Orientadores: Ivanir Cozeniosque Silva, Luise Weiss / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T09:47:48Z (GMT). No. of bitstreams: 1 Corsi_Elaine_D.pdf: 17162843 bytes, checksum: df48535e45fb01fc5a9580823102aff8 (MD5) Previous issue date: 2013 / Resumo: Neste trabalho faço um estudo prático e teórico sobre minha produção artística em xilogravura, que tem como tema Os Sete Pecados Capitais. Trago para a discussão desta produção em xilogravura questões como o gênero grotesco, fatos marcantes da história da ilustração e ilustradores importantes como Oswaldo Goeldi, Rubem Grilo, Gilvan Samico, e ilustrações de cordelistas. Apresento minhas afinidades gráficas, não só pela linguagem - a gravura - como também pela temática. Incluo minhas ilustrações realizadas para livros, contos e CD e coloco a discussão sobre a produção de obras híbridas - neste caso a mistura de processos considerados arcaicos e novas tecnologias - que ocorreram durante o período, bem como a realização de um livro de artista / Abstract: In this thesis I present a practical and theoretic study on my xylographic artistic production having the Seven Deadly Sins, also known as the Capital Vices or Cardinal Sins as a theme, putting into discussion questions as the grotesque, illustration history remarkable facts and relevant illustrators as Oswaldo Goeldi, Rubem Grilo, Gilvan Samico and some Cordel illustrators. I introduce my artistic graphical affinities, not only in media/artistic language/artistic way of expression - the engraving - but also in the thematic. I also include my illustrations for books, short stories and CDs and the discussion on hybrid art work production - meaning the process mixing of antique and new technologies - that occurs during this period and also an Artist Book elaboration / Doutorado / Artes Visuais / Doutora em Artes

The novel in study , The Conqueror by Almeida Faria, presents the search for the individual knowledge of the contemporary Portuguese man. The personage Sebastião, perturbed for singularities that seem to distance him of the others, pretend to organize his way through of the narration of all his life s phases. He begin with his origin relate, to do a relation of the significative loving relationships for the history construction and closed the text with his exile, return at origin place to think about his identity. The identity crisis, experienced for the personage, is based in his constant relation with the historic personage D. Sebastião and in the his necessity of to be different or to accept him how a special or predestinate creature. Respected at the mito sebastianista presaged to king return, Sebastião represents the inside out hero, the double inverse of the historic personage. This image, that symbolize the messianic belief negation, is built through of a ironic and parodystic language. This analysis emphasize how the speech main element the utilization of the grotesque method, that can to be noted in the textual transcription of the iconography epigraphs, in his dreams and in his uncommon sexuality. There are a displacement provoked for this aspects narrative that transfigure the personage in a contradictory creature: representative of the Portuguese aspirations and hopes and concrete symbol of the disillusion and of the failed expectancy of redemption, hard reality of the post-revolutionary moment in Portugal. In this manner, the personage described by Almeida Faria provoke a reflection that confront the past, introduction of the mito sebastianista , and the present, the Portuguese identity front the uncertain contemporary reality. / A obra em estudo, O Conquistador de Almeida Faria, apresenta a busca pelo conhecimento individual do homem português contemporâneo. A personagem Sebastião, perturbada pelas singularidades que parecem distanciá-la dos seres que a cerca, pretende organizar o seu percurso através da narração de todas as fases de sua vida. Inicia com o relato de seu nascimento, relaciona todos os envolvimentos amorosos significativos para a construção da história e fecha o texto com o seu retiro, retorno ao local onde nasceu para pensar sobre sua identidade. A crise identitária, vivida pela personagem, fundamenta-se na sua constante relação com a personagem histórica D. Sebastião e na necessidade que esta apresenta de diferenciar-se ou aceitar-se como um ser especial ou predestinado. Em relação ao que o mito sebástico predissera para o retorno do rei, Sebastião representa o anti-herói, o duplo inverso da personagem histórica. Essa imagem que simboliza a negação na crença messiânica é construída a através de uma linguagem irônica e parodística. Essa análise destaca como elemento principal e desestruturador do discurso a utilização do estilo grotesco, o qual pode ser notado de forma específica na transcrição textual das epígrafes iconográficas, nos sonhos da personagem e na sua incomum sexualidade. Há um estranhamento provocado pela narrativa dos fatos que constituem os três aspectos acima destacados que transfigura a personagem em um ser contraditório: representante das aspirações e esperanças portuguesas e símbolo concreto da desilusão e da fracassada expectativa de redenção, crua realidade do momento pós-revolucionário em Portugal. Dessa forma, a personagem descrita por Almeida Faria provoca uma reflexão que confronta o passado, inserção do mito sebastianista, e o presente, a identidade do ser português frente à incerta realidade contemporânea.

