1) A pesquisa artística não pode se subordinar à obediência acadêmica. 2) A presença de cineastas como personagens de seus próprios filmes, interpretando seus próprios papeis, talvez seja o mais próximo que o cinema chega da performance. Essa presença, de caráter supostamente documental, se dá sempre com a consciência que o realizador/a realizadora tem da câmera, de modo que exerce o duplo papel de atorencenador (como Renato Cohen descreve o performer) ou protagonista-observador de sua própria atuação (Jorge Glusberg). A frase que dá título à esta parte da pesquisa - \"Estou na frente da câmera mas a minha cabeça está atrás dela\" - foi dita por Jean-Luc Godard durante a sua participação no filme Quarto 666, de Wim Wenders. 3) A crítica do artista tende a ser sempre individual; a verdadeira crítica só pode ser coletiva. / 1) Artistic research cannot be subordinated to academic obedience. 2) The presence of filmmakers as characters in their own movies, playing their own roles, is perhaps the closest cinema gets to performance. This presence, supposedly documentary-oriented, always occurs with the awareness that the director has of the camera, so that he/she performs the dual role of actor-director (as Renato Cohen describes the performer) or actor-observer of his own performance (Jorge Glusberg). The sentence used as title of this part - \"I\'m in front of the camera but my head is behind it\" - was said by Jean-Luc Godard while participating in the film Room 666, by Wim Wenders. 3) Artist\'s criticism tends to be always individual; the real criticism has to be collective.

Ce travail de thèse consiste en l’élaboration d’une méthodologie d’étude de monuments historiques, appliquée au château de Chambord. Il s’agit de mettre en place le carnet de santé de l’édifice, et de le compléter par une expérimentation en laboratoire, afin de réaliser un diagnostic d’altération.Les archives historiques concernant le château ont été rassemblées et analysées pour concevoir des cartographies de dates de pose et de nature des pierres. L’examen in situ des façades a ensuite conduit à réaliser des cartographies d’altération. La synthèse des informations concernant le passé et le présent du monument a permis d’établir une liste des principaux facteurs environnementaux associés aux altérations, de même que la chronologie de leur développement, pour ainsi aboutir à une première estimation des cinétiques de progression.C’est la desquamation en plaques, détérioration courante du tuffeau, à la fois la plus dommageable et la plus complexe, qui a été ciblée pour le diagnostic d’altération. Les analyses physico-chimiques réalisées sur des prélèvements in situ ont conduit à l’identification systématique du gypse dans les fissures des desquamations. Des simulations expérimentales ont été mises en place pour appréhender le rôle du gypse, son mode de transport et son origine. La pollution atmosphérique mettant en oeuvre du SO2 gazeux reproduit bien la distribution du gypse telle que mesurée dans les desquamations en plaques observées au château de Chambord. Un mécanisme incluant ce phénomène a été proposé, pour expliquer le développement de cette altération, et qui pourrait être à la base des prévisions de l’évolution des altérations, afin d’envisager le futur du monument. / This thesis is dedicated to the establishment of a methodology to study the built cultural heritage, applied to the castle of Chambord. It consists in realizing the health record of the monument, and completing it by an experimental sequence in laboratory, in order to provide a diagnosis of the state of degradation.Historical archives about the castle were gathered and analysed to obtain mappings of dating and nature of stone. By mean of in situ observations, a mapping of degradation has been added. A synthesis of the information concerning the past and the present of the monument allowed establishing a list of the main factors associated to degradations and to a chronology of development of these degradations, so as to estimate their kinetics.Spalling, which is the most damaging and complex usual degradation, has been chosen as case of study for the diagnosis of degradation. The physic-chemical characterisations made on in situ coring lead to systematically found gypsum in spalling’s cracks. Various artificial ageing tests have been performed to enlighten the role of gypsum, its transport mode, and its origin. Atmospheric pollution including gaseous SO2 reproduces well the distribution of gypsum observed in spalling at Chambord. A global mechanism taking into account this phenomenon has been proposed to clarify the development of this degradation.

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.

