Syftet med detta arbete är utifrån litteraturuppgifter samt analys beskriva Salvador Dalis och René Magrittes konstnärliga arbetsmetod, och utifrån detta göra en egen visuell gestaltning. Metoden jag har använt mig utav är litteratur, bildandalys och konstnärliga gestaltningar.Salvador Dalis metod i Minnets beständighet bygger på gränslöshet och fantasi, med tydliga semiotiska inslag. Du som betraktare avgör vad som ses, vill du se målningarna enkelt och bara uppleva det som är målat, eller vill betraktaren sjunka in i en värld av nyskapande, suddiga gränser och bortom alla regler. René Magrittes metod bygger i Människosonen på naturliga och trovärdiga drag, hans målning framstå som verklig fast med en touch av fantasi, med sparsamma drag av semiotik. / The purpose of this work is based on literature data and analysis describing the Salvador Dali and René Magritte's artistic working method, and accordingly make its own visual interpretation. The method I used is out literature, bildandalys and artistic depictions.Salvador Dali's method of memory resistance based on the boundlessness and fantasy, with distinct semiotic elements. You as a viewer decides what is seen, you want to see the paintings simple and just experience what is painted, or want the viewer to sink into a world of innovative, blurred boundaries and beyond all rules. René Magritte's method is based in the Son of man on natural and credible move, his painting appear to be real solid with a touch of fantasy, with sparse features of semiotics.

Global Milton and Visual Art showcases the aesthetic appropriation and reinterpretation of the works and legend of the early modern English poet and politician John Milton in diverse eras, regions, and media: book illustrations, cinema, digital reworkings, monuments, painting, sculpture, shieldry, and stained glass. It innovates an inclusive approach to Milton’s literary art, especially his masterpiece Paradise Lost, in global contemporary aesthetics via intertextual and interdisciplinary relations. The fifteen purposefully-brief chapters, 103 illustrations, and 64 supplemental web-images reflect the great richness of the topics and the diverse experiences and expertise of the contributors. Part I: Panoramas, provides overviews and key contexts; Part II: Cameos offers different perspectives of the varied afterlives of the most widely-circulating illustrations of Paradise Lost, those by Gustave Doré; Part III: Textual Close-ups focuses on a rich variety of book illustrations, from centuries-old elite engravings to a twenty-first century graphic novel; and Part IV: A Prospect beyond Books, explores visual media outside of books that manifest powerful connections, direct and indirect, with Milton’s works and legend.

From 1927 through 1939, Salvador Dalí went through an arduous artistic pursuit to visualize his perspective on reality. Dalí’s inter-connected visual and verbal process lasted for over a decade, during which he went from confronting reality to accepting that the world is an irrational paradox. This study asserts that his investigation took him from the fragmented images of cinema to the metamorphic shapes of the ‘soft and hard’ and ultimately to a series of multiple images, which envisioned his paranoid-critical method. In his 1930 article “The Rotting Donkey,” Dalí wrote, “I believe that the moment is near when, through a process of thought of a paranoiac and active character, it will be possible to systematize confusion and contribute to the total discrediting of the world of reality.” By 1930, Dalí knew he wanted to completely “discredit” the world and he saw Albert Einstein’s space-time and Sigmund Freud’s discovery of the unconscious as proof for the existence of a new dimension of experience. In 1933, Dalí found further evidence for his viewpoint in Jacques Lacan’s writings on paranoia. While Dalí wrote of and incorporated Einstein’s, Freud’s and Lacan’s ideas into his art, he came to his own conclusions on reality, which he gave form to in his artworks. To illuminate Dalí’s creative process this thesis will examine Dalí’s infamous film Un chien andalou (1929), his iconic painting The Persistence of Memory (1931), and his under-appreciated masterpiece The Endless Enigma (1938), as he visually expressed his changes in thought most clearly and convincingly in these three works.

