Made available in DSpace on 2016-12-08T16:19:01Z (GMT). No. of bitstreams: 1 disserta.pdf: 10852661 bytes, checksum: 98356085bdcf5ff9c2caeeb5fcac4069 (MD5) Previous issue date: 2007-08-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has as a goal to think about the work of art as a complex system and, from this approach, supported by the General Theory of Systems and by the studies and principles of the complex systems, to propose a concept of obrassistema . This concept appears as an attempt to define the work of art in its systemic complexity, which transforms and modifies itself from unpredictable interferences given by the spectator and by the context in which it is located. Beyond the theoretical path that bases the notion of obrassistema , three artistic propositions are presented like cases as examples and consequences of this approach: Reunion for emergencies, (Not) Meetings and Investor. In Reunion for emergencies three different stories about three reunions that supposedly happened are presented. In each one of the narratives there was an attempt to highlight the concept of emergency, as well as the unpredictable organizational complex dynamics that redefine the reunion. In the second case, with (Not) Meetings, we refer to the experience of realizing and relating with a filtered or transformed by the use of an optical device with lens that change the watched images reality, constituting a memory based on an experience intentionally modified. This situation is presented through another story in which an event of this possibility is told and also through records of our practice accomplished using glasses with different filters during the period of our Masters Graduation Course and in other situations. The last case the Investor refers to the proposition of a device that allows the displacement of the upside down body. This proposition is presented through the narrative of a protagonist that relates with a person who lives in this condition and uses the device. In this case, possibilities of inversion are searched in a complex system / Esta pesquisa tem como objetivo refletir sobre a obra de arte como um sistema complexo e, a partir desta abordagem, apoiada na Teoria Geral dos Sistemas e nos estudos e princípios dos sistemas complexos, propor o conceito de "obrassistema". Esse conceito surge como uma tentativa de definir a obra de arte em sua complexidade sistêmica, a qual se transforma e se modifica a partir de interferências imprevisíveis dadas pelo espectador e pelo contexto ao qual se insere. Além do percurso teórico que fundamenta a noção de "obrassistema", apresentam-se três proposições artísticas em forma de "casos" como exemplificações e decorrências dessa abordagem: Reunião para emergências, (Des)Encontros e Inversor. Em Reunião para emergências são apresentadas três estórias diferentes a respeito de três reuniões supostamente acontecidas. Em cada uma das narrativas buscouse salientar o conceito de emergência, assim como as dinâmicas complexas organizacionais imprevisíveis que acabam redefinindo a reunião. No segundo caso, com (Des)Encontros, referimo-nos à experiência de perceber e se relacionar com uma realidade filtrada ou transformada pelo uso de um dispositivo ótico com lentes que modificam as imagens observadas, constituindo uma memória baseada numa experiência intencionalmente modificada. Essa situação é apresentada através de uma outra estória em que é narrado um acontecimento dessa possibilidade e também através de registros de nossa prática realizada usando óculos com filtros diferentes durante o período do nosso curso de mestrado e em outras situações. Já o último caso - o Inversor - refere-se à proposição de um dispositivo que permite o deslocamento do corpo invertido de cabeça para baixo. Essa proposição é apresentada por meio da narrativa de um protagonista que se relaciona com uma pessoa que vive nessa condição e que usa o tal dispositivo. Nesse caso, reflete-se sobre as possibilidades de inversão em um sistema complexo

