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The Involuntary Self-Portrait: Automimesis and Self-Referentiality in the Art Literature of the Italian RenaissanceLampe, Moritz 19 January 2023 (has links)
Automimesis oder die Idee, dass „jeder Maler sich selbst malt“, war eine Vorstellung, die in der Kunstliteratur der italienischen Renaissance immer wieder formuliert wurde. Zunächst als Makel von Malern interpretiert, der einer exakten Nachahmung der Natur entgegenstand, wurde die körperliche oder geistige Ähnlichkeit eines Künstlers mit seinem Werk jedoch schon bald positiv aufgefasst. Anhand von Künstlerbiografien, Kunsttraktaten und Kunstwerken untersucht diese Studie die Gründe für diesen Paradigmenwechsel und zeichnet nach, wie frühneuzeitliche Ideen unser Verständnis von der Autonomie der Künste bis heute prägen.
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A cerâmica artística: interfaces na contemporaneidade / The artistic ceramics: interfaces in contemporaneitySato, Sandra Minae 15 April 2016 (has links)
Uma das mais antigas matérias-primas utilizadas pelo homem, a cerâmica vive hoje uma das mais importantes revoluções conceituais de sua história. Como expressão artística, a cerâmica tem atravessado séculos sob o estigma de \"arte menor\" e refugiada no que o pesquisador Garth Clark denomina \"fortaleza cerâmica\", recorrendo a um gueto artístico construído com seus próprios veículos de comunicação, espaços expositivos e eventos. Esta pesquisa investiga quais foram os ecos desta condição marginal que conformaram a cerâmica tal como ela se apresenta na atualidade entre as artes visuais e o design, em tempos de intenso desenvolvimento dos recursos tecnológicos disponíveis e da ideia da não-materialidade como forma de manifestação. O estudo revisa a trajetória de artistas que, a despeito das diferenças hierárquicas que segregaram o artista do artesão, atribuíram novos significados a essa que é uma das mais primitivas formas de expressão do sentimento humano. A partir da revisão histórica dos pensamentos, tanto a favor quanto contra, sobre a classificação das artes em \"maiores\" ou \"menores\"; \"belas artes\" ou \"artes aplicadas\", questionamos a necessidade desta categorização. Analisamos, ainda, como as especificidades da cerâmica a tornam representação legítima da arte pós-moderna, conforme a visão de teóricos como Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, entre outros, pela sua capacidade de se adaptar as novas linguagens e aos conceitos nos nossos dias. / One of the most ancient media employed by the human being, ceramics nowadays is passing through one of the most important conceptual revolutions of its history. As art expression, ceramics has crossing over centuries under the stigma of \"low art\" and it looked for refuge wherein researcher Garth Clark calls \"Fortress ceramica\", recurring to an artistic ghetto built with its own communication vehicles, exposition spaces and events. This research investigates which were the echoes of this marginal condition that shaped pottery as it stands today among the visual arts and design, in a time of intense development of technological resources available and of non-materiality concept as expression. We look over the path of artists who, despite of hierarchic differences that segregate artist from artisan, gave new meanings to this form of expression that is one of the most primitives in history of humanity. From the historic revision of theories, both against or pro, about classification in \"low art\" or \"high art\"; \"fine arts\" or \"applied arts\", we question the necessity of any categorization. The research analyzes also how the specificities of ceramics turns it as a legitimate representation of postmodern art, under the vision of theorists as Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, among others, by its capacity of adaptation to the new languages and to the nowadays concepts.
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A cerâmica artística: interfaces na contemporaneidade / The artistic ceramics: interfaces in contemporaneitySandra Minae Sato 15 April 2016 (has links)
Uma das mais antigas matérias-primas utilizadas pelo homem, a cerâmica vive hoje uma das mais importantes revoluções conceituais de sua história. Como expressão artística, a cerâmica tem atravessado séculos sob o estigma de \"arte menor\" e refugiada no que o pesquisador Garth Clark denomina \"fortaleza cerâmica\", recorrendo a um gueto artístico construído com seus próprios veículos de comunicação, espaços expositivos e eventos. Esta pesquisa investiga quais foram os ecos desta condição marginal que conformaram a cerâmica tal como ela se apresenta na atualidade entre as artes visuais e o design, em tempos de intenso desenvolvimento dos recursos tecnológicos disponíveis e da ideia da não-materialidade como forma de manifestação. O estudo revisa a trajetória de artistas que, a despeito das diferenças hierárquicas que segregaram o artista do artesão, atribuíram novos significados a essa que é uma das mais primitivas formas de expressão do sentimento humano. A partir da revisão histórica dos pensamentos, tanto a favor quanto contra, sobre a classificação das artes em \"maiores\" ou \"menores\"; \"belas artes\" ou \"artes aplicadas\", questionamos a necessidade desta categorização. Analisamos, ainda, como as especificidades da cerâmica a tornam representação legítima da arte pós-moderna, conforme a visão de teóricos como Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, entre outros, pela sua capacidade de se adaptar as novas linguagens e aos conceitos nos nossos dias. / One of the most ancient media employed by the human being, ceramics nowadays is passing through one of the most important conceptual revolutions of its history. As art expression, ceramics has crossing over centuries under the stigma of \"low art\" and it looked for refuge wherein researcher Garth Clark calls \"Fortress ceramica\", recurring to an artistic ghetto built with its own communication vehicles, exposition spaces and events. This research investigates which were the echoes of this marginal condition that shaped pottery as it stands today among the visual arts and design, in a time of intense development of technological resources available and of non-materiality concept as expression. We look over the path of artists who, despite of hierarchic differences that segregate artist from artisan, gave new meanings to this form of expression that is one of the most primitives in history of humanity. From the historic revision of theories, both against or pro, about classification in \"low art\" or \"high art\"; \"fine arts\" or \"applied arts\", we question the necessity of any categorization. The research analyzes also how the specificities of ceramics turns it as a legitimate representation of postmodern art, under the vision of theorists as Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, among others, by its capacity of adaptation to the new languages and to the nowadays concepts.
