Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

Thesis (M.A. in Dance)--Shenandoah University, 2004. / Includes bibliographical references.

Thesis (Ph. D.)--University of Hong Kong, 2005.

Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: Christian Moraru; submitted to the Dept. of English. Includes bibliographical references (p. 25-26, p. 49-50).

Thesis (doctoral)--University of Stockholm, 2005, in "co-tutelle" with l'Université Paris VIII. / Cover title. Includes bibliographical references (p. 256-264).

This thesis reassesses American AIDS literature of the 1980s and 1990s by focusing on four major writers: the poets Thom Gunn (1929-2004), James Merrill (1926-1995) and Mark Doty (1953-), and the novelist Michael Cunningham (1952-). It questions the dominant critical discourse on literature of the epidemic, contending that while competing versions of the postmodern provided useful models for reading AIDS in the 1980s and 1990s, it is now necessary to adjust the critical position in line with the intellectual turn away from the cultural theories of that time. The introduction provides an overview of the most prevalent constructions of AIDS’ postmodernity through the period, arguing that critics were anxious to fit the epidemic to the theoretical models of the day, and going on to suggest that the writers under scrutiny actively question or even resist these models. Chapter One reads the later collections of Thom Gunn against his earlier work, arguing that he writes a "poetry of prophylaxis" which draws on his literary past in order to construct a defence against the uncertainties of the epidemic age. Chapter Two develops this question of self-reconstruction, examining the last two collections of James Merrill and his 1993 memoir in light of his own diagnosis with HIV. It proposes that in the renegotiation of his body, he might help the reader both remember and "re-member" him. Chapter Three turns to the work of Mark Doty, in particular the memoir Heaven’s Coast and the two collections, My Alexandria (1995) and Atlantis (1996), suggesting that Doty reclaims metaphor for palliative good at a time when AIDS theorists such as Paula Treichler registered scepticism during the "epidemic of signification". Chapter Four discusses the 1990s novels of Michael Cunningham, arguing that in order to “know” AIDS, outside of contemporaneous postmodern readings, it is necessary to "re-know" or "recognise" older literary models. The thesis ends with a brief account of post-1990s AIDS literature and theory, before concluding that each writer argues for models of literary continuity as a means of neutralising the possible creative rupture wrought by immunodeficiency.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-02-22T11:43:54Z No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) / Made available in DSpace on 2017-02-22T11:43:54Z (GMT). No. of bitstreams: 1 Sueli Chaves Andrade.pdf: 3112531 bytes, checksum: 7f54bec4f70c3790a30a9b1667d7b223 (MD5) Previous issue date: 2017-02-17 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / Chris Cunningham is the main subject in this thesis. Cunningham was one of the most influential and creative music video directors in the 90’s and early 2000’s. Visible throughout his art is the theme of the body and its innards - an important and wide discussion in contemporary culture studies. The hypothesis of this text is that the music video is one of the main audiovisual narratives of postmodern culture from the aspect of new aesthetics and artistic experiments. Cunningham adds original marks to the characteristics that constitute contemporary art, especially the one that has placed the body under interrogation and also the art object as waste. The contemporary art discussion in this thesis is inspired by psychanalysts Jacques-Allan Miller and Gerard Wajcman and the positioning of the object, and a new gaze at it is provided by Didi-Huberman. Concerning the role of the body in this setting, Santaella brings a contribution on it as an art support, besides presenting much of the specific problems of the body in culture. Raymond Bellour, Philippe Dubois and Arlindo Machado with their discussions around film and video allow the insertion of the music video as a language with its own characteristics and history, as the theorists Andrew Goodwin, E. Ann Kaplan and Carol Vernallis point out. The Lacanian theory provides a formal way to analyze and discuss the body from an instinctive perspective that drives the subject in the contemporary world. In order to prove this assertion and the hypothesis of this thesis, three semiotic-psychoanalytic analyses were done on the following works: All is Full of Love (1999), Flex (2000) and Rubber Johnny (2005) / Chris Cunningham é o objeto de investigação desta tese. Trata-se de um autor reconhecido de videoclipes e narrativas audiovisuais contemporâneas das décadas de 1990 e 2000. Seus trabalhos são permeados por uma temática de suma importância e ampla discussão no campo de estudos da cultura contemporânea: o tema do corpo e suas estranhezas. A hipótese que se coloca é a de que o videoclipe é um dos principais formatos narrativos audiovisuais do pós-moderno, sob o aspecto da produção de novas estéticas e experimentações artísticas. Tendo isso em vista, a obra de Cunningham acrescenta marcas originais às características próprias da arte contemporânea, especialmente aquela que vem colocando o corpo sob interrogação e o objeto enquanto dejeto. No que diz respeito aos debates que envolvem a arte contemporânea, há uma escuta daquilo que os psicanalistas Jacques-Allan Miller e Gerard Wajcman têm a dizer sobre o lugar do objeto, bem como sobre uma nova forma de olhá-lo, tal qual propõe Didi-Huberman. A respeito do papel do corpo neste mesmo cenário, Santaella traz uma contribuição sobre o mesmo como suporte da arte, além de apresentar as problemáticas específicas do corpo na cultura. Raymond Bellour, Philippe Dubois e Arlindo Machado aprofundam a discussão sobre cinema e vídeo, o que permite a inserção do videoclipe como uma linguagem com características e história próprias, conforme apontam os teóricos Andrew Goodwin, E. Ann Kaplan e Carol Vernallis. Toma-se, então, a perspectiva psicanalítica de orientação lacaniana para observar o corpo para além de sua função como suporte na arte: o das pulsões que tomam conta do sujeito no universo contemporâneo. De modo a comprovar tal afirmação e a hipótese desta tese, três análises de cunho semiótico-psicanalítico abordam os trabalhos: All is Full of Love (1999), Flex (2000) e Rubber Johnny (2005)

