Através de uma percepção interdisciplinar, a pesquisa apresenta um quadro de contribuição para a teoria da arquitetura contemporânea que analisa relações entre conceitos, processos e representações. O trabalho investiga processos de projeto presentes na arquitetura contemporânea a partir da assimilação de três conceitos-chave: 1) diagrama, 2) dobra e 3) parâmetro; e as correspondentes traduções na arquitetura, através dos discursos e práticas de arquitetos. A pesquisa insere-se no âmbito da teoria e crítica do projeto de arquitetura e o recorte histórico está situado entre a década de 1970 até o momento, examinando as expressões projetuais e teorias de arquitetos como Peter Eisenman, Greg Lynn, Patrik Schumacher (Zaha Hadid and partners), entre outros. O problema da pesquisa é identificar de que modo o caráter conceitual experimentado pelos processos de projeto no primeiro período do recorte diagrama -, passou a intermediar uma base teórica paralela ao avanço do uso digital dobra e se modificou, no terceiro período, para enfatizar discursivamente os processos e a manipulação formal permitida pelas técnicas e tecnologias digitais avançadas parâmetro. Os objetivos são compreender os elementos dessa transição, traçar paralelismos e diferenças entre os processos, compreendendo que a história desses entrelaçamentos não é linear e cumulativa, mas atravessada por recorrências e reapropriações. Os autores foram escolhidos devido a sua produção teórica e inserção no debate internacional para os temas escolhidos, por compartilharem a absorção de teorias advindas do pós-estruturalismo de base filosófica - principalmente de Gilles Deleuze -, além de estabelecerem uma atividade projetual de caráter experimental, que permitiu à pesquisa a análise de diversos estudos de caso. / Through an interdisciplinary perception, the research presents a contribution framework for the theory of contemporary architecture that examines some relations between concepts, processes and representations. The work investigates design processes present in contemporary architecture from the assimilation of three key concepts: 1) diagram 2) fold and 3) parameter; and corresponding translations in architecture through the discourses and practices of architects. The research falls within the sphere of the theory and criticism of architecture design and the historical period is set between the 1970s up to now, examining the projective expressions and theories of architects such as Peter Eisenman, Greg Lynn, Patrik Schumacher (Zaha Hadid and partners), among others. The problem of research is to identify how the conceptual nature experienced by design processes in the first period of study - diagram - began to intermediate a parallel theoretical basis for the advancement of digital use - fold - and changed in a third period to emphasize discursively processes and formal manipulation allowed by the technical and advanced digital technologies - parameter. The objectives are understand the elements of this transition, draw parallels and differences between the processes, understanding that the history of these entanglements is not linear and cumulative, but crossed by recurrences and reappropriations. The authors were chosen due to their theoretical production and insertion in the international debate on the topics chosen, for sharing the assimilation of theories stemming from the philosophical basis of post-structuralism - especially from Gilles Deleuze - as well as established a design activity of experimental features, which allowed the analysis of several case studies.

In this dissertation, I examine the temporal and material connections between component parts of hybrid artworks, specifically between live events / acts of performance and the long-lasting sculptural elements that those events / performances produce. I propose a re-orientation of the temporal gaze of performance art history, from one oriented to the past to one focused on the continually unfolding present. Such a re-orientation requires a nonlinear approach to art making that complicates set boundaries of past and present, liveness and record, and presence and absence, and disrupts in potentially corrective ways our historically normative systems of looking, categorizing, and archiving art. Through a transfeminist analysis that prioritizes multiplicity rather than categorization, I consider elements of liveness in relation to subjectivity and agency, paying attention to their effect on the works’ ongoing reception and classification in archiving systems. I examine three elements of liveness as maintained through indexicality: action, endurance, and presence. Each of these elements has been historically associated with live art but not with static objects; each has been considered only in the past tense after the initial performance has ended. Using definitions of indexicality, nonlinearity, and agency as starting points, I examine how performance-based artworks connect the performance and subjectivity of the artist across time. This project loosely takes the form of three case studies of hybrid art practices by contemporary artists: Kate Gilmore, Mary Coble, and Cassils.

This thesis paper explores some of the cultural phenomena that influence my conceptual framework and describes the logic behind the formal decision-making that defines my work. Beginning with a description of the nature of the materials and environments I appropriate, this thesis aims to deconstruct the layered system of binaries that build the logic behind my work. The concerns in my work circulate around domestic consumption and the objects detritus, a term coined in the paper, that are produced as a result. However, rather than allow the objects detritus to remain cast-aways of a culture of excess, my work reincorporates these objects as materials in conglomerate sculptures. This thesis depicts the complex of ideas that help delegate how these conglomerate works come into being.

As far as the writer could find in her reading no one has ever written a finished study of this phase of Music, Art, and Literature. Of course, there are hints of it here and there in many books, but in no one in particular was a detailed study given. Paul Landormy’s book, A History of Music, seemed to carry the heart of the subject, however, in an extremely miniature style. When we think of French music, our minds are generally centered in Paris, for it is here that the greatest organizations have been sponsored, and the important musical ideas have been developed, representing France as a whole. In 1870 no one had a lighter heritage than French musicians; for the past had been forgotten, and such a thing as real musical education did not exist. The musical weakness of that time was a very curious thing, and has given many people the impression that France has never been a musical nation. Historically speaking, nothing could be more wrong. Certainly there are races more gifted than others; but often the seeming differences of races are really the difference of time; anda nation appears great or little in its art according to the particular period of its history we consider. Perhaps the impression that France was not a musical nation was incurred by the fact that for nearly a century before Debussy’s time. French music had practically no national character. Naturally, Claude Debussy did not complete the task of nationalizing French music alone. This nationalization was a surging of ideas that had been forming for thirty years or more before his time, and to which the greatest musical intellects had contributed. However, none has attacked the problem of a truly French musical spirit with more outstanding proofs and a more clear-visioned conscience than Debussy.

