Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Arte, 2011. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2011-12-21T13:53:54Z No. of bitstreams: 1 2011_CarlaConceicaoBarreto.pdf: 19560510 bytes, checksum: 69cd38ca9650745e347f71395f201235 (MD5) / Approved for entry into archive by Leila Fernandes (leilabiblio@yahoo.com.br) on 2012-01-02T12:44:50Z (GMT) No. of bitstreams: 1 2011_CarlaConceicaoBarreto.pdf: 19560510 bytes, checksum: 69cd38ca9650745e347f71395f201235 (MD5) / Made available in DSpace on 2012-01-02T12:44:50Z (GMT). No. of bitstreams: 1 2011_CarlaConceicaoBarreto.pdf: 19560510 bytes, checksum: 69cd38ca9650745e347f71395f201235 (MD5) / Esta dissertação apresenta estudos sobre representações de sexo, gênero e sexualidades contemporâneas na cultura visual ao analisar a obra cinematográfica Ciclo Cremaster de Matthew Barney. Discuto o problema da representação que se refere ao corpo associado ao sexo, por meio da representação visual de sexualidade e gênero tendo como principal referencial teórico a teoria queer e os estudos críticos da sexualidade para analisar a cultura visual. Após a análise de seus filmes, aponto que o trabalho de Barney desafia premissas dicotômicas ao representar seres humanos com características híbridas de sexo e gênero e evidencia relações sociais de corpos e relações sexuais entre sujeitos através de representações não-heteronormativas, por meio de uma nova configuração do corpo, que inaugura uma nova onda de manifestações artísticas que obtive como resultado, a fenomenologia queer. O encontro com a teoria queer, cultura visual e fenomenologia queer, permitiu problematizar as questões que envolvem as visualidades e o discurso sobre os gêneros e sexualidades heterocentrados das artes visuais. ______________________________________________________________________________ ABSTRACT / This dissertation presents a study on representation of sex, gender and sexuality in contemporary visual culture by analyzing Matthew Barney’s Cremaster Cycle films. It discusses the problem of representation that refers to the body associated with sex, through the visual representation of sexuality and gender, and use of queer theory and critical studies of sexuality as main theoretical approaches to analyze visual culture. After analyzing Barney’s films and their cultural discourse, I point out that his visual work defies binary oppositional assumptions by representing human beings through hybrid features of sex and gender and by evidencing bodily social relationship among non-heteronormal subjects and their representations. Through this new configuration of the body, he launches a new wave of artistic experiment that I name it here as queer phenomenology. These encounters with queer theory, visual culture and queer phenomenology allowed me to question issues surrounding discourse on visuality, gender and the heterocentric sexuality of visual arts.

Esta investigación titulada El Motivo del Cuerpo en la Estética Neobarroca: La intensidad significante en El Obsceno Pájaro de la Noche y el Ciclo Cremáster. Desarrolla el concepto neobarroco proponiendo dos obras para el análisis y desarrollo del concepto: El Obsceno Pájaro de la Noche del escritor chileno José Donoso y el ciclo de videos titulado Ciclo Cremáster del artista visual Matthew Barney. La investigación está dividida en una introducción, tres capítulos principales y las conclusiones. La Introducción tiene por objetivo introducirnos al tema del neobarroco, plantear el problema de estudio e identificar la hipótesis. El primer capítulo permite abarcar el concepto neobarroco, el objetivo es desarrollar un concepto transversal que permita su aplicación a las dos obras que se proponen, revisando el trabajo de dos autores que han contribuido al desarrollo del concepto: Severo Sarduy y Omar Calabrese. El segundo capítulo implica un análisis de El Obsceno Pájaro de la Noche, aplicando el concepto de neobarroco antes desarrollado y deteniéndose con especial interés en el motivo del cuerpo. La tercera parte también es de análisis, en este caso de un ciclo de videos titulado Ciclo Cremáster, de Matthew Barney, se aplica en el análisis el concepto neobarroco acotándose al motivo del cuerpo y la identidad sexual. En la conclusión se exponen algunos resultados obtenidos en la investigación.