L’objectif principal de ce travail est d’établir le sens attribué à la science de l’expression et de préciser comment elle est identifiée à la linguistique générale, dans l’Esthétique de Benedetto Croce. Adversaire de l’intellectualisme et du rationalisme, Croce a éprouvé au plus profond de lui-même les questions que l’homme se pose. C’est dans l’expérience du langage que l’homme expérimente la profondeur de son existence au monde. Il s’agit de l’essence du langage comprise comme expression dans laquelle l’intuition se réalise intégralement. D’où, le langage est le résultat de la création irremplaçable de chaque expression singulière. C’est le langage non répétitif et intraduisible de l’œuvre d’art. Le langage est un art, il prend son sens dans l’art et se comprend par rapport à l’art. Philosophie du langage et philosophie de l’art sont la même chose. C’est selon cette perspective que l’art pour Croce est expression. C’est l’expression de l’intuition comme faculté de la transposition esthétique qui occupe la première position de la vie de l’esprit. Il en sera différemment pour la place de l’oeuvre d’art. Débat qui se prolongera sur la question de l’art abstrait, contemporain de l’Esthétique de Croce. / The goal of my research is to establish the meaning given to the science of expression and specialy how it is identified to general linguistic, in Benedetto Croce’s Aesthetics. Against Intelectualism and rationalism, Croce felt deep inside him, the questioning of Man. It is in the experience of language that Man experiments the depth of his being to the world. The essence of language, understood as expression, is in which intuition realises itself, totaly. Therefore, language is the result of an irreplaceable creation of each single expression. It is a non repetitive and untranslatable language of the work of art. Language is art, it takes its meaning in art and is understood in regard to art. Philosophy of language and philosophy of art are alike. It is in this perspective that art for Croce is expression. It is the intuition’s expression as the faculty of aesthetic transposition that is in first position of the mind. It will be different for the work of art. This debate will continue on the question of abstract art, contemporary to the Aesthetics of Croce.

Cette recherche porte sur le bouleversement épistémologique qui affecte la littérature patrimoniale, à l’ère du numérique et du multimédia. La première partie s’intéresse à la fondation de la notion de littérature patrimoniale en France. Elle propose une revue synthétique des contextes et des discours qui ont fondé cette notion à travers le temps. Les zones de fracture et de continuité entre conceptions passées et conceptions contemporaines y sont questionnées. L’analyse aboutit au constat que conceptions émergentes et traditionnelles forment une mémoire dialogique, vive et complexe, qui innerve de ses paradoxes les archétypes fondateurs : les notions d’auteur, d’œuvre et de « bibliothèque ». La deuxième partie examine la réception contemporaine de la littérature patrimoniale, pour laquelle « la bibliothèque » est une mémoire du passé mais aussi une réserve d’œuvres à venir dans le cadre du dialogue entre les arts et les modes que les techniques contemporaines favorisent. Pour le récepteur contemporain, la bibliothèque patrimoniale est intériorisée comme une triple mémoire formée de la bibliothèque collective, de sa propre bibliothèque intérieure, d’une bibliothèque virtuelle où se régénèrent le corpus patrimonial et les discours qui l’environnent. Ce récepteur connaît et pratique la bibliothèque collective, vouée à la conservation de la mémoire collective ; il est conscient aussi de posséder une bibliothèque intérieure où s’opère pour lui une double conversion : il devient sujet lecteur et l’œuvre patrimoniale texte du lecteur. Cette double conversion créative se concrétise et se réalise effectivement dans la bibliothèque virtuelle multimodale, lieu de partage et de discours sur les œuvres qui lui permet d’entrer en conversation avec d’autres sujets-lecteurs et en contact avec d’autres communautés discursives et, dans ce cadre, de produire à la fois de nouveaux discours sur les œuvres mais aussi des œuvres secondes. On pose que l’œuvre source et ses objets seconds forment alors une sémiosphère multimodale. Comme les objets seconds multimodaux émanent de communautés diverses, la notion de sémiosphère réinterroge les hiérarchies culturelles héritées. Etre cultivé aujourd’hui, ce n’est plus seulement connaître les œuvres de la bibliothèque collective mais investir la sémiosphère. Le sujet lecteur est amené à devenir sujet récepteur multi-compétent, capable de naviguer d’une communauté de discours et de pratiques à une autre. Il se nourrit de la diversité, assure la communication productive entre les objets et les communautés dans la sémiosphère et favorise, par sa seule navigation experte, le développement de la sémiosphère, c’est-à-dire de la culture partagée. / This research is concerned with the epistemological upheavals which affect literary heritage in the digital and multimedia age. The first part of this work explores the origin of the notion of literary heritage in France. It provides a synthetic review of the contexts and discourses which have underpinned this notion through time. Present and past concepts are examined in terms of continuity and discontinuity. The analysis leads to the conclusion that both emerging and traditional understandings blend together creating a dynamic, complex and dialogical trace which through its paradoxes informs the founding archetypical notions of author, literary work and ‘library’. The second part examines the contemporary reception of literary heritage for which the ‘library’ represents not only a record of past literary works but constitutes a stock for future ones given the increasing trend by which the Arts are distributed to the public using the medium of multimedia digital technology. The contemporary receiver conceives and internalizes the literary heritage library in three ways: as a public library, as an internal library, and as a virtual library where heritage corpus and discourses about corpus are regenerated. This receiver knows and uses the public library as a place which is dedicated to the conservation of the collective memory; s/he is also conscious of possessing an internal library where a double conversion takes place: s/he becomes a « reader-subject » and the heritage literature is the reader’s text. This double creative conversion takes a concrete form in the virtual multimodal library where literature can be shared and discussed. This enables the receiver to start up a conversation with other readers and be connected with other discourse communities. Within this framework, new discourses are generated concerning mainstream literary works and their offshoots. We consider then that the original literary work and its offshoots constitute a multimodal semiosphere. As the derived multimodal objects come from different communities, the notion of semiosphere re-interrogates the cultural inherited hierarchies. Nowadays, being cultured does not consist in knowing the contents of the public library but instead involves being invested in the semiosphere. The reader is encouraged to become a multi-skilled receiver navigating from one discourse community and/or community of practice to another. S/he feeds on diversity, ensures prolific communication within the semiosphere between objects and communities and, thanks to expertise in multimedia browsing skills, s/he enhances the development of the semiosphere, i.e. the shared culture.

