This paper examines Hannah Höchs photomontage Schnitt mit dem Küchenmesser Dada durch die letzte weimaren bierbauchkulturepoche Deutschlands. The paper has as its aims to understand and analyze the predominated allegorical interpretation of Schnitt and to develop a logic how meaning is produced when a viewer look at Schnitts surface. The paper finds that the predominated interpretation has been arbitrarily created out of a specific spectator that acts in a specific context and conclude instead that the predominated interpretation should be understood as a potential interpretation by a potential viewer. The paper continues to create an understanding of Schnitt as a flatbed picture to establish that as a postulate and to use it in the later semiotic dissection of Schnitts surface. The paper then semiotically explains how a viewers meaning is produced by creating a chain with Schnitts photographical fragments and connecting these with syntagmatic relations.

Du premier cercle romantique allemand, à la fin du XVIIIème siècle, jusqu’à l’Internationale Situationniste, dans les années 1960, en passant notamment par les groupes futuristes, dadaïstes et surréalistes, la poésie s’est identifiée au projet d’une révolution globale et permanente de l’existence quotidienne. Pendant près de deux siècles, tous ces poètes ont tenté de concilier les mots d’ordre marxiste et rimbaldien « transformer le monde » et « changer la vie ». Ce faisant, ils redéfinirent les formes et les pratiques de la poésie de même que les termes et les enjeux du programme socialiste révolutionnaire du XIXème siècle, définissant ainsi ce que nous appelons un « socialisme du XXème siècle ». Au-delà du domaine classique de l’écriture littéraire, la poésie doit désormais se réaliser en états superbes, en gestes et en comportements inédits, transposant dans le réel et dans les actes tout le potentiel de créativité jusque-là contenu dans le domaine des lettres et de la fiction. Ses principales caractéristiques (autonomie, culture des désirs, créativité et capacité à redynamiser et à repassionner le réel en excédant sans cesse les données sensibles et intellectuelles présentes) définissent un nouvel exercice de la vie, à la fois individuel et social, tandis que sa perception de l’univers, en tant que système dynamique, permet d’envisager un nouveau modèle politique fondé sur les mêmes principes d’autonomie, de créativité et de dynamisme social.Ce présent travail tente de cerner et d’analyser les enjeux et les pratiques liés à un tel projet, jusque dans ses prolongements les plus récents. Nous avons exploité l’histoire des idées en vue d’un seul véritable objectif : appréhender au plus près les enjeux de pratiques à la fois diverses et convergentes, mettre en évidence les apports, la pertinence et les éventuelles limites de leur démarche pour les réinscrire dans ce que nous appelons une « théorie des pratiques » et produire ainsi, au-delà de ces réalisations du passé, les fondements d’une nouvelle théorie pratique. / From the first german romantism, at the end of the XVIIIth century, to the International Situationnist, in the 1960’s, through the futurist, the dadaïst and the surrealist avant-gardes, poetry became one with the project of a global and permanent revolution of the everyday life. During almost two centuries, all these poets have tried to reconcile the marxist and the rimbaldian key-words « transform the world » and « change the life ». In doing so, they redetermined the forms and the practices of the poetry, as well as the terms and the stakes of the revolutionnary socialist program, determining what we call a « Twentieth century socialism ». Beyond the classical range of the litterary writing, poetry has now to be realized into new acts and behaviours, transposing all the potential of creativity contained in the letters and the fictions until now. Its main characteristics (autonomy, developement of the desires, creativity and ability to redynamize and to impassion reality) define a new way of life and its perception of the universe as a dynamic system defines a new political model based on the same principles of self-government, creativity and social dynamism.All along this work, we have tried to define and to analyze the stakes and the practices linked to such a project, up to now. We have processed the history of ideas with one purpose : to define the stakes of varied and convergent practices, their contributions and their limitations, in order to incorporate them into what we called a « theory of practices » and to create the basis of a new practical theory for the present times.

