Cette thèse explore et analyse l’œuvre littéraire et artistique de plusieurs artistes et écrivains qui ont eu un lien avec le mouvement surréaliste et se sont exilés au Mexique. Les œuvres de Remedios Varo, Leonora Carrington, Wolfgang Paalen, Alice Rahon, Kati Horna, José Horna, Benjamin Péret, César Moro et Luis Buñuel sont pour plusieurs méconnues ou peu accessibles au grand public. Leurs archives sont dispersées dans le monde et parfois ignorées. Nous avons entrepris de reconstituer une chronologie de cet épisode spécifique de leur vie, d’inventorier leurs œuvres, en particulier celles des années d’exil au Mexique (1938-1963), de montrer le dialogue esthétique qui s’est créé dans le moment exceptionnel de leur rencontre au Mexique, à la fois à partir de leur passé surréaliste et du cœur même de l’expérience exilique qu’ils partagent. Les préoccupations, les activités et les relations qui rapprochent ces artistes conduisent à s’interroger sur la possible définition d’un mouvement. Leurs interactions amicales et artistiques suggèrent, pour un temps au moins, la détermination de points communs esthétiques, littéraires et culturels. Le creuset créatif de leur exil commun est aussi un point de départ pour analyser la réception de ces œuvres et se demander s’il existe une poétique de l’exil spécifique à ces artistes qui ont vécu en proximité sur le sol mexicain. Pour traiter cette question, cette thèse analyse les représentations communes à ces artistes et observe le rôle déterminant qu’ils ont sur l’art et la littérature latino-américains de la seconde moitié du XXe siècle. / This thesis intends to explore and analyse the literary and visual work of a number of exiled artists and writers who have a particular link with the surrealist movement, and fled to Mexico. Several elements of the work of Remedios Varo, Leonora Carrington, Wolfgang Paalen, Alice Rahon, Kati Horna, José Horna, Benjamin Péret, César Moro and Luis Buñuel are often unknown or rarely accessible to a large public. Their archives are scattered around the world and are often ignored. Our aim is to establish a chronological reconstitution of their lives, to inventory their work –particularly from 1938 to 1963, focusing on the exile phase – as well as to examine the aesthetic dialogue between them. The basis, activities and relationships that connect these artists come not only from their surrealist past but also from the exile they share; nevertheless, their interactions challenge their connection as a group. Their artworks communicate with each other and their exile is our starting point in order to analyse the reception of these works. Is there an inherent poetry of the exile in the work of these artists? We will answer this question by studying their common representations and by observing their strong influence in Latin American art and literature from the second half of the 20th century.

Este trabalho propõe uma leitura da poesia amorosa de Murilo Mendes, buscando no recorte temático um ponto de vista de onde se podem observar os aspectos mais constitutivos da obra do autor A mulher é o grande campo artístico do homem, afirmou o poeta, propondo ele mesmo essa relação. Parte-se da constatação de que em sua trajetória convivem visões antagônicas do amor e da mulher: a inspiração surrealista propõe uma concepção amorosa que visa à vida pública e à emancipação feminina, enquanto a visão de mundo católica subordina o amor ao desenvolvimento espiritual, muitas vezes reduzindo a mulher a uma categoria. Essa contradição, investigada principalmente em poemas de A poesia em pânico (1936-1937) e As metamorfoses (1938-1941), torna possível discutir uma das mais problemáticas e decisivas questões da obra muriliana a combinação entre surrealismo e catolicismo. Defende-se a hipótese de que as contradições surgidas dessa conciliação de opostos vão sendo superadas à medida que se desenvolve uma nova concepção de história, flagrada em composições de Mundo enigma (1942) e Poesia liberdade (1943-1945) que confrontam de modo novo mundo público e poesia pessoal. De um ponto de vista que se quer ao mesmo tempo diacrônico (porque considera a trajetória) e sincrônico (porque procura delimitar concepções específicas do amor e da mulher), buscam-se as razões para que o lirismo amoroso se concentre em poemas escritos nas décadas de 1930 e 1940, já que Murilo Mendes produziu pelo menos de 1925 a 1974. / This thesis presents a reading of the love poetry of Murilo Mendes, searching in the thematic study a point of view from where we notice the aspects most constituent of the authors work Woman is the great artistic field of man, claims the poet, himself proposing this relation. We start by the finding that antagonistic visions of love and woman coexist in his poetry: the surrealist inspiration corresponds to a conception of love aiming at public life and feminine emancipation, while the catholic world vision subordinates love to the spiritual development, many times reducing woman to a category. This contradiction, mainly investigated in poems of A poesia em pânico (1936-1937) and As metamorfoses (1938-1941), makes possible to discuss one of the most problematic and decisive matters of the Murilos work the combination between surrealism and Catholicism. We defend the hypothesis that the contradictions aroused from this opposing conciliation are being surpassed as a new conception of history is developed as we perceive in compositions of Mundo enigma (1942) and Poesia liberdade (1943-1945) in which historical world and lyric poetry have new relation. From a point of view that we want at the same time diachronic (trajectory considered) and synchronic (searching to delimit specific conceptions of love and woman), we chase reasons why amorous lyricism is concentrated in poems written in the decades of 1930 and 1940, since Murilo Mendes produced at least from 1925 to 1974.

