252a3998bb821e844585cf (MD5) / Made available in DSpace on 2017-08-03T14:54:35Z (GMT). No. of bitstreams: 1 morais_r_me_ia.pdf: 9034372 bytes, checksum: 179a3d2e11252a3998bb821e844585cf (MD5) Previous issue date: 2017-07-25 / Essa pesquisa analisa as relações existentes entre a série História de Ismael Nery e seu sistema filosófico, nomeado Essencialismo. Na série executada em 1932, e composta por cerca de dezesseis desenhos à nanquim, nota-se uma aproximação à estética do surrealismo, no entanto, suas produções desde 1926 parecem estar coadunadas ao seu sistema filosófico, e, evidenciar a estruturação de seu projeto estético. Através da iconologia foi analisada a ocorrência desse binômio: estética e filosofia; por meio da revisão bibliográfica foram atualizados seus dados biográficos a fim de elucidar incongruências historiográficas. Além das composições, foram também analisadas as poesias de Ismael Nery, as quais da mesma forma comprovam o pensamento filosófico do artista e refletem as pinturas como um espelho da representação artística. A fim de, compreender e comprovar o essencialismo na história de Ismael Nery, e, sua importância na construção do imaginário artístico no modernismo brasileiro. Como suporte teórico-metodológico utilizado para as análises contamos com os pressupostos de E. Panofsky. / This research investigate the existing relations between the series Ismael Nery’s History and his philosophical system, named Essentialism. In this 1932 series, constituted of about sixteen drawings in Indian ink, it can be noted a closeness to the aesthetics of surrealism, however, his productions since 1926 seemed to be connected to his philosophical system and they seem to indicate an structure of his aesthetic project. Through the iconology it was analyzed both his aesthetic and his philosophy; through the bibliographical revision his biographical dates were update aiming at revealing some historiographic inconsistencies. Besides the compositions, Ismael Nery’s poetry were also analyzed, which on the same way prove the philosophical thoughts of the artist and they reflect the paintings, as a mirror of the artistic representation. The essentialism in the history of Ismael Nery could be better understood and comprehended and, above all, his importance in the artistic imagery in the Brazilian Movement. As theoretical-methodological framework for the analyses it was used the concepts of E. Panofsky.