Submitted by Franciele Moreira (francielemoreyra@gmail.com) on 2018-04-25T13:01:45Z No. of bitstreams: 2 Tese - Clodoaldo Ferreira Fernandes da Silva - 2018.pdf: 2415792 bytes, checksum: 1b0d7833036b2d8cd11866932cec5cfc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-04-26T10:55:48Z (GMT) No. of bitstreams: 2 Tese - Clodoaldo Ferreira Fernandes da Silva - 2018.pdf: 2415792 bytes, checksum: 1b0d7833036b2d8cd11866932cec5cfc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-26T10:55:49Z (GMT). No. of bitstreams: 2 Tese - Clodoaldo Ferreira Fernandes da Silva - 2018.pdf: 2415792 bytes, checksum: 1b0d7833036b2d8cd11866932cec5cfc (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-13 / This study presents a research which was conducted under the auspices of the PhD Program in Letters and Linguistics at the Federal University of Goiás (UFG) between the years of 2015 and 2018. The investigation – Images, mythemes and myths in “The princess and the seamstress” and Princess Joana: discursive constructions of sexual identities, research follows a qualitative approach and investigates how sexual dissidences reconfigure gender identities in children's stories. The central objectives are to examine the myths in the narratives of contemporary fairy tales and to verify if they can (de)construct some identities. It is also intended to problematize myths which can possibly produce identities, as well as to investigate how the ideas expressed in the stories can insert or exclude sexual diversity in the contemporary world. Another purpose of the research is to discuss the relationship between gender identities constructed in the stories and their socially pre-established roles, in order to analyze how the myth is proposed in contemporary narrative of fairy tales. The corpus of our analysis was made up of two fairy tales written by Janaína Leslão which were published in Brazil from 2015 to 2016. These tales were entitled The Princess and the Seamstress, and Princess Joana. The analysis of the texts followed the theoretical and methodological principles of the Anthropology of the Imaginary and the interpretations were subsidized by the scientific method named mythcritic as proposed by Gilbert Durand. The results indicate that there is a renewal of the myths that subsidize new identity constructions about sexual dissidences. / O presente estudo advém de uma pesquisa de doutorado desenvolvido no Programa de Pós Graduação em Letras e Linguística da Universidade Federal de Goiás (UFG) no período de 2015 a 2018. A pesquisa intitulada ―Imagens, mitemas e mitos em “A princesa e a costureira” e ― “Joana princesa”: construções discursivas de identidades sexuais, segue uma abordagem qualitativa e investiga de que maneira as dissidências sexuais vão reconfigurar as identidades de gêneros nas histórias infanto-juvenis. Tem-se como objetivo central examinar os mitos presentes nas narrativas dos contos de fada contemporâneos e verificar se podem (des)construir algumas identidades. Pretende-se também, problematizar possíveis mitos, os quais podem ser produtores de identidades e investigar de que maneira as ideias presentes nos contos podem ser capazes de inserir ou excluir a diversidade sexual no mundo contemporâneo. A investigação se propõe, ainda, discutir a relação entre a identidade de gênero construída nos contos e os papéis pré-estabelecidos socialmente; para em seguida, analisar como o mito presente nos contos de fada é proposto na narrativa contemporânea. Nossa investigação teve como corpus dois contos de fada da autora Janaína Leslão, publicados no Brasil entre os anos de 2015 e 2016. A saber: A Princesa e a Costureira e Joana Princesa. A análise dos textos seguiram as tramas teóricas metodológicas da Antropologia do Imaginário e as interpretações foram subsidiadas pelo método científico da mitocrítica proposto por Gilbert Durand. Os resultados apontam que há uma renovação dos mitos que subsidiam novas construções identitárias acerca das dissidências sexuais.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-10-07T14:44:57Z No. of bitstreams: 1 rogerioterrajunior.pdf: 3699797 bytes, checksum: 1594b86b2375914e36e7e2f7b932dfab (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-11T15:46:42Z (GMT) No. of bitstreams: 1 rogerioterrajunior.pdf: 3699797 bytes, checksum: 1594b86b2375914e36e7e2f7b932dfab (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-10-11T15:46:50Z (GMT) No. of bitstreams: 1 rogerioterrajunior.pdf: 3699797 bytes, checksum: 1594b86b2375914e36e7e2f7b932dfab (MD5) / Made available in DSpace on 2016-10-11T15:46:50Z (GMT). No. of bitstreams: 1 rogerioterrajunior.pdf: 3699797 bytes, checksum: 1594b86b2375914e36e7e2f7b932dfab (MD5) Previous issue date: 2009 / A visualidade contemporânea, tanto em produtos destinados ao mercado quanto em obras que se pretendem alternativas ou artísticas, tem sido marcada por um fenômeno bastante evidente: a presença de signos e elementos oriundos de diversas matrizes, paradigmas e estilos, articulados de forma simultânea num mesmo campo visual. Esta estratégia de significação possui raízes no movimento Dadaísta nas artes visuais, surgido num contexto de profundas transformações científicas e filosóficas, e se desenvolveu durante o século XX, para ser recentemente consolidada e potencializada pelas tecnologias digitais de captação, criação e tratamento de imagens. Este hibridismo da imagem, que se manifesta de maneira evidente e radical ou dissimulada e sutil, de acordo com a natureza do produto, atende tanto ao ideal anárquico de desconstrução do significado, empreendido pelos dadaístas no início do século XX, quanto à construção de significados padronizados e estanques na comunicação visual recente ou à resignificação dos elementos da imagem na vídeo-arte contemporânea. / The contemporary visuality, both in products for the marketplace and at work that is intended to alternate or artistic has been marked by a phenomenon quite clear: the presence of signs and elements from different sources, patterns and styles, articulated simultaneously in the same visual field. This strategy of meaning has formsroots in the Dadaist movement, in the visual arts, which come to light in a context of profound scientific and philosophical transformations, and developed during the twentieth century to be consolidated and recently potentiated by digital technologies to capture, creation and processing of images. This hybridity of the image, that is manifested so clear and radical or covert and subtle, according to the nature of the product, serves as the ideal anarchic deconstruction of meaning, undertaken by the Dadaists in the early twentieth century, as the construction of standardized meanings and tight in recent visual communication or reframe of the picture elements in contemporary video art.

