A pesquisa analisa o conjunto de mudanças que nas últimas duas décadas ampliaram a projeção da arte contemporânea brasileira no exterior, tendo como ponto de partida a obra e a projeção internacional do artista Hélio Oiticica, deflagradas com a mostra do PS1 Brazil Projects, onde aconteceu seu (re)lançamento. Através de uma análise crítica sobre a percepção da produção artística nacional em território estrangeiro, o estudo visa contribuir para a compreensão do campo da arte e das diversas variáveis que incidem no processo de reconhecimento do valor de uma trajetória artística, quer potencialize sua difusão, quer contribua para intensificar sua produção. O trabalho identifica os atores que compõem este circuito, nomeadamente os estrangeiros-críticos, curadores (independentes ou ligados a instituições), colecionadores, marchands e artistas. Apresenta e compara diversos pontos de vistas e ações quanto a produção contemporânea brasileira e permite que sejam identificadas ressonâncias e confrontos entre a recepção internacional e a local. Ao detectar um conjunto de pensamentos, foi possível revelar elos e assimetrias estabelecidas com a cultura brasileira. / The present work analyzes the foreign reception of Brazilian contemporary art in the last two decades. The exhibition of the work of Hélio Oiticica, starting from the show Brazil Projects held in PS1, is the reference point for this analysis. The critical examination of the reception of Brazilian art abroad intends to expand the comprehension of contemporary art practices, as the multiple influences that may contribute to the value of an art object and intensifying the production of an artist. This research identifies the persons involved with Hélio Oiticica\'s work - critics, independent curators, collectors, marchands and artists - and compares different points of view related to Brazilian contemporary art. In particular, the work contrasts the foreign and national attitudes toward Brasillian art, unveiling convergences and divergences in the perception of Brazilian culture.

A presente pesquisa trata de uma frente, que parece surgir na moda e que une moda, arte e tecnologia. Sao expressoes poeticas que revelam aspectos culturais da epoca atual por meio da roupa. O principal proposito da pesquisa e identificar o discurso inserido nessas expressoes vanguardistas e, a partir desse ponto, tracar relacoes com teorias do contemporaneo; tambem, reconhecer se ha um discurso da moda, ja que a forma de expressao tem como suporte a roupa; ainda, ressaltar o papel da tecnologia ao ampliar as possibilidades criativas na performance das roupas e observar a representacao do corpo humano nesse contexto. Ao avaliar quatro trabalhos selecionados sob essas perspectivas, pode-se observar a influencia da tecnologia e da virtualidade em mudancas de visao de mundo do homem contemporaneo aberto as novas possibilidades que transformarao sua relacao com o meio ambiente, seus habitos, suas crencas, sua aparencia, sua propria nocao de identidade e de realidade. Nesse contexto, a moda assume importante papel por ser um veiculo suscetivel as mudancas e que contribui ao permitir que o homem contemporaneo apresente-se para o mundo da forma como este gostaria de ser visto. Nas obras artisticas que tem a roupa como suporte fica claro, sobretudo, o poder da moda em representar um corpo imaginado / This piece of research analyzes a new field that seems to emerge from fashion that joins fashion, art and technology. This new area involves poetic expressions that reveal current cultural aspects by means of clothing. The main purpose of this investigation is to identify the discourse in these avant- garde expressions and, from this point, to trace relations with the contemporary theory; recognize whether there is a discourse of fashion, since the form of expression has garments as support; highlight the role of technology in expanding creative possibilities on the performance of garments and observe the representation of the human body in this context. When evaluating the four works selected, under these perspectives, it can be observed the influence of technology and virtuality on changes of the contemporary mans worldview, who is open to new possibilities that will change his relation to the environment, to his habits, to his beliefs, to his looks, to his own notion of identity and reality. In this context, fashion takes an important role for being a vehicle susceptible to changes and for contributing to enable the contemporary man to show himself to the world in the way he wanted to be seen. In the works of art that take garments as support, it is clear, above all, the power of fashion in representing an imagined body

