Made available in DSpace on 2016-08-10T11:07:09Z (GMT). No. of bitstreams: 1 LEDA MARIA LEITE ALENCAR DE BRITO.pdf: 762747 bytes, checksum: 37bc61e19fbed5b2b9a13a4adfb50a97 (MD5) Previous issue date: 2015-03-19 / This thesis aims to make a comparative analysis between the works The Passion According to GH, Clarice Lispector and The Metamorphosis by Franz Kafka . Theorized issues are addressed by Victor Shklovsky in literary studies and Comparative Literature at work Literary Theory . It is intended to study the uniqueness of each work procedures , highlighting aesthetic procedures concerning Modern Literature : Expressionism , features that link the objects chosen for the proposal expressionist aesthetic . The similarities and differences of each work aesthetic and structural homologies between the works studied and the expressionist painting. / Esta dissertação tem por objetivo fazer uma análise comparada entre as obras A Metamorfose, de Franz Kafka e A Paixão Segundo G. H., de Clarice Lispector. São abordadas questões teorizadas por Victor Chklovski nos estudos literários e da Literatura Comparada na obra Teoria da Literatura. Pretende-se estudar os procedimentos de singularidade de cada obra, destacando procedimentos estéticos concernentes à Literatura Moderna: o Expressionismo, características que ligam os objetos escolhidos à proposta da estética expressionista. As semelhanças e diferenças estéticas de cada obra e as homologias estruturais entre as obras estudadas e a pintura expressionista.

O trabalho investiga a presença do expressionismo alemão em Mário de Andrade, a partir da análise de alguns momentos de sua atividade intelectual e artística sobretudo, sua crítica de arte, passagens de seus manifestos literários e os livros Losango cáqui e Amar, verbo intransitivo. A escolha desses momentos se deu após uma leitura abrangente da obra, em que foram identificadas três categorias igualmente essenciais ao expressionismo: o primitivismo, a deformação e a preocupação social, que, portanto, nos serviram de guia para o discurso crítico. / The dissertation investigates the presence of German Expressionism in Mário de Andrade, as from the analysis of some periods of his intelectual and artistic activities - especially, his art criticism, his literary manifestos\' passages and the books Losango Cáqui and Amar, verbo intransitivo. The choice of this specific moments occurred after an embracing reading of his work, which identified three essential categories to the Expressionism: the primitivism, distortion and social concern, that led us to the critical speech.

The aim of this thesis is to discover and to sname the specific resources and procedures which were present at the birth of the theatre expressionism in our country. The first method used to find the solution to that was a compilation of the secondary literature followed by the method of analysis and comparison of the selected articles in the review Scéna review published between 1913 and 1914. Doing this research we have found out the main expressionist resource in the theatre was especially the stage economy, i. e. reducing decorations to the minimum, acting in unity, a simplicity and an utmost coordination of words and gestures. The greatest benefit of this work is exploring the period of the early expressionism as well as analysing the review Scéna which had a leading role in presenting modern drama then. Keywords Josef Kodíček, František Zavřel, the review Scéna, early expressionism, drama and theatre, avant-garde