Made available in DSpace on 2016-04-26T18:14:03Z (GMT). No. of bitstreams: 1 Galciani Neves.pdf: 2078225 bytes, checksum: e6e5dee5850304679ab76cd24526dec1 (MD5) Previous issue date: 2014-03-21 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study approaches communicational resources and procedures on the production of Brazilian Art critics, attempting to minimise the great gap and absence of debate around such activity in this country. In Brazil, the critique crisis became a grand cliche. Modes of approaching and mediating artistic events were investigated, as well as public debates on the press, analysis of criteria specially during the 60 s and 70 s. At this time it was possible to perceive a plethora of transformations in the critique and in the professionalization process as well as much diversification in the critic s tasks within institutions, universities, art market, media. Aracy Amaral, Frederico Morais, Ronaldo Brito, Paulo Sergio Duarte, Annateresa Fabris, Paulo Venâncio Filho, Fernando Cocchiarale, Gloria Ferreira, Tadeu Chiarelli, Cristina Freire, Marcio Doctors, Mônica Zielinsky, Maria Amélia Bulhões, Sônia Salzstein were all interviewed ans studied under the light of their processes. These author-subjects talked about their experiences, ways of behave, references, position towards art, culture, politics. They spoke about the dialogues they established with the surroundings, contact with artists, experiences with art, as well as telling about their relationship with Art History and the critique itself, instruments of analysis. Under the Process Critique perspective, proposed by Cecilia Salles based on the Semiotics of Charles Sanders Peirce in dialogue with the concept of net proposed by Pierre Musso it was possible to discuss art critique as a sign process extremely marked by communicational issues in a broaden net of connections. Self-refexive and critical thinking, intertwined components of such a net, and understood in their constructive movement, became foundations for the eleven fields of critical procedures in which the communicative dimension of art in a number of directions is made evident: from the critic and their action contexts, in talks with artists and readers, as a perceptive experience when facing the works, as expansion and development of the work, to the public debate. In doing so, this study proposes an understanding of art critique in its complex reality and constant transformation as a creative and inventive exercise an act of communication / Esta pesquisa aborda procedimentos e recursos comunicacionais da producao de criticos de arte brasileiros, tendo como relevância buscar atenuar a grave lacuna e a ausencia de debate acerca de tal atividade no Brasil, onde a crise da critica transformou-se em verdadeiro cliche. Foram investigados modos de aproximacao e mediacao dos acontecimentos artisticos, debates no espaco público das midias impressas, critérios de análise, sobretudo, entre as décadas de 1960 e 1970, momento em que se pode observar inúmeras transformacões na critica e um processo de profissionalizacao e diversificacao das tarefas de criticos em instituicões, universidades, mercado de arte, midias. Aracy Amaral, Frederico Morais, Ronaldo Brito, Paulo Sergio Duarte, Annateresa Fabris, Paulo Venâncio Filho, Fernando Cocchiarale, Gloria Ferreira, Tadeu Chiarelli, Cristina Freire, Marcio Doctors, Mônica Zielinsky, Maria Amélia Bulhões, Sônia Salzstein foram entrevistados e investigados a luz de seus processos. Esses sujeitos autores relataram suas experiencias, modos de agir, referencias, posicionamentos frente a arte, a cultura, a politica, diálogos mantidos com o entorno, contatos com artistas, experiencias com a arte, relacões com a historia da arte e com a propria critica, instrumentais de análise. Sob a perspectiva da Critica de Processo, proposta por Cecilia Salles com base na Semiotica de Charles Sanders Peirce em diálogo com o conceito de rede de Pierre Musso foi possivel discutir a critica de arte como processo signico fortemente marcado por questões comunicativas em uma ampla rede de conexões. Pensamentos criticos e autorrefexivos componentes inter-relacionados dessa rede e avistados em seu movimento construtivo tornaram-se subsidios fundamentais para a elaboracao de onze campos de procedimentos criticos, em que se evidencia a dimensao comunicativa da critica de arte em múltiplos direcionamentos: do critico com seus contextos de acao, em diálogos com os artistas e com o público leitor, como experiencia perceptiva diante das obras, como expansao e desdobramento da obra ao debate público. Assim, esta pesquisa propõe uma compreensao da critica de arte em sua realidade complexa e em constante transformacao como um exercicio criativo e inventivo ato de comunicacao

