Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Partindo do enorme legado crítico acerca da obra de Camilo Castelo Branco, construído desde Teófilo Braga até a nossa contemporaneidade, o presente estudo tem como objetivo principal olhar a ficção camiliana para além do que de mais evidente há nela: as histórias de amores contrariados, puros e abnegados. Para tanto analisamos os romances Os brilhantes do brasileiro (1869) e Agulha em Palheiro (1863), buscando mostrar de que maneira o autor é capaz de conjugar, nestes exemplares, a moda literária em voga e o retrato da sociedade prosaica que observava em sua realidade imediata, um mundo longe da configuração romântica e idealizada pretendida por parte significativa desta crítica. Para além de abordar as características específicas de cada romance, tais como a estrutura narrativa, a construção de personagens, as temáticas abordadas, entre outras, procuramos, ao final do trabalho, analisar as semelhanças e diferenças entre as duas narrativas, evidenciando assim o dinamismo, a multiplicidade e, principalmente, a complexidade do escritor de São Miguel de Ceide. / Based on the big critical legacy of Camilo Castelo Brancos work, built since Teófilo Braga until the present, this study aims looking at Camilians fiction beyond its obvious contents: thwarted, pure, and self-sacrificing love stories. In order to do so, we have analyzed the novels Os brilhantes do brasileiro (1869) and Agulha em Palheiro (1863), with the objective of showing how the author is able to combine, in these novels, the literary style in vogue at the time and the portrait of the prosaic society that the author observed in his reality immediately, a world which is far away from the romantic and idealized configuration proposed by significant part of this criticism. In addition to addressing the specific characteristics of each novel, such as narrative structure, the construction of characters, the themes addressed, among others, we intend, at the end of this study, to examine the similarities and differences between the two narratives, emphasizing the dynamism, the multiplicity and, most importantly, the complexity of the writer of São Miguel de Ceide.

Naryškin Romanas, Socialinis portretas Lietuvos fotografijoje, fotografijų ciklas „Nebūtini“: Audiovizualinio meno studijų bakalauro baigiamasis darbas / vadovas A. Uogintas; Šiaulių Universitetas, Menų fakultetas, Dailės katedra. Šiauliai, 2014 m. 43 p. Bakalauro darbe nagrinėjamas socialinis portretas fotografijoje pirmiausiai aptariant dokumentinę, tuomet – socialinę dokumentinę fotografiją, kalbama apie jos ištakas Lietuvoje remiantis Margaritos Matulytės teorine ţiūra. Kūrybiniam darbui išskiriama konkreti socialinės atskirties grupė – benamiai-elgetos, apibrėţiama benamystė kaip socialinė problema, trumpai apţvelgiama jos raida. Pirmame skyriuje apibrėţiama dokumentinė ir socialinė dokumentinė fotografija. Šių dviejų teorinių apybraiţų pagalba yra apibrėţiama socialinio portreto sąvoka, kadangi socialinis portretas iš esmės yra neatskiriama socialinės dokumentinės, o todėl ir dokumentinės fotografijos dalis. Išskiriami socialinio portreto bruoţai remiantis ankstyvaisiais socialinės dokumentinės fotografijos kūrėjų darbais. Antrame skyriuje aptariamas socialinis portretas pasirinkto socialinės dokumentinės fotografijos atstovo, Antano Sutkaus, kūryboje. Nagrinėjamas šio autoriaus portretų psichologiškumas bei braiţas, taip pat tokį braiţą įtakoję veiksniai, paminėti pirmąjame skyriuje. Trečiame skyriuje kalbama apie kūrybinį darba, fotografijų serija „Nebūtini“. Pirmiausiai aptariamos ir pagrįstai sugretinamos benamio ir elgetos sąvokos šio darbo kontekste, tuomet... [toliau žr. visą tekstą] / Naryškin Romanas, Social portrait in Lithuanian photography, photographic series „The Unnecessary“. Closing Bachelor„s work of multimedia art studies / lecturer A. Uogintas; Šiauliai University, Faculty of Arts, Art Department. Šiauliai 2014, 43 pages. In this Bachelor„s work the author is looking into social portrait photography by first of all discussing documentary photography, and then social-documentary photography as social portraiture is an inseparable part of these two similar genres. Further on the origins