Made available in DSpace on 2016-04-28T20:38:00Z (GMT). No. of bitstreams: 1 Fabiano Massarro Salvador.pdf: 1293848 bytes, checksum: 395d3d892b74d358404a6d6b5413bfaa (MD5) Previous issue date: 2011-12-02 / The questioning which takes course throughout the pages of this work is: What could there be of such great impact in Auto-de-Fé? In the process of the present work, Elias Canetti‟s novel provoked many doubts, reflections and problems; we realized that this author‟s work is involved by many problematics. In order to analyze his work, it was necessary to trail another path besides that of Psychoanalysis. The undertaking, in this sense, was made up of the historical analysis of different cultural periods, specially German ones. I thus ventured into the origin of the German Romantic Period, its history and main artists. Analyzing this movement, I noticed that it is very interesting and rich, principally for having been a time that served as stimulus to Freud. Even so, I realized that the journey would be incomplete if I focused only on Romantism. The questions of beautiful and sublime give space to other themes, more subjective ones, which are strange to the being. I believed it would be important to establish an interface with the Expressionist Movement, in which madness and the esthetics concerning the body would be quite different. The body, in the Expressionist movement, brought forth the marks of a shattered subjectivity. These choices were made with an aim to promote a wide reflection about the historical context in which Auto-de-Fé was imagined and developed by Canetti. This work was created when the austro-germanic culture was, in a certain way, expiring. The lights of the Austro-Hungarian Empire were beginning to die out, the Weimar Republic was a caricature of power encarnation. The growing antissemitism in Eastern European countries, with the uprising of the German National Socialist Party, already antecipating the sinister aspects to come, the Viennese nihilism showing that the Austrian society was sunk in obsolete values concerning man, art and society, and also the gathering of important arts names at this notable period. This and other factors led us to the conclusion that tha analysis of madness, of which Peter Kien will be a victim in Auto-de-Fé, is a sad metaphor of what was to come. Understanding the nearly prophetical aspect of Canetti‟s words would only be possible if we had as a guide the pages of German cultural history, a culture marked by the sign of dualism / O questionamento que irá se desenrolar nas páginas deste trabalho é: O que haveria de tão impactante na obra Auto-de-Fé? No decurso da confecção do trabalho, o romance de Elias Canetti suscitou muitas dúvidas, reflexões e problemas, e percebemos que as problemáticas que envolvem essa obra são inúmeras. Para analisarmos a obra de Elias Canetti, fez-se necessário percorrer outro caminho que não somente o da psicanálise. A empreitada, neste aspecto, foi sendo construída por meio de análises históricas de diferentes períodos culturais, predominantemente germânicos. Para tanto me detive nas raízes do Movimento Romântico Alemão, sua história e seus principais nomes. Analisando este movimento, notei como ele era interessante e rico, sobretudo por ser uma época que serviu de estímulo a Freud. Mesmo assim, percebi que o caminho ficaria incompleto se permanecesse somente no âmbito do Romantismo. As questões acerca do belo e sublime vão dando espaço para outras temáticas, questões mais subjetivas, estranhas ao ser. Acreditei que seria importante fazer uma interface com o Movimento Expressionista, onde a loucura e a estética acerca do corpo seriam bastante distintas. O corpo no Expressionismo traria as marcas de uma subjetividade em cacos. Essas escolhas foram feitas com o intuito de promover uma reflexão ampla acerca do contexto histórico em que a obra foi pensada e confeccionada por Canetti. Auto-de-Fé foi construída num contexto em que a cultura austrogermânica estava de alguma maneira fenecendo. As luzes do Império Austro-Húngaro começavam a bruxulear, a República de Weimar era uma caricatura da encarnação dos poderes. O antissemitismo crescente nos países do leste europeu, com a ascensão do Partido Nacional Socialista Alemão, já antecipando aspectos sinistros, o niilismo vienense mostrando como a sociedade austríaca estava imersa em valores obsoletos no que dizia respeito ao homem, arte e sociedade, e também a aglomeração de nomes desta notável época no que concerne as artes. Estes e outros fatores levaram-nos à conclusão de que a análise da loucura da qual Peter Kien será vítima em Auto-de-Fé é uma metáfora triste daquilo que estava por vir. Entender o caráter quase profético das palavras de Elias Canetti só seria possível, tendo como eixo norteador as páginas da história da cultura germânica, uma cultura marcada pelo signo da dualidade

A la charnière des XIXe et XXe siècles, Berta Zuckerkandl (1864-1945), salonnière et journaliste autrichienne, participa activement à établir des échanges artistiques, culturels et politiques entre la France et l'Empire austro-hongrois. Alors que ses liens familiaux avec Georges Clemenceau lui permirent d'entrer en contact avec les artistes et intellectuels parisiens qu'il fréquentait - Rodin, Carrière, Raffelli, Geffroy..., son salon rassemblait à Vienne quelques-uns des acteurs emblématiques de la Wiener Moderne - Bahr, Klimt, Wagner, Mahler...-, formant le noyau d'un vaste réseau social européen. Porte-parole de la Sécession viennoise, Zuckerkandl s'imposa également comme l'une des critiques d'art les plus productives de son temps, guidant les artistes et initiant le public à l'art moderne, en s'appuyant sur les initiatives françaises pour orienter le développement de l'art. Cette étude vise ainsi à mettre en lumière son rôle dans la dynamique des échanges artistiques entre Vienne et Paris. Elle apporte d'abord des éléments biographiques éclairant la place privilégiée de Zuckerkandl à la rencontre des cultures française et autrichienne. Elle montre ensuite son implication au sein des cercles artistiques autrichiens et offre une analyse détaillée d'un corpus d'écrits sur l'art moderne. Elle expose enfin les résultats de ses interventions en faveur de la promotion des artistes français et de la réception de leurs oeuvres en Autriche, mettant en lumière les objectifs artistiques, culturels et politiques poursuivis par Zuckerkandl, décidé à préserver la culture autrichienne à l'épreuve de la guerre et de la chute de l'Empire austro-hongrois. / At the end of the 19th and beginning of the 20th century, Berta Zuckerkandl (1864-1945), Austrian salonnière and journalist, engaged actively in artistic, cultural and political exchanges between France and the Austro-Hungarian Empire. Being on familiar terms with Georges Clemenceau gave her the opportunity to exchange ideas with artists and intellectuals in Paris, including Rodin, Carriere, Raffaelli, and Geffroy. Her salon in Vienna gathered some of the most pioneering personalities of the Wiener Moderne...- Bahr, Klimt, Wagner, Mahler...- and thus formed the centre of a vast social network within Europe. Being a spokeswoman of the Vienna Secession, Zuckerkandl established herself as one of the most active contemporary art critics. She guided artists and introduced the public into modern art by drawing on French initiatives to influence the art's development. The present study thus aims at highlighting her role in the dynamic artistic exchange between Vienna and Paris. It will first present Zuckerkandl's biography in order to draw attention to her privileged position in the exchange of the French and Austrian cultures. Secondly, it will show her impact on artistic Austrian groups and provide a detailed analysis of a corpus of selected documents dealing with modern art. It will finally discuss her interventions in favour of French artists and the reception of their works in Austria by highlighting the artistic, cultural and political aims pursued by Zuckerkandl, who was determined to preserve the Austrian culture despite the war and the collapse of the Austro-Hungarian Empire.