Essa tese tem como objetivo compreender a crítica que Theodor W. Adorno faz da cultura e de que maneira ela se distingue dos modelos advindos da crítica cultural e da sociologia da cultura. Com esse fito, a tese apresenta uma série de análises da cultura de Adorno, que se iniciam na década de 1930, principalmente no seu debate com Walter Benjamin acerca da relação entre arte e política. Procurou-se entender como esse debate sofreu uma inflexão com o exílio de Adorno nos Estados Unidos, onde foi formulado o conceito de indústria cultural, a partir do qual se delineiam as críticas de Adorno ao rádio, ao cinema e à televisão e ao modo de integração social mobilizado pelo capitalismo tardio. Por meio da apresentação de outros momentos de sua obra, como a crítica literária, a estética e a filosofia, buscou-se demonstrar a complementaridade dos momentos diversos que, juntos, permitem entrever uma crítica dialética, cuja consequência é a suprassunção do próprio conceito de cultura. / This dissertation aims to comprehend the nature of Theodor W. Adornos critique of culture and how it distinguishes itself from different models arising from cultural critique and from sociology of culture. For this purpose, the dissertation presents a series of Adornos analyses of culture, which begins in the 1930s, especially in his debate with Walter Benjamin concerning art and politics. It sought to understand how this debate suffered an inflection due to Adornos exile in the United States, where the concept of culture industry would be conceived and out of which his critique of radio, cinema and television and of the mode of social integration in late capitalism were delineated. Through the presentation of other moments of Adornos work, such as literary critique, aesthetics and philosophy, it sought to demonstrate the complementarity of different moments which, together, allow us to glimpse a dialectical critique whichs consequence is the sublation of the very concept of culture.

Essa tese tem como objetivo compreender a crítica que Theodor W. Adorno faz da cultura e de que maneira ela se distingue dos modelos advindos da crítica cultural e da sociologia da cultura. Com esse fito, a tese apresenta uma série de análises da cultura de Adorno, que se iniciam na década de 1930, principalmente no seu debate com Walter Benjamin acerca da relação entre arte e política. Procurou-se entender como esse debate sofreu uma inflexão com o exílio de Adorno nos Estados Unidos, onde foi formulado o conceito de indústria cultural, a partir do qual se delineiam as críticas de Adorno ao rádio, ao cinema e à televisão e ao modo de integração social mobilizado pelo capitalismo tardio. Por meio da apresentação de outros momentos de sua obra, como a crítica literária, a estética e a filosofia, buscou-se demonstrar a complementaridade dos momentos diversos que, juntos, permitem entrever uma crítica dialética, cuja consequência é a suprassunção do próprio conceito de cultura. / This dissertation aims to comprehend the nature of Theodor W. Adornos critique of culture and how it distinguishes itself from different models arising from cultural critique and from sociology of culture. For this purpose, the dissertation presents a series of Adornos analyses of culture, which begins in the 1930s, especially in his debate with Walter Benjamin concerning art and politics. It sought to understand how this debate suffered an inflection due to Adornos exile in the United States, where the concept of culture industry would be conceived and out of which his critique of radio, cinema and television and of the mode of social integration in late capitalism were delineated. Through the presentation of other moments of Adornos work, such as literary critique, aesthetics and philosophy, it sought to demonstrate the complementarity of different moments which, together, allow us to glimpse a dialectical critique whichs consequence is the sublation of the very concept of culture.

This research is a case study of the Stoneleigh Group; a partnership of voluntary youth work organisations that piloted a spiritual development programme for young people aged 18 to 25. The purpose of the research was to examine the claims made by the Stoneleigh Group to have developed a radical approach and outcomes of personal and social transformation within a programme of informal education out of doors. The research was undertaken in the contexts of reviews of research concerning outdoor education, informal education for young people, and youth transition. An ethnographic study of the retreat programme and its impact on the lives of the young people was combined with a critical study of the advocacy work of the Stoneleigh Group within the development of the National Youth Work Curriculum. The analysis was undertaken with the aid of Bernstein’s theoretical framework for curriculum and pedagogic critique. The study of the programme claims that the pedagogic approach was radical in its ideology and practice. However, it is argued that the impact on the young people depended on the ideology of the youth organisation for which they volunteered. A range of claims for a radical outcome are identified and discussed. The research argues that, despite the claim that the outcomes of social transformation were only partially achieved, the practices of the Stoneleigh Group were contested because of their perceived radicalism. The study of the advocacy work suggests that, despite these challenges, the Stoneleigh Group's contributions to the national discussions concerning the spiritual development of young people within the youth work curriculum resulted in proposals that supported a more radical pedagogic approach than currently practised. The research indicates that the Stoneleigh Group influenced statements made in the consultation. It is argued that the Group provided support for the concept of young people as agents of social change. In particular, it is suggested that the pilot was used to support a view of young people as capable of, and valued for, their challenges to the established norms of society.

