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Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia PlathNader, Myrna January 2010 (has links)
This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
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Fotografia: conversa com imagens, entre a luz as trevas / Photography: conversation with pictures, between light and darknessSoldera, Dânia 30 June 2014 (has links)
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Previous issue date: 2014-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The research entitled Photography: conversation with pictures, between light and
darkness, aims to answer the question : What are the ways of seeing and how are
they given? Thus, the proposal is to discuss what is the seeing and what are the
ways of seeing, especially regarding images, and propose new possibilities to
perceive and relate to the images. The look of blind photographers artists Teco
Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts,
notes, contextualizing and question the oculocentrista beliefs that the world thinks
the imagery as belonging only to the visionaries. The theoretical foundation is rooted
in the study of the visual culture to think that corroborate the view, photography and
reflection of visually impaired people enabled by the field, and discuss issues such
as image, its production and some possible ways of seeing and relating to the
images. The photograph is placed on debate to advance the reflection on the ways
of seeing, perceiving, thinking and create the view beyond. And think the description
and language as articulators for the visually impaired relationship with photography
and images in general way. When entering the world of language, translation
emerges as a possibility to reflect on ways of building the images for the visually
impaired. The structure of the thinking process of the seeing, perceive and relate to
the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor
proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser,
entering the field of visual culture studies. The field research, observation and data
collection was performed with a group of visually impaired and bachelors in travel
photography Visual Literacy extension, Senac - SP, where students learn how to
shoot and handle the camera, doing exercises to increase awareness, perception
and imaging, as well as discussion and reflection on the photographic and image
production. Research indicates, among other issues, that the seeing is not
something unique of the eye and that it is built from the experiences, experiments,
and especially the perceptions coming from the senses. The view is a construction
that relies on vision, and is completed in sensations, memories and imagination.
Seeking to expand the discussion on the ways of seeing, are listed the reports,
processes and photographic works of Lelo Araújo, Ana Domingues and grandson
Josiah. Analysis and interpretations that cover the production of these blind
photographers are not woven, since the purpose of the research is to reflect upon
the possibilities of seeing in its wealth of forms and manifestations, thus increasing
the knowledge about the image. / A pesquisa intitulada Fotografia: conversa com imagens, entre a luz e as trevas, tem
por objetivo responder à questão: O que é e como se dão os modos de ver? Desse
modo, a proposta é problematizar o que é o ver e os modos de ver, principalmente
no tocante às imagens fotográficas, e propor novas possibilidades para perceber e
relacionar-se com as imagens. O olhar dos artistas fotógrafos cegos Teco Barbero,
Pete Eckert e Evgen Bavcar é o ponto de partida para articular conceituações,
apontamentos, problematizações equestionar a convicção oculocentrista que pensa
o mundo imagético como pertencente apenas aos videntes. A fundamentação
teórica tem raízes nos estudos da cultura visual que corroboram para pensar o ver,
a fotografia e a reflexão dos deficientes visuais viabilizada pelo campo, e discutir
questões como imagem, sua produção e alguns possíveis modos de ver e se
relacionar com as imagens. A fotografia é colocada em debate para avançar nas
reflexões referentes aos modos de ver, perceber, criar e pensar o ver que vai além.
E pensa a descrição e a língua como elementos articuladores para a relação dos
deficientes visuais com a fotografia e imagens de modo geral. Ao adentrar no
universo da língua, a tradução surge como possibilidade para refletir sobre os
modos de construção das imagens fotográficas pelos deficientes visuais. A
estruturação desse processo de pensar o ver, perceber e se relacionar com as
imagens, é tecida a partir da poética do 'ver', 'rever' e 'transver', metáfora proposta
por Manoel de Barros. Apoia-se também, nas possibilidades da tradução, de Vilém
Flusser, adentrando o campo de estudos da cultura visual. Apesquisa de campo,
observação e coleta de dados foi realizada com um grupo formado por deficientes
visuais e bacharéis em fotografia do curso de extensão Alfabetização Visual,
SENAC-SP, onde os alunos aprendem a fotografar e manusear a câmera, fazem
exercícios de sensibilização, percepção e criação de imagens, além de debates e
reflexões sobre a produção fotográfica e imagética. A investigação aponta, dentre
outras questões, que o ver não é algo exclusivo do olho e que ele é construído a
partir das vivências, experiências e, principalmente, das percepções oriundas dos
sentidos. O ver é uma construção que se apoia na visão, e que se completa nas
sensações, memórias e imaginação. Buscando ampliar a discussão sobre os modos
de ver são apresentados os relatos, processos e trabalhos fotográficos de Lelo
Araújo, Ana Domingues e Josias Neto. Análises e interpretações que abarquem a
produção destes fotógrafos cegos não são tecidas, pois o intuito da pesquisa é
refletir a respeito das possibilidades do ver em sua riqueza de formas e
manifestações, com isso, ampliar o conhecimento sobre a imagem.
