Na segunda metade do século XX, a relação entre pintura e fotografia se modifica.. Pintores como Andy Warhol e Gerhard Richter partem de imagens ordinárias e esquemáticas como modelo para as suas pinturas. Warhol assume os procedimentos gráficos e seriais dos meios de comunicação de massa, Richter representa com óleo sobre tela a superfície e a luz da imagem fotográfica. Essas novas práticas têm impactos decisivos na história da arte. Esta tese pretende levantar as relações entre pintura e fotografia na obra de Warhol e Richter. Tentaremos relacioná-los com um contexto mais amplo da arte do pós-guerra na Europa e nos Estados Unidos e entender como isso sugere uma mudança no sentido da arte depois da década de 1960. / From mid 20th century, the relations between painting and photography changes. Painters like Andy Warhol and Gerhard Richter use ordinary and schematic images as a model for their paintings. Warhol assumes the graphic and serial procedures of the mass media, Richter represents with oil on canvas the surface and the light of the photographic image. These new practices have a decisive impacts on the history of art. This thesis aims to raise questions on the impact of the photography in the work of Warhol and Richter. We will try to relate them to a wider context of postwar art in Europe and the United States and to understand how this suggests a change in the direction of the visual arts after the 1960s.

At certain moments in the creative development of an artist, experimentation leads to creative acts that on their face can appear negative because they are the actions of a young artist responding to the establishment. This thesis is an investigation of such works: a spoiled print, an erased drawing, a set of artist proofs stained by paint, and a painting wiped away with turpentine. Despite these negations, each of these works was pivotal to the career of its respective artist, and they were immediately cited by their makers as works of consequence. The four selected art works did not influence one another and the circumstances surrounding their creation are also distinct. Each work and artist developed independently from one another, in distinct spaces and times. However, there are notable parallels among the works. Each was created as the artist transitioned into the mature phase of his career. Additionally, each of the works is a layering of distinct images. The sub-images relate to an external artist, style, or dogma, and the superimposed image relates to the artist’s own work and his mature style. Further, each of the works is an indexical record of the artist’s activity. Each emphasizes the artist’s hand in the making of the super-image’s mark and even goes so far as to highlight the performative nature of the mark making. The marks of the super-image are so pronounced as the subject of each work and the performative element so emphasized that the artist himself is drawn into the work’s subject matter. In short, I investigate whether these images function as a commentary, a critique, a declaration, or simply as part of a process and a dialogue between the artist and his artistic environment. / text

Thesis (Ph. D.)--Ohio State University, 2004. / Document formatted into pages; contains 218 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 209 March 29.

Thesis (Ph. D.)--Ohio State University, 2004. / Title from first page of PDF file. Document formatted into pages; contains vi, 214 p. Includes bibliographical references (p. 205-214). Available online via OhioLINK's ETD Center

Thesis (doctoral)--Universität, Hamburg, 2005/2006. / Includes bibliographical references (p. 447-469).

Texte remanié de: Diss.--Neuphilologische Fakultät--Universität Tübingen, 1993. / Bibliogr. p. 539-554. Index.

This dissertation seeks to explore the nature of the self/other, subject/object dialectic that can be found in Jacques Lacan's theory of the Minor Stage and his notion of Imaginary mastery, and how this relationship can be re-read in terms of a beholder/image relationship. What I seek to demonstrate in exploring the relationship between the beholder and the image is the staging of two opposing emotions, aggression and desire and the consequential tussle for mastery that arises from the self/other, and hence the beholder/image, dichotomy. I seek to explore the reasons why such a beholder/image relationship becomes ambivalent, due to veiled, obscured and fragmented images. / KMBT_363 / Adobe Acrobat 9.54 Paper Capture Plug-in

Die doel van hierdie studie is om die relevansie van Gattungsforschung by die vasstelling van "betekenis" te ondersoek. Dit word gedoen deur hoofsaaklik die Nuwe-Testamentiese makarisme as Gattung nader te belig en die funksie wat dit in die reeks van Mt. 5:3-10 inneem, met die semantiese ontleding van die betrokke perikoop in verband te bring. Gattungsforschung word tradisioneel met Formgeschichte geïentifiseer. Op die voetspoor van die Ou-Testamentikus Wolfgang Richter, stel hierdie studie op gesag van die insigte van die nuwere taal- en literatuurwetenskap die leemtes in die tradisionele benadering verder aan die kaak. 'n Uiteensetting van hierdie moderne insigte, veral met betrekking tot die semantiek, word gebied. Op grond van hierdie insigte word 'n nuwere benadering tot Gattungsforschung bespreek en verfyn. Die metodologiese oefening word dan met die oog op die doel van die studie ten opsigte van die makarismereeks in Mt. 5 toegepas. Die resultaat wat verkry is, toon dat Gattungsforschung 'n besonderlike konnotatiewe bydrae lewer tot die juister bepaling van die boodskap van die teks. Hierdie resultaat word gesteun deur 'n oorsigtelike ondersoek na die funksie van enkele ander Gattungen. Die studie het aangetoon dat daar 'n goeie aanduiding bestaan dat Gattungsforschung 'n belangrike semiotiese relevansie bevat. En só is die deur geopen vir verdere besinning 'oor die kommunikeerbaarheid van literere tipes in Bybelse tekste. / Dissertation (MA)--University of Pretoria, 1978. / gm2013 / Ancient Languages / Unrestricted

The Thesis entitled "The Personality and Work of the Author of the Non fiction literature in the Media and the Socio-Political Metamorphoses of the Time" describes the influence of the various aspects of the communication process and its development (changes of the socio-political situation and the non fiction literature itself) in relation to the publicist, writer, historian and translator Karel Richter. He lived through the 1960s, the period of "normalisation" and the 1990s, when the market economy witnessed a rapid development - including the publishing sector. The work describes the metamorphosis of the communication process in retrieving information, the pursuit of political communication in relation to the non fiction literature and other aspects of this genre of the author's works. It focuses on the political and economic influences, which affected Richter's work, and the influence of his work in the media back on him. The Thesis is divided into a theoretical and a practical part. The theoretical part sums up scientific works written about the non fiction literature genre. In his own analyses Richter, too, tries to characterize the genre and its basic problem, which rests in non-established and diverse definitions often contradicting each other. This chapter also sums up the development of...

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