Este trabalho propõe uma análise da viagem do artista francês Antonin Artaud ao México no ano de 1936. Por meio das correspondências e dos textos de Artaud produzidos neste país, pretende-se problematizar a sua concepção sobre a Revolução Mexicana e sobre os seus desdobramentos políticos e culturais durante os anos 1930, as suas ideias sobre as culturas indígenas e a sua relação com a realidade artística-intelectual mexicana. Parte-se da premissa de que o olhar de Artaud para o México foi formado por um ambiente intelectual e artístico marcado pelo Surrealismo, por um sentimento de crise da civilização europeia e por uma busca por formas de vida mais integradas entre o homem, a natureza e a arte. Artaud chega ao México em fevereiro de 1936 e permanece no país durante oito meses. Segundo suas próprias palavras, fora em busca do que ele denominaria de esoterismo mexicano o único que se apóia ainda sobre o sangue e a magnificência de uma terra cuja magia só os imitadores fanatizados da Europa podem ignorar. Durante a estadia, antes de ir à terra dos Tarahumaras, proferiu conferências na Escola Nacional Preparatória e escreveu artigos em jornais mexicanos a respeito do teatro europeu, do teatro mexicano, do movimento surrealista francês, das suas expectativas com relação à cultura indígena mexicana e da sua busca existencial como artista. No entanto, a sua visita ao México se dá justamente no período pós-revolucionário, durante o polêmico e marcante governo de Lázaro Cárdenas, no qual há uma radicalização da querela entre os artistas denominados universalistas e aqueles conhecidos como nacionalistas. Os primeiros, ao defenderem uma arte moderna e universal, preconizavam a arte europeia como matriz aspecto que Artaud repudiava e os segundos, ao afirmarem uma arte nacional, pura, utilizavam-se da cultura indígena como elemento unificador da nação, mas sem o respeito pela magia e pelo esoterismo indígena que Artaud tanto pregava. Daí as hipóteses para a falta de repercussão sobre o artista francês durante a sua permanência no país. Artaud também projetou sobre o México percepções que ele nutria a respeito do teatro. Idealizador do chamado Teatro da Crueldade, Artaud reconheceu no ritual do peyote praticado pelos índios tarahumaras no México uma vivência que se aproximava do seu projeto teatral / This work proposes an analysis about the Mexico trip realized by the French artist Antonin Artaud in 1936. With Artauds correspondences and texts written in this country, it intends to discuss his conception about Mexican revolution and its political and cultural results during the 1930s years, his ideas about the Indian cultures and his relation with the Mexican artistic intellectual reality. We have the premise that Artauds look to México was formed by an intellectual and artistic surrounding marked for the Surrealism, by an European civilizations crisis feeling and by a search for lifes forms more integrated between man, nature and arts. Artaud arrived in México in February of 1936 and stayed in the country during eight months. With his own words, he was searching for what he called by Mexican esoterism the only one that still rest on the blood and the magnificent of a land whose magic only the fanatics imitators from Europe can ignore. During his permanence, before going to Tarahumaras land, Artaud was the speaker for conferences in the National Preparatory School and wrote articles for the Mexican newspapers about the European theatre, the Mexican theatre, the French surrealist movement and his Mexican Indian culture expectation. He also wrote about his own experience about his existential search as an artist. However, his Mexico visit had been done in the post-revolutionary period, during the polemic and notorious Lázaro Cárdenas government, when there was a radicalization of the debate between the artists known as universalists and other as nationalists. The first ones, when defended a modern and universal art, commended the European art as matrix aspect repudiated by Artaud and the second ones, when asseverated a national art, pure, had utilized the Indian culture like nations unifier element, but without the respect for the magic and for the Indian esoterism that Artaud always had been preached. These aspects could integrate the hypothesis that explains the lack of repercussion about the French artist during his stay in the country. Artaud also projected in Mexico the perceptions that he created about the theatre. The artist was the idealizer of the Cruelty Theatre, and he recognized in the Peyotes ceremony practiced by the Tarahumaras Indians in Mexico an environment close to his theatrical project

