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Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-20T07:46:25Z (GMT). No. of bitstreams: 1 Magalhaes_AnaGoncalves_M.pdf: 7789409 bytes, checksum: 12dd3a61ad4fc89d94a46b5fb9612dbb (MD5) Previous issue date: 1995 / Resumo: Não informado. / Abstract: Not informed. / Mestrado / Mestre em História

This research examines the significance of water as it has been used as a subject in the visual arts, with particular concentration on the use of geometry as a means of accessing pictorial possibilities. The study focuses specifically on selected paintings by Joseph Mallord William Turner (1775-1851), Oscar Claude Monet (1840-1926) and Pat Steir (1940-) including some of Steir's etchings, to further demonstrate her thought processes and techniques. It is argued that the paintings of all three artists, although widely divergent yet include threads of commonality and convergence. All explore the fundamental structure of nature (in this case water) through geometry. In addition, spatial concepts through the use of light and colour are closely intertwined and give rise to metaphysical implications. Turner and Monet broke the bonds of the existing academic composition and style of painting. Their paintings pointed the way for artists of the twentieth century, like Steir to further explore the close relationship between the motif and abstract painting. References to paintings, other than the selected paintings, by these artists will be made in order to illustrate their different approaches yet similar objectives. Finally the relevance of the study to the candidate's own work will be correlated. The dissertation intends to offer a new interpretation of water as a subject in painting, by illuminating and illustrating aspects of the selected paintings by Turner, Monet and Steir. In conclusion, it is anticipated that this discourse will enrich and complement previous interpretations of water, when used as a subject in visual art. It is also envisaged that the study will suggest further research on the subject. / Thesis (M.A.)-University of Kwazulu-Natal, Pietermaritzburg, 2004.

Made available in DSpace on 2016-04-28T19:59:19Z (GMT). No. of bitstreams: 1 Elizandra Pereira.pdf: 5332852 bytes, checksum: ae54f607db4f3feb966110cfff70e0c2 (MD5) Previous issue date: 2009-09-30 / Secretaria da Educação do Estado de São Paulo / This paper has as its aim analyzing the novel A CARNE, by Júlio Ribeiro (1888), according to the Impressionist painting view, in order to revalue it while an esthetic object, under the Naturalism and Impressionism conceptions. The first chapter deals with the analysis perspective which is able to verify the inter-relations between image and word in tension areas of the narrative between narration and description. This favors, at the same time, the perception and the observation of the word that is being read through the application of the artistic and impressionist proceedings on the literary discursive material. The second chapter enlights new possibilities for the plastic-visual articulation, materialized in the literary word by considering the impressions and sensations of the real world as an object. By means of the reflection on the real, the Impressionist artist Claude Monet used to project his painting diagrams on the screen. This way, Júlio Ribeiro s literary word is delegated to the narrator under two proceeding aspects: the scene told as word and the scene shown as image. The third chapter shows that the tension zones are crossed sometimes by the narrator s view and others by the character s one, resulting in the dissociation subject-object in the literary discourse. This is what bases the synthesis word-object beneath the Impressionist perspective between the artist and/or writer s reflections and depuration. In the conclusion, it is finally detached that in A CARNE , by Júlio Ribeiro, the image, together with the word in experimentation, receives an artistic function of presenting the body of the word-object, to the reader, to the literature understood as word-body in an acting of representing the real / A presente dissertação tem por objetivo analisar o romance A CARNE, de Júlio Ribeiro (1888), sob o olhar impressionista da pintura para reavaliá-lo enquanto objeto estético, sob as concepções do Naturalismo e Impressionismo. O Capítulo I trata da perspectiva de análise em adoção que pretende verificar as inter-relações imagem e palavra em áreas de tensão da narrativa entre narração e descrição. O que favorece, a um só tempo, a percepção e a observação da palavra em leitura por meio de procedimentos artísticos impressionistas aplicados ao material discursivo literário. O Capítulo II aclara essas novas possibilidades de articulação do plásticovisual, materializadas na palavra literária pela via das impressões e sensações do mundo real enquanto objeto. Mediante a reflexão do real, é que o artista impressionista Claude Monet projetava os diagramas de suas pinturas em telas. Para tanto, a palavra literária de Júlio Ribeiro é delegada ao narrador sob dois aspectos de procedimento: a cena contada como palavra e a cena mostrada como imagem. O capítulo III mostra que as zonas de tensão são cruzadas ora pelo olhar do narrador, ora pelo olhar da personagem, resultando na dissociação sujeito-objeto no discurso literário. É o que fundamenta a síntese palavra-objeto sob a perspectiva impressionista entre a reflexão e a depuração do artista e/ou do escritor. Na conclusão, destaca-se, afinal, que, em A CARNE , de Júlio Ribeiro, a imagem, junto à palavra em experimentação, recebe a função artística de apresentar o corpo da palavra-objeto, ao leitor, para a literatura entendida como palavra-corpo em ato de representação do real