of social documentary photography is discussed based on M. Matulytė„s theoretical work on the subject. For the creative part of the work, a specific group of social isolation is chosen (homeless people) and its relevance as that of a social problem is explained with a short overview of the development of the said social problem. The first part touches the suject of both documentary and social documentary photography as a context for the theory on social portraiture, definition of which is then based on the mentioned genres. The similarities and differences between the genres are pointed out. The second part contains an overview of social-psichological portraiture in the works of Antanas Sutkus with detailed analysis of the psichological aspect of his portraits as well as general features peviously described in the social portrait definition. The third part is dedicated to the creative project of the Bachelor„s work. Choice of subject is explained through short... [to full text]

Loin de la dénonciation sociale ou d’un exercice strictement historique, le présent travail cherche à comprendre comment se construit l’image du personnage bourgeois à travers l’étude de portraits de la bourgeoisie mexicaine entre 1854 et 2008. Le concept de masque permet de rendre compte du portrait en tant que construction d’un modèle de représentation sociale. La première partie propose un aperçu général des origines et de l’évolution du portrait pictural, de son influence sur le portrait photographique, des conséquences des idées humanistes sur l’art, enfin de l’histoire de la bourgeoisie mexicaine et du portrait photographique bourgeois au Mexique. La deuxième partie s’intéresse au phénomène de la carte-de-visite en tant que source et modèle du portrait photographique de la bourgeoisie mexicaine, avant d’examiner la question de la figure : l’interprétation de la pose et du visage en tant qu’éléments constitutifs de la construction d’une identité sociale. La troisième partie étudie le fond, c'est-à-dire les différents espaces dans lesquels le personnage bourgeois se fait photographier, les objets qui l’entourent et son rapport à eux. Cette recherche s’appuie sur les contributions théoriques de philosophes, d’écrivains, d’historiens et de photographes tels qu’André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Parmi les photographes mexicains abordés dans cette étude, l’on citera les frères Valleto, Cruces et Campa, les Archives Casasola, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell et Ivonne Venegas. / Far from social condemnation or a strictly historic review, this work seeks to understand the construction of the bourgeois personage through the study of Mexican bourgeoisie portraits between 1854 and 2008. The “mask” concept allows us to explain the portrait as the construction of a model of social representation. Part I offers an overview of the origin and evolution of the pictorial portrait and its influence on the photographic portrait, as well as the consequences of humanist ideas on art, the history of Mexican bourgeoisie and the bourgeois photographic portrait in Mexico. Part II analyses the carte-de-visite phenomenon as origin and model for the photographic portrait of the Mexican bourgeoisie, to later study the figure, the interpretation of posture, stance and facial expression as components of the construction of social identity. Part III studies depth: different spaces where the bourgeois character is photographed, the objects around him and his relation to them. Taken into account are the theoretical contributions of philosophers, writers, historians, and photographers, like André Adolphe Eugène Disdéri, Joan Foncuberta, Geoffrey Batchen, Octavio Paz, Carlos Monsiváis, Celso Sánchez Capdequí, Pierre Francastel, Christian Phéline, E. H. Gombrich, Gilles Lipovetsky, Gillo Dorfles, Graham Clarke, Jacques Aumont, Jean Sagne, Jean-Luc Nancy, Michel Frizot, Philippe Dubois, John Berger, Hermann Broch, Umberto Eco, Roland Barthes, Tzvetan Todorov, Michel Foucault, Susan Sontag, Walter Benjamin. Among the Mexican photographers studied are the Valleto brothers, Cruces y Campa, the Casasola Archive, Nacho López, Héctor García, Pedro Meyer, Daniela Rossell and Ivonne Venegas.