Made available in DSpace on 2016-04-27T17:27:10Z (GMT). No. of bitstreams: 1 Marcela Costa Lima Kuhn.pdf: 427250 bytes, checksum: de426ae47fa069d54c50570f93512ca5 (MD5) Previous issue date: 2015-03-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This Master's thesis intends to understand Alfred Döblin's novel Berlin Alexanderplatz through Walter Benjamin's critic analysis. In order to do so, it will scrutinize the concepts of novel, experience, montage, choc and epic thought by both authors, and also by their main influences, namely, Lukács and Brecht. The aspects of the montage on the actual novel will be deeply considered, mainly because Benjamin points out in an essay about Döblin's novel, named Krisis des Romans that the montage is one of the most relevant aspects the novel delivers to German literature on the Weimar republic period. It will also be presented the changes the Grosstadt shapes into the 20th century subjects and therefore into the novels they write and read, in particular, Berlin Alexanderplatz. And finally, an investigation regarding the political relations between both authors / Esta dissertação de mestrado pretende compreender o romance de Alfred Döblin, Berlin Alexanderplatz, através da análise crítica de Walter Benjamin. Para tanto, serão escrutinados os conceitos de romance, experiência, montagem, choque e épica elaborados por ambos os autores e também por suas principais influências, nomeadamente, Lukács e Brecht. Os aspectos da montagem no romance Berlin Alexanderplatz serão considerados em pormenores, principalmente por que Benjamin indica, em um ensaio sobre o romance de Döblin chamado Krisis des Romans , que a montagem é um dos aspectos mais relevantes que o romance à literatura alemã no período que compreende a República de Weimar. Também serão apresentadas a mudanças que a Grosstadt traz aos sujeitos do século XX e por consequência às novelas que estes leem e escrevem, em especial, Berlin Alexanderplatz. E finalmente, será feita uma investigação acerca das relações políticas de ambos autores

Made available in DSpace on 2016-04-25T20:19:59Z (GMT). No. of bitstreams: 1 Jose Joao Name.pdf: 43545230 bytes, checksum: 93f414005c68b2c4bc1d2e5f02c05515 (MD5) Previous issue date: 2010-12-06 / Street photography or urban photography, in terms of photographic style, historically results not only from a new instrumentalization made available by technological progress in the first half of the XIXth century, but also, and above all, from social and psychological conditions which started to reign in that period. This new way of representing the objective world brought innovative particularities like the combination of elements such as mental image, double, objective traces and aura in one perception object: photography. Such particularities are found in the concept of photogeny, one of the denominations given to the charm of photographic images, which is examined here based on Edgar Morin s studies. The analysis of the concept of photogeny leads us, in search of precursors, to the idea of aura in Walter Benjamin s writings, showing intersections which are particularly interesting and elucidative of both concepts. In Walter Benjamin s reflections are included phenomena such as crowd, shock and flâneur upon which are based our own reflections on the conditions which caused changes in the perception, receptiveness and response of the growing stimuli resulting from new ways of coexistence and mobility in the metropolis. Another approach related to the charm, the aura and the temporality of the photography, such as the temporal punctum, is integrated into these previous concepts and analyzed with the concept of photogeny. Thus, the purpose of this dissertation is the constitution of a more embracing corpus enabling the understanding of the complexity of the photographic phenomenon. The metropolis, object of the urban photographer, through its physiognomy, plays a major role in this dissertation, showing itself, like on a photograph, as a psychophysical mechanism whose charm dwells in the indistinguishable relation between the objective world and the imaginary / A fotografia de rua ou fotografia urbana, enquanto estilo fotográfico, decorre historicamente não apenas de uma nova instrumentalização proporcionada pelos avanços tecnológicos que se iniciaram na primeira metade do século XIX, mas, sobretudo, das condições sociais que vigoraram a partir desse período. Esse novo meio de representação do mundo objetivo trouxe consigo particularidades inovadoras, como a combinação de imagem mental, duplo, vestígios e aura em um objeto de percepção: a fotografia. Essas particularidades encontram uma confluência no conceito de fotogenia, uma das denominações atribuídas ao encanto das imagens fotográficas, que, aqui, é trabalhado tomando por base a trabalho de Edgar Morin. A análise do conceito de fotogenia remete-nos, na busca por precursores, à noção de aura em Walter Benjamin e apresenta interseções particularmente interessantes e elucidativas para ambos os conceitos. Nas reflexões deste último autor, que incluem os fenômenos da multidão, do choque, do flâneur, baseiam-se nossas análises sobre as condições que provocaram alterações na percepção, receptividade e resposta aos estímulos crescentes originados pelas novas formas de convivência e mobilidade na metrópole. Outra abordagem relacionada ao encanto, a aura e a temporalidade na fotografia, como o punctum temporal, é integrada às concepções anteriores e analisada em conjunto com a concepção de fotogenia. Dessa forma, o objetivo desta dissertação é constituir um corpus mais abrangente que dê conta da complexidade do fenômeno fotográfico. A metrópole, objeto do fotógrafo urbano, através da sua fisionomia e fisiognomia, ocupa um papel central nesta dissertação, revelando-se, como em uma fotografia, um mecanismo psicofísico, cujo encanto possui a sua base na relação indistinguível entre o mundo objetivo e o imaginário

