Poems to the Sea: Rather than narrating or describing a work of visual art, the poems that form this collection show an accumulation, juxtaposition and realignment of material ranging from art historical detail and critique to a more personal, location specific response to works viewed in galleries and museums. Many of the poems engage with non-representational artworks and question how best to reflect, translate or expand upon their transformative effects. The first section, ‘Museum Notes’, explores Charles Olson’s open field poetics by giving artists and writers a conversational voice. ‘Sound Fields’, the second section, responds to individual works of art and reflects a systems-based approach. The authorial voice within ‘Poems to the Sea’, the third section, is that of an artist involved in making a series of palimpsest drawings to capture a sense of place as drawing and writing overlaps and intertwines. Painterly Poetics: Charles Olson, Robert Creeley, Cole Swensen: This thesis explores three American poets from successive generations to examine three related types of engagement with visual art. As literary models that have informed my own poetic practice, Charles Olson, Robert Creeley and Cole Swensen have theorized their own writing process to consider ways of using language to enhance the transmission and transcription of their visual stimuli and ideas. All three are interested in visual art as a model for the writing process: as a means of seeing, thinking and perceiving. After an introduction that surveys relations between verbal and visual art, a chapter is devoted to each of the three poets. In the opening and longest chapter, examples of Olson’s writing are compared to the approach of several Abstract Expressionist painters who contributed to the culture of experimentation and spontaneity that emerged under Olson’s leadership at Black Mountain College in the early 1950s. Following a discussion of Olson as a uniquely influential figure, the chapter on Creeley considers the role of visual art in his poetics. Swensen’s writing is subsequently explored for its extension of the Black Mountain legacy: how she builds upon established critical methods to achieve what she calls ‘a side-by-side, walking-along-with’ relationship between the poem and the artwork.

Abstract   Comments regarding Swedish graffiti writer NUG’s film Territorial Pissing (2008) express how graffiti and art appear to be two different worlds and when these worlds come together the expression of graffiti seems to transform. This thesis, Graffiti at stake: a qualitative study, via NUG, about the autonomy in graffiti, aims to both examine and bring about a general discussion on whether graffiti is autonomous when it enters the art world. The thesis also discusses transformed content and expression in the works of NUG when performed in a different context; what is exhibited in an institutional art context and what positions does NUG occupy? The French sociologist Pierre Bourdieus conceptions field and autonomy has been used as a theoretical framework, and partly as method as well. By studying the works of NUG another expression has been found within an institutional art context – black irrational lines and cascades. These are interpreted as energy generated from the act of performing graffiti and have been discussed in relation to the graffiti- and art practice as well as the symbolic capital. The thesis argues that the autonomy is situated in what is recognized and acknowledged. The thesis also concludes that NUG is entering into a masculine, conventional and strong artist position, similar to Pollock. / Populärvetenskaplig sammanfattning   Uppsatsen, Graffiti på spel: en kvalitativ undersökning, via NUG, om graffitins autonomi, tar avstamp i kommentarer rörande den svenska graffitiutövaren NUG:s videoverk Territorial Pissing (2008). Kommentarer som uttrycker att graffiti och konst tycks vara två separata världar och när dessa världar möts tycks uttrycket i graffiti inte vara detsamma – är det graffiti? Om graffiti är autonomt när det inträder i konstens fält är en generell diskussion som denna uppsats lämnar ett bidrag till. NUG har en magisterexamen i konst och tillhör de största namnen på Sveriges och Europas graffitiscener. Inom en konstinstitutionell kontext har ett annat uttryck, än de traditionella graffitibokstäverna, kunnat konstateras; irrationella streck och kaskader av svart sprayfärg. De förstås som energi, alstrad från akten att måla graffiti, samt framstår som en nödvändighet. Uppsatsen diskuterar en graffitipraktik och dess relation till konstfältet. I konstens fält står graffiti på spel och autonomin hamnar i det som igenkännes och erkännes. Detta är också en uppsats om hur NUG går från en manlig utövarposition, in till en manlig, konventionell och stark konstnärsposition, i förening med Pollock, samt hur NUG har en fot i ”graffitins fält” respektive en fot i konstens fält och hur han manövrerar dessa fält.

