Cette recherche vise à développer quatre aspects particuliers qui concernent le cubisme de Braque et Picasso. D’abord quels ont été les faits marquants du cubisme au moment de sa naissance à travers les critiques du français Louis Vauxcelles. Puis, pour mieux saisir le mouvement, une synthèse des nombreuses définitions avancées par les critiques et les historiens d’art durant tout le 20e siècle, constituera la base d’une tentative de redéfinition globale du cubisme en sa phase analytique. On souligne ensuite l’importance de la réflexion cubiste en s’arrêtant à la modification de la représentation picturale par la décomposition de l’objet sur une surface plane qui aboutit sous l’empire de l’hermétisme à une nouvelle structure spatiale mettant alors l’accent sur la dissolution de l’objet et de la figure humaine. Finalement, l’analyse sémiotique de deux œuvres clés de Picasso et Braque de 1910 et 1911 permet de cerner plastiquement la notion même de réalisme que l’on trouve dans cette période analytique la plus hermétique. / Montréal Trigonix inc. 2018

Tränen überschreiten die Grenzen des Körpers von innen nach außen und werden damit zu einem sichtbaren Anzeichen eines seelischen Extremzustands. In der Arbeit wird untersucht, ob die Träne, die Körpergrenzen gefährdet oder sogar auflöst, in der modernen und gegenwärtigen Kunst Metapher und Trägerin innerästhetischer Transgression werden kann. Dies bedeutet zugleich, dass eine Umwertung der Träne, von der Perle der Reinheit zu einem bedrohlichen Fluidum, stattgefunden hat. Die Träne als eine bedrohliche Grenzüberschreiterin ist ein Motiv, das in früheren Kunstepochen so nicht anzutreffen ist. Damit verweist sie zugleich exemplarisch auf die Auflösungsstrategien, welche die Kunst des 20. und 21. Jahrhunderts bestimmen. Fotoarbeiten von Man Ray, Madame Yevonde und Sam Taylor-Wood, Zeichnungen von Pablo Picasso und Hans Bellmer, Performances von Marina Abramović und Gina Pane, Video-arbeiten von Bill Viola und Bas Jan Ader, Installationen von Daniele Buetti und eine Buchserie von Dieter Roth, denen allen das Motiv der Träne gemeinsam ist, werden in einem Close Rea-ding auf Auflösungstendenzen hin untersucht. Besonderes Augenmerk gilt medienspezifischen Strukturen und Analogien. / Tears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.

Meanings of Literary Childhood Spaces: The Garden in Twentieth-Century Literature focuses on the analysis of selected twentieth-century childhood novels for adults with regard to the relationship between child character and fictional space, and reflects generally accepted cultural concept of paradisal childhood and its images in literature. In theory, the dissertation is inspired by the treatises on spatiality of human existence by phenomenologists, such as Martin Heidegger, Jan Patočka, Maurice Merleau-Ponty and O. F. Bollnow. It also elaborates insights of the Garden archetype in literary history. The critical reading of selected works examines phenomenological issues, such as child specific perception of space, nature as an extension of the human consciousness, sacred space, home, intimacy of space and death of space. Furthermore, it describes features the literary garden acquires by the union with the child in twentieth-century literature (childhood paradisal gardens, character of divine chid, character of child hermaphrodite, dynamism between fictional house and garden, garden as a miniature of the universe and children games as the imitation of Creation).

