[pt] Um número crescente de artistas e designers produzem na atualidade trabalhos artísticos interativos, munidos de dispositivos móveis de comunicação sem fio, como telefones celulares, PDAs, laptops, em conexões a redes computacionais e serviços de localização. Esses trabalhos mapeiam novas formas de fluxo que, de forma invisível, se acumulam em camadas espaciais do nosso viver tecnológico, revelando uma nova configuração urbana – a cidade conectada – um novo conceito de cidade que associa as práticas do cotidiano a processos colaborativos criados pelas redes de comunicação e sistemas de localização. Apresentamos alguns desses trabalhos evidenciando duas abordagens artísticas. Uma, mostrada pelo viés do sublime tecnológico, dando ênfase à presença da tecnologia em nossa vida como um fenômeno da ordem do sublime, de grandeza e poder incomensuráveis que transcendem a capacidade de apreensão humana, mas que pela própria tecnologia é desvelado. Outra, pela ótica de uma nova relação entre arte e vida cotidiana, expressa em formas de um nomadismo urbano conectado que denominamos cartografias dos fluxos, que constituem mapeamentos de percursos e derivas pela cidade, em conexão a redes e sistemas de localização. As duas abordagens se entrelaçam em uma questão central, que é o caráter colaborativo da criação artística, configurando, em ambos os casos, uma estética do fluxo. Dessas ações coletivas, que envolvem artistas e participantes, resulta uma cartografia do hibridismo espacial dos fluxos em redes e territórios em que vivemos – subjetiva e emocional, pessoal e social: uma cartografia da vida cotidiana em fluxo, uma cartografia sublime. / [en] Recently, a growing number of artists and designers are producing interactive artworks equipped with mobile and wireless communications devices, including mobile phones, PDAs and laptops, connected to computer networks and location-based systems. These artworks are mapping new forms of flow that accumulate invisibly in space in layers of our technological living, and are bringing to light a new urban configuration - the wired city. This new concept of city relates everyday actions to collaborative processes created by networked mobile communications and locative media. We present some of these works from two aesthetic standpoints, the first of which is technological sublime. This emphasizes the presence of technology in our lives as a phenomenon on the order of the sublime, of immeasurable magnitude and power, that transcends the realm of human apprehension and is unveiled only by the technology itself. The second reflects a new relation between art and everyday life expressed in the form of a wired urban nomadism. We call it flow cartography - the mapping of pathways and drifts through the city connected with networks and location systems. The two approaches intertwine in a key question: Is the collaborative nature of the artistic creation resulting, in both cases, in an aesthetic of flow? These collective actions involving artists and participants result in a cartography of the hybrid space of flows in the - subjective and emotional, personal and social - networks and territories we live in: a cartography of the everyday flow of life, a sublime cartography.

Made available in DSpace on 2016-04-25T19:20:33Z (GMT). No. of bitstreams: 1 Murilo Alexandre dos Santos.pdf: 2967089 bytes, checksum: cd4c14a65655d488f358393345166e26 (MD5) Previous issue date: 2014-09-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / We have displayed the roots from which the Arautos do Evangelho originated and also their initial mission and deeds, their charisma and its presence within the spectrum of contemporary Catholicism and their processes of expansion. We continue by investigating the sense of aesthetics, beautiful and sublime, as well as the reception and practical experience of the Arautos when it comes to the concepts above stated. We want to display the mission and the evangelization inside the Catholic Church and the Arautos do Evangelho as well. We were guided by the hypothesis that the aesthetics, the beauty and the sublime constitute the core of the evangelization mission carried out by the Arautos and it, simultaneously, portrays functional sense aimed at a restorative evangelization to attract former churchgoers and to retrieve the conservative aspects of the Catholicism. The origin, the charisma and the presence of the Arautos