Sans souci de chronologie ou de catégories, cette recherche aborde les œuvres d’art sous la focale du grotesque, révélant une traversée de l’intime à l’universel qui les habite. Ceci débute par un franchissement au-delà du sens, pris dans l’espace du langage et de ses déterminismes. Le grotesque apporte par la contradiction systématique et le déplacement sémantique, une échappée. L’œuvre d’art fonctionne à partir et au-delà de cette illusion du sens à créer du commun, à travers l’anecdote. Une vigilance au « faire » plastique révèle les puissances qui travaillent le corps de l’artiste et mettent en jeu rythme, retournement et instant, où au-delà du visible s’articule l’apparaître, où la création se décrit comme un engagement vital vers ce point d’impossible autour duquel se décide le trait de pinceau, l’acte d’inscription. Dans cette compréhension, l’œuvre d’art est un surplus de fonctionnement, une coupure de la réalité qui origine l’histoire. Des réflexions psychanalytiques approfondissent l’enjeu de cette inscription, qui par le phénomène du transfert réactive la subtilité du processus d’identification. Ceci ouvre le rythme éthique où il est question de place occupée, d’une alternance vie, mort, dont le corps porte la dette séculaire comme sentiment archétypal du vivre ensemble. Ce processus de l’identification réactivé, relance le sujet face à son manque à être, castré, mortel, pris dans ce cycle de temporalité qui le précède et l’excède, face à ce grand Autre, ce « au moins un » qui y échappe.Voici une réflexion temporelle sur le poids du symbolique qui inconsciemment et indépendamment du pathologique peuple nos images et crée ce partage de l’intime à l’universel. / Without regard to chronology or category, this research addresses the Art under the lens of the ludicrousness, revealing a crossing of intimacy to the universal that inhabits them. This starts with a crossing beyond the senses, taken in the space of language and its determinants. Ludicrousness brings the systematic contradiction and movement semantic, a breakaway. The Art works from and beyond the illusion of the senses to create the common, through the story. Vigilance to the "do" plastic reveals the powers that work on the artist's body and involve rhythm, reversal and instant, where beyond the visible articulated the show, where the creation is described as a vital commitment to this point of impossible around which decides the brush stroke, the act of register. In this understanding, the artwork is an operating surplus, a break from reality which origin the story. Psychoanalytic reflections deepen the stake of this registration, which the transference phenomenon reactive the subtlety of the process of identification. This opens up the ethical pace, where it comes to the space occupied, an alternation of life, death, whose body bears the secular debt as archetypal sense of living together. This process of identification reactivated revives the subject facing its lack of being, castrated, fateful, caught in this cycle of temporality that precedes and exceeds him, face to this big Other, this "at least one" that escapes. Here's a temporal thought on the significance of symbolism which people our images unconsciously and independently of the pathological and create this sharing of intimacy to the universal.

The contemporary photographer, Joel-Peter Witkin, has described his remaking of some of the most iconic paintings in the history of art as a “divine revolt”. However, there are no attempts to unravel the meaning of this project nor to analyse the visual changes that Witkin has made. This thesis argues that Witkin's re-creations serve to subvert the negation or diminishment of ugliness in art history's depictions of the mystical, and to present the experience of ugliness as alternatively inherently Godly. Through engaging in the problems in philosophical aesthetics, it contrasts the notions “aesthetically ugly” (a quality that cannot be objectively identified and studied because it ascribes aesthetic non-worth) with the “ugly aesthetic”, which refers to the “perceptive-felt” experience of an object. By integrating descriptions of this experience of the ugly aesthetic with those of the early development stage of the “psychoanalytic pre-symbolic”, it provides heuristics with which to identify perceptual identifiers ugly objects, ugly worlds and the expression of ugly feelings in mystical invocations of paintings of three chosen art historical periods and Witkin's recreations. In his reconstructing of the heavenly realms given Renaissance paintings of Leda and the Swan (1510-1515) and The Birth of Venus (1485), Witkin makes a “pre-symbolic” space with ugly objects to present a contrary vision of an ugly dwelling place for God. In amending the Catholic Baroque's Little Fur (1638) and the Protestant Baroque's Still Life of Game, Fish, Fruit and Kitchen Utensils (1646), the artist replaces mystical feelings that imbue scenes of ugly objects with an expression of ugly feelings themselves, thereby guiding the viewer into a full immersion into these objects the real site of Godly experience instead. This theoretical formulation and its application to the works at hand, evidence that Witkin's work points to the mystical power of the ugly aesthetic to unleash a personal and collective memory of Godly reality as ontologically formless and mysterious, and thereby makes a case for ugliness' value.

