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Made available in DSpace on 2016-03-15T19:42:13Z (GMT). No. of bitstreams: 1 Eduardo de Campos Garcia.pdf: 4355839 bytes, checksum: d7931e9f63f1a4de4ab0adace65dab1f (MD5) Previous issue date: 2011-12-09 / This Master's thesis work aims to uncover the power and knowledge involved in the formation of the concept, which is on the scene of disability. Investigate the word disability, considering it as a fossilized object, and its use in history by the ideological apparatus of the state as school and cinema. Describe and analyze how people relate to the word disability in contemporary society. Therefore, its theoretical framework, among others, Michel Foucault, Flusser and George Canguilhem. To conclude this dissertation shows that the concept of disability as a negative value and synonymous deficit is rooted in knowledge and clinical and judicial powers and that some ideological apparatus of the state, such as school and film, produce and reinforce the disability as something negative. About how some people relate to the concept of disability, the research shows that the blind, wheelchair, hydrocephalus, and do not consider themselves deaf or disabled person would call themselves, although this brand, person with disabilities has been placed on the scene by the school. The paper also points out that in contemporary times, some teachers in the state of São Paulo, but bring with them a certain doubt about what disability is and what it means, still consider it a negative state of life and behavior, a specialty to be resolved by medicine. / Esta dissertação de Mestrado tem como objetivo de trabalho desvelar os poderes e saberes envolvidos na formação do conceito, que está em cena, da deficiência. Investigar a palavra deficiência, considerando-a como um objeto fossilizado, e seu uso na história pelos aparelhos ideológicos do estado como escola e cinema. Descrever e analisar como as pessoas relacionam-se com a palavra deficiência na contemporaneidade. Para tanto, toma como referencial teórico, entre outros, Michel Foucault, Vilém Flusser e George Canguilhem. Como conclusão esta dissertação de mestrado aponta que o conceito de deficiência como um valor negativo e sinônimo de déficit tem sua raiz nos saberes e poderes clínicos e judiciário e que alguns aparelhos ideológicos do estado, tais como a escola e o cinema, produzem e reforçam a deficiência como algo negativo. Sobre o modo como algumas pessoas se relacionam com o conceito de deficiência, a pesquisa aponta que cegos, cadeirantes, hidrocefálicos, surdos não se consideram e nem se autodeclaram pessoa com deficiência, muito embora essa marca, pessoa com deficiência, tenha sido colocada em cena pela escola. A dissertação aponta também que na contemporaneidade, alguns professores do estado de São Paulo, embora tragam consigo uma certa dúvida sobre o que é a deficiência e o que ela significa, ainda a consideram um estado negativo de vida e comportamento, uma especialidade a ser resolvida pela medicina.

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Mit dem Beitrag der Preisträgerin Teresa Ende, „Von Maiden, Monstern und Mythen: Weiblichkeitsentwürfe plastischer Frauendarstellungen auf der Großen Deutschen Kunstausstellung und der Ausstellung Entartete Kunst 1937 in München“, liegt eine kunstwissenschaftlicher Artikel vor. Die Verfasserin geht zentral der Frage nach, inwiefern und mit welchen inszenatorischen, bildstrategischen und rhetorischen Mitteln die in den beiden einflussreichen Ausstellungen von 1937 gezeigten und kommentierten plastischen Frauenfiguren zur Aufwertung der nationalsozialistisch propagierten ʻneuen Deutschen Kunst‘ und zur Diffamierung moderner Kunst eingesetzt wurden. Sie erörtert zum einen, inwiefern diese zu Mustern einer nationalsozialistisch propagierten Weiblichkeit beziehungsweise zu abschreckenden Figurationen negativer Weiblichkeit und des ʻAnderen‘ werden konnten und revidiert zugleich die kunsthistorische Meinung, dass sich das dargestellte Frauenideal der Nationalsozialisten mit den Schlagworten Ehe, Mutterschaft und ʻvolksgemeinschaftliche‘ Bestimmung hinreichend fassen lasse. Zum anderen beleuchtet sie den Prozess wechselseitiger Codifizierung von genderspezifischen und kunstästhetischen Visualisierungen und Diskursen, mit der die nationalsozialistische Kunst- und Kulturpolitik der ideologischen Totalisierung des Macht- und Staatsgefüges zugearbeitet hat. Mit Konzentration auf Arno Breker wird überdies der bildhauerische Traditionsfundus an Darstellungskonventionen, Sujets, Stilmitteln, Bildsymbolen, Allegorik und mythologischen Figuren sichtbar gemacht, auf den nationalsozialistische beziehungsweise nationalsozialistisch affine Werke und zum Teil verfemte Werke figürlicher Plastik aus den 1910er und 1920er Jahren gemeinsam rekurrieren. Gerade mittels seines genderkritischen Blicks enthüllt der Beitrag so in frappanter Weise die Kontinuitäten der Kunst in Deutschland aus der NS-Zeit zu der vor 1933 wie nach 1945.

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The thesis deals with fine arts in the Protectorate of Bohemia and Moravia. It analyzes Czech fine art during the Nazi occupation of World War Two, concentrating on its official component that has not yet been deeply researched. The author surveyed archives, press and literature of the period. The aim was to identify key themes in the public discussion about artistic issues and to trace developments in the legal status of Czech fine art under the occupation. First, a brief portrait of the historical context of 1938 to 1945, accompanied by identifying several pathological phenomena that occupation and the war brought to Czech society. Those that crept into the fine arts are interpreted from a psychoanalytic point of view. Next the author focuses on the official cultural policy of the Protectorate of Bohemia and Moravia. He notes the short and long-term objectives of Nazi policies and their impact on the workings of cultural life in Czech society. He speaks about radical conservative critiques of modern art, which accused the avant-garde of mercantilism, of politicizing art, of being foreign, and arbitrary. So-called "degenerate" art (Entartete Kunst) is also briefly mentioned. A term that was used to defame and denounce modern art. For the first time, an unknown list of Czech "degenerate" painters...