inside the spectrum of the contemporary Catholicism were displayed; the general concepts of aesthetics, beauty and sublime and regarding the understanding of the Arautos and in their evangelizing action / Expusemos as raízes de onde surgiram os Arautos do Evangelho e a que vieram, o carisma e a presença dele no espectro do catolicismo contemporâneo e também como se expandiram. Passamos a investigar o sentido da estética, belo e sublime e a recepção e vivencia dos Arautos relativas a esses conceitos. Buscamos expor a missão e a evangelização na Igreja Católica e nos Arautos do Evangelho. Guiou-nos a hipótese de que estética, belo e sublime constituem a nervura da missão evangelizadora dos Arautos e ao mesmo tempo adquirem um sentido funcional visando a uma evangelização restauradora para atrair os fiéis que se afastaram da Igreja e para retomar os aspectos conservadores do catolicismo. Foram expostos a origem, o carisma, e a presença dos Arautos no espectro do catolicismo contemporâneo; os conceitos de estética, belo e sublime em geral e na concepção dos Arautos e na sua ação evangelizadora

Le présent travail a pour objectif de montrer que les réflexions théoriques et les remarques à caractère technique suscitées au cours de l’histoire par le sublime permettent d’approfondir la question du sens de l’art abstrait. En retour, il vise à tracer les voies par lesquelles l’art abstrait porte à témoigner du sublime, à le penser et à le reconnaître. La relation que l’art abstrait entretient avec la tradition du sublime n’est pas univoque, car certaines parmi ses manifestations tendent à confluer dans la tradition du beau et à renouer avec la pratique de la mímēsis (dont la notion classique déborde les notions modernes d’imitation, de représentation et de figuration). Force est de constater que l’impression d’étrangeté provoquée par le sublime se distingue du plaisir de la reconnaissance qui accompagne le beau et qui est l’effet de la mímēsis accomplie. Ainsi il s’agira de départager l’abstraction, laquelle aurait pour objet l’harmonie sous sa forme abstraite, et l’art abstrait, lequel procurerait un émoi propice au sublime. Cet émoi ne constituera pas le seul critère discriminant en matière de choix des démarches à comparer. D’autres aspects seront pris en considération, à savoir la simplicité, la grandeur et l’obscurité, qui, sous certaines conditions et une fois réunies, peuvent prêter existence au sublime. L’intérêt de l’approche proposée consiste à considérer différentes pratiques abstraites sous un angle, celui du sublime, qui offre la possibilité de les relier à des pratiques figuratives, poétiques, oratoires ou architectoniques dans une perspective historique, mais aussi d’en reconnaître les enjeux et les difficultés spécifiques. / The objective of this thesis is, on the one hand, to show how the theoretical reflections and technical considerations raised throughout history by the sublime allow a deeper understanding of the meaning of abstract art. On the other hand, this thesis explores the way in which abstract art gives rise to the experience of the sublime and therefore to a reflection on it and to its recognition. The relation between abstract art and the tradition of the sublime is not unproblematic. Some of the manifestations of abstract art have a tendency to relate to the tradition of beauty and the practice of mímēsis (whose classical meaning goes beyond the modern notion of imitation, representation and figuration). It is important to note that the impression of strangeness provoked by the sublime differs from the pleasure gained from the recognition that accompanies beauty and is the effect of the accomplished mímēsis. Therefore, it is a question of distinguishing between abstraction, whose objective is harmony in its abstract form, and abstract art, which provokes an agitation that can generate the sublime. In addition to agitation, other aspects will be taken into consideration, namely simplicity, grandness and obscurity. These aspects can, under certain conditions and once they are brought together, give rise to the sublime. The approach of this thesis is important because it considers abstract practices from the angle of the sublime which offers the possibility (a) to link abstract practices with figurative, poetic, oratory or architectural practices in a historical perspective, and (b) to identify specific issues and problems of abstract practices.