Made available in DSpace on 2016-03-15T19:45:35Z (GMT). No. of bitstreams: 1 Marinice Argenta2.pdf: 736406 bytes, checksum: 67a3d76d27b6c8f9365698497a7d60ee (MD5) Previous issue date: 2007-02-02 / Fundo Mackenzie de Pesquisa / This dissertation analyzes three literary aesthetics: symbolism, surrealism, and "fantastic , willing to point out the dialogue established among them. The spoken dialogue can be evidenced not exclusively when the same thematic is applied, but also when some resources are (re)used and (re)meant. Both of them bring new ways of looking and interpreting the world. In order to observe how the aesthetic-philosophical features can be easily taken from literary texts, at the end of each chapter there will be an examination of a poem concerning the aesthetics studied. That will be the moment to check on the way the meaning effects generated from the specific features are made up in the text. By the comparison between the three literary aesthetics, not only ways to create the artistic object will be discovered, and consequently new ways of thinking, as well as the manner some contact points among the aesthetics, will be presented. / Esta dissertação analisa três estéticas literárias: simbolismo, surrealismo e fantástico, com a intenção de mostrar o diálogo que elas estabelecem entre si, quer mediante a retomada de certas temáticas, quer em virtude da presença de recursos que são (re)elaborados e (re)significados. Ambos os expedientes são portadores privilegiados de expressão de novas perspectivas de olhar e de interpretar o mundo. Para observar como os traços estético-filosóficos podem ser facilmente depreendidos dos textos literários, examina-se, ao final de cada capítulo, um poema relativo à estética estudada, momento em que se oferece a oportunidade de observar os efeitos de sentido que os aludidos recursos criam nas malhas do texto. Do cotejo entre as três manifestações literárias, descobrem-se não apenas maneiras diferentes de criação do objeto artístico e, por extensão, de novos direcionamentos do pensamento humano, como também se lêem pontos de contato entre as estéticas apresentadas.