abstract: The purpose of this dissertation is to investigate the materiality of a unique text, Random House and The Illustrated Modern Library’s 1946 Don Quixote, illustrated by Catalonian painter Salvador Dalí. It analyzes Dalí’s classical trajectory, how Dalí and the text were received in mid-twentieth century North America, and how they both fit into the print history of illustrated editions of Don Quixote. Each is revealed to be unique in comparison with the history of the genre due to the publishing house’s utilization of Dalí’s high-quality illustrations in a small-sized text. Lavish illustrations traditionally have been reserved for larger, collectible editions. The contemporary material significance of the 1946 edition is revealed by examining organizations, people, and circumstances that were necessary for its production in the United States, and by contextualizing the text’s reception by North American popular culture, high art echelons, and art critics. The overarching history of illustrated editions of Don Quixote is examined, comparing Dalí and his illustrations with important thematic and methodological benchmarks set by illustrators within this 400-year period, especially regarding renderings of reality and fantasy. Analyses of the first three watercolor illustrations of Dalí’s 1946 Don Quixote reveal how the painter forms mythological imagery and composes the quixotic dichotomy of reality and fantasy through the metaphoric gaze of an inanimate figure representing the protagonist. Dalí at times renders the “real” Don Quixote as incapacitated, omitting from his illustrations universalized iconography utilized in previous centuries achieved by rendering Don Quixote’s perspective, gaze, and heroic interpretation of events. In these three illustrations, Dalí forms Don Quixote as a deflated figure based in burla (mockery) and engaño (self-deception) by negating Don Quixote’s gaze within the compositions, without compromising the painter’s trademark surrealist style. The text therefore challenges the genre’s print history while Dalí challenges French and German Romantic illustrators’ universalized iconography that traditionally highlights the nobility of the knight errant. By focalizing fantastic madness as interacting with burlesque reality, Dalí creates a new episteme within the genre of illustrated editions of Don Quixote, establishing his unique niche as an illustrator in this genre. / Dissertation/Thesis / Doctoral Dissertation Spanish 2017

Made available in DSpace on 2015-05-14T13:16:29Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 603199 bytes, checksum: 72bc18a107c523c089a076f9cde495fd (MD5) Previous issue date: 2006-02-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Schizophrenia, one of the main forms of psychotic upheaval, can be folloied of damage in the representation and visuo-spatial perception. The aim of the work was to investigate alterations in the visual perception in patients with of schizophrenia, using some pictures of surrealista painter Salvador Dalí. Sixty adults participated in the experiments, thirty without neuropsiquiátrica pathology (Control Group -GC) and thirty with schizophrenia in remissive phase (Experimental Group - GE). The participants of the GC and GE presented equivalents degree of escolaridade (M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivelly) and etárias bands ((M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivelly). All volunteers had good visual acuity. Twenty and four pictures of Salvador painter from there photographed in 20 dimension x 30 cm, based on categories previously established had been used. The photographs of the pictures had been presented the volunteers successively, after to another one without limit of time for comment. After the presentation of each photograph, the participant indicated the figure that more was distinguished. After that, each engraving was measured in centimeter and used to calculate the visual angle for the mathematical function tang alpha-1. The data had been collected in the Centers of Atenção Psicossocial (CAPS) of the cities of João Pessoa - PB and Recife - PE. The results had shown significant difference between the two groups (F 1, 58 = 550, 62, p<0,001). That is, the majority of the participants of GE preferred figures with average size bigger (between 10-15°) of that the GC that preferred figures with lesser average size (4-5°). In the generality, the figures indicated for GE had been in average 3 times bigger than the indicated ones for the GC. These data had indicated that the schizophrenia carriers had from there presented alteration in the visual perception of pictures of Salvador and that the same ones can be used to mark and to study this pathology. / A esquizofrenia, uma das principais formas de transtorno psicótico, pode ser acompanhada de prejuízo na representação e percepção visuo-espacial. O presente trabalho teve por objetivo investigar alterações na percepção visual de portadores de esquizofrenia, utilizando como marcador fotografias de alguns quadros do pintor surrealista Salvador Dalí. Participaram deste estudo 60 adultos, 30 isentos de patologia neuropsiquiátrica (Grupo controle - GC) e 30 portadores de esquizofrenia medicados e em fase remissiva (Grupo Experimental - GE). Os participantes do GC e do GE apresentavam grau de escolaridade(M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivamente) e faixas etárias semelhantes (M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivamente). Todos voluntários apresentaram acuidade visual normal ou corrigida. Foram utilizados vinte e quatro quadros do pintor Salvador Dalí fotografados na dimensão 20 x 30 cm, baseados em categorias previamente estabelecidas. As fotografias dos quadros foram apresentadas aos voluntários sucessivamente, uma após a outra, sem limite de tempo para observação. Após a apresentação de cada fotografia, o participante indicou a gravura que mais se destacou. Em seguida, cada uma delas foi medida em centímetro e utilizada para calcular o ângulo visual pela função matemática tang alfa-1. Os dados foram coletados nos Centros de Atenção Psicossocial (CAPS) das cidades de João Pessoa - PB e Recife - PE. Os resultados mostraram diferença significativa entre os dois grupos (F 1, 58= 550, 62, p<0,001). Isto é, a maioria dos participantes do GE preferiu figuras com tamanho médio maior (entre 10-15°) do que o GC que preferiu figuras com tamanho médio menor (4-5°). No geral, as figuras indicadas pelo GE foram em média 3 vezes maiores que as indicadas pelo GC. Estes dados indicaram que os portadores de esquizofrenia apresentaram alteração na percepção visual de quadros de Salvador Dalí e que os mesmos podem ser utilizados para marcar e estudar esta patologia.

