The thesis focuses on the textual representations of everyday experiences in short stories by Evgenii Grishkovets in the collections Planka (Plank, 2006) and Sledy na mne (Traces on Me, 2007). It reviews the literary environment of the first decade of the twenty-first century, and new realism is defined as a new literary trend, incorporating the elements of previously prominent realist and postmodernist traditions, and determined as partially a reaction to these. Grishkovets’ short stories are analyzed through the prism of Henri Lefebvre's theory of “everydayness,” including the latter’s concepts of alienations (the feeling of being foreign or estranged to oneself and some or all elements of one’s existence), moments (instances of true insight into a situation or experience) and presence (an individual’s experience of the authentic in an everyday situation). Through the analysis of the texts, an effort is made to determine the instances when Grishkovets’ characters reach the state of Lefebvre's total man, a person whose perception is not clouded by the alienations, and the concept of Russia’s ‘new hero’ in literature is discussed in correlation with Lefebvre's total man. / February 2016

My work leverages the dynamic processes the brain uses to compute visual stimuli to influence how viewers experience my work. My aim is to create a ripple effect as the brain processes the visual information I provide. My process begins with a camera. Focusing on the face, I see how much contextual information I can remove while still capturing the emotional expression of the subject. Before long, a photograph ends up next to a canvas where I will rebuild the image from the photograph using a myriad of expressionistic marks and colors to amplify the emotion. Recognizing human emotion is the first ripple I want the viewer to experience. Next, they will note secondary details about the person depicted. Last, they will notice the heightened textures, the amplified flaws, the abstraction of the mark – reminders that they are looking at nothing more than a medium applied to a two-dimensional surface.

Este estudo objetivou evidenciar a visão de Novo Realismo de Mario Schenberg, dada sua importância no horizonte das Vanguardas Brasileiras das décadas de 1960 e 1970, bem como sua relação com o Novo Humanismo, também desenvolvido pelo crítico de arte durante esse período. Foi analisado o envolvimento de Schenberg no debate das décadas de 1960 e 1970, tendo por base sua atuação nas exposições Opinião 65, Propostas 65, Opinião 66, Propostas 66, bem como nas Bienais de São Paulo (1961, 1965, 1967, 1969 e 1971). O estudo tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas nas nessas duas décadas, bem como os demais livros, artigos e entrevistas do crítico. Considerado por Mario Schenberg a expressão artística do Novo Humanismo, o Novo Realismo foi definido a partir de um horizonte paralelo: fruto da sociedade industrial e reflexo da cultura ocidental em crise, essa tendência refletiu um momento de ampliação de referenciais. Mario Schenberg soube compreender as demandas da arte nascente, na medida em que sua atividade crítica não se deu como julgamento e avaliação, mas como compreensão e incentivo. / This Study had the objective of showing the vision of the New Humanism of Mario Schenberg, due to its importance in the horizon of the Brazilian Vanguards from the 1960´s and 1970´s decades, as well as its relation to the New Humanism, also developed by the art critic during this period. The involvement of Schenberg in the debate of the 1960´s and 1970´s decades was analyzed, based on his actuation on the expositions Opinião 65, Propostas 65, Opinião 66, Propostas 66, as well as in the São Paulo Biennials (1961, 1965, 1967, 1969 e 1971). This study considered by primary sources the original critics of the Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP written in these two decades, as well as the rest of the books, articles and interviews of the critic. Considered by Mario Schenberg the artistic expression of the New Humanism, the New Realism was defined from a parallel horizon: result of an industrial society and a reflex of an occidental culture in crisis, this tendency reflected in a moment of referential amplifications. Mario Schenberg knew how to comprehend the demands of the rising art, in which, his critical activities were not made by judgment and evaluation, but as comprehension and incentive.