Submitted by admin tede (tede@pucgoias.edu.br) on 2018-05-03T17:38:00Z No. of bitstreams: 1 LUZIA MARINA KELLER MORLÓC.pdf: 1016921 bytes, checksum: 2504f0c853714e214114d37c647a31a6 (MD5) / Made available in DSpace on 2018-05-03T17:38:01Z (GMT). No. of bitstreams: 1 LUZIA MARINA KELLER MORLÓC.pdf: 1016921 bytes, checksum: 2504f0c853714e214114d37c647a31a6 (MD5) Previous issue date: 2018-02-22 / This research aims at reanalyzing an interpretative analysis between Edival Lourenço 's work Centopeia de Neon and some paintings of avant - garde dadaist and surrealist currents based on the aesthetic currents of humor, laughter and irony. The choice to make a comparative study between the novel Centopeia de Neon by Edival Lourenço and some paintings selected from the cutting edge of Dadaism and Surrealism was due to the fact that these arts present similarities and establish intertextual relations between the fields of work. As well as the emphasis attributed to works as a means of breaking with traditional art forms. The current Dadaist vanguard brings features such as: the critique of capitalism and consumption; the emphasis on the absurd and the themes and contents that deny the formal logic, with a strong pessimistic and ironic character, mainly in relation to political events. In this way, we propose a cultural and social dialogue between the two specific types of artistic manifestations Painting and Literature. / Esta pesquisa tem como escopo realizar uma analise interpretativa entre a obra A Centopeia de Neon, de Edival Lourenço e algumas pinturas das correntes vanguardistas dadaísta e surrealista tendo como base teórica as correntes estéticas do humor, do riso e da ironia. A escolha por fazer um estudo comparativo entre o romance A Centopeia de Neon, de Edival Lourenço e algumas pinturas selecionadas/retiradas das correntes de vanguarda Dadaísmo e Surrealismo se deu por essas artes apresentarem semelhanças e estabelecerem relações intertextuais entre os campos de trabalho. Assim como o destaque atribuído às obras como meio de ruptura com as formas de arte tradicionais. A corrente de vanguarda Dadaísta traz características tais como: a crítica ao capitalismo e ao consumo; a ênfase no absurdo e nos temas e conteúdos que negam a lógica formal, com um forte caráter pessimista e irônico, principalmente com relação aos acontecimentos políticos. Deste modo, propomos um diálogo cultural e social entre os dois tipos específicos de manifestações artísticas Pintura e Literatura.

Este trabalho propõe-se à reorganização e releitura de textos benjaminianos que se referem direta ou indiretamente à questão da percepção. Objetiva levar à maturação e sistematização de elementos para uma teoria da percepção benjaminiana que se encontra dispersa em alguns de seus diversos estudos. Aborda o conceito de percepção colocando-o em situação constelacional com outros conceitos como Estética, comentário, critica, percepção ótica, percepção tátil. Discute sobre o conceito de percepção em alguns momentos da tradição filosófica. Reflete sobre os regimes escópicos da modernidade. E discute sobre a compreensão benjaminiana da percepção como leitura. Aborda uma questão fundamental no pensamento benjaminiano sobre os meios audiovisuais que é o conceito de aura. Intenta situar os termos da discussão controversa sobre o declínio da aura e discorre sobre a forma de percepção que predominaria na recepção cinematográfica: a percepção de choque. Avalia a legibilidade da cidade, através de uma reflexão sobre a flânerie e a visão surrealista, entendidas como práticas sociais inspiradoras da original reflexão de Benjamin sobre a percepção. / The present thesis aims to show the result of Walter Benjamins theory of perception texts organization edited in several publishing. Thus, the general concept of perception is divided into other concepts such as Aesthetics, Comment, Criticism, optical perception and Philosophical perception, presenting the scopic regimes of modernity. Besides, it highlights Benjamins concept of perception meaning the same as reading. It also covers a fundamental subject in his thoughts on visual arts: the aura concept. In addition to these aspects, this thesis has the intention to spot not only the claim about the decline of aura, but also the way of perception that predominates in the movies reception: the shock perception. Finally, it evaluates the legibility of city through a reflection on flânerie and the surrealistic vision seen as social practices which inspired Benjamin original reflection on perception.

Studiens syfte är att genom semiotisk analysmetod och fototeori, om fotografiet som medium, försöka tolka David Lynchs fotografiska bildspråk i en motivanalys av två fotografier ur The Factory Photographs. Om upplevelsen av dessa fotografier kan förändras genom resonemang hämtade från främst filosoferna Roland Barthes och Susan Sontag. Detta berör teoretiskt begrepp som punctum, men även riktningen surrealism inom konst. Resultatet ska utmynna i alternativa innebörder åt fotografierna vid sidan av dess dokumentära uttryck.

The purpose of this paper is to explore specific works that I have created as it relates to digital art and design. My works include abstract, organic objects that exist within surrealistic environments. First, I explain the dynamics of the imagery that has emerged from my career in broadcast television, my coursework in the Department of Art and Design at East Tennessee State University, and the works of fantasy, surreal, and abstract artists. In conclusion, the images discussed impose an idea of abstraction and surrealism with a sense of force, motion, life, and dynamic action.

