Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-05-19T17:42:46Z No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) / Made available in DSpace on 2017-05-19T17:42:46Z (GMT). No. of bitstreams: 1 TES_TICIANO_RICARDO_PALUDO_COMPLETO.pdf: 4503183 bytes, checksum: 26a6e1ee4a05505a08456c1b16493040 (MD5) Previous issue date: 2017-03-22 / This thesis aims to study the articulations and tensions that exist in the 21st century musical myths, and will verify the possibility of tracing a 2000?s mythic construction paradigm to understand the plurality of proposals, platforms and contemporary languages. For this, it presents its own analysis method to think about the total artist concept. An illustrative cut occurs through David Bowie, Kiss and Lady Gaga?s music videos. Bowie will be presented as one of the very first total artists in pop culture, fowward by Kiss, and Gaga. Music videos will be presented as encapsulated operas. In the end, the thesis discuss the adversongs, an union between music, and advertising, apex of the total artist of the 2010 decade. / A presente tese busca compreender as articula??es e tens?es existentes nos mitos musicais do s?culo XXI para verificar a possibilidade de tra?ar-se um paradigma de constru??o m?tica p?s anos 2000 que d? conta da pluralidade de propostas, plataformas e linguagens contempor?neas. Para isso, apresenta metodologia pr?pria de an?lise do que chama de artista total. O recorte ilustrativo se d? atrav?s de videoclipes dos artistas David Bowie, Kiss e Lady Gaga, sendo esta ?ltima uma expoente do referido artista total, e David Bowie, o fundador do modelo. Os videoclipes s?o pensados como ?peras encapsuladas e vetores de constru??o m?tico-espetacular, desde que obede?am a certos crit?rios que s?o explanados durante a pesquisa. Ao final, a tese apresenta o conceito de adversong que compreende a uni?o entre m?sica e publicidade, ?pice do artista total da d?cada de 2010.

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In seinem Song Lazarus setzte sich David Bowie unzweifelhaft mit seinem unmittelbar bevorstehenden Tod auseinander. Als Hauptmedium der Auseinandersetzung dürften weniger die Lyrics als die Musik des Songs anzusehen sein; und dabei kommt der Soundgestaltung an einigen Stellen eine zentrale Rolle zu. Es soll hier versucht werden, die semantische Funktion der Soundgestaltung in Bezug auf die Narration des Songs zu analysieren. Klang entzieht sich, gerade in Anbetracht der unendlichen Möglichkeiten elektronischer Manipulation, stärker als Tonhöhe und Rhythmus einer linearen Parametrisierung und bietet sich daher nicht zu einer code-geleiteten Verwendung an; allerdings lassen sich gewisse Parallelen zu den von David Bowie gewählten Klangmetaphern beispielsweise bei Berlioz und Alban Berg finden, die freilich eher der Todesthematik als einer bewussten Bezugnahme geschuldet sein dürften. Zu untersuchen ist ferner die Integration der Klangmetaphern in die Narration des gesamten Songs. Auf vielen Ebenen werden konventionelle Popstrukturen kreativ und im Sinne der Songthematik umgestaltet: So stellt die Form, etwa »Intro-Verse-Verse-Bridge-Verse-Solo-Outro«, nur die Grundlage für die Entfaltung eines einzigen, den gesamten Song umspannenden melodisch-narrativen Bogens dar; in Bezug auf diesen Bogen, durch ihre Platzierung an entscheidenden Umschlagpunkten der Narration entfalten die Klangmetaphern ihre eigentliche Kraft. Ähnliche Überlegungen lassen sich hinsichtlich harmonischer Phänomene anstellen. Insgesamt findet die Analyse in Lazarus ein dicht gewebtes Netz semantischer Bezüglichkeit, das im Dienst einer spirituellen, verbal nicht mehr formulierbaren, dafür unmittelbar berührenden Aussage steht. / There is little doubt that in his song »Lazarus«, David Bowie was dealing with his impending death. It seems that in this respect the music is more important than the lyrics, with the sonic design of certain parts playing a major role. In this article, an attempt is made to analyze the semantic function of sound in relation to the narrative of the song. Sound eludes linear parametrization, much more than pitch or rhythm, especially if we take into account the infinite possibilities of its electronic manipulation in pop music. In general, sound is less »coded« than pitch or rhythm. Indeed, there are some parallels between sonic metaphors in »Lazarus« and in certain works of Berlioz and Alban Berg, but these parallels might be due to topical similarities (the theme of death) rather than conscious allusion. Moreover, the placement of the sonic metaphors into the narrative framework of the song deserves some attention. »Lazarus« uses conventional song structures in a creative way in order to enforce its narrative. For example, while the song may be analyzed as Intro–verse–verse–bridge–verse–solo–outro, there is a single overarching melody unfolding throughout the song. The various sonic events draw their semantic impact from their placement at important turning points of the narrative. Similar observations can be made with regard to certain harmonic aspects of »Lazarus«. All in all, the analysis reveals a tightly-knit web of semantically charged events, contributing to a spiritual message that transcends verbalization.

The sculptural environments I create immerse the viewer in a decrepit vaudevillian past. The sculptures allude to narratives within Community Theater as well as the Drag Show. Making becomes an act; manipulating materials such as synthetic hair and paint are associated with the guise of the makeup artist. Frantic rehearsal logic prevails as a dress is repurposed into a male giant's costume and window blinds are used to construct a boat's deck. This collusion asks the viewer to transgress the boundary of the stage, becoming a voyeur privileged to the world of exiled props and role reversal.

This study regards the influence of ’modern’ satanism on performative art in the nineteen sixties- and seventies. The methodological framework consists of performativity theory, religious visual culture and aesthetics of experimental film. The material consists mainly of cinematic work by Kenneth Anger and Alejandro Jodorowsky, as well as musical performances by the likes of Mick Jagger, the Rolling Stones and David Bowie. In addition to this material I also use academic texts, dissertations and books written about the subjects themselves as a foundation for my own further analysis and discussions. By looking closely at a selection of cinnematic work of foremost Kenneth Anger, I try to show how his own esoteric and occult interests are present as a fundamental part of his creative process and the following filmworks/artworks themselves. This is also put into relationship with Anton Szandor Lavey, founder of the Church of Satan, and their common thoughts concerning ritually performed magic. By using performativity theory I trie to emphasise the interlocking structures of these two worlds in the artwork of Kenneth Anger and other artists active in the culturual ’milieu’ of the sixties- and seventies. The results indicate that the religious sphere of satanism, occultism and esotericism (and alternative modes of religion in general) was closeley inflicted with counterculture-infused film and music (as represented by the selection of material).