Made available in DSpace on 2016-04-26T18:18:16Z (GMT). No. of bitstreams: 1 SUELI CHAVES ANDRADE.pdf: 1899038 bytes, checksum: caec769991464b555c1e9cedd9bc20dc (MD5) Previous issue date: 2009-10-26 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The work from the video artist Chris Cunningham is the main theme of this research. The several audiovisual productions of this director include video installations, advertising and mainly music videos. There are two reasons for the choice of this object. The first one is related to the contemporary themes of Cunningham´s projects such as cyborg and freak bodies in the context of the post-human issue. The second reason is the possibility of placing the British as author in the audiovisual field. The music videos All Is Full Of Love (1999) and Rubber Johnny (2005) are the selected works for analysis of this research. The theoretical references over which this investigation is supported are related to the issues of authorship, post-cinema images and post-human body. Around the authorship discussion this research can be placed on debates proposed by the traditional French journal Cahiers du Cinéma during 1950s and the machine-artist relationship proposed by Vilém Flusser in Towards a Philosophy of Photography. To discuss the music video the selected authors are Arlindo Machado, E. Ann Kaplan and the pop culture experts Andrew Goodwin and Simon Fritch. Besides there are also the theorists Raymond Bellour (1997) who provides a place to the video and Philippe Dubois (2004) who suggests to think of it as a state and not as a product since it´s intimately tied to the device for which it has been designed. The approach to the body theme is based on works from Lucia Santaella, Paula Sibilia and Ieda Tucherman / O trabalho do videomaker Chris Cunningham é o tema principal dessa dissertação. A variedade de produções audiovisuais desse diretor engloba videoinstalações, publicidade e principalmente videoclipes. A escolha desse objeto dá-se por duas razões. A primeira pela contemporaneidade dos temas abordados nos projetos de Cunningham, como a temática dos corpos ciborgue e freak no contexto de discussão do pós-humano. Já a segunda razão é a possibilidade de situar o britânico como autor no campo audiovisual. Os videoclipes All Is Full Of Love (1999) e Rubber Johnny (2005) são as obras selecionadas para estudo analítico nesta pesquisa. As referências teóricas que embasam este trabalho estão ligadas ao tema da autoria, das imagens pós-cinemas e corpo pós-humano. No campo da discussão acerca de autoria, o trabalho situa-se nos debates propostos pelo tradicional periódico francês Cahiers du Cinema na década de 1950 e relação artista-máquina proposta por Vilém Flusser em Filosofia da Caixa Preta. Para se dissertar sobre o videoclipe, os autores selecionados são Arlindo Machado, E. Ann Kaplan e a dupla especialista em cultura pop Andrew Goodwin e Simon Fritch, além do teórico Raymond Bellour (1997), que dá lugar ao vídeo, e Philippe Dubois (2004) que sugere pensá-lo como estado e não como produto, na medida em que está intimamente atrelado ao dispositivo para o qual foi concebido. A abordagem do tema corpo respalda-se em textos das autoras Lúcia Santaella, Paula Sibilia e Ieda Tucherman