The thesis Inscenation Principles by director K. H. Hilar in National Theatre from 1921 to 1935 (focusing on cooperation with stage designer Vlastislav Hofman) is about director K. H. Hilar's inscenation principles in position as the boss of National theatre from 1921 to 1935. The aim was to focus on Hilar's work at the National Theatre, as well as its cooperation with the actors, the elements of expressionism and later civilism in his arrangement and last but not least, given his cooperation with the set designer, especially with the architect and artist Hofman. Part of thesis involves a lot of images from Hilar inscenations . Most sources are available in the archives of the National Museum in Terezin, and archives of the National Theatre in Prague. The professional literature is available at the Theatre Institute, also in Prague.

Tels que l’historiographie de l’art les a enregistrées, l’œuvre de Paul Rebeyrolle et sa carrière (1945-2005) posent question au-delà de cette définition stricte, base factuelle d’une hypothétique notice d’encyclopédie : qu’est-ce qu’un peintre français des IVe et Ve républiques ? Paul Rebeyrolle est connu pour être méconnu, reconnu, toujours, comme un excellent peintre, loué par certains comme l’un des plus importants de la période, en France, mais demeure réduit à la portion congrue de l’histoire de l’art contemporain français, lorsque celle-ci juge bon de le mentionner. Il a pourtant bénéficié d’un succès précoce, dans les années 1950, dans le sillage d’un Bernard Lorjou ou, surtout, d’un Bernard Buffet, avant de subir un désaveu équivalent. Un marchand aussi important qu’Aimé Maeght et des préfaciers aussi renommés que J.-P. Sartre ou M. Foucault n’y auront rien changé. En cela, il est exemplaire de tout un pan de l’art français qui, avec la Ve république et sa politique culturelle, semble avoir été déclassé pour un certain nombre de raisons qu’il reste encore à évaluer : différends esthétiques, mésententes plastiques, dénis hérités de la querelle des abstraits et des figuratifs, non-dits liés à la question de l’engagement politique de l’artiste, imprécisions ou partis-pris critiques et légèreté des commentaires journalistiques friands de poncifs... Autant de malentendus qui ont contribué à brouiller la juste appréciation de son œuvre et l’ont tenu éloigné d’une véritable reconnaissance institutionnelle. / The way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition.