Jarry semble avoir totalement abandonné les complications stylistiques qui caractérisaient ses premiers textes lorsqu'il fait œuvre de critique littéraire à la Revue blanche. En réalité, l'auteur de Messaline continue, mais de façon extrêmement sous-jacente, à pratiquer une forme d'obscurité, elle paradoxale, dans le sens où elle est inapparente, et qui se traduit par le développement constant d'une esthétique du raccourci et par un apparent retrait de sa présence de critique jusque dans l'acte même du compte rendu, Jarry donnant toute sa place au texte commente, en taisant cette façon qu'il a, incessamment, de le citer. Ainsi, ce travail est conduit d'une part par notre souci de faire affleurer la façon dont se fait jour l'esthétique du raccourci (Jarry procède par synthèses incessantes qui, à force d'affirmation, en deviennent soit obscures soit insaisissables) au sein de ces textes apparemment alimentaires que sont les critiques littéraires de Jarry, l'auteur du Surmâle présentant de véritables concrétions de sens, en lien avec la notion d'érudition, dans des domaines extrêmement divers. D'autre part, notre travail vise à montrer comment se fait jour chez Jarry le détournement de l'usage habituel de la citation, qui porte en creux une critique corrosive du statut de critique, l'auteur de la chandelle verte devenant un critique qui ne s'exprime le plus souvent que suivant l'absence totale de propos critique - puisque lorsqu'il s'agit d'énoncer des " jugements ", c'est en fait pour continuer de tisser une filiation avec une communauté d'auteurs desquels il se sent proche et ainsi, principalement, avec le lieu du Mercure de France.

LES "COATED CONDUCTORS" (CCS), OU FILMS ÉPAIS REBCO DÉPOSÉS SUR SUBSTRATS MÉTALLIQUES FLEXIBLES, SONT DES MATÉRIAUX AU GRAND POTENTIEL INDUSTRIEL MAIS ENCORE PEU CONNUS DU FAIT DE LEUR ÉMERGENCE RÉCENTE. LES APPLICATIONS À BASE DE CCS CRÉENT DES CONTRAINTES MÉCANIQUES INHÉRENTES SUR CES MATÉRIAUX QUI NE DOIVENT PAS DÉTÉRIORER LEURS PROPRIÉTÉS ÉLECTRIQUES. <br /><br />CE TRAVAIL DE THÈSE A POUR OBJECTIF D'ÉVALUER L'INFLUENCE DE LA CONTRAINTE MÉCANIQUE SUR LES PROPRIÉTÉS DE TRANSPORT ET SUR LA MORPHOLOGIE DES CCS. LA CORRÉLATION ENTRE LES DIFFÉRENTES TECHNIQUES D'INVESTIGATION QUE SONT LES MESURES DE COURANT CRITIQUE DE TEMPÉRATURE CRITIQUE, AVEC OU SANS CHAMP MAGNÉTIQUE, L'IMAGERIE MAGNÉTO-OPTIQUE ET/OU ÉLECTRONIQUE APPORTENT DES INFORMATIONS PRÉCIEUSES. LA SYNTHÈSE DES RÉSULTATS OBTENUS NOUS A DONNÉ DES INDICATIONS TECHNOLOGIQUES SUR CES ÉCHANTILLONS FOURNIS PAR L'INDUSTRIEL THEVA-GMBH, MAIS NOUS ONT AMENÉ ÉGALEMENT À UNE ÉTUDE PLUS FONDAMENTALE DE LEURS PROPRIÉTÉS DE TRANSPORT.

Thèse doctorat : Department of English : Uppsala : 1993.