The aim of this thesis is to present the literary activities of Zdenek Kalista in 1919- 1924, a period which saw him becoming one of the most prominent figures of the young post- war generation of writers. The research has been primarily based on materials that had been so far ignored or insufficiently reflected (literary remains of Zdenek Kalista, Antonin Matej Pisa, Cestmir Jerabek, Lev Blatny, Jiri Wolker etc., as well as articles from contemporary magazines and daily newspapers) together with Kalista's memoirs. The thesis is divided into five chronologically sorted parts, each reflecting one year of Kalista's life and work and relating them to the literary situation of that time, while continuously describing them from multiple perspectives. In the first part, Kalista's personal life and the activities of the youngest literary generation are analyzed. After that, the focus shifts to the contemporary art groups (Umelecky klub, Literarni skupina, partly Devetsil) and Kalista's relationship with his contemporaries and various key figures of the literary scene (Jiri Wolker, Antonin Matej Pisa, Frantisek Gotz, Stanislav Kostka Neumann etc.). Then, Kalista's activities in the respective years are analyzed, be it for his work in contemporary magazines (Den, Orfeus, Host), his books (collections of...

O presente trabalho de doutoramento em Literatura Brasileira, intitulado Graciliano Ramos: a dor e a náusea, consiste na análise dos quatro romances de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) e Vidas Secas (1938) - à luz de alguns preceitos básicos do expressionismo alemão, com o objetivo de propor um deslocamento de perspectiva em relação ao discurso hegemônico da historiografia e da crítica literária tradicional, que vêem essas obras como a expressão máxima de uma determinada região, em uma determinada época, limitando-as, portanto, a um contexto sócio-histórico e cultural bem definido. Para a leitura que aqui se propõe, no entanto, esses romances iluminam, numa linguagem enxuta e prenhe de significados intemporais, a força de convicção moral desse escritor que ostenta, através da deformação da realidade, uma emoção intensa, com toda uma carga de prospecção da dor humana. / The present doctorate work on Brazilian Literature, entitled Graciliano Ramos: the pain and the nausea, consists on the analysis of four novels by Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) and Vidas Secas (1938) - at the light of some basic precepts of the German Expressionism, with the aim of purposing a perspective's displacement with regard to the hegemonic speech from the historiography and the traditional literary criticism which see these works as the maximum expression from a certain region on a certain period, restraining them, therefore, to a sharp-cut cultural and socio-historical context. To the reading purposed here, however, these novels enlighten, on a concise language full of timeless meanings, the force of moral conviction of this writer who exhibits, through reality's deformation, an intense emotion with a whole burden of human pain prospection. / El presente trabajo de doctorado en Literatura Brasilera, intitulado Graciliano Ramos: a dor e a náusea, consiste en el análisis de las cuatro novelas de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) y Vidas Secas (1938) - a la luz de algunos preceptos básicos del expresionismo alemán, con el objetivo de proponer un desplazamiento de perspectiva en relación al discurso hegemónico de la historiografía y de la crítica literaria tradicional, que ven esas obras como la expresión máxima de una determinada región, en una determinada época, limitándolas, por lo tanto, a un contexto socio-histórico y cultural bien definido. Para la lectura que aquí se propone, esas novelas alumbran, en un lenguaje enjuto y lleno de significados intemporales, la fuerza de convicción moral de ese escritor que ostenta, a través de la deformación de la realidad, una emoción intensa, con toda una carga de prospección del dolor humano.

O presente trabalho de doutoramento em Literatura Brasileira, intitulado Graciliano Ramos: a dor e a náusea, consiste na análise dos quatro romances de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) e Vidas Secas (1938) - à luz de alguns preceitos básicos do expressionismo alemão, com o objetivo de propor um deslocamento de perspectiva em relação ao discurso hegemônico da historiografia e da crítica literária tradicional, que vêem essas obras como a expressão máxima de uma determinada região, em uma determinada época, limitando-as, portanto, a um contexto sócio-histórico e cultural bem definido. Para a leitura que aqui se propõe, no entanto, esses romances iluminam, numa linguagem enxuta e prenhe de significados intemporais, a força de convicção moral desse escritor que ostenta, através da deformação da realidade, uma emoção intensa, com toda uma carga de prospecção da dor humana. / The present doctorate work on Brazilian Literature, entitled Graciliano Ramos: the pain and the nausea, consists on the analysis of four novels by Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) and Vidas Secas (1938) - at the light of some basic precepts of the German Expressionism, with the aim of purposing a perspective's displacement with regard to the hegemonic speech from the historiography and the traditional literary criticism which see these works as the maximum expression from a certain region on a certain period, restraining them, therefore, to a sharp-cut cultural and socio-historical context. To the reading purposed here, however, these novels enlighten, on a concise language full of timeless meanings, the force of moral conviction of this writer who exhibits, through reality's deformation, an intense emotion with a whole burden of human pain prospection. / El presente trabajo de doctorado en Literatura Brasilera, intitulado Graciliano Ramos: a dor e a náusea, consiste en el análisis de las cuatro novelas de Graciliano Ramos - Caetés (1933), São Bernardo (1934), Angústia (1936) y Vidas Secas (1938) - a la luz de algunos preceptos básicos del expresionismo alemán, con el objetivo de proponer un desplazamiento de perspectiva en relación al discurso hegemónico de la historiografía y de la crítica literaria tradicional, que ven esas obras como la expresión máxima de una determinada región, en una determinada época, limitándolas, por lo tanto, a un contexto socio-histórico y cultural bien definido. Para la lectura que aquí se propone, esas novelas alumbran, en un lenguaje enjuto y lleno de significados intemporales, la fuerza de convicción moral de ese escritor que ostenta, a través de la deformación de la realidad, una emoción intensa, con toda una carga de prospección del dolor humano.