Revising Yeats's rhetorical question, this dissertation asks: "How can we tell the dancer from the music?" In the early twentieth century Isadora Duncan and her barefoot protégées initiated a performance tradition that would later be recognized as American modern dance. They did this, to a great extent, by embodying European "absolute music." Soon, however, choreographers and dancers of this new art form faced modernist calls for medium-specific "absolute dance" that would express movement's autonomy and not the autonomous music of Bach, Beethoven, and Brahms. As John Martin, one of the nation's first dance critics, wrote in 1933, "There is a long, sad story to be told about the use of music for dancing which was never intended to be danced to." Today that story is even longer; contra Martin, it is not sad. As the use of classical music was a primary component in the earliest forms of "free dance" and as it remains in some of the most critically acclaimed and commercially successful modern dance today, this use is in need of critical and historical attention. Tracing an alternative genealogy from Duncan's then-scandalous embodied empathy with sacralized art music, the central chapters of this study of the use of music in American modern dance focus on the lives, works, and reception of two choreographers: Ted Shawn and Merce Cunningham. Both of these men founded his own dance company and created works where choreomusicality, or the relationship between music and dance, remained especially vital. For Shawn, wishing to go even further than Duncan, this meant creating choreographies where dance followed the music as closely as possible. Indeed, in his "music visualizations" (a term that he coined with his wife and colleague Ruth St. Denis) his goal was to create dances that were perfect translations of the music itself. Such translation is ultimately impossible, and in attempting it, I argue, Shawn ended up revealing more of himself--specifically, his desire to perform a non-conventional masculinity that he normally felt was off-limits--than he did of the music. Reacting against this tradition--the standard history of modern dance goes--was Merce Cunningham, in whose mature choreographies music and dance are united only by their overall duration. Yet Cunningham, under the influence of Cage, created several dances to the music of Satie that provide an illuminating exception to this practice. I focus in particular on Idyllic Song (1944) and Second Hand (1970), both of which Cunningham choreographed to Satie's Socrate. Though created during his artistic maturity, Second Hand provides a link to the earliest self-expressive collaborations with John Cage. As a result, this choreography offers an unusual window into the Cage-Cunningham personal and professional relationship. In examining Shawn's and Cunningham's choreography, this dissertation tracks not only the changing role of Western art music in the relatively young art form of modern dance but also examines these choreographers' responses to contemporary attitudes toward the male dancer, unconventional masculinities, and the relatively new identity of the homosexual. In doing so I demonstrate how the choreomusicalities of these men reflected and refracted their masculinities and homosexualities. In addition to providing choreomusical analysis and interpretation, I revise current understandings of both specific scores and choreographies through intensive archival research (from silent films of Ted Shawn and His Men Dancers, which I have synchronized with their unheard music, to Cage-Cunningham manuscripts ignored or previously thought lost), observation of live and recorded rehearsals and performances, and interviews. Ultimately, "The Dancer from the Music" seeks to establish choreomusicality as an exemplary lens through which to view the meeting of music's ineffability with the realities and identities of listening and performing bodies in motion.

Made available in DSpace on 2016-04-26T18:17:50Z (GMT). No. of bitstreams: 1 Ivani Lucia Oliveira de Santana.pdf: 2443961 bytes, checksum: f17d36c37983e774b197876ea8114232 (MD5) Previous issue date: 2000-11-30 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Corpo Aberto: mídia de carbono, mídia de silício, aborda uma das vertentes da dança contemporânea: a relação do corpo com as máquinas da nova era e, consequentemente, a dança em interação com as novas tecnologias. O pensamento e a obra do coreógrafo americano Merce Cunningham são escolhidos como fio condutor desta dissertação. À luz deste artista torna-se possível identificar alguns dos fatores que propiciaram a emergência deste diálogo entre a dança e as tecnologias. Suas obras propõem sofisticadas interações e as expõem como um trânsito que ocorre no corpo. Cunningham é fundamental para uma nova visão de dança, de arte e, principalmente, de corpo. E é também um pioneiro no uso das novas tecnologias neste campo. Através dele, serão discutidos artistas e obras contemporâneas onde o limite entre corpo de carbono e de silício está borrado. Carbono e silício estão implicados. Corpo Aberto: mídia de carbono, mídia de silício representa um primeiro passo no entendimento desta nova manifestação da dança, dando margem à sua continuidade, que se realizará na pesquisa de doutorado que segue essa, aqui apresentada. Corpo Aberto pertence a um mundo constituído por sistemas abertos, e por signos no sentido empregado por Charles Sanders Peirce. Por esta via percebe-se que todas as coisas no mundo, sendo signos, sistemas abertos, estão em constante troca e transformação na cadeia evolutiva. Portanto, o corpo, ambiente onde ocorre a dança, pode ser entendido como um sistema em interação eco-evolução com o mundo. É impregnado por ele ao mesmo tempo que passa a impregná-lo. Um está implicado no outro. A dança em interação com as tecnologias dos tempos de agora é aqui analisada não como um estilo ou gênero a mais em dança, mas como um reflexo, uma resposta estética da própria evolução do universo. Trata-se de um Corpo Evolutivo