Submitted by Nadir Basilio (nadirsb@uninove.br) on 2017-06-14T20:42:36Z No. of bitstreams: 1 Alexandre Afranio Hokama Silva.pdf: 1694262 bytes, checksum: c51ea8dc05cf5272dc1c2a4dfb164c67 (MD5) / Made available in DSpace on 2017-06-14T20:42:36Z (GMT). No. of bitstreams: 1 Alexandre Afranio Hokama Silva.pdf: 1694262 bytes, checksum: c51ea8dc05cf5272dc1c2a4dfb164c67 (MD5) Previous issue date: 2017-03-31 / The present investigation has as object of study the curriculum of the discipline of physics of the Secretariat of Education of the State of São Paulo (SEE-SP). The curriculum in question was implemented since 2008, as part of a broad set of measures aimed at improving the quality of education. Our objective was to know how a group of teachers of the state education network of São Paulo understand the demands implemented by the curriculum in their work. To achieve this objective, our initial concern was to map the recent production of curriculum policies. After that we map the physics curriculum proposals that have been a reference for the teachers of the state education network of São Paulo, specifically those of the Coordination of Studies and Pedagogical Norms (CENP), the Group of Reprocessing of Physical Education (GREF) and the National Curriculum Parameters (PCN +) . The analysis of the document shows that the CENP proposal approaches a traditional concept of curriculum. The GREF proposal and the PCN+ incorporate aspects that bring them closer to critical and post-critical curriculum theories. The analysis of the document that underlies the SEE-SP physics curriculum reveals the presence of aspects of all previous proposals. To verify how teachers understand these documents and how their work is impacted, we conducted semi-structured interviews with a group of teachers, who were selected by the criterion of availability. The interview was divided into four blocks and dealt with the training, career, work and practice in the classroom. Teachers' statements emphasize the criticism that they do not feel involved in curriculum development, that the peculiarities of school contexts are disregarded, which generates a large gap between what the curriculum aims for and the conditions of the students. They also affirm the absence of didactic resources and inadequate infrastructure. / Esta investigación tiene como objeto de búsqueda el plan de estudios de la materia de física del Departamiento de Educación del Estado de San Pablo (SEE-SP). El plan de estudios mencionado se puso en práctica a partir de 2008, como parte de un amplio conjunto de medidas destinadas a mejorar la calidad de la educación. Nuestro objetivo fue aprender cómo un grupo de maestros de la red de la enseñanza del Estado de San Pablo entienden las exigencias impuestas por el plan de estudios a su trabajo. Para lograr este propósito, nuestra preocupación inicial fue mapear la producción reciente acerca de las políticas del plan de estudios. En la secuencia hemos mapeado las propuestas del plan de estudios de física que han sido referencia a los maestros de la red de la enseñanza de San Pablo, en concreto las propuestas de la Coordinación de Estudios y Normas Pedagógicas (CENP), del Grupo de Rediseño de la Enseñanza de la Física (GREF) y Los Parámetros Curriculares Nacionales (PCN+). El análisis documental hecha muestra que la propuesta de CENP se aproxima a una concepción tradicional de un plan de estudios. La propuesta de la GREF y los PCN+ incorporan aspectos de aproximación a las teorías críticas y pos-críticas del plan de estudios. El análisis del documento que subyace en el plan de estudios de la física de la SEE-SP revela la presencia de todos los aspectos de las propuestas anteriores. Para ver cómo los maestros entienden estos documentos y cómo se ve afectado su trabajo, se realizaron entrevistas semiestructuradas a un grupo de docentes que fueron seleccionados por el criterio de la disponibilidad. La entrevista se dividió en cuatro bloques y se ocupó de la formación, la carrera, el trabajo y la práctica en el aula. Los testimonios de los maestros hacen hincapié en la crítica al hecho de que ellos no se sienten participantes en el desarrollo curricular, que no están considerando las particularidades de los contextos escolares, lo que genera gran brecha entre lo que el plan de estudios tiene como objetivo y las condiciones de los estudiantes. También indican la falta de recursos para la enseñanza y la infraestructura inadecuada. / A presente investigação tem como objeto de estudo o currículo da disciplina de física da Secretaria da Educação do Estado de São Paulo (SEE-SP). O currículo em tela, foi implementado a partir de 2008, como parte de um amplo conjunto de medidas que visavam melhorar a qualidade da educação. Nosso objetivo foi saber como um grupo de professores da rede estadual de ensino de São Paulo compreende as demandas postas pelo currículo e como essa compreensão é percebida, por eles, como impactante em seu trabalho. Para alcançar esse intento, nossa preocupação inicial foi mapear a recente produção acerca das políticas curriculares e sua implementação. Na sequência fizemos o mapeamento das propostas curriculares de física que tem sido referência para os professores da rede estadual de ensino de São Paulo, especificamente as da Coordenadoria de Estudos e Normas Pedagógicas (CENP), do Grupo de Reelaboração do Ensino de Física (GREF) e as orientações complementares aos Parâmetros Curriculares Nacionais (PCN+). A análise documental realizada mostra que a proposta da CENP se aproxima de uma concepção tradicional de currículo. A proposta do GREF e os PCN+ incorporam aspectos que os aproximam das teorias críticas e pós críticas de currículo. A análise do documento que fundamenta o currículo de física da SEE-SP revela a presença de aspectos de todas as propostas anteriores. Para verificar como os professores compreendem esses documentos e como seu trabalho é impactado, realizamos um conjunto de entrevistas com um grupo de professores, que foram selecionados pelo critério da disponibilidade. A entrevista foi dividida em quatro blocos e tratou de sua formação, carreira, trabalho e prática em sala de aula. O depoimento dos professores externa a crítica ao fato de não se sentirem participantes da elaboração do currículo. Por essa razão, argumentam que são desconsideradas as peculiaridades dos contextos escolares, gerando enorme distância entre o que o currículo almeja e as condições dos alunos. Afirmam também que o fracasso deriva da ausência de recursos didáticos e de infraestrutura adequada.

SANTOS, Elis Denise Lélis. Uma leitura de mão dupla: leituras e influências na poesia de João Cabral de Melo Neto. 2008. 86f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008. / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T13:06:22Z No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T12:27:15Z (GMT) No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) / Made available in DSpace on 2012-07-23T12:27:15Z (GMT). No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) Previous issue date: 2008 / The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic. / O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.

From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.