This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.

伊底帕斯解答斯芬克斯之謎，同時拯救了人民的恐慌，但亦使自己陷入更驚駭的悲痛之中，這表現了斯芬克斯之謎本身蘊含歧義的意義；海德格繼《存有與時間》後的重要作品〈藝術作品起源〉中提出，可以發現與展開存有整體的是藝術作品，藝術作品的起源－藝術乃是謎，此謎可為謎，筆者認為即是海德格試圖說的處在拒絕被我們穿透的情況下才得以彰顯的「大地」之說，換言之，斯芬克斯之謎與藝術之謎的歧義是來自大地本身的狀態，由此，筆者以同時交織這兩件作品中謎的意義，作為本論文獨特的創作方式，如此寫作的安排是由於，一、筆者將伊底帕斯王的故事，作為海德格所強調的「藝術作品是存有物之真理的置入」的偉大作品，來理解海德格想要努力說而又難以說的〈起源〉中大地蘊含的深層意義。二、相較於單以海德格個人作品的論述，並連結評論者對〈起源〉的闡釋，以伊底帕斯之悲劇作為真理置入其中的藝術作品，除了要以蘊含真理的作品將大地意義拉出比〈起源〉本身未說出而更為廣大的理解領域外，同時也使海德格難懂的〈起源〉更為平易近人些。三、如此，除了闡釋與理解〈起源〉之大地，同時本文亦以此方式創建與表達出使大地成為大地的實踐意義。 論文前兩章是將海德格於三十年代使用「大地」一詞的來源詳加說明，首章即是由一個故事開始說起，繼之筆者將伊底帕斯故事中分為三部曲，相應於〈起源〉中三大段落的方式進行。首先，第一部曲是伊底帕斯解答斯芬克斯之謎語，這相應於〈物與作品〉中海德格說明傳統哲學對物之為何之解答，形同為走至娶母般的悲劇之中，但卻又富含歧義的蘊義。第二部曲是伊底帕斯通過祭司之語才發現自己到底是誰的轉折，而這連繫著人與神的祭司之語即為〈起源〉中的第二大段－〈作品與真理〉中所強調的，藝術作品乃可開展出存有整體之意義，最後，當伊底帕斯自掘雙目，浪跡天涯之際，以自身生命保持著大地的無可穿透的張顯狀態，即呈現了〈真理與藝術〉中所要闡釋的此有使大地成為大地。 在論文最後一章中，除了回應評論者們對大地諸多相異的看法外，筆者說明此論文的排序是要突顯起源就是其呈現，呈現的無非就是來自起源。起源的豐沛元素就由此有所擁有的世界中呈現，換言之，此文所展開的，只是開始創建我們自身故事的序幕。 關鍵詞：Heidegger、earth、the Origin of Work of Art、Oedipus