Thesis advisor: James M. Smith / This dissertation examines individual experiences of grief and trauma in Irish writing from 1935 to 2013, focusing specifically on novels by Elizabeth Bowen, Samuel Beckett, Sebastian Barry, and Eimear McBride. It offers a feminist reclamation of personal forms of loss that fall outside the purview of documented history and that typically go overlooked in literary criticism. Examples in this study include the suffering caused by the natural death of a family member, infertility, domestic and sexual abuse, social ostracism, institutionalization, and forced adoption. Through careful close readings of Bowen’s The House in Paris (1935) and The Death of the Heart (1938), Beckett’s Molloy (1955), Barry’s The Secret Scripture (2008), and McBride’s A Girl Is a Half-Formed Thing (2013), I unpack how women’s insidious vulnerability to grief and trauma manifests in modern and contemporary Irish fiction. The works I discuss here reveal the depth and complexity of grief—making visible forms of loss and violence that society tends to ignore, working through what impedes the grieving process, and giving voice to underrepresented experiences of emotional and psychological suffering. Over three chapters, I engage with the discourses of trauma theory, Irish memory studies, and modernism and its afterlives. I draw on feminist psychiatrist Laura S. Brown’s discussion of “insidious trauma” to inform my own concept, “insidious vulnerability,” which I use to refer to the persistent threat of loss and violence that haunts marginalized groups in their daily lives. Likewise, I make reference to the American Psychiatric Association’s diagnostic definition of post-traumatic stress disorder (PTSD) to distinguish trauma from other forms of emotional and psychological distress. I contribute to Irish memory studies by extending the critical conversation beyond public historical events (like the Easter Rising of 1916)—to include private forms of grief and trauma, particularly in the lives of women. Furthermore, I focus on authors who innovate, whose novels exhibit dissatisfaction with the limitations of conventional realist narratives and who attempt new modes of representation in an effort to articulate the inexpressible and the unexpressed. Bowen and Beckett stand as representatives of late modernism (1930s-1950s), while Barry and McBride help extend literary modernist afterlives into the twenty-first century. / Thesis (PhD) — Boston College, 2018. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Thesis advisor: Paul Mariani / The fireplace has long stood at the center of the American home, that hearth which requires work and duty and which offers warmth and transformation in return. Fireplaces: The Unmaking of the American Male Domestic Poet takes a look at three major twentieth-century men whose poetry manifests anxieties about staying home to "keep the fire-place burning and the music-box churning and the wheels of the baby's chariot turning," as Wallace Stevens described it (L 246), during a time of great literary change when their peers were widely expatriating to Europe. Fireplaces considers contemporary poet Stephen Dunn as an inheritor of this mottled Modernist lineage of male lyric domesticity in the Northeastern United States, a tradition rattled by the terrorist events of September 11, 2001 after which Dunn leaves his wife and family home to remarry, thus razing the longstanding domestic frame of his poems. Ultimately Fireplaces leaves us with a question for twenty-first century verse--can a male poet still write about home? Or has the local domestic voice been supplanted at last by a placeless strain of lyric. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

Esta pesquisa teve como objetivo analisar a literatura e o cinema a partir da filosofia contemporânea. Foram objetos deste estudo a literatura, aqui representada por João Guimarães Rosa, e o cinema inspirado por uma de suas obras. Analisou-se Campo Geral, novela publicada pela primeira vez em Corpo de Baile (1956) em relação a Mutum (2007), de Sandra Kogut, o filme mais recente de inspiração rosiana até a organização do projeto de pesquisa que deu origem a esta tese. Para a análise do corpus da pesquisa, emprestamos alguns conceitos da filosofia, especialmente de Gilles Deleuze, um autor que se dedicou ao cinema e à literatura em seus escritos individuais e na parceria com Félix Guattari. Fazendo um recorte da literatura e do cinema à luz dos conceitos filosóficos selecionados, reafirmamos as potências contemporâneas da arte rosiana. Ao trabalharmos conceitos em um plano transversal coerente com o pensamento deleuziano, também estabelecemos critérios para uma análise comparatista entre literatura e cinema, explorando principalmente o conceito de fabulação. / We have compared literature and cinema according to contemporary philosophy. The objects of research were Campo Geral, written by João Guimarães Rosa (a novel first published in 1956), and the film inspired by this writing, Mutum (2007), by Sandra Kogut the most recent film based on Rosas literature at the time of the proposal of this study. In order to analyse the corpus, we have selected philosophical concepts by the French philosopher Gilles Deleuze, an author who has written both on literature and cinema, with or without his writing partner, Félix Guattari. As we focused on the text and the film in the perspective of the previously chosen concepts, we have reassured the contemporary potential of Rosas writings. While working the concepts in a transversal plane, coherently with the deleuzian thought, we have also established criteria for comparative studies between literature and cinema, especially through the concept of fabulation.