<p>This dissertation explores and theorizes the work of American artist Matthew Barney through the concept of deadpan, and situates it in relation to themes of hybridity and animality in parallel histories of sculpture, performance art, and film.</p> / Dissertation

From June 1998 to July 1999, the dynamics of the plankton in Hagg Lake and Barney Reservoir were studied with the purpose to identify the succession dynamics of the planktonic species, to test the Plankton Ecology Group (PEG) model, and to explore the relationships between these successions and the physical and chemical variables.

This study investigates the relationship between firm resources, positioning strategies and performance in the smaller firm. Porter’s generic strategies have been useful in describing how firms compete in the marketplace, and the resource based view has shown that resources can lead to a sustained competitive advantage. The strategic management field has begun to combine the two theories and examine the link between them. Small firms must make the best use of their relatively scarce resources. It is proposed that the relationship between resources and performance is contingent upon the positioning strategy the firm competes on, although there has only been limited supporting research to date. This research builds on work by Edelman et al. (2005) by examining the relationship between human, organisational and physical resources, and the strategies of quality/ customer service, innovation, and cost leadership in 447 retail, engineering, and professional service firms in New Zealand. Using Structural Equations Modelling this research finds that positioning strategies are the mechanism by which firms can leverage their resources into higher performance. This relationship can be modelled as mediated or moderated, with statistical analysis sensitive to model complexity. The firm’s environment influences this relationship with different resources required to support each position depending on the industry. Specifically human, organisational, and physical resources appear to be viable sources of competitive advantage when they are leveraged by a strategy of quality/ customer service, innovation or cost leadership when the industry environment is conducive to the resource – strategy combination.

No description available.

Es zeichnet sich seit den 1990er-Jahren die Tendenz ab, dass sich viele Künstler/innen verstärkt mit Subjekten statt mit Objekten beschäftigen. Hinzu kommt eine zunehmende „Kollektivierung und Theatralisierung der einst auf Singularität und Präsenz setzenden Performance“. In diesem Zusammenhang sind auch immer mehr künstlerische Arbeiten zu registrieren, die mit Prozessionen und Paraden eine Vielzahl von Menschen auf die Straße bringen und in Bewegung versetzen. Dies spiegelt sich auch in einer immer größer werdenden Zahl thematischer Ausstellungen wider, die sich diesen Arbeiten widmen. Bereits 2004 konstatierte Pablo Lafuente in seinem Essay „Art on Parade“ in Art Monthly: „That ability of the parade to create subjectivity is where the artist’s political aspiration lies.“ Die künstlerisch-ästhetischen Praktiken von Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles und Jeremy Deller, die Gegenstand der vorliegenden Untersuchung sind, könnten unterschiedlicher nicht sein. Ihre Gemeinsamkeit liegt in der performativen Verwendung eines sehr alten traditionellen Handlungsmusters, das den meisten Menschen vertraut ist. Die Prozession ist eine ritualisierte Handlung, die in unseren Breiten zuallererst mit der christlichen beziehungsweise der katholischen Liturgie in Zusammenhang gebracht wird. Die Grundbedeutung des Begriffs (von lat. processio = Zug, Geleit) als ein zielgerichtetes, geordnetes, gemeinsames Gehen, das den Raum gliedert und ihm dabei Bedeutung verleiht, umfasst jedoch den kultischen ebenso wie den profanen Umzug. So begegnen uns Prozessionen in vielen Bereichen des kulturellen Lebens. Dementsprechend beschäftigt sich diese Dissertation mit Prozessionen, Paraden und Karnevalsumzügen, deren Grundmotiv das gemeinsame, öffentliche, oftmals um einen Gegenstand herum organisierte Gehen, also die Prozession in ihrem allgemeinen Sinne ist. / Ever since the 90s, the tendency of many artists increasingly dealing with subjects instead of objects has become apparent. In this context, more and more artistic works that take a multitude of people to the streets or set them in motion as part of a procession or parade can be registered. This is also reflected in a growing number of themed exhibitions exploring these works. The artistic-aesthetic practice of Francis Alÿs, Matthew Barney, Mierle Laderman Ukeles and Jeremy Deller could hardly be more different. Their common ground can be found in the performative use of a very old traditional pattern of action that most people are familiar with. The procession is a ritualised act, which - in this part of the world – is first and foremost implicated in Christian respectively Catholic liturgy. The basic meaning of this term (derived from Latin processio – progression/cortege) as a purposeful, orderly, collective walk structuring and thus giving meaning to a certain space comprises, however, the sacral as well as the profane procession. This is way we can encounter processions in many parts of cultural life (and in almost every culture). This dissertation accordingly explores processions, (carnival) parades and demonstrations which all share the basic motif of a collective, public organised walk, often around an object, i.e. a procession in its general sense.