Ce travail s’engage dans la reconstitution d’une intelligibilité globale nouvelle pour la logique qui est née avec Frege afin de restituer l’une des conditions décisives pour la philosophie contemporaine, à savoir celle qui concerne son rapport aux pratiques et aux savoirs formels. Son hypothèse initiale affirme que le projet premier et constant de Frege a été celui d’une logique du contenu. Pourtant, il ne s’agit pas de réinvestir l’œuvre de Frege d’une cohérence nouvelle dans le but de rétablir une unité stable. Car l’intelligibilité procurée par cette reconstitution permet de localiser dans les formulations de Frege de véritables lacunes qui ne semblent pas avoir été identifiées comme telles jusqu’ici. Que la logique de Frege soit efficace malgré ces lacunes, voilà ce qu’il faut expliquer. La réponse que nous donnons à ces questions est que l’efficacité de la logique de Frege en tant que logique du contenu provient d’un certain rapport à l’Arithmétique, à savoir celui par lequel c’est la logique qui est construite d’après les principes de l’Arithmétique, avant qu’elle ne soit capable de la construire à son tour. La question se pose alors de caractériser avec précision à ce niveau constitutif, non « fondationnel », la nature du rapport entre une logique du contenu comme forme spécifique de la logique dans le cadre de sa mathématisation, et l’Arithmétique comme domaine mathématique particulier. De l’analyse minutieuse de la constitution du système logique frégéen, une idée se dégage qui constitue la thèse centrale de notre travail : les différents systèmes de la logique mathématisée ou formelle ne reposent sur les mathématiques que par l’intermédiaire d’une dimension d’exercice, de réflexion et d’élaboration de signes, où les circulations et les emprunts entre ces deux savoirs formels contemporains que sont les mathématiques et la logique se construisent et se justifient. C’est donc cette thèse qu’il s’agit de démontrer, par une étude détaillée des processus d’émergence des deux plus grands projets de formalisation de la logique du XIXe siècle : celui de Frege et celui de Boole et des Booléens. Dans cet espace qui mène des pratiques mathématiques aux systématisations logiques à travers les fonctionnements des signes, deux régimes généraux se dessinent : celui d’ « Abstraction symbolique » qui mène de l’Algèbre abstraite à la Logique propositionnelle booléenne ; et celui de l’ « Expressionnisme », qui mène de l’Arithmétique au Calcul logique des prédicats, associée aux travaux de Frege. Mais plus profondément, par l’effet d’une lecture symptomale au plus près des dynamiques internes à ces processus, le présent travail décèle un lien transversal entre le contenu logique d’une part et l’Arithmétique comme ensemble des déterminations du nombre de l’autre. En suivant ce lien, qui s’avère le responsable de l’introduction de la catégorie de sens dans le cadre de la logique mathématisée, une théorie de l’expression formelle se dessine, définissant les conditions pour le développement d’une logique du sens. / This work aims at providing a new general interpretation of the logic that was born with the work of Gottlob Frege, in order to make explicit one of the most decisive conditions of contemporary philosophy: the one that concerns the relation of philosophy to formal practices and knowledge. Its initial hypothesis states that Frege’s primary and most constant project was that of building a logic of content. However, the intelligibility thus gained does not intend to unearth a new underlying unity of Frege’s thought; it rather aims at localising the real gaps within Frege’s formulations that have not been identified as such until now. Still, those gaps do not require to be filled, for Frege’s logic is indeed effective despite this indeterminacy. Rather than the gaps, it is this ungrounded effectiveness that needs to be explained. Our answer to this question is that the effectiveness of Frege’s logic as a logic of content comes from a certain relationship with Arithmetic; in fact, Frege’s logic is constructed on the template of Arithmetic, before it becomes capable of constructing Arithmetic in turn. The task then arises to characterise precisely, at this constitutive and non-foundational level, the nature of the relation between a logic of content as a specific form of logic in the framework of its mathematization, and Arithmetic as a particular mathematical domain. From the meticulous study of the constitution of the Fregean system, an idea can be drawn that constitutes the central argument of this thesis: the various mathematical or formalised logical systems rest upon mathematics only through an intermediary dimension consisting in the practice, the reflection and the elaboration of signs, where the circulations between these two contemporary domains of formal knowledge (mathematics and logic) are constructed and justified. From this point of view, we then lay out a detailed study of the rise of the two most significant projects for formalizing logic in the nineteenth century: Frege’s and Boole’s (and the Booleans’). In the space leading from mathematical practices to logical systematisations through semiotic functioning, two general schemes or semiotic formal regimes can be drawn: “Symbolic Abstraction”, leading from abstract Algebra to Boolean propositional logic; and “Expressionism”, leading from Arithmetic to Predicate Calculus, associated to Frege’s work. More deeply, our research reveals a deep connexion between logical content and Arithmetic (understood as the theory of integers), which horizontally crosses the different semiotic regimes. Following the multiple dimensions of this nexus – which is responsible for the introduction of the category of sense in the framework of mathematized logic – a formal theory of expression can be drawn, which defines the conditions for the actual development of a logic of sense.

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T23:44:51Z (GMT). No. of bitstreams: 1 Cardoso_RenataGomes_M.pdf: 9115223 bytes, checksum: 27434bf124a604ae31768f96a9421932 (MD5) Previous issue date: 2007 / Resumo: Este trabalho analisa algumas pinturas dos períodos iniciais da trajetória de Anita Malfatti. Para tal propósito, toma-se como base a análise formal, procurado adicionar a essa reflexão uma revisão das fontes sobre a artista e sobre a arte moderna internacional, das quais são levantadas algumas questões fundamentais, que marcaram o debate sobre a sua obra no início do século XX e as consecutivas abordagens sobre a artista ao longo da história da arte brasileira / Abstract: This work analyses some paintings of the early periods of Anita Malfatti¿s career. For this aim, it based on the formal analyses, but includes in this reflection a review of the sources about the artist and international modern art, detaching from it some relevant questions, that marked the debate about her work in the beginning of 20th century and the consecutive approaches of the artist throughout the history of Brazilian art / Mestrado / Historia da Arte / Mestre em História

