The purpose of the essay has been to analyze and interpret Hans Hedbergs ceramic art. It deals with his education, people and places that influenced and inspired Hans Hedberg in his artistic development. For example the nature in Köpmanholmen, Höga kusten, were he grew up as a child and the fact that he started as a painter. The essay analyses mainly his symbolic sculptures the Egg and the Apple-series and links it to Surrealism and Nouveau Réalisme and how other artists has worked with the Egg and Apple-theme.

This essay examines how the critical reception of French nouveaux réaliste-artist Raymond Hains 1961 exhibition La France déchirée has been articulated at two historically separate occasions. In her 2010 book Nouveau Réalisme, 1960’s France and the Neo-avant-garde, art historian Jill Carrick examines the fundamental impact the founder of nouveau réalisme – French art critic and theorist Pierre Restany – has had on the movement’s historical reception. According to Carrick Restanys writing established an interpretive framework that remained more or less intact for several decades. In addition to a closer analysis of the movement’s critical reception during the 1960s’, Carrick provides a set of new, alternative readings of a number of nouveaux réaliste artworks, which all originates from a position outside of Restanys interpretive framework. However, at no occasion does Carrick show in what way, or to what extent, her theories about the movements reception history applies to artist Raymond Hains or his practise of décollage. Nor has the historical reception of La France déchirée been examined. The overall purpose of this essay is to examine whether or not the nature of the critical reception of Raymond Hains 1961 exhibition La France déchirée can be said to fit into the image of the historical reception of nouveau réalisme provided by Carrick. This is done through an analysis of Restanys theorisation of nouveau réalism as provided in the movement’s manifestos. Thereafter follows an examination of in which way and to what extent the critical reception of La France déchirée at two historically separate moments relates to this theorisation. The critical reception of these two moments in time is also compared to each other. An analysis of the exhibitions historical reception showed that Carrick’s theory of the movement’s reception history could not entirely account for the different aspects of La France déchirées critical reception. By introducing the exhibitions political context into the examination of its historical reception, a new and valuable perspective became clear. Unlike other nouveax réaliste-artworks, La France déchirée had a distinct political character, which situated its historical reception not only within a cultural context, but more importantly within a political one.

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.

Cette thèse aborde, sous un angle comparatif, l’impact du Nouveau Roman français sur la littérature persane. Nous circonscrirons notre étude à la période contemporaine, les années 1340-1350 (1960-1970), en nous penchant sur l'apport des médias comme Djong-e Esfahan, en 1344 (1965) et de la traduction, qui contribuent à transmettre les nouveautés littéraires aux nouveaux romanciers de la Perse. Cette étude se penche sur l’apparition du Nouveau Roman comme bouleversement des codes et conventions traditionnelles littéraires. Dorénavant, le refus du pastiche et de l'imitation encourage les nouveaux romanciers à développer, dans le champ romanesque, une nouvelle esthétique de l’écriture. Nous nous concentrerons principalement sur le parallèle entre l'écriture de Golshiri, et celle de Robbe-Grillet, dont le premier s'est relativement inspiré.A cet égard, nous considérons quelques pistes romanesques de ces pionniers du Nouveau Roman, comme support à notre étude comparative. Leur transformation de la lecture passive traditionnelle, en une activité plus dynamique que jamais, nous mène à évaluer le nouveau statut du lecteur contemporain, piégé dans l’aventure de l’écriture. Les œuvres littéraires étudiées dans cette thèse se situent à la croisée d’une étude esthétique sur la forme narrative du texte et la prédominance de l’écriture sur le sens. Nous analyserons les procédés de mise en valeur du langage utilisés, et les modifications subies par ces nouveaux apports techniques du texte littéraire. Grâce à l’étude des œuvres du corpus, nous analyserons, de manière comparative, les enjeux qui existent entre les notions de réel et de fictif, d’Ancien et de Moderne, de genre et de mouvement littéraire. / This thesis aims to study, through a comparative approach, the impact of New French Novel on Persian literature. This study is circumscribed to a contemporary period, from 1340 until 1350 (1960-1970), and underscores the relationship between the Iranian media such as Djong-e Esfahan produced in 1344 (1965) and translation, which contributed to the transfer of the literary novelties to the new Persian novelists. This research will demonstrate the existing contrast between the traditional conventions of the literary genres and their subversion provoked by literary movements such as New Novel. From now on, the refusal of pastiche and mimesis encourages the new novelists to develop, in the field of fiction, a new aesthetic of writing. The major problematic of this study concentrates on drawing the parallels between the works of Golshiri and those of Robbe-Grillet, which was a real source of inspiration for the first one. In this regard, selected fictions of the pioneers of the New Novel are considered in order to support our comparative study. The dramatic change from a traditionally passive reading to an active reading leads us to assess the new status of the contemporary reader, tripped in the adventure of writing. The literary works studied in this thesis are situated in the crossroad of an aesthetic study on narrative form of the text and the superiority of writing over meaning. We will analyse the process of the development of language, the modifications it has undergone through the new technological relationship of the literary text. Thanks to the study of these works, we will analyse, from a comparative point of view, the existing challenges between the notions of real and fictive, of ancient and modern, of literary genre and literary movement.

