The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.

La tesi analizza la poesia di Paolo Buzzi dalle "Rapsodie leopardiane" al "Poema dei Quarantanni" (1898-1922), individuando temi e strategie liriche presenti in tutto l'arco temporale esaminato. Poiché Buzzi è noto come poeta futurista, si analizza in particolare la sua produzione riferibile all'avanguardia, per comprendere come egli, considerate le istanze della prima raccolta, abbia inteso il futurismo. / The dissertation analyzes the Poetry of Paolo Buzzi from "Rapsodie leopardiane" until "Poema dei Quarantanni" (1898-1922), identifying lyrical themes and tensions present throughout the time period examined. Since Buzzi is known as a futurist poet, the dissertation analyzes in particular its production attributable to the forefront, to understand how he, considered instances of the first collection, was the intention of futurism.

Revision of Thesis (Ph. D.)--University of Michigan, 1977. / Includes bibliographical references (p. [213]-218) and index.

The purpose of this thesis is the development of an interactive computer-generated rendering system that provides artists with the ability to create abstract paintings simply and intuitively. This system allows the user to distort a computer-generated environment using image manipulation techniques that are derived from fundamentals of expressionistic art. The primary method by which these images will be abstracted stems from the idea of several small images assembled into a collage that represents multiple viewing points rendered simultaneously. This idea has its roots in the multiple-perspective and collage techniques used by many cubist and futurist artists of the early twentieth century.

La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendance. / The notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time.

Orientador: Nelson Alfredo Aguilar / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-05T04:29:58Z (GMT). No. of bitstreams: 1 Bortulucce_VanessaBeatriz_D.pdf: 47004914 bytes, checksum: 4a958d3a9a2ade153124b4a6e962c118 (MD5) Previous issue date: 2005 / Resumo: A proposta desta tese é realizar uma compreensão das obras do período futurista de Umberto Boccioni (1882-1916) a partir de um estudo da trajetória estética de seus desenhos, identificando as diversas influências sofridas pelo artista. Procuraremos estudar os diversos momentos do desenho e da obra gráfica do artista, reconhecendo as influências que nortearam seus estudos sobre a concepção da forma plástica, permitindo uma compreensão mais apurada da poética de Boccioni. A presença da Antigüidade clássica, do Renascimento italiano, do Art Nouveau, do Expressionismo e do Simbolismo nos desenhos de Boccioni nos permitirá identificar a amplitude de sua estética, bem como reconhecer, na fase futurista do artista, o amadurecimento de muitos conceitos e idéias que surgiram em seus desenhos, como a preocupação com a linha, o espaço, a luz, o ambiente, e principalmente, o estudo e a apreensão do movimento humano / Abstract: The main objective of this thesis is to built a comprehension upon the futurist works of Umberto Boccioni (1882-1916) starting from a study of his aesthetical trajectory impressed on his drawings. We want to identify the several influences captured by the artist, studying specific moments of these works, recongnizing then the influences that conducted his studies about the conception of the plastic form. This study intends to establish the basis for a more acurate perception of Boccioni¿s aesthetic. The presence of classic Antiquity, Italian Renascence, Art Nouveau, Expressionism and Simbolism in Boccioni¿s drawings will permit the identification of their complexity and amplitude, as well to recognize, in his futurist phase, the maturing of many concepts and ideas that were born in these drawings, for example, the theories about line, space, light, environment, and mainly, the study and representation of the human movement / Doutorado / Politica, Memoria e Cidade / Doutor em História Social

Orientador: Claudiney Rodrigues Carrasco / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-05T15:45:44Z (GMT). No. of bitstreams: 1 Magalhaes_MichelleAgnes_M.pdf: 4441611 bytes, checksum: 2bb1669fdc87df23a2f5e1523d796a6a (MD5) Previous issue date: 2005 / Resumo: Este trabalho tem como propósito a apresentação de um pequeno panorama do movimento futurista italiano e russo no que tange ao aspecto musical, bem como uma análise dos elementos futuristas encontrados na música do filme "Entusiasmo, Sinfonia do Donbass" de Dziga Vertov realizado em 1930 / Abstract: The present dissertation has the purpose of presenting a resumed panorama of the Italian and Russian futurist movements focused on its musical aspects, as well an analysis of the futurist elements found in the film music of "Enthusiasm, Symphony of Donbass" produced in 1930 by Dziga Vertov / Mestrado / Mestre em Música