The thesis is dedicated to a postmodern use of symbol and sign. It is based on set definitions of major terms in the fine art and maps the space between a word and a picture as well as impersonal understanding of computer-generated codes. Didactic part enables to work with symbol and sign in art education. An analytical and syntactical thinking, the knowledge of the art history and the ability of intellectual fabrication are the basic ideas of the thesis. Art works, that use multilevel symbol expressions and are formally based on a postmodern thinking, are introduced in a practical part of the thesis.

The goal of this thesis was to show the basic issues of copyright in the area of works of art with pointing out a special treatment, which is paid to these works on the basis of specific characteristics resulting from the nature of a work of art. The main specifics are immediate connection of works with its material expression. The introduction of thesis outlines the concept of copyright and its sources. It deals with main principles of copyright and an author as a person.This chapter also includes a part devoted to the subject of copyright, which is author's work, and a part devoted to characteristic features of a work of art. The following chapter is devoted to the rights of the author, which arise by creating of a work of art and subsequently during the use of the work. It contains a division of rights to the personality and property ones in which it devotes to the right to use the work of art and mainly to the right to remuneration during resale of it. The Copyright Act provides to use a work of art without authorization granted by an author and these issues are dealt with mainly in the chapter of constructive use of the works of art. The License Agreement providing the right to use a work is the basic institute in law enforcement. A properly drafted licence contract prevents possible disputes...

Estudo da possibilidade de restauro urbano da cidade patrimônio cultural. Reforça o caráter artístico da cidade, reconhece a sua materialidade através da percepção espacial, e identifica condições físicas de espaços urbanos. Discute suas transformações para a preservação. Adota, como estudo de caso, Serro (MG) reconhecendo sua natureza artística. Interpreta a teoria do restauro de Cesare Brandi focando o espaço urbano percebido, a partir da leitura da cidade antiga brasileira, através dos princípios artísticos de Camillo Sitte. Conclui que a cidade passa por transformações que podem comprometer sua condição artística, necessitando, desta forma, de ações de preservação apropriadas. / Study of possibility of the restore urban of the patrimony city. It reinforces the artistic character of the city, it recognizes your materiality through the space perception and it identifies physical conditions of urban spaces. It discusses your transformations for the preservation. The city of Serro (MG) was used as case study due its artistic nature. This study interprets the Cesare Brandi´s theory of restoration applied the urban space, and this urban space is interpreted through analysis of the brasilian old city (colonial city), according to artistic principles of Camillo Sitte. Like this we ended that the city changes and this change can to alter its artistic nature, imposing apropriate preservation action.