Les études nabokoviennes témoignent de la tendance à laisser de côté la possibilité de l’influence de la culture allemande sur l’œuvre de Nabokov. Ce principe est surtout né des propos mêmes de l’écrivain qui insista à maintes reprises sur le fait que, bien qu’il vécût en Allemagne, il ne savait pas parler allemand et évitait tout contact avec l’univers allemand. Il est vrai que l’émigration russe à Berlin représentait un État dans l’État. Cependant, les frontières entre les mondes russe et allemand n’étaient pas si étanches. Nabokov passa quinze ans à Berlin et ses livres furent traduits et publiés en allemand par une maison d’édition allemande. Des projets d’adaptation à l’écran de ses œuvres se présentèrent plusieurs fois, en particulier pour le roman Roi, dame, valet. Parmi ses œuvres composées à Berlin se trouvent au moins deux romans, Roi, dame, valet et Chambre obscure ainsi qu’une série de nouvelles décrivant l’univers allemand. Tout cela contribue à supposer que le principe établi au sujet de l’ignorance de l’influence allemande sur son œuvre n’est pas si incontestable. Notre travail a pour objectif de lire l’œuvre de Nabokov dans le contexte de l’art allemand contemporain, notamment de l’esthétique expressionniste dont nous étudions trois thèmes majeurs : la déformation du psychisme humain conduisant au dédoublement de soi, l’ambivalence de l’image féminine et la représentation de la grande ville. Un examen approfondi permet de découvrir des liens avec le cinéma muet et la peinture. Le présent travail vise à introduire un nouveau niveau de lecture des œuvres de Nabokov et à reconstruire le contexte culturel berlinois dans lequel ces dernières furent créées. / The Nabokov studies have tended to ignore the possible influence of the German culture on Nabokov’s works. This position springs from the writer’s often quoted words, which stress that, although he lived in Germany, he could not speak German and avoided any intercourse with the German world. Russian emigration certainly constituted a state within the state but the borders between the Russian and German worlds were not so impenetrable. Nabokov spent fifteen years in Berlin and his books were translated and published in German by a German publishing house. There were several projects for screen adaptations of his works, in particular for the novel King, Queen, Knave. While in Berlin, he wrote at least two novels, King, Queen, Knave and Kamera Obskura (Laughter in the Dark for the revisited version by Nabokov), and a series of short stories which describe the German world. All this undermines the principle established about the ignorance of German influence.Our thesis aims at reading Nabokov’s works in the context of the German contemporary art, in particular Expressionist aesthetics. We consider three major issues, namely the distortion of the psyche, which leads to an inner division of the self, the ambivalence of the female figure and the representation of the big city. Thus an extensive analysis allows us to reveal links with German silent cinema and with painting which had eluded researchers so far. The present work aims at introducing a new dimension in the reading of Nabokov’s works and at restoring them to the cultural context of Berlin in which they were created.