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Modos de ver a iconosfera da arquitetura colonial goiana: cultura visual e processos de mediação na construção de sentidos / On ways of seeing the icons of the colonial architecture of Goiás, visual culture and processes of mediation in construct meaningsNascimento, Gledson Rodrigues do 26 March 2018 (has links)
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Previous issue date: 2018-03-26 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Our objective in this work is to develop an investigation on the ways of seeing the icons
of the colonial architecture of Goiás, through processes of mediation between the images
produced by us in the historical center of the City of Goiás, and the historiographic visual
sources that also report inhabiting in Pirenópolis. The images were produced during our
exploratory walks through the colonial street, the historical monuments, the squares and
the wide ones of the city of Goiás. As for the city of Pirenópolis, the work was more in
charge of the visual sources found in the consulted historiography, that also shows the
urbanism Portuguese and their respective characteristics. We believe that the structures
used to conduct this research provide both the reader and the researcher with greater
ownership of the proposed theme. Thus, initially, we present a conceptual, theoretical and
methodological approach, so that soon after, we are embarked by the universe of
historiographical images and contextualizations. Following, we present reports about the
local Iconsphere, amidst an immersive experience in the historical center of the city, where
we identify some buildings in the process of decharacterization and others in a state of
ruins in an advanced stage of dilution. However, this architecture and urbanism implanted
in the eighteenth century, provide constructions of understandings from the transit of the
gaze, revealing nuances that were sedimented with studies in the field of Visual Art and
Culture. Particularly with regard to Image Culture and Mediation Processes that marked
our eyes towards the Arraial de Sant 'Anna, the Vila Boa, and the City of Goiás, as well
as, about the old Half Bridge and the way to live in full XIX century. To a certain extent,
these settlements and villages mark the paths of this research, on a way of seeing the
colonial architecture of Goiás, through processes of mediation, enabled to construct
meanings, from images. / Nosso objetivo neste trabalho é desenvolver uma investigação sobre os modos de ver a
iconosfera da arquitetura colonial goiana, através de processos de mediação entre as
imagens por nós produzidas no centro histórico da Cidade de Goiás, e as fontes visuais
historiográficas que também relatam o habitar em Pirenópolis. As imagens foram
produzidas durante nossas caminhadas exploratórias pelo arruamento colonial, os
monumentos históricos, as praças e largos da cidade de Goiás. Quanto à cidade de
Pirenópolis, o trabalho ficou mais a cargo das fontes visuais encontradas na historiografia
consultada, que também mostra o urbanismo português e suas respectivas
características. Acreditamos que as estruturas utilizadas para conduzir essa pesquisa
proporcionam, tanto ao leitor quanto ao pesquisador, uma maior apropriação sobre a
temática proposta. Assim, inicialmente, apresentamos uma abordagem conceitual,
teórica e metodológica, para, logo em seguida, nos embrenhamos pelo universo de
imagens e contextualizações historiográficas. Na sequência, apresentamos relatos sobre
a iconosfera local, em meio a uma experiência imersiva no centro histórico da cidade,
onde identificamos algumas construções em processo de descaracterização e outras em
estado de ruínas em avançado estágio de diluição. No entanto, essa arquitetura e o
urbanismo implantados ainda no século XVIII, proporcionam construções de
entendimentos a partir do trânsito do olhar, revelando nuances que foram se
sedimentando com os estudos no campo da Arte e Cultura Visual. Sobretudo no que se
refere a Cultura da Imagem e Processos de Mediação que marcaram nosso olhar para o
Arraial de Sant’ Anna, a Vila Boa, e a Cidade de Goiás, assim como, sobre a antiga Meia
Ponte e o modo de habitar em pleno século XIX. De certa forma, esses arraiais e vilas,
marcam os percursos dessa pesquisa, sobre um modo de ver a arquitetura colonial
goiana, através de processos de mediação, facultados à construção de sentidos, a partir
de imagens.
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Krajina jako způsob vidění a její kritika / Landscape As a Way of Seeing and Its CritiquePátek, Filip January 2019 (has links)
This diploma thesis deals with landscape as a way of seeing, its critique and its defense. The thesis will initially focus on the presentation of the critical concept of ways of seeing by English art critic and writer John Berger. On the basis of this, the thesis will move to the exploration of the critical concepts of landscape and landscape painting by British humanistic cultural geographer Denis E. Cosgrove and American visual theorist and philosopher W. J. T. Mitchell. Subsequently, it will also deal with the relationship of these concepts to the concept of landscape by English historian and art historian Simon Schama. Cosgrove and Mitchell both deal in a similar way with the critical reflection of the idea of landscape in terms of postmodern and postcolonial criticism. Both authors are influenced by Berger's concept and claim that our aesthetic perception of landscape is not a natural vision, but an acquired, historically created way of seeing. This way of seeing then raises a number of questions in relation to the traditional conception of landscape aesthetics and can lead to a rethinking of traditional concepts such as aesthetic attitude, psychical distance or the idea of disinterested pleasure. Opposite to it, the thesis intends to present an optimistic concept of landscape by Schama. The...
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