Esta tese investiga a Ideia e o modo como ela se realiza na obra de arte segundo a Estética de Hegel. No primeiro capítulo, o conceito de Ideia é apresentado nas três formas em que o mesmo se realiza segundo a Lógica enquanto Ciência do Conceito em Hegel. No segundo capítulo, procura-se estabelecer alguns pressupostos históricos da analogia entre belo e organismo e como esta mesma analogia pode ser reencontrada na Estética de Hegel. No terceiro capítulo, mostra-se como a ação também pode ser outra forma de interpretação e elemento estruturador da Ideia realizada na obra de arte. No quarto capítulo, apresenta-se o silogismo (e o juízo) como possível forma de explicação das diversas formas de arte. No quinto capítulo, as duas formas de realização da Ideia, enquanto vida e ação, são apresentadas como duas formas diferentes de expressão da Ideia realizadas respectivamente nas obras de arte das formas particulares de arte clássica e romântica. / This thesis investigates the idea and the way it is realized in the work of art according to Hegel\'s Aesthetics. In the first chapter the concept of idea is presented in three forms as it realizes itself according to the Logic as the Science of Concept in Hegel. In the second chapter, we try to establish some historical presuppositions of the analogy between beauty and organism and how this same analogy can be rediscovered in Hegel\'s Aesthetics. In the third chapter, it is shown how the action could also be another form of interpretation and structuring element of the idea realized in the artwork. The fourth chapter presents the syllogism (and judgment) as a possible form of explanation of the different particular forms of art. In the fifth and concluding chapter, the two forms of realization of the idea, as life or action, are presented as two different forms of expression of the idea realized respectively in the particular forms of art of classical and romantic arts.

O presente trabalho traz um levantamento de como a arte aparece nos escritos de Jung, ressaltando seu papel na elaboração da teoria junguiana. Para tanto, foi feita uma pesquisa nos índices gerais das chamadas obras completas de Jung partindo de termos como: arte, artístico, literatura, pintura, etc. Também foram consultadas algumas obras de Jung que não se encontram em tal compilação. Como a arte perpassa a vida e a obra de Jung de diferentes maneiras, foi necessário situar tais encontros em relação aos outros pontos teóricos da psicologia analítica. Os dados encontrados foram organizados nos seguintes agrupamentos: a obra de arte entendida pela psicologia analítica; a arte nos textos iniciais de Jung: concepções em transformação; a relação da arte com os conceitos de complexo e de anima; Jung espectador; territórios vizinhos à arte (criatividade, uso de recursos expressivos na terapia e analogias entre arte e análise); e algumas considerações sobre estética. Constatou-se, por um lado, que a temática artística embasou o pensamento junguiano, dando apoio à consolidação de uma psicologia que se volta para a incomensurabilidade da psique e que extrapola os limites metodológico e epistemológico da ciência moderna. Por outro lado, a psicologia analítica tem abertura e escopo teórico para olhar fenômenos artísticos. Nesse sentido, o trabalho apresenta, com base no levantamento aqui traçado e em algumas contribuições de autores pós-junguianos, reflexões sobre as especificidades da articulação entre a psicologia analítica e a arte, enfatizando o caráter simbólico da experiência artística e ressaltando que o encontro da arte com a psicologia analítica pode garantir que haja espaço psíquico para o desconhecido, para o não óbvio e não familiar. Desta forma, abrem-se possibilidades para o desenvolvimento de um padrão de alteridade e eventual ampliação de consciência / This work presents a survey on how art appears in Jung\'s writings, emphasizing its role in the construction of his theory. Therefore, a research focusing terms related to art, such as: art, artistic, literature, painting, etc., was made in the general indexes of Jung\'s Collected Works. Some of Jung\'s other texts were also taken into account. As art permeates Jung\'s life and work in different ways, it was necessary to relate what was found to others theoretical aspects of Analytical Psychology. The data found on this research were organized according to the following themes: the work of art understood by Analytical Psychology; art in Jungs early texts: changing conceptions; the relation of art to the concepts of complex and anima; Jung as an spectator of works of art; neighboring areas of art (creativity, the use of expressive resources in therapy, and analogies between art and analysis); and some considerations about aesthetics. Jungian thoughts fundamentals included the artistic subject supporting the consolidation of a psychology concerning the incommensurability of the psyche and going beyond the methodological and epistemological limits of modern science. On the other hand, Analytical Psychology has an openness as well as a theoretical scope to consider artistic phenomena. In this sense, based on the survey here realized and also on contributions of some post-Jungians authors, the paper presents reflections concerning the specificities of the articulation between Analytical Psychology and art, emphasizing the symbolic aspect of the artistic experience and highlighting the encounter between art and Analytical Psychology as a way to ensure that there is psychic space for the unknown and for contributing to the development of a pattern of alterity and possible expansion of consciousness