Cette thèse se propose d’étudier la façon dont l’idée de mineur traverse l’œuvre de Pier Paolo Pasolini, que ce soit dans son sens linguistique et littéraire (rapport aux langues et aux auteurs dits « mineurs »), sociopolitique (présence des subalternes et des minorités), ou encore spirituel (« mineur » au sens franciscain). L’ensemble de la vaste production artistique et critique de l’auteur italien que nous prenons en considération semble en effet guidé par le désir de porter à la lumière et de valoriser ce qui d’ordinaire est dénigré, oublié et situé au bas des hiérarchies, quelles qu’elles soient : paysans frioulans, sous-prolétaires romains, peuples du Tiers Monde, langues et cultures périphériques, etc. Les notions de « minore » (« mineur ») et de « minoranza » (« minorité ») paraissent d’autant plus significatives et pertinentes qu’elles sont utilisées et problématisées par l’écrivain-cinéaste, de ses premiers essais littéraires à ses derniers articles et scénarios, à des moments clés de son parcours. Elles se révèlent en outre étroitement liées aux périodes de profondes transformations socio-culturelles que traverse l’Italie, dont elles se font le reflet antithétique. Alors que le prétendu « miracle économique » bat son plein au cœur des années 1960, la notion de mineur, centrée autour de l’idée d’infériorité et d’humilité, cède la place à la notion plus politique et polémique de minorité. Si cette dernière reprend certains traits de la précédente, elle se définit davantage comme altérité radicale et puissance de contestation des modèles dominants, tout en accentuant l’esthétique et la poétique de la contamination, selon lesquelles humilis et sublimis sont indissociables. / This PhD thesis intends to explore how the idea of minor is present throughout Pier Paolo Pasolini’s works, in its linguistic and literary sense (linked to languages and authors called « minors »), in its socio-political sense (presence of the subalterns and the minorities), or even in its spiritual sense (« minor » according to Franciscans). The extensive artistic and critical production of the Italian author who we consider, seems in fact to be guided by the will of highlighting and promoting what is usually depreciated, forgotten and situated at lower levels in every hierarchy : Friulian peasants, Roman sub-proletarians, people from the Third World, outlying languages and cultures, etc. The notions of minor and minorities are particularly significant and relevant, given that they are used and questionned by the writer and the director from his first literary essays to his last articles and scenarios, in key moments of his career. Furthermore, they appear closely associated to the period of deep socio-cultural changes that Italy is experiencing, hence the contradicting images they convey. While the so-called « economic miracle » is triumphal in the sixties, the notion of « minor », centered on the idea of inferiority and humility, is replaced by the more political and polemical notion of minority. If this last notion has some characteristics of the former one, it should also be defined as a radical alterity and contesting power of the dominant models, at the same time keeping the emphasis on the contamination esthetic and poetics, whereby humilis and sublimis are inseparable.

Made available in DSpace on 2014-06-11T19:28:17Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-29Bitstream added on 2014-06-13T20:57:45Z : No. of bitstreams: 1 pereira_al_me_mar.pdf: 717691 bytes, checksum: 6742ff014e9da9d4822196d5f840c675 (MD5) / A presente pesquisa pretende discutir os limites e as possibilidades de se conceber, no tempo presente, a práxis educativa, pela qual se define as relações pedagógicas e comunicativas estabelecidas pelo professor e pelo aluno nos espaços escolares, como portadora de uma dimensão artística e estética em seus processos de produção e recepção dos saberes sistemáticos transmitidos em sala de aula, como um meio de resistência política ao acentuado predomínio dos núcleos científicos que caracterizam esse ofício e, no limite, à racionalidade instrumental para a qual a reflexão sobre os sentidos dessa atividade tornou-se irrelevante. Para tanto, recorre-se à obra de Theodor W. Adorno, particularmente às suas conferências e debates sobre a educação e à sua teoria estética, e ao pensamento de Jean François Lyotard, sobretudo ao seu diagnóstico sobre a pós-modernidade, com o intuito de analisar as possíveis correspondências entre a produção artística e a recepção estética e o processo comunicativo que compreende a relação pedagógica escolarizada, focalizando a dimensão artística e estética dessa atividade, os problemas decorrentes dessa abordagem, particularmente o da relação entre experiência e linguagem, e as implicações estéticas do ofício do educar que poderiam se tornar objetos da reflexão filosófica do professor. Especificamente, pretende-se demonstrar que a mimese artística e o sentimento do sublime, tal como esses conceitos teriam sido apropriados por Adorno e por Lyotard, revelam não apenas a possibilidade de uma arte pedagógica que contenha, em seu processo de comunicação, uma afinidade aconceitual ética e estética com uma experiência irreconciliável, mas que, para além do sentimento apaziguador suscitado pela beleza, os indivíduos envolvidos nessa relação poderiam ser surpreendidos por um espanto sublime em função... / This research discusses the limits and possibilities of conceiving, at the present time, the educational praxis, by which one defines the pedagogical relations and communication established by the teacher and the student in school spaces, as having an artistic