Made available in DSpace on 2016-04-28T14:16:29Z (GMT). No. of bitstreams: 1 Atuacao_Vontade.pdf: 730798 bytes, checksum: c5ee02c993e9bbd862bad89d4977cac9 (MD5) Previous issue date: 2005-04-29 / In this work we have pointed out some of the aspects concerning the changes that occurred in way the western culture investigated Nature. These developments were particularly visible (observed) in the German world and were characterized by the changing position of the investigator when relating the object of his /her research as well as the spectator before a masterpiece. This movement concerning the investigator and the spectator started from the act of objectifying Nature to a situation where they interact with the object of investigation as well as the artistic work. Such change took place mainly in Germany starting in the last decade of the 19th century until the beginning of the 20th century. The pointed displacement could occur in that country because of its strong romantic tradition with its typical subjectivity. The strong subjectivism of German culture was responsible for the appearance of German Idealism, philosophical system that took place in the beginning of the 19th century. Johann Fichte stood out as one of its initiators. He and others thinkers connected to that philosophical tendency provided the theoretical framework to Romanticism found Romanticism theoretically, since idealism subjectifies reality . Generations of students that belong to the world of German culture during the 19th century have concluded their studies in that environment where Romanticism and subjectivism had a widespread influence. So it was be difficult for them to be out of that context. Niels Bohr, Werner Heisenberg and others who have formulated quantum mechanics as well Ernst Kirchner, one of the expressionism exponents, are certainly included among those pointed scholars and, therefore, their works reflected the culture in which they were plunged in / Nesta dissertação abordamos alguns aspectos das mudanças ocorridas na maneira como a natureza era investigada no Ocidente. Essas transformações foram particularmente visíveis no mundo germânico e, se caracterizaram, pelo deslocamento da posição do investigador em relação ao objeto de pesquisa e do espectador diante da obra de arte. Este movimento do pesquisador e do espectador partiu da objetivação da natureza, para uma situação em que os mesmos interagem com o objeto de investigação e, também, com o trabalho artístico. Tal mudança ocorreu, com destaque, na Alemanha, na passagem do século XIX para século XX. O deslocamento apontado pôde ocorrer naquele país, porque nele havia uma forte tradição romântica com sua característica subjetividade. A forte presença do subjetivismo na cultura alemã deu espaço para o surgimento do Idealismo Alemão, sistema filosófico que aparece no início do século XIX, destacando-se Johann Fichte como um dos seus iniciadores. Este e outros pensadores ligados àquela corrente filosófica fundamentarão teoricamente o Romantismo, uma vez que, o idealismo subjetiva a realidade . Gerações de estudantes pertencentes ao mundo da cultura germânica, durante o século XIX e início do século XX, se formaram nesse ambiente, onde o Romantismo e o subjetivismo tinham forte presença e, portanto, seria difícil para eles não participarem desse contexto cultural. Niels Bohr, Werner Heisenberg e outros formuladores da mecânica quântica, assim como Ernst Kirchner, um dos teóricos do expressionismo, certamente estão incluídos entre aqueles estudiosos apontados acima e, portanto, seus trabalhos refletiram a cultura onde estavam imersos

Robert Delaunay (1885-1941) est l’un des artistes français les plus présents à Berlin à l’aube de la Première guerre mondiale. Avec l’aide de Herwarth Walden (1878-1941), directeur de la revue et galerie Der Sturm, l’artiste acquiert rapidement une solide réputation dans la capitale allemande, où il expose une quarantaine de toiles au cours de la seule année 1913, tandis qu’il diffuse abondamment ses propres textes théoriques et ceux de ses amis Guillaume Apollinaire (1880-1918) et Blaise Cendrars (1887-1961). Le peintre français suscite bientôt l’engouement de certains artistes berlinois, nombreux à l’avoir rencontré lors de ses deux voyages en Allemagne avant la guerre. Pour une large partie de la recherche, ce succès s’expliquerait par un « malentendu productif » : les artistes de la capitale allemande auraient détourné l’œuvre de Delaunay dans un sens germanique, appréciant sa peinture pour des raisons étrangères à ses intentions initiales. Contestant cette hypothèse – variante de celle, pluriséculaire, de l’incompatibilité par nature des goûts allemands et français – nous proposons d’envisager la réception berlinoise de Delaunay dans une perspective micro-historique, en nous intéressant au regard porté sur lui par trois artistes : Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) et Bruno Taut (1880-1936). Après avoir mis en exergue les discours possiblement « entendus » par ceux-ci autour de l’œuvre du peintre français en Allemagne, nous nous intéressons à la trajectoire individuelle de chacun d’entre eux, mettant en évidence la profondeur des liens qui unissent finalement les avant-gardes désignées sous les termes d’orphisme et d’expressionnisme. / Robert Delaunay (1885-1941) is among the French artists that are the most involved in Berlin at the dawn of the World War I. Thanks to Herwarth Walden (1878-1941), who is the director of the magazine and the gallery Der Sturm, the artist quickly earns a solid reputation in the German capital city where he exhibits around forty paintings in 1913 alone, while widely circulating his own theoretical texts as well as those of his friends Guillaume Apollinaire (1880-1918) and Blaise Cendrars (1887-1961). The French painter soon spurs the interest of some Berlin artists, many of whom have met him during his two trips to Germany before the war. For an extensive part of the research, this success could be explained by a “working misunderstanding”: the artists of the German capital city supposedly twisted Delaunay’s work in a Germanic sense, appreciating his painting for reasons that were not related to his initial intents. We contest this hypothesis – which is a variant of the centuries-old hypothesis that states a natural incompatibility between German and French tastes – we suggest to consider the Berlin welcome of Delaunay in a micro-historical perspective by focusing on three artist’s point of view about him: Ludwig Meidner (1884-1966), Lyonel Feininger (1871-1956) and Bruno Taut (1880-1936). After underlining the speeches they possibly “heard” surrounding the French painter’s work in Germany, we focus on each artist’s individual path, showcasing the depths of the links that join actually the avant-gardes that are coined under the terms of orphism and expressionism.