Made available in DSpace on 2014-06-12T23:00:24Z (GMT). No. of bitstreams: 2 arquivo6524_1.pdf: 2249661 bytes, checksum: 87be8eec23a4425975ea05e86a79102a (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2011 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A percepção representa a organização e interpretação de todos os elementos advindos da nossa experiência sensorial; ela dá significado ao que é sentido. Baseados no princípio de que a percepção sensorial é alterada, na esquizofrenia, antes de qualquer alteração cognitiva (SIMAS, 2011), os estudos anteriores com os quadros de Salvador Dali oferecem indícios de que estes são particularmente adequados para medir alterações perceptivas visuais relacionadas à forma e tamanho. O objetivo do trabalho foi avaliar a percepção visual em pacientes com esquizofrenia comparando seus tamanhos preferidos nos quadros de Salvador Dali, nas pranchas de Rorschach e nos quadros de Victor Molev. Participaram do estudo 21 voluntários de ambos os sexos entre pacientes com esquizofrenia (GE) e aqueles sem diagnóstico de patologia (GC) do Hospital das Clínicas da Universidade Federal de Pernambuco. Os procedimentos envolveram a apresentação aleatória de três classes de estímulos: fotografias de 24 quadros do pintor Salvador Dali, 24 de Victor Molev e as 10 pranchas de Rorschach, em uma estante de partitura, sem limite de tempo para observação, a uma distância de 30 cm do olho do observador. Os estímulos foram apresentados sucessivamente, seguindo a mesma ordem para todos os participantes com uma instrução padronizada: Você vai ver fotografias de quadros de um pintor e, depois de olhar cada uma, você deverá indicar a primeira figura que mais lhe chamou atenção . Na seqüência, o participante registrou a primeira figura que percebeu circulando-a sobre a pasta L transparente, com um marcador permanente. Um segundo experimento com 41 estudantes (grupo de universitários, GU) foi conduzido no LabVis-UFPE com as três classes de estímulos digitalizadas e apresentadas no programa Microsoft Office PowerPoint 2003 seguindo os mesmos procedimentos. Na análise estatística, o teste não-paramétrico Kruskal-Wallis foi utilizado, não apresentando diferenças significantes entre GE e GC para qualquer dos quadros de Dali, Molev e das pranchas de Rorschach. A amostra dos estudantes, GU, foi submetida aos mesmos testes e, na comparação com o estudo conduzido no ambulatório com o GE e GC, apresentaram diferenças significantes em todas as pranchas de Rorschach; todos os quadros de Dali (exceto no quadro 5); e todos de Molev com exceção dos quadros 56 e 69. No GU, os tamanhos das figuras escolhidas foram iguais à metade daquelas no GE e GC. Esta comparação entre os estudos 1 e 2, assim como a hipótese investigada nos estudos anteriores, apontam a necessidade de novos estudos comparando as variáveis entre diferentes características dos grupos controles

L'étude intitulée Salvador Dali et la photographie: portraits du surréalisme (1927-/942) montre comment l'image photographique se situe chez l'artiste au carrefour entre théorie et pratique, entre création et vie quotidienne. Elle propose de réévaluer la place du médium dans l'élaboration et la pratique de la théorie surréaliste en décrivant comment ce projet de libération de l'homme est utilisé pour exacerber l'individualisme. Dans un premier temps, Dali utilise l'image photographique comme une instance médiatrice qui lui permet de contrôler ses pulsions et de définir précisément les objets. Elle alimente ensuite son activité paranoïaque-critique et favorise son exploitation du concept de comestibilité. Elle assure enfin la réification de l'artiste et la diffusion de son image théâtralisée dans la presse. Les photographies, au service de la construction de l'identité comme de l'art de Dali, acquièrent ainsi une valeur, concrète ou métaphorique, de portraits. / The entitled study Salvador Dali and the photography : portraits of surrealism (1927-1942) show how, for this artist, the photographic image is placed at the crossroads of theory and practice, of creation and everyday life. It offers a reassessment of the role of the medium in the elaboration and in the practice of the surrealist theory by describing how the project of man’s liberation is used to intensify individualism. Dali starts by using the photographic image as a mediatory authority which allows him to control its drives and to define objects with accuracy. Then, it feeds his paranoiac-critical activity and serves his use of the edibility concept. Finally, it ensures the artists reification and his theatrical images spread in the press. The photographs, put to work for the construction of Dali’s identity and art, thus acquire a portrait value, concrete or metaphoric.