and aesthetic dimension in their production and reception of transmitted systematic knowledge in the classroom as a means of political resistance to the sharp predominance of scientific cores that characterize this trade and, ultimately, the instrumental rationality to which the reflection on the significance of this activity has is irrelevant. For this, one relies on the work of Theodor W. Adorno, particularly to his lectures and debates on education and his aesthetic theory, and the thought of Jean Francois Lyotard, especially to his diagnosis of post-modernity, in order to analyze the possible correlation between artistic production and reception aesthetics and communicative process which includes the pedagogical relationship educated, focusing on artistic and aesthetic dimension of this activity, the problems arising from this approach, particularly the relationship between experience and language, and aesthetic implications of the letter that the school could become objects of philosophical reflection the teacher. Specifically, we intend to demonstrate that artistic mimesis and the feeling of the sublime, as these concepts have been appropriated by Adorno and Lyotard, reveal not only the possibility of teaching an art that contains, in its communication process, an affinity aconceitual ethics and aesthetic experience with an irreconcilable, but that, apart from feeling aroused by the beauty reliever, individuals involved in this relationship could be surprised by a sublime awe in the light of which the dimensions and conceptual structures, which have traditionally been associated conditions a priori of empirical knowledge... (Complete abstract click electronic access below)

Orientador: Suzi Frankl Sperber / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T01:03:07Z (GMT). No. of bitstreams: 1 Almeida_FabianaAbiRachedde_M.pdf: 1505375 bytes, checksum: f5ff343e96391289513823ad446bef66 (MD5) Previous issue date: 2009 / Resumo: A proposta do presente trabalho é articular um estudo comparativo entre o romance Lavoura Arcaica, de Raduan Nassar (1975), e o filme homônimo, LavourArcaica de Luiz Fernando Carvalho (2001). Atualmente, não podemos mais negar a influência das diversas formas de arte na vida moderna, principalmente, do cinema. A literatura influencia o cinema e o cinema a literatura. Mesmo sendo meios diferentes, há ressonâncias entre eles e que podem ser vistas até como obras complementares na medida em que há a possibilidade de serem analisadas uma com o auxílio da outra. Além das interseções que existem entre as diferentes formas de arte que já são por si só delicadas, há dificuldades que permeiam a majestade e complexidade dessas obras e, por isso, deparamo-nos, desde sempre, com questões do tipo: como falar sobre e mesmo absorver obras tão intensas? Como desvendar os mistérios dessas obras sem deturpá-las ou reduzí-las? Para tanto, nessa pesquisa, fizemos uso de alguns conceitos que mesclam a teoria da literatura, a teoria cinematográfica e a psicanálise de Freud e Lacan, principalmente; para que, assim, pudéssemos articular um estudo que fosse ao mesmo tempo "severo" e que preservasse os interstícios fundamentais e a poesia das obras. / Abstract: The proposal of this work is to articulate a comparative study between the romance To the left of the father, Nassar Raduan (1975), and the film, To the left of the father by Fernando Carvalho (2001). Today, we can no longer deny the influence of various forms of art in modern life, mainly of cinema. Literature influences the cinema and cinema, literature. Although they are different art forms, movie and romance can be seen as complementary works to the extent that there is the possibility of analising one on behalf of the other. In addition to the delicate intersections that exist between the various forms of art, there are difficulties which permeate the majesty and complexity of such works and therefore questions always turns up: how to talk about and even absorb so intense works? How to unravel the mysteries of such works without distort or reduce them? To do this research we use some concepts that merge into the theory of literature, film and, mainly, Freud's and Lacan's theorys of psychoanalysis; so that, by these means, we could articulate a study that is at the same time "severe" and that preserves the fundamental interstices and both work's poetry. / Mestrado / Literatura e Outras Produções Culturais / Mestre em Teoria e História Literária

Ce travail de recherche analyse le concept du sublime dans l’esthétique hégélienne à partir des sources les plus directes à disposition : les leçons berlinoises sur la philosophie de l’art, à travers les Nachschriften ou cahiers de notes des élèves de Hegel. Ainsi, ce travail s’inscrit dans une position critique vis-à-vis de l’édition de ces leçons faite par H. G. Hotho. L’analyse se démarque de ladite lecture phénoménologique et s’efforce de montrer la nécessité d’une lecture logique de l’esthétique hégélienne en exposant la dialectique interne de cette esthétique, qui opère comme un devenir logico-esthétique des catégories de la Science de la logique. Plus particulièrement, l’objectif de cette thèse est de mettre en évidence l’existence d’une correspondance entre la catégorie esthétique du sublime et la catégorie logique du Schein ou « apparence » telle qu’exposée dans La doctrine de l’essence. Finalement, nous nous proposons ici de démontrer que le sublime compris comme Schein doit être mis en lien avec la catégorie fondamentale de cette esthétique, à savoir l’idéal, qui à son tour, à partir de cette correspondance avec les catégories de la logique de l’essence, est