The artist discusses the work for his Masters of Fine Arts exhibition, Mind under Matter, held at the Tipton Gallery in downtown Johnson City, Tennessee. Exhibition dates are from March 27th through April 5th 2017. ‘Matter under Mind’ explores the balance of control and non-control within the art-making process. This technique creates an automatic dialogue resulting in abstraction guided by the subconscious. The title ‘Matter under Mind’ is a slight play on the phrase ‘mind over matter’ emphasizing how matter/material is manipulated by the mind through the making of artwork, and within the mind’s eye or imagination. The video installation featuring the work is accompanied by a soundscape to bring the viewer deeper into the creative process. The video symbolizes the idea of ‘solve et coagula’ or, dissolve and coagulate, destroy to recreate by revealing how the process of cleaning paint off of a surface creates artwork in itself.

La poète et artiste anglo-américaine Mina Loy (1882-1966) resta longtemps une figure marginale dans le canon moderniste. Adoptant une double approche poéticienne et culturelle, cette thèse étudie son esthétique hybride qui crée toujours une tension irrésolue entre des éléments disparates. Bien qu’influencée par le symbolisme, le décadentisme, le futurisme, l’imagisme, le dadaïsme et le surréalisme, Loy ne s’inscrit complètement dans aucun de ces mouvements, introduisant une tension entre plusieurs modernismes par ce changement constant de paradigme esthétique. On peut comprendre le projet artistique de Loy comme un atlas des turbulents phénomènes artistiques de son temps, qui trace des itinéraires entre des esthétiques disparates, voire opposées, cartographiant une constellation moderniste en pleine formation. La notion de constellation s’avère ainsi particulièrement fructueuse pour penser à la fois les dialogues artistiques modernistes et la dynamique formelle du poème en vers libre. En outre, on peut aborder l’oscillation permanente de son idiome entre le futur et le passé, l’avant-garde et l’obsolète, par le prisme de l’« image dialectique » définie par Walter Benjamin: « Une image [...] est ce en quoi l’Autrefois rencontre le Maintenant dans un éclair pour former une constellation ». L’oeuvre de Loy cherche à développer un « idiome météorique », qui reste brièvement en orbite autour d’une constellation artistique et s’approprie son esthétique pour rebondir ensuite dans une direction différente. L’enjeu de ce travail est d’explorer la dynamique de cette errance géographique, culturelle et artistique en quête d’une voix poétique hybride et polyphonique, qui résonne dans des cadres esthétiques multiples. / For a long time, the Anglo-American poet and artist Mina Loy remained marginal to the modernist canon.Adopting a twofold poetic and cultural approach, this dissertation focuses on her hybrid aesthetics whichcreates an unresolved tension between disparate elements. Although influenced by Symbolism,Decadence, Futurism, Imagism, Dada, and Surrealism, Loy’s work fully fits in none of these movements,introducing a tension between different modernisms through a constant shift of the aesthetic paradigm.One can understand Loy’s artistic project as an atlas of the turbulent artistic phenomena of her time,which traces itineraries between disparate and even opposed aesthetics, mapping a modernist constellationin the making. The notion of constellation thus becomes particularly far-reaching in thinking both aboutthe modernist artistic dialogues and about the formal dynamics of the free verse poem. The permanentoscillation of Loy’s idiom between the future and the past, the avant-garde and the obsolete, may betackled through Walter Benjamin’s definition of the “dialectical image”: “image is that wherein what hasbeen comes together in a flash with the now to form a constellation.” Loy’s oeuvre works towarddeveloping a “meteoric idiom,” which briefly revolves around each constellation before bouncing off in adifferent direction, introducing an ironic relativity between different loci, forms, and programs ofmodernist activity. This dissertation focuses on the dynamic of this roaming through modernist forms insearch of a unique, “polyharmonic” poetic voice which would resonate within multiple aestheticframeworks.