Made available in DSpace on 2016-04-26T14:52:49Z (GMT). No. of bitstreams: 1 Jose Joao Name.pdf: 43545230 bytes, checksum: 93f414005c68b2c4bc1d2e5f02c05515 (MD5) Previous issue date: 2010-12-06 / Street photography or urban photography, in terms of photographic style, historically results not only from a new instrumentalization made available by technological progress in the first half of the XIXth century, but also, and above all, from social and psychological conditions which started to reign in that period. This new way of representing the objective world brought innovative particularities like the combination of elements such as mental image, double, objective traces and aura in one perception object: photography. Such particularities are found in the concept of photogeny, one of the denominations given to the charm of photographic images, which is examined here based on Edgar Morin s studies. The analysis of the concept of photogeny leads us, in search of precursors, to the idea of aura in Walter Benjamin s writings, showing intersections which are particularly interesting and elucidative of both concepts. In Walter Benjamin s reflections are included phenomena such as crowd, shock and flâneur upon which are based our own reflections on the conditions which caused changes in the perception, receptiveness and response of the growing stimuli resulting from new ways of coexistence and mobility in the metropolis. Another approach related to the charm, the aura and the temporality of the photography, such as the temporal punctum, is integrated into these previous concepts and analyzed with the concept of photogeny. Thus, the purpose of this dissertation is the constitution of a more embracing corpus enabling the understanding of the complexity of the photographic phenomenon. The metropolis, object of the urban photographer, through its physiognomy, plays a major role in this dissertation, showing itself, like on a photograph, as a psychophysical mechanism whose charm dwells in the indistinguishable relation between the objective world and the imaginary / A fotografia de rua ou fotografia urbana, enquanto estilo fotográfico, decorre historicamente não apenas de uma nova instrumentalização proporcionada pelos avanços tecnológicos que se iniciaram na primeira metade do século XIX, mas, sobretudo, das condições sociais que vigoraram a partir desse período. Esse novo meio de representação do mundo objetivo trouxe consigo particularidades inovadoras, como a combinação de imagem mental, duplo, vestígios e aura em um objeto de percepção: a fotografia. Essas particularidades encontram uma confluência no conceito de fotogenia, uma das denominações atribuídas ao encanto das imagens fotográficas, que, aqui, é trabalhado tomando por base a trabalho de Edgar Morin. A análise do conceito de fotogenia remete-nos, na busca por precursores, à noção de aura em Walter Benjamin e apresenta interseções particularmente interessantes e elucidativas para ambos os conceitos. Nas reflexões deste último autor, que incluem os fenômenos da multidão, do choque, do flâneur, baseiam-se nossas análises sobre as condições que provocaram alterações na percepção, receptividade e resposta aos estímulos crescentes originados pelas novas formas de convivência e mobilidade na metrópole. Outra abordagem relacionada ao encanto, a aura e a temporalidade na fotografia, como o punctum temporal, é integrada às concepções anteriores e analisada em conjunto com a concepção de fotogenia. Dessa forma, o objetivo desta dissertação é constituir um corpus mais abrangente que dê conta da complexidade do fenômeno fotográfico. A metrópole, objeto do fotógrafo urbano, através da sua fisionomia e fisiognomia, ocupa um papel central nesta dissertação, revelando-se, como em uma fotografia, um mecanismo psicofísico, cujo encanto possui a sua base na relação indistinguível entre o mundo objetivo e o imaginário