No description available.

No description available.

L’analyse de la réception critique des nouvelles formes d’art apparaissant dès la fin des années 1950 et se développant au cours des années 1960, en particulier dans le champ de la sculpture et des œuvres en trois dimensions, constitue le socle de notre réflexion. Celle-ci vise à mettre en lumière les profondes évolutions que connaissent les processus de conception et de production des œuvres en trois dimensions, chez des artistes que la réception critique « à chaud » puis l’histoire de l’art ont séparés en fonction de critères stylistiques : néo-dada, pop, minimal… L’observation de ces déplacements de la pratique, intégrant des matériaux et des modes de production industriels (ou résistant à ces derniers) offre une autre approche des enjeux de l’art de cette période, qui voit s’éloigner la figure archétypale et héroïque du sculpteur moderniste incarnée par David Smith, et s’élaborer la figure nouvelle de l’artiste « post-studio ». Parallèlement, apparaissent de nouveaux soutiens, institutionnels, financiers et surtout techniques, pour les artistes produisant des œuvres en trois dimensions et délégant tout ou partie de la fabrication à des sociétés industrielles. Un nouveau type d’entreprise voit le jour, spécialisé dans la fabrication d’œuvres en trois dimensions et de sculptures monumentales. Au début des années 1970, les nouveaux modes de fabrication expérimentés durant la décennie précédente sont parfaitement intégrés à l’économie générale de l’art. En proposer une forme d’archéologie afin d’en comprendre les motivations initiales vise à mieux penser les enjeux actuels des pratiques artistiques ayant recours à la fabrication déléguée / The analysis of the critical reception of the new forms of art appearing from the end of the 1950s and developing during the 1960s, especially in the field of sculpture and tridimensional works, constitutes the foundation of our thought. It aims at bringing to light the profound shifts in the conception and production processes of the works in three dimensions, made by artists separated by the critical reception then the art history according to stylistic criteria : Neo-Dada, Pop, Minimal, and so on. To observe these displacements of the art practice, integrating industrials materials and means of production (or resisting them) offers another approach of the art stakes in this period, which sees the archetypal and heroic figure of the modernist sculptor (embodied by David Smith) fading, and elaborating the new figure of the post-studio artist. At the same time, new supports (institutional, financial and especially technical) appear for the artists producing works in three dimensions and delegating all or any of the manufacturing to industrial companies. A new type of company, specialized in the manufacturing of works in three dimensions and monumental sculptures, is born. In the early 1970s, the new means of manufacturing experienced during the previous decade are perfectly integrated into the general economy of art. To propose a kind of archeology of these means in order to understand the initial motivations aims at a better thinking of the current stakes in the artistic practices turning to delegated manufacturing processes