Cette thèse de doctorat s’articule autour de trois axes. Elle a trait d’abord à la configuration de la sexualité féminine dans l’œuvre des Rougon-Macquart et dans son adaptation cinématographique. La recherche est ainsi centrée sur la représentation du corps féminin et de sa métamorphose dans l’œuvre romanesque zolienne ainsi que dans l’œuvre filmique correspondante. Quant au deuxième axe de recherche, il se rapporte à l’étude des photogrammes, des lexies au niveau de l’incipit et de l’excipit des romans zoliens et à partir de l’ouverture et du dénouement des adaptations qui en ont été faites. Les divergences entre les romans et leur mise en scène interrogent par ailleurs la question de la fidélité du cinéma à la littérature dont il s’inspire, qui reste jusqu’au jour d’aujourd’hui une question assez problématique. Une analyse des seuils filmiques et romanesques a été jugée ainsi fort utiles. Ces seuils s’avèrent un espace où le sens de la créativité et le don artistique du concepteur de l’œuvre filmique ou romanesque voient le jour. Au terme de notre recherche, nous avons constaté que la femme zolienne évolue dans un milieu où interfèrent le réel, l’imaginaire et le symbolique. Et c’est à à travers son rapport avec les lieux et les objets que cette femme accède au rang de figure. La métaphore animalière constitue ainsi l’essence même de la figuralité zolienne qui met en relief ces corps féminins et les dotent d’une présence mythologique. Finalement le naturalisme zolien est-il d’une veine expressionniste / This doctoral thesis is structered around three axes. It deals with the configuration Of the female sexuality in the work of Rougon-Maquart and it its film adaptation. The research is centered on the representation of the female body and its metamorphosis in Zola’s novel works as well as in the corresponding film works. As for the second axis of research, it relates to the study of photograms in the incipit and excipit of Zola’s novels and from the opening and settlements that have been made. The divergences between the novels and their staging also question the question of the film’s fidelity to the literature on which it is based , which remains a rather problematic issue until today. An analysis of filmic and novel thresholds was found to be very useful. These thresholds turn out to be a space where the creativitity and artistic gift of the designer of the filmic or romantic work are born . At the end of our research, we have noticed that Zola’s female evolves in a background where the real , imaginary and symbolic interfere. And it is through her contact with the settings and objects that she reaches the rank of a figure. The animal metaphor thus constitutes the very essence of Zola’s figurality which hilghlights these female bodies and endows them with a mythological presence. Finally is Zolian naturalism an expressionist vein ?

Charlotte Salomon's Life? or Theater? is a complex compilation of painting, musical notations, autobiography, cinematic layouts, and literary text. Salomon scholars have neglected a crucial element of Life? or Theater?, which is the significant influence of Salomon's friend, Alfred Wolfsohn. This thesis fills this void by examining the correlation between stylistic influences in Salomon's work and by exploring Wolfsohn's theoretical practices. Using a framework informed by Jungian psychology and Wolfsohn's extensive music theory, this thesis argues that Salomon portrayed her own story via Wolfsohn's philosophy of catharsis. As trauma became a reoccurring theme in Salomon's life, painting and creation became her purification and the means by which she recovered her own sanity. To expound the importance of Salomon's emotional expulsion in Life? or Theater?, this thesis considers her biography, traumatic life events, and her formal art training at the Vereinigte Staatsschulen für Freie und Angewandte Kunst. The combination of her chaotic life events, her training as a visual artist, and her inclusion of musical and theatrical elements emphasize her ability to efficiently call upon the most effective and expressive artistic style for her catharsis. In its synthesis, Salomon's Life? or Theater? becomes a Gesamtkunstwerk that is the pinnacle of German Expressionism. Lastly, this thesis will look to the relationship and influence of Wolfsohn. Arguing that Wolfsohn's influence was more than encouraging Salomon to paint, this thesis will draw connections between Wolfsohn's theories and Salomon's approach to Life? or Theater?. In arguing for the importance of Wolfsohn's theories, and by understanding her work as catharsis via Gesamtkunstwerk, this thesis has contributed new ways of understanding Salomon's complex work, Life? or Theater?, as more than an illustrated autobiography.

Magister Educationis - MEd / This thesis is concerned with discussing music education as an aspect of aesthetic education, with special reference to the general music (Class music) curriculum at the secondary schools. Class music, or general music education, is being neglected at secondary schools in South Africa. A strong need for reform is necessary to revitalize the neglected state of class music in schools. Chapter One explains and discusses what is meant by the concept of aesthetic education and its relationship with the arts and especially music education. Chapter Two critically analyses and discusses music as aesthetic education as laid down by Charles Leonhard and Robert House. The soundness of their view comes under severe scrutiny, by the highlighting of contrasting viewpoints. Present criteria operant in music education are critically viewed and the soundness of these criteria as theory are evaluated. Chapter Three discusses Popular music and Classical music in aesthetic education. While the merits of these types of music are of importance, they culminate in a view which propagates the peaceful coexistence of both Popular and Classical music as an aim in aesthetic education. Chapter Four is a critical discussion of the general music education curricula in South Africa. This discussion is based mainly on the C LAS P - model, that is , Composition, Literature, Audition, Skills, and Performance. Chapter Five makes some recommendations towards a music curriculum for the general school music curriculum, based on the C.L.A.S.P - model, and aesthetic principles.