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A cerâmica artística: interfaces na contemporaneidadeSato, Sandra Minae 15 April 2016 (has links)
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Previous issue date: 2016-04-15 / PROQUALI (UFJF) / Uma das mais antigas matérias-primas utilizadas pelo homem, a cerâmica vive hoje uma das mais importantes revoluções conceituais de sua história. Como expressão artística, a cerâmica tem atravessado séculos sob o estigma de “arte menor” e refugiada no que o pesquisador Garth Clark denomina “fortaleza cerâmica”, recorrendo a um gueto artístico construído com seus próprios veículos de comunicação, espaços expositivos e eventos. Esta pesquisa investiga quais foram os ecos desta condição marginal que conformaram a cerâmica tal como ela se apresenta na atualidade entre as artes visuais e o design, em tempos de intenso desenvolvimento dos recursos tecnológicos disponíveis e da ideia da não-materialidade como forma de manifestação. O estudo revisa a trajetória de artistas que, a despeito das diferenças hierárquicas que segregaram o artista do artesão, atribuíram novos significados a essa que é uma das mais primitivas formas de expressão do sentimento humano. A partir da revisão histórica dos pensamentos, tanto a favor quanto contra, sobre a classificação das artes em “maiores” ou “menores”; “belas artes” ou “artes aplicadas”, questionamos a necessidade desta categorização. Analisamos, ainda, como as especificidades da cerâmica a tornam representação legítima da arte pós-moderna, conforme a visão de teóricos como Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, entre outros, pela sua capacidade de se adaptar as novas linguagens e aos conceitos nos nossos dias. / One of the most ancient media employed by the human being, ceramics nowadays is passing through one of the most important conceptual revolutions of its history. As art expression, ceramics has crossing over centuries under the stigma of “low art” and it looked for refuge wherein researcher Garth Clark calls “Fortress ceramica”, recurring to an artistic ghetto built with its own communication vehicles, exposition spaces and events. This research investigates which were the echoes of this marginal condition that shaped pottery as it stands today among the visual arts and design, in a time of intense development of technological resources available and of non-materiality concept as expression. We look over the path of artists who, despite of hierarchic differences that segregate artist from artisan, gave new meanings to this form of expression that is one of the most primitives in history of humanity. From the historic revision of theories, both against or pro, about classification in “low art” or “high art”; “fine arts” or “applied arts”, we question the necessity of any categorization. The research analyzes also how the specificities of ceramics turns it as a legitimate representation of postmodern art, under the vision of theorists as Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, among others, by its capacity of adaptation to the new languages and to the nowadays concepts.
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Refusal and rupture as a postdramatic revolt : an analysis of selected South African contemporary devised performances with particular focus on works by First Physical Theatre Company and the Rhodes University Drama DepartmentHaxton, Robert Peter January 2014 (has links)
This mini-thesis investigates the concepts of refusal and rupture as a postdramatic revolt and how these terms can be applied and read within the context of analysing contemporary devised performance in South Africa. The argument focuses on the efficacy of Hans-Thies Lehmann’s postdramatic terminology and the potential of its use in an appreciation of contemporary performance analysis. I investigate the potential in South African contemporary devised performance practice to challenge prevailing modes of traditional dramatic expectation in order to restore the experience of discovery and questioning in the spectator. This research is approached through a qualitative process which entails a reading and application of selected critical texts to the analysis with an application of Lehmann’s terminology. This reading/application is engaged in a dialogue with the interpretative and experiential aspects of selected South African devised performances with particular focus on four cross-disciplinary works selected for analysis. Chapter One functions as an introduction to the concept of postdramatic theatre and the application of the terms refusal and rupture as deconstructive keywords in the process of a devised performance. Chapter Two is an analysis of several South African contemporary performances with particular focus on Body of Evidence (2009) by Siwela Sonke Dance Company, Wreckage (2011) a collaboration by Ubom! Eastern Cape Drama Company and First Physical Theatre Company, Discharge (2012) by First Physical Theatre Company, and Drifting (2013) by The Rhodes University Drama Department. This mini-thesis concludes with the idea that with an understanding of refusal and rupture in a postdramatic revolt, contemporary devised performance achieves an awakening in its spectators by deconstructing the expectation of understanding and the need for resolve; the assumption and need for traditional dramatic structures and rules are challenged. Instead, it awakes an experience of discovery and questioning.
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