Este trabalho estuda três obras de arte contemporânea que têm como proposta intervenções espaciais sutis e a consequente ressignificação dos espaços em que estão inseridas. Partimos de uma revisão histórica da apropriação do espaço na obra de arte, desde a expansão da escultura moderna para o espaço até o formato instalação, no qual a obra trabalha o espaço de forma específica. Em seguida, discutimos a relação entre os conceitos de tempo e duração, bem como sua relação com o espaço, como embasamento para análise das obras escolhidas. A partir daí, nos dedicamos ao estudo de três obras contemporâneas: a instalação Alter Bahnhof Video Walk (2012) [Vídeo-caminhada Alter Bahnhof (2012)] de Janet Cardiff & George Bures Miller, realizada na estação central de trens de Kassel, Alemanha; a instalação I Need Some Meaning I Can Memorise (The Invisible Pull) [Eu preciso de algum significado que eu possa memorizar (A piscina invisível)] (2012) de Ryan Gander realizada no museu Friedericianum, Kassel, Alemanha - ambas apresentadas durante a 13ª Documenta de Kassel (2012); e a instalação Sem título de Fernanda Gomes, apresentada na 30ª Bienal de São Paulo (2012). O interesse deste trabalho é apontar como tais obras interferem no espaço existente, sem necessariamente alterá-lo fisicamente, desde a ideia de vazio, analisandoos criticamente em relação aos seus precedentes. / This dissertation studies three works of contemporary art that have as their purpose subtle space interventions and the consequent redetermination of the spaces in which they are inserted. We start with a historical revision of the appropriation of space regarding the work of art, from the expansion of modern sculpture into space to the installation format, in which the work uses the space in a particular way. Next, we discuss the relationship between the concepts of time and duration, as well as their relationship with space, as a basis for analyzing the works selected. Hence, we study and analyze three contemporary works: Alter Bahnhof Video Walk (2012) by Janet Cardiff & George Bures Miller, designed for the central train station in Kassel, Germany; I Need Some Meaning I Can Memorize (The Invisible Pull) (2012) by Ryan Gander, at the Friedericianum Museum, Kassel, Germany - both presented during the 13th Documenta, Kassel (2012); and Untitled by Fernanda Gomes, presented at the 30th São Paulo Biennial (2012). This paper aims to point out how such works interfere in the existing space - the idea of emptiness, analyzing them critically in relation to its precedents - without necessarily changing it physically.