Este estudo objetivou evidenciar a visão de Novo Realismo de Mario Schenberg, dada sua importância no horizonte das Vanguardas Brasileiras das décadas de 1960 e 1970, bem como sua relação com o Novo Humanismo, também desenvolvido pelo crítico de arte durante esse período. Foi analisado o envolvimento de Schenberg no debate das décadas de 1960 e 1970, tendo por base sua atuação nas exposições Opinião 65, Propostas 65, Opinião 66, Propostas 66, bem como nas Bienais de São Paulo (1961, 1965, 1967, 1969 e 1971). O estudo tomou por fontes primárias as críticas originais do Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP escritas nas nessas duas décadas, bem como os demais livros, artigos e entrevistas do crítico. Considerado por Mario Schenberg a expressão artística do Novo Humanismo, o Novo Realismo foi definido a partir de um horizonte paralelo: fruto da sociedade industrial e reflexo da cultura ocidental em crise, essa tendência refletiu um momento de ampliação de referenciais. Mario Schenberg soube compreender as demandas da arte nascente, na medida em que sua atividade crítica não se deu como julgamento e avaliação, mas como compreensão e incentivo. / This Study had the objective of showing the vision of the New Humanism of Mario Schenberg, due to its importance in the horizon of the Brazilian Vanguards from the 1960´s and 1970´s decades, as well as its relation to the New Humanism, also developed by the art critic during this period. The involvement of Schenberg in the debate of the 1960´s and 1970´s decades was analyzed, based on his actuation on the expositions Opinião 65, Propostas 65, Opinião 66, Propostas 66, as well as in the São Paulo Biennials (1961, 1965, 1967, 1969 e 1971). This study considered by primary sources the original critics of the Centro Mario Schenberg de Documentação da Pesquisa em Arte ECA/USP written in these two decades, as well as the rest of the books, articles and interviews of the critic. Considered by Mario Schenberg the artistic expression of the New Humanism, the New Realism was defined from a parallel horizon: result of an industrial society and a reflex of an occidental culture in crisis, this tendency reflected in a moment of referential amplifications. Mario Schenberg knew how to comprehend the demands of the rising art, in which, his critical activities were not made by judgment and evaluation, but as comprehension and incentive.

[pt] O objetivo da tese é analisar na prosa contemporânea, dentro das propostas realistas que têm sido recorrentes na literatura brasileira, uma vertente que vem sendo denominada como realismo íntimo. A hipótese é de que autores cujas obras se inscrevem dentro dessa linha de força que vem se apresentando na novíssima literatura brasileira, como Daniel Galera e Carol Bensimon, buscam possibilidades de escrita que vão além da representação e descrição de espaços, situações e indivíduos, almejando a construção de uma narração e ambientação que transcenda a simples simulação de uma realidade física, usando, para tanto, estratégias distintas, que fazem com que o exterior atue, ao mesmo tempo, como reflexo interior e elemento revelador do universo íntimo dos personagens. No realismo íntimo, é a intimidade que constrói os cenários e, simultaneamente, é a partir do contato com o fora que se desvela o interior desses personagens. A partir da leitura e análise dos textos de ficção e de dispositivos teóricos tão contemporâneos quanto as próprias obras literárias em questão, o que se pretende é compreender as estratégias narrativas utilizadas, analisando de que modo o realismo íntimo se aproxima ou se distancia de outras abordagens relacionadas a uma (im)possível representação da realidade, assim como investigar sua correlação com a tradição realista que pode ser identificada em diferentes momentos da literatura brasileira. / [en] The aim of this thesis is to investigate in the contemporary prose, within the realistic proposals that have been recurrent in the Brazilian literature, a field that has been called intimate realism. The hypothesis is that authors whose works fit within this line of force that has been presented in the latest Brazilian literature, such as Daniel Galera and Carol Bensimon, seek possibilities of writing which go beyond the representation and description of spaces, situations and individuals, aiming the development of realistic narrative and setting, transcending the simple simulation of a physical reality, using different strategies to achieve this – strategies which make possible that the exterior operate at the same time as a reflection of the interior and a revealing element of the inner universe of the characters. The intimate realism is the one in which intimacy builds the scenarios and the contact with the outside world reveals the interior of the characters. From the reading and analysis of the texts of fiction and theoretical devices as contemporary as the literary works in question, the objective is to understand the narrative strategies used, analyzing how intimate realism approaches or distances itself from other approaches related to a(n) (im)possible representation of reality, as well as to investigate its correlation with the realistic tradition that can be identified in different moments throughout Brazilian literature.