montré comme le moment de l’Erscheinung ou « apparition » de l’idée. Cette réflexion propose ainsi une détermination plus cohérente de l’idéal que la définition canonique contestée et cherche à mettre en avant une réponse à ce qui est considéré comme la question centrale de cette philosophie de l’art, à savoir la possibilité de la conciliation entre les deux aspects de l’œuvre d’art : l’esprit absolu comme contenu spirituel et la figure sensible comme son expression. / This research work is an analysis of the concept of the sublime within the Hegelian aesthetic, based on the most direct sources of available Berlin lectures on philosophy of art - i.e. the Nachschriften or notebooks from Hegel’s students. Therefore, it adopts a critical point of view regarding the edition of these lectures made by H. G. Hotho.This work distinguishes itself from the so-called phenomenological reading and aims to demonstrate the need of a logical way of reading the Hegelian aesthetic and presenting its inner dialectic, which develops as a logical and aesthetic evolution of the categories in the Science of Logic. Particularly, this thesis’ objective consists in revealing the existence of a connection between the aesthetic category of the sublime and the logical category of Schein or “shine”, as presented in the “Doctrine of the essence.” Finally, it is also proposed that the sublime, understood as Schein, should be correlated with the fundamental category of this aesthetic: namely the ideal, which in turn is shown as the moment of Erscheinung or “appearance” of the idea, based on the connection with the categories of the essence of logic. This suggests a more consistent determination of the ideal compared to the disputed canonical definition, and is intended to give an answer to a question that is considered the main issue of this philosophy of art: how is it possible to accomplish a balance between the two subjects of the artwork - the absolute spirit as spiritual content and the sensitive form as its expression.

Ma pratique picturale rend compte du réel, mais en questionnant les ambiguïtés, les dualités, qui l’animent. La culture et la philosophie chinoises m’ont invité à m’engager sur cette voie de l’« Entre chien et loup », même si cette expression n’existe pas dans la langue chinoise. Le but de cette thèse est de franchir un nouveau seuil : montrer comment des concepts occidentaux, loin de mes origines, comme le sublime, ou le romantisme, ou encore celui de l’« inquiétante étrangeté » pouvaient aussi éclairer ma pratique picturale. Cette thèse veut témoigner de l’articulation que peuvent opérer pratique et théorie dans le cadre d’une recherche en art : comment un artiste peut entrer dans une pensée par la pratique, comment, en écho, la théorie peut lui servir d’outil. L’exposition de ma thèse rassemblera une quarantaine de tableaux de divers formats, une sélection de ceux réalisés de 2012 à 2016 pour la préparation de cette soutenance. Ces tableaux ne sont pas l’illustration de ma recherche : ils sont l’aboutissement de ce doctorat, où pratique et théorie n’ont pas été menées parallèlement, mais en résonance. Pour présenter l’état de mes recherches historiques et théoriques, le portfolio comporte deux volumes. Un corpus de textes – une sélection de douze « entrées » jalonnant ma recherche, plutôt qu’un texte linéaire – associé à la reproduction d’un choix de mes tableaux réalisés pendant ces années, pour le premier volume. Le second veut montrer l’influence que peut exercer dans ma mémoire des œuvres liées à l’« Entre chien et loup ». J’ai créé un objet original, pour matérialiser un « Fil des images », un « album-atlas » se déroulant comme un rouleau de peinture chinoise. Dans l’exposition de thèse, la dernière zone de l’espace aura un statut particulier : dans une semi-obscurité, le jury sera invité à parcourir une installation présentant ce « Fil des images ». / My pictorial practice reflects the real, but byquestioning the ambiguities and dualities thatdrive. Chinese culture and philosophy promptedme to engage in this project of "Entre chien etloup" - even though this expression does not existin Chinese. The aim of this thesis is to reach anew threshold: show how Western concepts,far from my roots, like the Sublime, orRomanticism, or that of the "uncanny" couldalso enlighten my pictorial practice. Thisdissertation is a testament to how practice andtheory can be joined within the framework of aparticular artistic research: how an artist entersinto a thinking process through practice and how,as a sort of echo, he may use theory as a tool. The exhibition for my dissertation defenceincludes about forty paintings of different sizes,a selection of some that were created for thisparticular purpose between 2012 and 2016.These paintings do not illustrate my research –they are the outcome of a doctoral workduring which practice and theory were notfollowing a parallel path but were interlaced. To present my historical and theoreticalresearch, the portfolio consists of two volumes.A collection of texts - a selection of twelve "keywords" staking my research, instead of a lineartext - associated with the reproduction of aselection of my paintings made during theseyears, for the first volume. The second wants toshow the influence that works related to the"Entre chien et loup" may be exercised in mymemory. I created an original object tomaterialize a "Fil des images" (The Flow ofImages), an "album-atlas" unfolding like aChinese scroll painting. In this exhibition, thelast area has a special status, in a half-light,the jury is invited to discover an installationthat introduces the Fil des images.