Esta tese tem como objetivo delimitar e analisar uma estratégia artística recorrente a partir do final da década de 1960, que consiste exclusivamente, ou incorpora como seu elemento fundamental, o ato de andar, na maioria dos casos por parte dos próprios artistas. Para definir essa prática, utiliza-se aqui o termo deriva, cuja matriz situacionista introduz o olhar social e politicamente engajado a partir do qual a maioria das obras analisadas foram criadas, e com base no qual elas são lidas neste contexto. Na primeira parte da tese, são desenvolvidas algumas considerações teóricas, com o fim de evidenciar algumas características recorrentes na produção das derivas, ao passo que elas são contextualizadas em preocupações e tendências mais gerais, como a que visa a desmaterialização da arte, ou a chamada estética relacional, entre outras. Na segunda parte, apresenta-se um compêndio bastante amplo, e apesar disso ainda longe de poder ser considerado completo, de obras pertinentes nesta discussão, produzidas ao longo das últimas quatro décadas. / This thesis seeks to delimitate and analyze an artistic strategy that can be considered recurrent since the end of the 1960s, and which consists basically, or at least includes as its core element, the act of walking, mostly undertaken by the artist him/herself. In order to define this practice, the word employed is the Situationist term \"deriva\" (drift), which situates the reader in the socially and politically engaged context in which most of the works here analyzed were created, and based upon which they are therefore read. In the first part of the thesis, a series of theoretical considerations is made, aiming at identifying a few recurrent characteristics of the \"drifts\", while at the same time placing them in the context of more general trends and concerns, as the so-called Demateriali- zation of art, or Relational Aesthetics, among others. The second part consists basically of a large, although certainly not complete, summary of works that are relevant for this research, produced during the last five decades.

Frente a uma compreensão projetual ampliada na arquitetura contemporânea devido às intersecções disciplinares experimentadas no pós-modernismo, esta pesquisa destaca os processos que anunciam o diagrama como conceito que efetiva um novo modus operandi arquitetônico. Percebendo as ramificações teóricas que são geradas sobre este tema dentro do discurso dos arquitetos, este trabalho busca na definição semiótica de diagrama em Charles S. Peirce e na sua derivação filosófica em Gilles Deleuze e Félix Guattari um suporte instrumental para a compreensão da configuração do discurso do diagrama na arquitetura. Partindo do pressuposto que a possibilidade de um conceito só é efetivada em sua interpretação, recorremos à análise de textos e obras de Peter Eisenman e do escritório UNStudio na tentativa de compreender como o conceito transita nestas arquiteturas. / Facing an amplified projectual comprehension in contemporary architecture due to the disciplinary intersections experimented in the postmodernism, this thesis emphasize the processes that announce the diagram as a concept that effects a new architectural modus operandi. Apprehending the theoretical ramifications that are generated about this theme inside the architect´s speeches, this thesis searches in the Charles S. Peirces semiotics definition of diagram and in its philosophic derivation of Gilles Deleuze and Félix Guattari an instrumental support for the comprehension of the dis- course ´s configuration of the diagram in architecture. Starting from the assumption that the possibility of a concept is only effective inner its interpretation, we had recoursed to the analysis of texts and works of Peter Eisenman and of the office UNStudio in the attempt to understand how the concept transits in these

Este trabalho trata da atualidade e aplicabilidade à cidade contemporânea do conceito in-between territórios de intermediação-, desenvolvido inicialmente em pequena escala, dentro da crítica que a última geração dos ciam fez ao pensamento urbanístico modernista. Para tanto é realizado um mapeamento dos conceitos, condições e problemas enfrentados pelo urbanismo no último século. O percurso desenvolvido mostra a emergência de algumas figuras e temas na passagem da cidade moderna para a contemporânea, que se apresentam como possibilidades de experimentação fecunda no campo da arquitetura e do urbanismo. A malha teórica traçada é confrontada com os estudos de caso onde se exploram as possibilidades de aplicação desses conceitos a uma realidade determinada, analisando-se o caso do Projeto Recife-Olinda (2005- 2007) e articulando-se a análise a temas e materiais específicos de outros projetos relevantes que ajudam a iluminar o problema. Assim, a figura ou conceito territórios de intermediação (in-between) e o tema terrenos vagos são trabalhados como resultante expressiva dos dois movimentos de passagem da cidade moderna para a contemporânea: separar e distanciar e dispersar e fragmentar. Enquanto temas e materiais correlatos, foi pesquisado o desenho e articulação dos sistemas fundamentais da cidade mobilidade, habitação, centralidade e meio ambiente. Conclui-se que o in-between é atual, sim, para capturar