Análise e interpretação do conto \"Cara-de-Bronze\", escrito por João Guimarães Rosa. Esta obra sintetiza a idéia que o autor tem da poesia, marcada pela extensa tradição de escritos dedicados ao estudo de Saturno e da melancolia. O confronto dessa tradição, a partir da leitura que lhe deu Walter Benjamin, com o conto, descortina aspectos enigmáticos da narrativa, e revela elementos fundamentais da concepção de mundo do autor, importantes para a literatura, a critica literária e a filosofia da arte. / Analysis and interpretation of the short story \"Cara-de-Bronze\" (\"Bronze Face\"), written by João Guimarães Rosa. This work synthesizes the idea the author has towards poetry, remarked by the long tradition of writings dedicated to the study of Saturn and of melancholy. The confront of such tradition, based on the reading by Walter Benjamin, with the short story, unveils enigmatic aspects of the narrative, and reveals essential elements of the author\'s conception of the world, important for literature, literary criticism and the philosophy of art.

En partant et en s'appuyant sur l’approche de Walter Benjamin et la question d’aura dans l’œuvre cinématographique, cette thèse se propose d'analyser deux films tunisiens, «Les silences du palais" de M. Tletli et "Baba Aziz" de N. Khmir. Le choix d'un tel corpus repose sur des exigences auratiques dans le mode d'appréhension des deux cinéastes, notamment dans leurs approches esthétiques, explorant tous les systèmes formels dans un ordre sensible où reigne le visible et le sonore dans une parfaite harmonie. En tenant compte des aspects formels des deux films, l'on a essayé de les décomposer à travers les différentes séquences où l'on a noté que ces analyses sont sensiblement orientées par l’adaptation du concept de «l'aura» dans un sens de mise en jeu entre absence/présence. Nous proposons une relecture que nous espérons originale, mettant les deux films à l’épreuve de nouveaux égards. Au fond, les analyses dans ce travail ont pour objectif de voir dans quelle mesure la question auratique dicte la mise en scène des deux cinéastes du corpus, malgré les exigences techniques et artistiques qu'impose la praxis filmique. Aussi, il est bien question de montrer la pluralité des codes auratiques et l’importance de déchiffrement dans l'approche analytique de la séquence cinématographique. / Based on Benjamin Walter‘s approach and the question of aura in cinematographic works, this thesis aims at analyzing two Tunisian films “the Silences of the Palace” directed by M. Tletli and “Baba Aziz” by N. Khmir. The selection of the two films stems from an aura of expectations within the two filmmakers’ apprehension and more specifically their aesthetic approaches which explore in a sensitive manner all the formal systems, and where the visual and acoustics reign in perfect harmony. Taking into account the formal aspects of these two films, a thorough analysis of different sequences where the question of aura is identified and the issue of presence and absence is brought into play. This new reading is hopefully to be original for further considerations. Indeed the aim of this work is to see how far the question of aura within the two filmmakers predetermines direction in spite of the technical and artistic requirements dictated by filmmaking. It is also of paramount importance to show the different aura codes and the decoding strategy in the analytical approach of cinematographic sequences.

No description available.

The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts. / The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.

This project charts the emergence of the Cuban Theatre of the Absurd, or teatro del absurdo, over the course of the 1940s, 50s, and 60s, its suppression by the revolutionary government, and its revival during the "Special Period" of the 1990s. Rather than understand the category as either an extension of the European Theatre of the Absurd, or as the invention of scholars intent on exporting such a schematic to Latin America, the Cuban teatro del absurdo should be recognized as a material phenomenon that evolved organically within the Havana theatre community, proposed a historically specific Cuban absurd as its object of representation, and assumed great ideological importance within the cultural and political landscape of the time. Its chief pioneer and practitioner was Virgilio Piñera, while José Triana and Antón Arrufat produced foundational absurdist works of the post-revolutionary period. Their plays and critical essays affirm the teatro del absurdo as a site of edification for audiences because of the anti-ideological nature of the works performed, and the authority these performances bestow on spectators as meaning creators. Because the teatro del absurdo opened conceptual space for difference in reception, while also operating as a cosmopolitan margin where European influences were incorporated within plays that spoke to the absurdity of Cuba's socio-political reality, it posed a threat to the univocal ideological control of the revolutionary government. The absurdo's resonance during the Special Period and within contemporary Cuban theatre is a testament to its enduring viability as a dynamic form that allows multiple truths and voices to be heard. Chapter one of the study explores the critical archive surrounding both the European Theatre of the Absurd and the Theatre of the Absurd in Latin America and Cuba. It argues that, rather than discard the category as imperfect or perpetuate a paradigm that privileges text over performance, critics should account for its unique ideological currency within the specific context of pre and post-revolutionary Cuba by tracking the material extension of the term and the works subsumed by it within Havana's theatre and performance archive. Chapter two investigates the historical basis of the Cuban absurdo, localizable in the concept of choteo, and maps the concept's valence in the context of 19th century teatro bufo as well as Piñera's early theatre of the 1940s and 50s. Chapter three considers the role of the teatro del absurdo in post-revolutionary Cuba by examining works by Piñera, Triana and Arrufat in conjunction with their critical essays of the time, in order to capture the political significance of the genre as a zone of dissidence and opposition to the total system of the revolution. Chapter four tracks the revival of the teatro del absurdo as a source of endurance during the privation of the Special Period of the 1990s. The re-emergence of voices like Piñera's signaled a return to a past of provocation and confrontation in order to generate a future in which space for difference would be preserved. / text

