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Master of Visual Arts / My MVA work, Alternative Perceptions of Reality: Dyslexia, revolves around dyslexia and ways in which dyslexic artists, like myself, represent reality in their art. I focus on how dyslexics perceive space and time, how this is represented in their work and how it manifests in my own work. The introduction describes why dyslexia is relevant to art, provides more detail on dyslexia itself and ways dyslexia can affect perception. Surrealism and Symbolism are discussed in order to draw parallels with dyslexic perception. Chapter 1 describes the influences on my own work, including dyslexia, primitive art and symbolism. The second chapter profiles two well known artists with dyslexia: Robert Rauschenberg and Pablo Picasso. I examine ways in which they represent space or reality and how dyslexic perception is apparent in their works. Similarly, in Chapter 3, I discuss the works of the contemporary dyslexic artists Terry A. Orchard and Katharine Dowson, including the results of interviews and surveys I conducted. Throughout this dissertation, I also discuss my own experience of dyslexia and how it is expressed through my paintings. In the conclusion, I discuss what I have learned about the work of myself and other dyslexic artists: How our paintings are a glimpse of alternative inner realities.

André Malraux is a prolific French writer, adventurer, art historian, statesman, and Minister of Cultural Affairs for 11 years (1958-1969). Malraux was a man of action in the service of noble causes. In 1933, one of Malraux's most famous novels, La Condition humaine (Man's Fate), was published. It won the Goncourt Prize and established his international reputation. Born on November 3, 1901 in Paris, he was a son of the 20th century. A witness to the history of his century, he left to the future generations a literary heritage of great importance. His main preoccupation was the “mystery of man” and art. The notion of man and his destiny is at the core of Malraux’s prolific work. The original and essential part of his literary work is the reflection on art. In my dissertation: La modernité esthétique chez André Malraux: La quête du “primitif,” I explore the enigmatic nature of the concept of the “primitive” in art history context and according to Malraux’s writing. My approach is to examine and analyze the multiple facets of the metamorphosis in time and space of the “primitive,” according to Malraux’s writing, and to find how his “essential man” fits with the idea of “primitive” art. Through later research, I hope to deepen the theme of the “primitive” in Malraux’s writing and end up with a comprehensive study of Malraux and modern artists like Braque, Chagall, and Picasso, among other artists, examining their relation with Malraux and his relation to modern art, always analyzing his thoughts regarding the “primitive”.

In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.

There is no abstract available for this thesis.

Master of Visual Arts / My MVA work, Alternative Perceptions of Reality: Dyslexia, revolves around dyslexia and ways in which dyslexic artists, like myself, represent reality in their art. I focus on how dyslexics perceive space and time, how this is represented in their work and how it manifests in my own work. The introduction describes why dyslexia is relevant to art, provides more detail on dyslexia itself and ways dyslexia can affect perception. Surrealism and Symbolism are discussed in order to draw parallels with dyslexic perception. Chapter 1 describes the influences on my own work, including dyslexia, primitive art and symbolism. The second chapter profiles two well known artists with dyslexia: Robert Rauschenberg and Pablo Picasso. I examine ways in which they represent space or reality and how dyslexic perception is apparent in their works. Similarly, in Chapter 3, I discuss the works of the contemporary dyslexic artists Terry A. Orchard and Katharine Dowson, including the results of interviews and surveys I conducted. Throughout this dissertation, I also discuss my own experience of dyslexia and how it is expressed through my paintings. In the conclusion, I discuss what I have learned about the work of myself and other dyslexic artists: How our paintings are a glimpse of alternative inner realities.

Thesis (doctoral)--Universität zu Köln, (1983?). / Includes bibliographical references (p. 321-341).

Thesis (Ph. D.)--New York University, 1975. / Photocopy of typescript. Bibliography: leaves 313-320.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2006. / Submitted by mariana castro (nanacastro0107@hotmail.com) on 2009-09-24T20:19:12Z No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) / Approved for entry into archive by Gomes Neide(nagomes2005@gmail.com) on 2011-01-04T18:17:03Z (GMT) No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) / Made available in DSpace on 2011-01-04T18:17:03Z (GMT). No. of bitstreams: 1 2006_Joana Vasconcellos Prudente.pdf: 7939210 bytes, checksum: 9e990cfcd81809685bd848c8d4a845d2 (MD5) Previous issue date: 2006-02 / A dissertação aborda a questão do olhar a partir do entrecruzamento do conto "O Búfalo", de Clarice Lispector, e algumas obras de Pablo Picasso e de Man Ray. O conto - defrontado às obras e analisado a luz de conceitos psicanalíticos de pulsão escópica (Freud e Lacan) e da teoria e crítica da arte - guia o trabalho, que é elaborado à maneira de uma rede de comentários. Neste texto, Lispector traça uma parábola da desmontagem do olhar estruturado perspectivamente e da ultrapassagem da questão da forma em oposição seja ao conteúdo, seja à matéria - que é paralela à desestruturação promovida pela arte moderna, aqui representada por Picasso e Man Ray. As obras destes se relacionam ao texto de duas maneiras: por analogia entre algumas de suas representações de touros e minotauros e o búfalo que dá nome ao conto; e por sua pertinência à discussão sobre o informe. Resulta desta amarração uma apreensão o olhar clivado pelo desejo e não mais unilateral: um olhar que, ao destacar-se daquele que vê, olha-o. A arte, tanto imagética, quanto textual, aparece como estratégia sobretudo de cegamento, que esconde ao invés de mostrar, revelando o que constitui o visível.