L’œuvre de De Quincey s’inscrit à la croisée de trois concepts presque indéfinissables : autobiographie, romantisme, et une dimension trop souvent négligée, l’ironie. Qu’elle soit rhétorique, tragique ou « romantique », l’ironie exprime parfaitement les multiples contradictions du mangeur d’opium : outil rhétorique de confrontation et d’autodérision, individualiste et communautaire, sociable et provocatrice, l’ironie est à la fois l’instrument d’une rédemption et l’expression d’un profond malaise, une façon de se mettre en avant comme de s’effacer totalement. Entre Romantisme et Victorianisme, De Quincey interroge les limites de son identité et de son statut d’intellectuel, et reste réticent à exploiter le potentiel subversif de la parodie : l’ironie semble alors s’effacer derrière ses protestations nostalgiques et autocritiques. Pourtant elle sous-tend pour une bonne part la vitalité et la diversité de l’écriture des essais, dont elle manifeste une modernité largement sous-estimée, tant par les critiques que par De Quincey lui-même. L’ironie permet finalement d’esquisser une unité qui recentre les Confessions au cœur de la diversité de l’œuvre, plutôt qu’à la marge d’un ensemble hétéroclite au statut incertain. / Studying the works of De Quincey necessarily leads to three concepts almost impossible to define: autobiography, Romanticism, and all-too neglected irony. Whether rhetorical, tragic or “romantic”, irony expresses perfectly the many contradictions of the opium-eater. As the rhetorical tool of conflict and self-derision, claiming both individualistic and community values, sociable and provoking, irony is the way to redemption as much as the expression of deep unease, a way of pushing himself forward, or of withdrawing into the background. Caught between Romanticism and Victorianism, De Quincey questions the limits of his own identity and his status as an intellectual, and exploits reluctantly the potential subversion of parody, so that irony seems to yield to nostalgia and self-derogatory laments. And yet it can be said to underlie the vitality and diversity of the essays, whose modernity has been greatly underestimated by the critics and by De Quincey himself, as well. Finally, irony allows us to re-evaluate the Confessions as the centre of a unified, though diverse, set of writing, rather than as one of many, rather ill-assorted essays of unequal value.