Cette thèse de doctorat est issue d’un étonnement ressenti à la lecture de la réception critique des créations scéniques de Roger Blin quand il monte les pièces de Samuel Beckett et de Jean Genet. Malgré des interrogations sur la présence en scène d’êtres artificiels vidés de toute substance ainsi que sur un certain comique, la critique perçoit le jeu des acteurs comme naturel. Elle évoque à ce propos la création d’un « nouveau réalisme » ou d’un « nouveau théâtre », expressions qui supposent d’abord un renouveau dans la manière de figurer l’humain sur scène.Roger Blin, profondément marqué par les surréalistes et Antonin Artaud, cherche en effet à défendre un théâtre poétique et militant qui, tout en s’attaquant à la bourgeoisie et à ses codes de représentations, propose un être scénique hybride au croisement de diverses formes spectaculaires (marionnette, clown, cabaret, formes extrême-orientales, etc.). En cela, ses rencontres successives avec Beckett puis Genet, dont les pièces altèrent le personnage traditionnel et interrogent formellement la scène, lui permettent d’engager des compagnonnages fructueux. Dans la lignée du Cartel, il cherche en effet à révéler les mouvements profonds de l’oeuvre. Depuis la mise en scène invisible avec Beckett, jusqu’à la mise en scène visible avec Genet, Blin semble réclamer de la part de ses comédiens un jeu en équilibre entre monstration du faire théâtral et recherche de l’évidence littérale du geste et de la parole, ceci afin d’exposer la survivance d’une certaine tendresse humaine. Il semble en résulter un effet poétique puissant qui fait écho aux angoisses intimes des spectateurs, bouleversés par un contexte historique fort : les conséquences de la découverte des camps de concentration, de l’utilisation de la bombe atomique, et de la décolonisation. / This PhD thesis originates from the surprise felt while reading critical receptions of Roger Blin’s stage creations of plays written by Samuel Beckett and Jean Genet. Though reflecting upon the presence on stage of artificial beings bereft of any substance and upon an established comic tone, the critics perceive the performance of the actors as natural. They point out the establishment of some “new realism” or “new theatre”, words that speculate in the first place a renewal in the way the human is figured on stage.Roger Blin, who had been deeply influenced by surrealists and Antonin Artaud, indeed stands up for a committed and poetic theatre that, all the while tackling the bourgeoisie and its codes, introduces on stage a hybrid creature that crosses various performance arts (puppet theatre, the clown, cabaret, far-eastern forms, etc.). In this respect, Blin’s repeated meetings with Beckett and Genet, whose plays distort classic characters and formally interrogate the stage, enable him to commit into fruitful companionships. In line with the Cartel, Blin tries to reveal the very essence of the oeuvre. From his invisible staging of Beckett’s plays to his visible staging of Genet’s plays, Blin seems to demand from his actors a balanced performance in between theatrical demonstration and a quest for the precise combination of gesture and words, in order to expose the persistence of some human kindness. This may trigger a powerful poetic effect that echoes the private anguishes of the members of the audience, facing a hard historical context: the consequences of discovering the concentration camps, of the use of the atomic bomb, and of the decolonisation process.

[pt] A tese Espaço híbrido: novas narrativas no cinema brasileiro contemporâneo identifica uma construção discursiva que rejeita o espaço cinematográfico como uma unidade a partir de seus processos de autoria, lugar, linguagem e narrativa. Defende-se que a opção por uma indeterminação promove a construção de um espaço híbrido no qual a fronteira entre Eu e Outro, próximo e o distante, cidade e periferia se torna fluida, favorecendo uma relação de constante tensão entre as partes e revelando a problematização das representações do mundo contemporâneo. Sob essa perspectiva, analisaremos seis filmes produzidos a partir de 1995, no âmbito do que é chamado cinema da retomada, privilegiando obras adaptadas de textos literários por diretores estreantes em longa-metragem. / [en] The thesis Hybrid space: new narratives at contemporary brazilian cinema identifies a discursive construction that rejects the cinemathographic space as a unity from it processes author, place, language and narrative. One defends that the option for a indetermination promotes the construction of a hybrid space in which the border between me and other, next and far away, city and periphery becomes fluid, allowing a relation of constant tension between parts and disclosing the problem of representations in the contemporary world. One analises six films produzed since 1995 chosing those who were adaptations of literary texts by new directors.

O presente estudo é fruto de múltiplas leituras do romance inaugural de José Cardoso Pires, O Anjo Ancorado, cuja escrita de cunho metafórico desvela a óptica de um autor muito além das tendências iniciais do Neorrealismo português. Quanto à estrutura, o referido romance apresenta traços sugestivos de um escritor ainda influenciado pelas linhas do conto, que acaba por revelar a sua própria gênese da escritura .Portanto, estabelecido um percurso de interpretação à luz da estrutura interna do romance, buscou-se em seguida uma leitura de associação com os primeiros escritos do autor, o conto, levando-se em consideração o livre diálogo entre gêneros. / This study presents a considerable amount of reading on the first novel written by José Cardoso Pires, O Anjo Ancorado, whose metaphorical writing sheds light on the views of a writer who assumed a substantial role in the so-called New Realism in Portugal. As to structure, the novel displays distinctive characteristics of a short story in view of the writer’s identity portrayal. The multiple interpretation based on the structure of the novel contributed to further comparisons with the writer’s first pieces of literature so as to put textual genres into perspective.

Thesis (Ph.D. (Town and Regional Planning))--North-West University, Potchefstroom Campus, 2008.

This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.