Este trabajo pretende recoger la fructífera carrera del pintor Vicente Castellano Giner, que abarca, desde 1947 a la actualidad. Se trata de catalogar, documentar y analizar, la producción pictórica de uno de los "maestros" de la segunda mitad del siglo veinte, así como su posterior proyección. Biografía del artista Vicente Castellano Giner (Valencia, 1927) fue uno de los artistas más transgresores de la cultura artística levantina desde finales de los años cuarenta. Castellano fue también integrante de grupos artísticos tan significativos como "Los Siete", "Parpalló" (y su revista Arte Vivo), "Movimiento Artístico del Mediterráneo" y "Arte Actual". Tras conseguir una serie de becas de la Diputación de Valencia en el año 1951 amplia estudios por diferentes lugares de España y posteriormente en 1955 en París, donde se matriculó en la Escuela de Bellas Artes con el profesor Goerg. Durante estos años 1955-1956 pudo estudiar la pintura cubista de artistas tan relevantes como Picasso, Braque y Gris. Al mismo tiempo compartió estudio con Eusebio Sempere con quien conoció a Kandinsky y al escultor cinético Nicolas Schöffer. En el año 1957 Castellano fijó su residencia fuera del Colegio de España, en el barrio Latino de París, allí emprendió un período de creación (1957-1960) al que corresponde su etapa del llamado "Miserabilismo Abstracto". Esta obra fue expuesta en distintas ciudades europeas como Bruselas donde llamó poderosamente la atención de la crítica especializada. Seguidamente, entre 1960 y 1980, desarrolló su obra artística en la órbita del Nouveau Réalisme que inició tras una exposición (junto a Tàpies y Millares, entre otros) en Basilea. Aquí aparecen ya los relieves en sus lienzos y sus "Relicarios" que contienen objetos reciclados. Residiendo en París durante veinte años (1957-1977), el artista adquirió una fértil experiencia derivada de su conexión con el arte de su tiempo, su universo pictórico contribuyó a conformar la Segunda Generación de la Escuela de París. Su regreso a España se efectúa en el 1977 donde fija su residencia en Valencia y ejerce como profesor de pintura en Universidad Politécnica de Valencia desde 1981 a 1994. En el año 2000 le es otorgada la Medalla de la Facultad de Bellas Artes de San Carlos de Valencia a los méritos artísticos y profesionales, y en 2009 ingresó en la Real Academia de Bellas Artes de San Carlos en cuyo discurso de ingreso el artista leyó el interesante discurso, "La pintura mi aventura hacia lo desconocido". En lo referente a su producción artística se ha caracterizado por una sobriedad cromática y de fuerte componente estructural, la búsqueda de nuevos materiales pictóricos. Con esta investigación plástica que ha desarrollado a lo largo de toda su trayectoria Castellano ha conseguido una creación que sin duda ha contribuido decisivamente a la nueva concepción del arte posmoderno. / Sánchez De Toro, JM. (2014). LA ABSTRACCIÓN EN LA OBRA DE VICENTE CASTELLANO GINER [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/44233 / Premios Extraordinarios de tesis doctorales

The essay analyzes the final series of work by the French postmodern artist Yves Klein. The Fire paintings were created in 1961-1962 during a performance at the research laboratory of the National Gaswork of France, located outside Paris. Klein used a two-meter-long gas pipe to spray fire on wet canvas and damped Swedish cardboard to create an abstract, minimalistic body of work. The founder of Nouveau Réalisme Klein took traces of fire through a canvas and created a series including more than 150 oeuvres. In this research, semiotic philosopher Charles Sanders Pierce's method has been applied to analyze 23 selected artworks that devise the incarnation of the myth through five different analysis theories: fire, the creation, universe, man, and passion. Through layers of conceptual ideas, the research shows that Klein's body of work is more mystical than rational, just like the artist's personality. The analyst concludes that the 23 selected Fire paintings are constructed with ambiguous philosophical questions about existence and invoke our imagination with inspiration from alchemy. As in the Nouveau Réalisme manifesto, the essence of the paintings was to create traces of life. The research substantiates that the conceptual series of oeuvre represents the creation of life and universe, as the end of our physical life marks the beginning of our reincarnation. The inspiration for the Fire paintings came from Catholicism, Rosicrusian Order, spiritualism, judo, alchemy, and contemporary historical situations and science during 1950-1960.