This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.

Made available in DSpace on 2016-04-28T19:59:00Z (GMT). No. of bitstreams: 1 LCL - Debora Betania de Santana.pdf: 193181 bytes, checksum: 4c1406b1dbff36954314754bbe4f3191 (MD5) Previous issue date: 2006-10-03 / The purpose of this research was to study the use of the chronicle in the history of Brazilian literature and also the different facets of irony in the chronicles of Luís Fernando Verissimo. The origin of chronicle and the theory about it as a literary genre is also studied. Besides, we discuss the opinion of some literature critics - Portella, Antonio Candido and Arrigucci - on this genre, showing how adpated it is to Brazil. We remark the hybrid form and irony in the chronicle as its main features. We referred to Socrates and some theorists such as Mucke and Hutcheon to understand the origins and the evolution of the use of irony in literature. Luís Fernando Veríssimo s chronicles were used in this study because he is a contemporary chronicist who makes use of ironic language to portray modern society with its ambiguity and indetermination / O objetivo deste trabalho foi estudar a função da crônica na história da literatura brasileira e também as diferentes faces da ironia presentes nos textos cronísticos de Luís Fernando Verissimo. Estudamos a origem e a teorização do gênero crônica. Exploramos, ainda, a opinião de alguns críticos literários Portella, Antonio Candido, Arrigucci sobre este gênero, mostrando como ele está bem adaptado ao Brasil. Ressaltamos a hibridização e a ironia como suas principais características. Recorremos a Sócrates e alguns teóricos, como Mucke, Hutcheon, para entender as origens e a evolução do uso da ironia na literatura. O escritor Luís Fernando Verissimo serviu de corpus para a pesquisa por ser um cronista contemporâneo, que utiliza uma linguagem irônica para retratar a sociedade moderna com suas ambigüidades e indeterminações

Made available in DSpace on 2014-07-29T16:29:28Z (GMT). No. of bitstreams: 1 FLAVIO PEREIRA CAMARGO.pdf: 1480039 bytes, checksum: 36569b5479da5d28b954010a35fed89b (MD5) Previous issue date: 2012-08-24 / In our research, we propose initially to rescue some of the current trends of contemporary Brazilian prose fiction in order to introduce the reader to some of its main lines of force, especially a metafictional narrative, produced in the late twentieth century and early twenty-first century. To accomplish this bibliographical study, we chose to divide it into two parts. In the first part, entitled A narrativa brasileira contemporânea, comprising two chapters, we have made some considerations about the concept of contemporary literature, as we did a rescue of the critical reception of Brazilian literature produced in recent decades, followed by an extensive discussion on the issues constituent of metafictional narrative. In the second part, titled A encenação do fazer literário na prosa de ficção brasileira contemporânea, we propose to effectively analyze narrative and discursive strategies employed by Sérgio Sant'Anna, Antonio Fernando Borges and Rubem Fonseca in the preparation of his metafictional novels, respectively: Um crime delicado (1997), Braz, Quincas & Cia (2002), e Diário de um fescenino (2003), dedicating to each of these works a specific chapter in which we seek to highlight the discursive and narrative strategies employed by the authors in the construction process and elaboration of his novels, in order to explain the different manifestations of the contemporary metafictional narrative. / Em nossa pesquisa, nos propomos, inicialmente, a resgatar algumas das tendências da prosa de ficção brasileira contemporânea com o objetivo de apresentar ao leitor algumas de suas principais linhas de força, com destaque para a narrativa metaficcional, produzida no final do século XX e início do século XXI. Para realizar esse estudo de cunho bibliográfico, optamos por dividi-lo em duas partes. Na primeira parte, intitulada A narrativa brasileira contemporânea, composta por dois capítulos, tecemos algumas considerações acerca do conceito de contemporâneo em literatura, assim como faremos um resgate da recepção crítica da literatura brasileira produzida nas últimas décadas, seguido de uma ampla discussão sobre os aspectos constitutivos da narrativa metaficcional. Na segunda parte, intitulada A encenação do fazer literário na prosa de ficção brasileira contemporânea, nos propomos a analisar efetivamente as estratégias narrativas e discursivas empregadas por Sérgio Sant Anna, Antonio Fernando Borges e Rubem Fonseca na elaboração de seus romances metaficcionais, respectivamente: Um crime delicado (1997), Braz, Quincas & Cia (2002), e Diário de um fescenino (2003), dedicando a cada uma dessas obras um capítulo específico nos quais procuramos evidenciar as estratégias narrativas e discursivas empregadas pelos autores no processo de construção e de elaboração de seus romances, de modo a explicitar as distintas manifestações da narrativa metaficcional na contemporaneidade.

Writings in support of my visual thesis, including some background, and bibliographic information: Oregon/Death/Animation/Vocation and the artist as an agent of potential.

Time is my bully. Time marks the start of something, as well as the end. We are all carrying out the inexorable passing of time as it relates to our impending mortalities. I do not fear death. The awareness of my body’s impermanence employs me to feel that much more connected to the vessel containing that of which I am. But what am I? Am I my body- or is it much deeper? Through the work executed during my graduate research, I have attempted to quantify my existence through the archiving my time and body. This document ushers you through my perception, my relationship to nature, and how it manifests through discovering answers to what I believe it means to be human.

The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to the use of Nature against queer people in most legal systems across the planet. We are deemed unnatural and made criminals through inequitable semantics. The 8x10 negative becomes a portrait, a darkroom contact print that is gifted to each of The Wild Beasts, an intimate artifact of my gratitude. At these borders I lash at the histories of oppression, remaking these lineages and tools into spaces for empathy, tenderness, and love.