This thesis investigates how two novels by Dennis Cooper, Closer and Frisk, conceive of queer sexuality as transgressing heteronormative notions of moral standards, and how they challenge these by elevating their subject matters to an excessive degree. Drawing on the concepts of the grotesque and the Gothic, this thesis explores the aesthetics of Closer and Frisk, focusing in particular on the way corporeality figures as a central aspect of how these texts explore the ways in which the body becomes a site for Cooper’s discourses of transgression. Furthermore, drawing on Lee Edelman’s notion of the queer subject as inherently opposed to the value of every social form and structure, it is argued that the adverse representations of Cooper’s subjects work to add to this oppositionality. Thus, this thesis investigates how the queer expressions of desire in the texts are inextricable from the aberrant imagery of the body; the body as Gothically grotesque in the novels provides ways to configure alternative ways of conceptualizing the queer body and investigate its ties to transgression.

In this thesis I will analyze and discuss the work of renowned director Jan Švankmajer. Specifically, I will examine how director Jan Švankmajer’s representation of the body creates a metaphorical language. In addition, I will address what meaning can be gathered from, or made apparent through the commentary of the body’s language and discuss the significance of the socio-political implications. Prior to my discussion of Švankmajer’s work I will give a concise socio-political history of the Czech Republic from 1968-1994; this discussion will provide a framework for the subsequent analyses. In order to provide support for my argument, I will discuss the relationship between Švankmajer’s work and Michael Foucault’s theory of the “body politic”, Patrick Fuery’s theory of the “cinematized body” and Mikhail Bakhtin’s theory of the image of the grotesque body. After discussing the implication of these theories I will discuss three of Švankmajer’s films in order to specifically address the ability of the grotesque body to subvert discourses of power and how the socio-cultural environment has an impact on Švankmajer’s choice of body representation. The films I discuss include Dimensions of Dialogue (1982), Food (1992) and Faust (1994)

This project uses digital technology to interpret the human body as a malleable material for the development of sculptural and textile-based design. Mikhail Bakhtin’s definition of the grotesque human body lays the conceptual groundwork for using the human body as an interactive tool, that co-shapes itself with digital technology as an extension. The technology has been given agency to affect the creative outcome, rather than treating it as a means to an end. By 3D scanning the designer’s own body, and manipulating photographic documentation of it, through algorithmic interpretations, the morpho- logical transformations of the designer’s body, in multiple realities, were investigated while reflecting on its influence on self-perception. The investigated methods resulted in alternative bodily structures carved in polystyrene, and dressed in hybrid materials of transfer-printed textiles and bio-plastic. The design outcomes suggests a design method wherein agency is given to digital technology which allows for exploring unexpected ways of perceiving the human body.

It is well-known that Kafka had a great fascination with the possibilities and transience of the physical body, as evidenced in his various literary works. Using the theory of "the uncanny", The essay interprets and investigates how and what Kafka writes about others' bodies, as well as his own. It turns out that women's appearances are observed and commented on by Kafka to a greater extent than men. Primarily, these descriptions take on grotesque and absurd characteristics, sometimes with an element of fascination. Regarding Kafka's own body, it primarily evokes a sense of disgust in what the author sees. Linked to the essay's theory of "the uncanny”, it becomes evident throughout (clearly, in) his observations that Kafka experiences a feeling of the aforementioned "uncanny". As a conclusion to the essay, the potential of diaries used in an educational context (the classroom) is highlighted, as well as how students can benefit from reading and working with diaries to acquire skills and abilities. / <p>Slutgiltigt godkännandedatum: 2023-05-31</p>

The young men in The Boys’ Republic live in a world that is continually falling apart. Their houses collapse into sinkholes, forest fires carve out chunks of their towns, plague spreads through their communes, the money runs out on the construction project where they work. This decay mirrors their own collapsing identities, as they are forced to question their mastery of nature, their nostalgia for their youth, their relationships with others, and the value of masculinity itself. Drawing on the work of writers like Dennis Cooper, Flannery O’Connor, and Benjamin Percy, The Boys’ Republic depicts men in the midst of both an economic and an emotional recession. Some, like Carson in Hotel or Zachary in Ignus Fatuus, are trapped in their decaying suburbs by youth, poverty, or habit. Others, like Jared in Corona Radiata or Nick in The Boy’s Republic, have fled or been ejected from them. Either way, they are haunted by them, and by the selfish, insecure, destructive behavior that they learned there. The Boys’ Republic is about boys confronting their own selfishness, and each other’s, in a world that can no longer accommodate it but offers no easy replacement

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