This thesis presents theatrical queer feminist interpretations of architecture staged within a series of architectural scenes: architect Eileen Gray’s building E.1027 in the south of France (1926-29); author Natalie Barney’s literary salon at 20 rue Jacob, Paris (1909-1968); and author Selma Lagerlöf’s former home and memorial estate Mårbacka, situated in mid-west Sweden and transformed between 1919 and 1923. Interpreted as queer performative acts, or enactments of architecture, these cases bring into play the interconnectedness of material container, the setting, the deeds and the actors. A broad aim of the thesis is to explore the role played by architecture in the social and cultural constructions of bodies, in particular in relation to gender and sexuality. Architecture is investigated as one of the subjectivating norms that constitute gender performativity. The thesis is thus not only about but also operates through enactment. It masquerades as a series of lectures written in the form of scripted drama. The aim of this formal experiment is not only to explicate and critique from a detached perspective but also to represent architecture in the process of being enacted. Architecture is investigated not only as a theoretical metaphor but also as a concrete material practice always entangled with subject positions. With this exploration into the queerness and the theatricality of architecture, Behind Straight Curtains seeks to affect both the analysis and enactment of architecture and contribute to an architectural shift towards a built environment that does not simply repeat repressive structures but attempts to resist discrimination and dismantle hierarchies. / QC 20100630

This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements. / v, 110 leaves ; 29 cm

This study utilizes correspondence, memoirs, and secondary sources to explore the lives and careers of six Continental Navy captains?Esek Hopkins, Joshua Barney, John Paul Jones, Hector McNeill, Lambert Wickes, and John Barry?and reveal the motivational factors of patriotism, a desire for fame and professional advancement, and financial stability which underlay their decisions to seek commissions in the Continental Navy, and influenced their conduct while in the service. Additionally, it suggests that prewar interactions in an "Atlantic World" context influenced the ideological and personal motivations that formed the foundations for service in the Continental Navy. All three motivations played a role in each captain's career and affected their conduct in relation to their understandings of duty, but the degree to which they influenced the captains varied. Although the promise of a steady income helped motivate initial service, financial considerations played a larger role throughout Barney's and Barry's careers than they did for other captains. The desire for fame and personal prestige also affected the conduct and service of all six men, though Jones and Hopkins provide more concrete examples of its influence. Finally, experiences interacting with West Indies and Atlantic trade networks before the war likely influenced the captains' development of revolutionary principles, and their dedication to the United States. In addition to patriotism, Jones professed a devotion to universal principles of liberty and rights, and McNeill perceived the Revolution as an attempt to establish God's Kingdom of the Just. The degree to which each captain succeeded in achieving his goals, and the affect his Continental service had on employment after the Revolution, also varied significantly. Hopkins failed as the navy's commander-in-chief, but his performance did not negatively impact his social and political standing in his native Rhode Island. Unlike McNeill, Captains Barry, Barney and Jones also utilized their networks of friends and acquaintances well, helping them find prestigious and stable employment in other seagoing capacities after the war. Wickes died in 1777, but his brief service also suggests he would have achieved success had he survived.