Submitted by Simone Cristina Garcia (simonecristinag@gmail.com) on 2018-09-27T02:45:27Z No. of bitstreams: 2 Garcia-Simone-ceramica-Picasso.pdf: 9151340 bytes, checksum: 3dec65bec42647d4c9ecf14c826aa633 (MD5) Garcia-Simone-ceramica-Picasso.pdf: 9151340 bytes, checksum: 3dec65bec42647d4c9ecf14c826aa633 (MD5) / Approved for entry into archive by Laura Mariane de Andrade null (laura.andrade@ia.unesp.br) on 2018-09-28T18:19:13Z (GMT) No. of bitstreams: 1 garcia_sc_me_ia.pdf: 9118875 bytes, checksum: c9b4a3345069b0b060faca6abb5ad48f (MD5) / Made available in DSpace on 2018-09-28T18:19:13Z (GMT). No. of bitstreams: 1 garcia_sc_me_ia.pdf: 9118875 bytes, checksum: c9b4a3345069b0b060faca6abb5ad48f (MD5) Previous issue date: 2018-06-19 / La thèse de maîtrise actuelle se réfère à l'œuvre céramique de l'artiste Pablo Picasso et sa relation avec l'Antiquité méditerranéenne. Il aborde la construction poétique des raisons qui ont conduit l'artiste à la poterie, son apprentissage, les boues, les fours et la technique utilisée, identifiant les éléments d'inspiration, les thèmes, les styles et le processus de création, les reliant au contexte social qui a influencé son travail. En identifiant les éléments, il a été remarqué qu'il a dialogué avec la poterie méditerranéenne traditionnelle, a innové et a sauvé les valeurs ancestrales et a ravivé les symboles et les mythes méditerranéens, les laissant "vivants". Tout son travail de la période de 1947 jusqu'à sa mort est un renouveau de l'Antiquité, et Picasso a influencé une génération d'artistes à produire de la poterie, et par sa réputation, l'art de l'argile, qualifié de "inférieur" par rapport aux Beaux-Arts, n'a jamais été le même. / A presente dissertação de mestrado refere-se a obra em cerâmica do artista Pablo Picasso e a sua relação com a Antiguidade Mediterrânea. Aborda a construção poética desde os motivos que levou o artista à cerâmica, o seu aprendizado, os barros, os fornos e a técnica utilizada, identificando os elementos de inspiração, os temas, estilos e o processo de criação, relacionando-os ao contexto social que influenciou seu trabalho. Ao identificar os elementos percebeu-se que Pablo Picasso enxergou na cerâmica uma forma de popularizar a sua arte, um desejo que nasceu após o seu envolvimento com a luta dos Republicanos na Guerra Civil Espanhola. Com esse propósito, ele dialogou com a cultura popular e a cerâmica tradicional mediterrânea, a inovou, resgatou os valores ancestrais e reviveu os símbolos e mitos mediterrâneos, deixando-os “vivos”. Toda sua obra do período de 1947 até a sua morte em 1973, é uma revisitação da Antiguidade e Picasso influenciou uma geração de artistas a produzirem cerâmica e através da sua reputação, a arte do barro, dita “inferior” em relação as Belas Artes, nunca mais foi a mesma. / The present Master's dissertation refers to the ceramic work of the artist Pablo Picasso and his relation with the Mediterranean Antiquity. It approaches the poetic construction from the reasons that took the artist to the pottery, its learning, the muds, the furnaces and the technique used, identifying the elements of inspiration, the themes, styles and the process of creation, relating them to the social context which influenced his work. In identifying the elements, it was noticed that he dialogued with the traditional Mediterranean pottery, innovated and rescued the ancestral values and revived the Mediterranean symbols and myths, leaving them "alive". His entire work from the period of 1947 until his death is a revival of antiquity, and Picasso influenced a generation of artists to produce pottery, and through his reputation, the art of clay, referred to as "inferior" in relation to Fine Arts, was never again the same. / La presente disertación de maestría se refiere a la obra en cerámica del artista Pablo Picasso y su relación con la Antigüedad Mediterránea. En el caso de la construcción poética desde los motivos que llevó al artista a la cerámica, su aprendizaje, los barros, los hornos y la técnica utilizada, identificando los elementos de inspiración, los temas, estilos y el proceso de creación, relacionándolos al contexto social que influenció su trabajo. Al identificar los elementos se percibió que él dialogó con la cerámica tradicional mediterránea, la innovó y rescató los valores ancestrales y revivió los símbolos y mitos mediterráneos, dejándolos "vivos". Toda su obra del período de 1947 hasta su muerte, es una revisión de la antigüedad, y Picasso influenció una generación de artistas a producir cerámica ya través de su reputación, el arte del barro, dicha "inferior" en relación a las Bellas Artes, nunca más fue la misma.