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The main topic of this diploma thesis resides in the comparison of the expressionist painting and the existential literature in connection with the motif of screaming. Despite the temporal and geographical distance of the two artistic movements (we are focused more profoundly in the German and Austrian expressionist painting, while the main literary work of this thesis, the existential novel The Fall comes from the great mind of a French writer, Albert Camus), the research aspires to prove the interconnection of the two movements and their common tendencies, based on the analyses of chosen themes, motifs, technics, and structure. We propose the motif of screaming as the main part of the comparison, as it constitutes an essential axis of the occidental art, as well as the crucial contact point between Expressionism and Existentialism. In spite of the bountifulness of the various interpretations this motif offers, we have chosen only selected ideas and concepts. As far as the formal structure is concerned, the work is divided into three chapters, where the first two are focused on the origins, a brief characterization of the main point of the two esthetics. Furthermore, they describe their related counterparts of the visual arts and literature (the Expressionist literature and Existential painting...

The thesis deals with the formation of the canon of Czech modern art during the 20th century based on the analysis of art groups Osma, Skupina výtvarných umělců and Tvrdošíjní and their time. Every artist becomes an object of interest of art historian right after he creates an artwork. The art historians are trying to classify him and put him into the story of art history. The concrete interpretation of the artist and his artwork depends on different circumstances and always reflects the period, when it has been created. It is affected by social and political situation, preferred art historian approach, possibility of artworks reproduction, used terminology and stereotypes. Osma, Skupina výtvarných umělců and Tvrdošíjní has been chosen because their activity is connected with the origins of Czech modern art and the activity of their members is often reflected in the art historian literature. The chase of social-political situation during the 20th century allows naming also other topics that have influence on the form of the Czech modern art. The thesis analyses important exhibitions held between the years 1935-1998 and the survey literature written in the same time. Based on the analysis it introduces the concrete changes in the canon of Czech modern art. Keywords Canon of modern art, Cubism,...

Silser See, Engadin (1927) est un paysage qui fait partie des œuvres les moins connues de Gabriele Münter. La marginalisation de ce tableau dans le corpus de l’artiste s’explique d’une part par le fait que celui-ci est toujours resté à l’intérieur du cercle restreint des collections privées, et d’autre part, du fait qu’il s’inscrit dans une phase peu productive de Münter. Cette phase correspond aux années 1920-1930, soit une décennie durant laquelle la production de Münter se trouve grandement affectée par les nombreux bouleversements que la Première Guerre mondiale entraîne dans sa vie personnelle et artistique. Le but de ce mémoire est de réfléchir la signification Silser See, Engadin pour Münter et de démontrer comment ce tableau s’intègre dans le dénouement de la crise qu’elle connait en 1920-1930. Pour ce faire, j’explore d’abord les différents événements qui ont défini le développement artistique et personnel de Münter. J’approfondis ensuite l’importance du paysage dans son œuvre en étudiant son rapport à la nature et à Murnau. Puis, je m’intéresse au genius loci de Sils-Maria et à l’influence de Friedrich Nietzsche sur Münter. En tenant compte de l’ensemble de ces éléments, j’analyse finalement les différents symboles contenus dans Silser See, Engadin et démontre comment Münter s’est appropriée les composantes du paysage de Sils-Maria pour exprimer sa renaissance après une longue période de crise. Ce mémoire s’inscrit dans un désir de contribuer à la réflexion sur l’importance de la nature et des lieux dans l’épanouissement de l’être humain. / Silser See, Engadin (1927) is a landscape painting that is among the least known works of Gabriele Münter. The marginalization of this painting in her corpus can be explained on one hand by the fact that it has always remained within the restricted circle of private collections, and on the other, by the fact that Silser See, Engadin is part of a less productive phase of Münter’s work, which has so far received little interest from art historians. This phase corresponds to the years 1920-1930, a decade during which Münter’s production was greatly affected by the many upheavals that the First World War brought about in her artistic and personal life. This thesis argues for the importance of Silser See, Engadin for Münter, and demonstrates how this painting fits into the resolution of the crisis she went through during that decade. To do so, I first explore the various events that defined her artistic and personal development. I then establish the importance of landscape in Münter’s work by examining her relationship to nature and Murnau. Next, I study the genius loci of Sils-Maria and the influence of Friedrich Nietzsche on Münter. Taking all these elements into account, I finally analyze the different symbols contained in Silser See, Engadin and demonstrate how Münter transformed the components of the Sils-Maria landscape to express her rebirth after a long period of crisis. This thesis invites the reader to consider the importance of nature and places in relation to the development of the human being.

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