Nous examinons d'abord les aspects de la souveraineté politique sur la scène shakespearienne. À la lumière des analyses consacrées par Walter Benjamin au drame baroque, en 1928, et de la réaction de Carl Schmitt dans Hamlet ou Hécube (1956), nous montrons que Shakespeare met en scène la mortalité des corps politiques et la souveraineté nouvelle de l'intrigant dans le temps terrestre. Sommé de maîtriser l'art et le tempo de l'intrigue, le Prince est néanmoins impuissant à empêcher la décomposition de l'État. En prenant appui sur le drame élisabéthain, notamment sur le vertige mélancolique et sceptique d'Hamlet, nous interrogeons alors l'effort contemporain en vue de l'ordre et de la synchronisation dans la cité. La théorie hobbesienne de la représentation politique et juridique moderne rompt avec la conception mystique de l'unité politique et toute écriture inspirée des lois, tandis que la scène civile y est dédiée à la paix du commerce entre les individus afin de garantir les conditions d'une autonomie réelle dans la sphère privée. Réciproquement, cette autonomie doit pérenniser les solutions à la mélancolie et au scepticisme conceptualisées dans Léviathan. Tout en entérinant la tragédie de l'existence humaine et de tout savoir déjà mise en scène par Shakespeare, Léviathan évite d'emblée l'exaltation schmittienne ainsi que la violence " pure " logée, selon Benjamin, dans l'état d'exception de la subjectivité. À travers les spectres qui, chez Hobbes, n'ont plus droit de cité, la scène shakespearienne défait cependant les mécanismes de l'ordre et de la synchronisation continus, cela sans congédier le droit ni le projet de l'autonomie.

Le sentiment de l'Histoire dans l'oeuvre de Pier Paolo Pasolini : une poétique en prise avec le temps. Pier Paolo Pasolini a entretenu des rapports complexes et chaotiques avec l'Histoire. C'est à partir d'un texte intitulé Le sentiment de l'histoire dont il est l'auteur que notre travail de recherche est né. C'est ce rapport qu'il s'agira de comprendre, car, nous semble-t-il, c'est de ce corps à corps avec l'histoire que se love la production artistique du cinéaste. En découpant le corpus pasolinien en trois grands axes, nous verrons d'abord comment son sentiment de l'histoire est vécu sous le mode d'un retour à un temps pré-historique ; puis comment l'antique vient hanter le contemporain et enfin comment " il dopo storia " ce temps dénoncé par Pier Paolo Pasolini dès la moitié des années soixante a effacé tous les spectres du passé, provoquant ainsi l'homologation la plus atroce : celle des corps et des chairs, modifiant par là même notre rapport à la réalité. Pasolini serait alors l'ange de l'histoire (Angelus Novus) si bien décrit par Walter Benjamin, annonçant avec une exactitude glaçante ce que le XXIème siècle est devenu. Un ange qui agit à la fois pour son temps et contre son temps afin de permettre l'émergence des spectres de l'histoire pour reprendre le vocabulaire de Walter Benjamin. Ces figures fantomatiques, ces lucioles pasolinniennes survivent dans notre présent et permettent ainsi de construire un agir politique en faveur de notre temps : voilà sans doute l'héritage que nous a laissé Pasolini.