A presente dissertação se propõe a traçar o desenvolvimento do Expressionismo desde sua origem na Alemanha da década de 1910 até o teatro estadunidense da década de 1920, assim como a influência desse movimento de vanguarda na obra do dramaturgo americano do pósguerra, Tennessee Williams. Para esse fim, a relação entre artes visuais, teatro, literatura e cinema é apresentada, definindo essa dissertação no campo dos Estudos Interdisciplinares. A análise será principalmente enfocada nas peças expressionistas americanas da década de 1920 dos dramaturgos Eugene O'Neill, Susan Glaspell, Elmer Rice e Sophie Treadwell, e em quatro peças de Tennessee Williams e suas respectivas versões fílmicas: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Primeiramente, serão apresentadas as origens do Expressionismo na Alemanha na década de 1910 para definir as características do movimento. Posteriormente, serão identificadas características expressionistas no teatro, literatura e cinema estadunidense da década de 1920. Por fim, será verificada a influência do movimento expressionista na obra de Tennessee Williams, tanto em suas peças quanto nas versões fílmicas. O objetivo dessa dissertação é provar a ligação entre a obra de Tennessee Williams e as peças de dramaturgos expressionistas estadunidenses anteriores, assim como discutir a inter-relação e o aspecto colaborativo entre artes visuais, teatro, literatura e cinema. / The aim of this thesis is to track the development of Expressionism from its roots in Germany in the 1910s to its outcome in the American theatre in the 1920s, as well as the influence of the avant-garde movement in the work of the postwar American playwright Tennessee Williams. For the purpose of the present thesis, a relation including the visual arts, theatre, literature and cinema will be traced, thus setting this work in the field of Interdisciplinary Studies. The analysis will mainly focus on 1920s American expressionist plays by Eugene O'Neill, Susan Glaspell, Elmer Rice and Sophie Treadwell, and four plays by Tennessee Williams and their respective film adaptations: The Glass Menagerie (1944), Orpheus Descending (1957), Suddenly Last Summer (1958) and A Streetcar Named Desire (1947). Firstly, the origins of Expressionism in Germany in the 1920s are presented to define the characteristics of the movement. Later, expressionistic aspects are identified in 1920s American theatre, literature and cinema. And finally, the influence of the expressionist movement is verified in the work of Tennessee Williams, both in his plays and film versions. The objective of this thesis is to prove the connection of Tennessee Willliams's work with that of earlier American expressionist playwrights, as well as to discuss the interrelation and collaborative aspect of the visual arts, theatre, literature and cinema.

This supporting document for the thesis exhibition entitled “Veils: Truth in Translation” will discuss Block’s exploration of painting during her time at East Tennessee State University. The supporting document also provides the historical background and influences which have contributed to Block's overall process and techniques. These influences include the Abstract Expressionists, Carl Jung, Ferdinand de Saussure, John Dewey, Theodor Adorno, Joan Mitchell and Gerhard Richter. In the supporting document Block probes the idea that non-objective painting is more than a language confined by linguistic elements of sign, signifier, and signified, but is a process of thinking, which is communicated on a higher level of perception than verbal speech or visual symbolism. Block will discuss how she translates experiences from the metaphysical realm of feeling and thought to the physical reality of paint and surface which communicates the experience to the viewer.

The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.

A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer’s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock's, Newman's, and Rothko's legacy to the subsequent generation of artists and places their production into a broader historical framework. / text

Issued also as thesis, Hamburg. / Includes bibliographical references (p. [181]-184).