determinadas necessidades do projeto urbano no contexto de uma cidade contemporânea marcada pela fragmentação, pelas mudanças rápidas e indeterminações próprias das redes desterritorializadas e a conseqüente ampliação das desigualdades territoriais / This work addresses the currentness and applicability to the contemporary city of the in-between concept intermediation territories developed initially in small scale, within the criticism that the last ciam generation made to the modernistic urbanistic thought. For this purpose, a mapping is performed of concepts, conditions, and problems faced by urbanism in the last century. The path developed shows the emergence of some pictures and themes in the transition from the modern city to the contemporary one, that present themselves as possibilities of fecund experimentation in the fields of architecture and urbanism. The theoretical mesh plotted is compared to case studies, where the possibilities of application of these concepts to a particular reality are exploited, analyzing the case of the Recife-Olinda Project (2005-2007), and articulating the analysis with specific themes and materials from other relevant projects that help throwing light on the problem. This way, the picture or concept intermediation territories (in-between), and the vacant lots themes are worked out as expressive resulting of the two movements of passage from the modern city to the contemporary one: separating and setting apart and dispersing and fragmenting. As correlate themes and materials, the design and articulation of the citys key systems were researched mobility, housing, centrality, and environment. The conclusion is that in-between is current, yes, to capture certain needs of the urban project, in the context of a contemporary city, marked by fragmentation, by quick change and indeterminations that are characteristics of deterritorialized networks, and the consequent expansion of territorial inequalities.

Les attentats du 11 septembre 2001 ont eu un tel impact et un tel retentissement planétaire qu’ils sont parfois considérés comme l’événement historique marquant l’entrée du monde dans le XXIe siècle. Si ce bornage est discutable, l’importance du terrorisme dans la société contemporaine ne l’est pas. Ce travail s’attache à analyser la fictionnalisation de ces événements et à les mettre en perspective avec des fictions sur d’autres attentats-suicides. Il en résulte que l’exceptionnalité du 11 septembre 2001 réside principalement dans sa médiatisation. Cette étude s’organise en trois parties. Dans la première, nous interrogeons l’impact d’un tel événement sur la société ainsi que les enjeux de sa représentation fictionnelle. L’attention est centrée sur l’événement en lui-même, ses dimensions traumatiques et historiques ainsi que la valeur fictionnelle qu’il revêt dans les oeuvres du corpus. Dans la deuxième partie, nous entrons davantage dans les détails des oeuvres et nous observons la problématisation du langage et des discours face à l’événement, ainsi que la nécessité d’avoir recours à l’intertextualité pour aborder le traumatisme présent. Enfin, le parcours effectué dans les deux premières parties aboutit au constat que l’événement n’est pas traité dans le détail et constitue rarement le point central des oeuvres. Ainsi, l’attention se déplace de l’événement vers ceux qui le subissent : les personnages. L’absence d’ancrage temporel très précis nous permet d’élargir notre réflexion. L’étude de la configuration narrative en triple dispositif et l’analyse de la construction des personnages ont orienté notre interprétation des fictions du terrorisme comme une invitation à repenser l’humain et la société qu’il construit / The importance and the huge impact of the 9/11 attacks transformed them into the symbol of the entry of the world into the 21st century. If this status is questionable, the importance of terrorism in our contemporary society is not. This work focuses on the analysis of the fictionalisation of these events and on their comparison to fictions related to other attacks. This leads to the conclusion that the exceptionality of 9/11 is mainly due to its media coverage. This study is organized in three parts. In the first one, we question the impact of such events on society and the issues of their fictional representation. The focus is on the event in itself, on its traumatic and historical dimensions and also on the fictional part it plays in the novels of the corpus. In the second part, we go more and more into the details of the works and we observe the link between language, speeches and the traumatic event, and the necessity to use intertextual relations in order to deal with the present trauma. Then, the process carried out in the first two parts ends to the statement that the event is not represented in its details and is rarely the central point of the works. Thus, the focus slips from the event to those who suffer from it: the characters. The absence of precise temporal anchoring allows us to enlarge our reflection. The study of the narrative structure in a triple plan and the analysis of the construction of the characters lead our interpretation of fictions of the terrorist event as an invitation to rethink the mankind and the society they build.