A trajetória literária de Giovanni Papini pode ser dividida em duas fases: a iconoclasta e a católica. A presente pesquisa tem como objetivo o exame da recepção do escritor florentino no Brasil, por meio de suas obras traduzidas para o português norma brasileira e pelo mapeamento de notas, resenhas, crônicas e artigos publicados em alguns dos principais periódicos nacionais. Em um primeiro momento, ele é lido e discutido, especialmente pelos intelectuais modernistas, no embate entre futurismo italiano e modernismo brasileiro; em um segundo, pelo viés da tradução, principalmente através das obras de temática religiosa. Como fundamentação teórica da análise, são abordados conceitos relacionados aos estudos da tradução, como polissistema literário, mecenato, reescrita e gatekeeping, desenvolvidos nos estudos de Itamar Even-Zohar, André Lefevere e Susan Bassnett. De igual forma, as relações que se estabelecem entre escritor e público-leitor são pensadas sob a perspectiva das teorias da estética da recepção relacionadas à história e à sociologia da literatura, nos estudos de Hans Robert Jauss e Regina Zilberman. / The literary career of Giovanni Papini can be divided into two phases: the iconoclast and the catholic. The present research aims to test the reception of the Florentine writer in Brazil, through his works translated into Brazilian Portuguese and by the survey of notes, reviews, short stories and articles published in some of the major national newspapers. In the beginning, he is read and discussed, especially by modernist intellectuals, in the clash between Italian Futurism and Brazilian Modernism; later, through the translation approach, mainly by religious themed works. As the theoretical foundation of the analysis, concepts relating to translation studies are discussed, as literary polysystem, patronage, rewritten and gatekeeping, developed in the studies of Itamar Even-Zohar, André Lefevere and Susan Bassnett. Similarly, relations that are established between writer and readers are thought from the perspective of the theories of aesthetics of reception related to the History and Sociology of Literature, in the studies of Hans Robert Jauss and Regina Zilberman.

Taking its direction from seminal works in the field of play theory, this dissertation examines ludic elements in the textual practices and intellectual community of the Union of Real Art (Ob”edinenie real’nogo iskusstva or OBeRIu). I use the concept of play to elucidate how the group used literature as an unconventional medium for the pursuit of special forms of knowledge and to explore the intimate genre of performance that shaped the association’s collective identity as a group of writers and thinkers. The four chapters that comprise this dissertation each examine one facet of how play shaped the OBeRIu’s shared literary practice. In the first chapter, I contrast the performative strategies of the OBeRIu members (or the oberiuty) with those of the Russian Futurists, demonstrating that the OBeRIu approach to spectacle possesses an ‘existential’ dimension that is quite alien to that of Futurism. I argue that Futurist performance is best characterized by what Hans-Georg Gadamer has called “aesthetic differentiation,” a hermeneutic tradition that foregrounds the autonomy of the artwork while ignoring its rootedness in broader spheres of cultural activity. In contrast, the members of the OBeRIu (the oberiuty), were engaged in what some theorists have called deep play: they showed little interest in the épatage tradition practices by the Futurists and drew no meaningful distinction between art and life.I suggest that performative strategies of the oberiuty can be productively interpreted according to Gadamer’s concept of “self-presentation,” a notion that proves immensely useful for understanding not only the group’s theater, but their written work as well. In my second chapter, I show how the OBeRIu’s playful approach to writing was underscored by their commitment to an epistemic understanding of literature: they believed that literary pursuits constitute a unique form of knowledge. I suggest that the texts produced by the oberity frustrate the boundary that supposedly distinguishes poetry and philosophy. I demonstrate how even a playfully ‘absurd’ text such as Daniil Kharms’s “Blue Notebook No. 10” can be read as a work of philosophy—in this case as a kind of performative refutation of Kantian metaphysics. I suggest that the epistemic register of OBeRIu literature can be likened to what Roger Caillois has called games of ilinx—their texts induce a kind of cognitive vertigo that pushes readers towards forms of knowledge that cannot be properly conceptualized. As a form of epistemic play, OBeRIu texts open onto the world even as they exist ‘beyond’ it, inviting readers to appreciate in poetry what Gadamer called “the joy of knowledge.” In the third chapter of this dissertation I argue that the commitment of the oberiuty to an epistemic understanding of literary art places them squarely at odds with premises fundamental to the theories of Russian Formalism. Indeed, I demonstrate how the OBeRIu as a group deliberately problematize the Formalist concept of literariness. I demonstrate that the poetic episteme of the group took direction from Russian Orthodox theology, particularly the concept of the eikon. The epistemic nature of OBeRIu ‘nonsense’ precludes interpreting their texts as exercises in Shklovskian estrangement. Instead, I suggest that Gadamer’s notion of recognition is invaluable for understanding the work of the oberiuty. Their literary work articulates something and in doing so adds to our understanding of the world. In the final chapter I consider the community of chinari, which constituted a kind of intimate ‘inner circle’ for the OBeRIu that was both more private and longer lived than the Union of Real Art itself. I suggest that the chinari circle can be understood as part of a discernible line of extra-institutional play communities in the history of Russian letters that began with the Arzamas Society of Obscure People. I argue that play was the raison d’être of the chinari community and largely defined the sense they had of themselves as an intellectual community. Considering closely Leonid Lipavsky’s Conversations, a more or less authentic record of the group’s discussions between 1933 and 1934, I suggest that the group used the speech genre of bullshit quite productively—it was both a fun way to explore ideas and, more importantly, a phenomenally effective way to foster their collective bond.

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