Orientador: Maria José de Azevedo Marcondes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-28T02:49:03Z (GMT). No. of bitstreams: 1 Piva_MarciaHelenaGirardi_D.pdf: 11969821 bytes, checksum: 960692ae33072b63006d86ef21662d6c (MD5) Previous issue date: 2015 / Resumo: O objeto de estudo desta pesquisa concentra-se, inicialmente, sobre a produção do artista Anselm Kiefer, a partir de sua exposição Monumenta 2007, no Grand Palais, em Paris - evento que gerou discussões relevantes no âmbito teórico acadêmico além de novas referências sobre questões primordiais que abrangem a arte contemporânea. O tema a ser abordado nesta investigação discutirá a permanência de alguns aspectos originários do projeto romântico alemão, a partir da observação de sua continuidade na produção de alguns artistas da atualidade. A obra de Anselm Kiefer será o objeto mediador desta análise, ressaltando-se os necessários e amplos questionamentos que deverão acompanhar esta reflexão, levando-se em conta a complexidade das mudanças do século XXI. Anselm Kiefer retoma o tema da paisagem na segunda metade do século XX e passa a traçar conexões que nos instiga à reflexão filosófica, sobre um pensamento confrontado com cenários desconcertantes. As ruínas do pós-guerra e os atuais cenários das ruínas industriais e ambientais, passam a ser um novo solo para reflexão sobre redes suficientemente potentes que conectam diversos tempos, configurando novas investigações que permeiam a arte contemporânea. A análise de uma continuidade do projeto romântico dentro das diversas vertentes da arte atual possibilita o início de uma discussão sobre a permanência deste projeto, centrada na questão sobre a obra de arte passar a ser tomada, a partir do romantismo, como núcleo de reflexão e crítica do momento vivenciado pelo artista. Assim, com o intuito de trazer tal discussão para o âmbito artístico brasileiro, as análises feitas para a comprovação desta tese entrelaçarão - a partir das constatações já referidas por diversos autores sobre aspectos românticos presentes na obra contemporânea de Anselm Kiefer -, outros artistas que possibilitam relações com sua obra e, consequentemente com o projeto romântico alemão, a partir da observação de elementos formais, históricos ou críticos que, nesta tese buscou em obras específicas dos artistas Frans Krajcberg e Carlos Vergara uma forma de constatação de elementos que se entrelaçam para além da cultura de cada um deles. Na relação criada nesta pesquisa, entre as obras dos artistas de culturas distintas, buscou-se um alicerce nos estudos de Aby Warburg apoiado em autores da atualidade que discutem sua obra. Serão analisados com maior ênfase o trágico e o sublime na paisagem, apoiados sobre a reflexão e crítica do momento presente, destacando-se os devidos deslocamentos de tais temas, presentes de forma significativa na arte contemporânea. Assim, esta pesquisa busca o diálogo entre os aspectos que foram iniciados no romantismo e que hoje mostram sua permanência na arte da atualidade, assim como ampliar relações, através de novas conexões, sobre metodologias utilizadas para se conceber a história da arte / Abstract: The object of this research study focuses initially on the production of artist Anselm Kiefer, from his exhibition Monumenta 2007 at the Grand Palais in Paris - an event that generated relevant discussions in the academic theoretical sphere and new references on primordial questions covering contemporary art. The topic to be addressed in this research will discuss the permanence of some aspects originating from the German romantic, from the observation of continuity in the production of some present-day artists. The work of Anselm Kiefer will be the mediator object of this analysis, emphasizing the necessary and broad questions that must follow this reflection, taking into consideration the complexity of the changes of the XXI century. Anselm Kiefer takes up the theme of landscape in the second half of the twentieth century and begins to trace connections that encourage us to philosophical reflection on a thought faced with disturbing sceneries. The post-war ruins and the current scenarios of industrial and environmental ruin, become a new ground for reflection on sufficiently powerful networks that connect many times, setting new investigations that permeate contemporary art. Analysis of a continuing romantic project within the various strands of contemporary art enables the start of a discussion on the permanence of this project, centered on the question of the artwork now be taken from the Romanticism, as core of reflection and criticism of the moment experienced by the artist. Thus, in order to bring this discussion to the Brazilian artistic context, the analyzes of this thesis will connect - from the findings already referred by several authors about romantic aspects in the contemporary work of Anselm Kiefer - other artists that enable relations with his work and consequently with the German romantic, from the observation of historical or critical formal elements, that this thesis seek in specific works of artists Frans Krajcberg and Carlos Vergara a way of finding elements that intertwine beyond culture of each one. At the relationship established in this study, among the works of artists from different cultures, we sought a foundation in the study of Aby Warburg supported by present authors that discuss their work. It will be analyzed with greater emphasis the tragic and the sublime in landscape, supported on the reflection and critique of the present, highlighting the appropriate displacements of such themes, significantly present in contemporary art. Thus, this research seeks dialogue among the aspects that were started in romanticism and now show their permanence in today's art, as well as expanding relationships through new connections, on methodologies used to conceive the history of art / Doutorado / Artes Visuais / Doutora em Artes Visuais