Thèse en cotutelle / Le genre du manifeste prend son essor dans la première moitié du XXe siècle, notamment dans le contexte des avant-gardes historiques en réaction aux nombreux bouleversements sociopolitiques et esthétiques à l’aube des deux guerres mondiales. Alors que les signataires des manifestes dits « fondateurs » des mouvements futuriste, dadaïste et surréaliste se sont vu arroger le titre de « chef de file » dans la foulée de leur publication, la faible participation des femmes dans leur élaboration est remarquable, se limitant tout au plus à une co-signature (comme dans le cas de Sophie Taeuber et du manifeste Dada-Zurich). Or, nombreuses sont les autrices et les artistes à avoir investi ce genre mêlant création et théorie dans une volonté de négocier avec la pensée dominante d’un mouvement avant-gardiste donné et – cela va sans dire – avec les conventions littéraires et esthétiques institutionnalisées. Observer leurs productions dans une approche à la fois féministe et rhétorique montre que les femmes signataires investissent singulièrement cette écriture marquée par la provocation et la violence verbale. Elles forcent ainsi la redéfinition des trois principes fondateurs du geste manifestaire : l’opposition, l’imposition et le regroupement. En résultent des programmes polémiques en réaction explicite aux manifestes officiels ainsi qu’à d’autres consacrés à la défense et à l’illustration d’une pensée artistique qui se veut plus indépendante des textes signés par des hommes. En se mettant elles-mêmes en scène, les créatrices incarnent des positions de dissociation par rapport à certaines idées, valeurs ou pratiques scripturaires et artistiques défendues plus largement dans l’un ou l’autre des mouvements. Dès lors, le manifeste devient le lieu d’une réelle performance de soi rendant possible l’appropriation par les femmes de ce genre historiquement investi par les hommes pour l’adapter à un discours qui s’inscrit dans une marginalité complète. / The genre of the manifesto is linked to the cultural history of the first half of the 20th century with the historical avant-gardes, in reaction to the numerous socio-political and aesthetic upheavals at the dawn of the two world wars. While the signatories of the so-called « founding » manifestos of the Futurist, Dada and Surrealist movements were given the title of « chef de file » in the wake of their publication, the low level of participation by women in their elaboration is remarkable, limited at most to a co-signature (such as Sophie Taeuber with the Dada-Zurich manifesto). Yet many female authors and artists have taken up this genre, which combines creation and theory, in a desire to negotiate with the dominant thought of a given avant-garde movement and – it goes without saying – with institutionalized literary and aesthetic conventions. Observing their productions from both a feminist and a rhetorical perspective shows that the women signatories are singularly invested in this form of writing marked by provocation and verbal violence. In doing so, they force a redefinition of the three founding principles of the manifesto gesture: opposition, coercion and grouping. The result is polemical programs in explicit reaction to official manifestos, as well as others devoted to the defense and illustration of an artistic thought more independent of texts signed by men. By putting themselves on stage, women creators embody positions of dissociation from certain ideas, values or scriptural and artistic practices defended more broadly in one or other of the movements. From then on, the manifesto becomes the site of a real self-performance, making it possible for women to appropriate a genre historically invested by men and adapt it to a discourse that is completely marginal.

Following his 1924 break with the Paris avant-garde, Francis Picabia (1879-1953) decamped to the French Riviera and soon began work on his radically new Transparency paintings. This series, which occupied Picabia from approximately 1928 to 1933, drew on classical imagery of biblical and mythological subjects, layering disparate human forms and natural motifs in sensuous compositions remarkable for their ambiguous pictorial space and sinuous lines. The Transparencies' resistance to narrative or allegory--notwithstanding their apparent clarity of reference--parallels the paintings' evasion of formal interpretation in spite of their classical beauty; both of these characteristics have made Picabia's Transparencies one of his most inscrutable and misunderstood bodies of work. To avoid treating the Transparencies as a non sequitur or as a conservative abandonment of earlier modernist goals, it is important to understand the sources of the concepts underpinning these works but originating in Picabia's earlier Cubist and Dada periods. Dimensionality, appropriation, figuration, and a rigorous commitment to individualism are all themes from Picabia's acclaimed work in the 1910s and early 1920s that continue into the Transparencies. Particularly relevant are the multivalent interpretations of the spatial fourth dimension--scientific, philosophical, and occult--that Picabia had first encountered in the context of Cubism and the Stieglitz Circle and, later, in his friend Marcel Duchamp's optical experiments. In the Transparencies Picabia's layered outlines both deny linear perspective and suggest projections of interior worlds. In 1936, Picabia affirmed his interest in the fourth dimension, referring specifically to the Transparencies' superimposition at the time he signed Charles Sirató's "Manifeste Dimensioniste." Picabia's visual synthesis of decades of avant-garde concerns in the Transparencies appealed to the American expatriate writer Gertrude Stein, who became one of Picabia's closest friends and confidantes in the early 1930s after she saw his recent paintings. Stein's commentary on Picabia's work and their friendship in "The Autobiography of Alice B. Toklas" and "Everybody's Autobiography" reveals the painter's impact on Stein at a turning point in her career, but also elucidates their shared search for new verbal and visual expressions of the human figure and higher dimensionality. / text

Scholarship on Dada and Surrealism has established that psychology was a major intellectual source for artists in both groups. However, a burgeoning amount of recent work in both the history of art and of science indicates that types of psychology other than psychoanalysis permeated the historical context of the avant-garde. In the late nineteenth and early twentieth century, physiological psychology, for example, was the dominant science of the body and mind, which grounded psychic phenomena in structures of conduction in the nervous system. Modern artists saw within this discourse a fascinating and new theory of experience. In my selective history of the avant-garde’s reception and response to physiological psychology, I will argue that artists worked within and partially according to the basic tenets of this discourse, but that they reshaped its superstructural projections away from formations and taxonomies of normalcy in consciousness and action. / text