Zugl.: Mannheim, Univ., Diss., 2005

Originally presented as the author's Thesis (doctoral)--Universität Heidelberg, 1983. / Includes bibliographical references (p. 187-208).

Diss. Univ. Frankfurt am Main, 2006. / Literaturverzeichnis: S. 259-283.

Zugl.: Augsburg, Universiẗat, Diss., 2009.

Submitted by FABRICIO MESQUITA DE ARO null (farotransmidia@gmail.com) on 2016-12-14T14:39:43Z No. of bitstreams: 1 Distorções-Elásticas-no-Cinema-Digital-de-Alexandr-Sokurov.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-12-19T17:36:29Z (GMT) No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) / Made available in DSpace on 2016-12-19T17:36:29Z (GMT). No. of bitstreams: 1 aro_fm_me_bauru.pdf: 4048829 bytes, checksum: 607a1b260496bee0c99b0555423dc805 (MD5) Previous issue date: 2016-10-27 / O presente trabalho pretende elucidar os mecanismos que negaram a perspectiva linear por meio da distorção da imagem no cinema de Alexandr Sokurov. A partir da teoria da Dobra de Deleuze e dos preceitos da Perspectiva Inversa de Pável Floriênski, serão analisadas obras pictóricas, que vão do Barroco, passando pela Bauhaus, chegando até Francis Bacon. Tais obras entrarão em sintonia com a filmografia de Sokurov utilizando o termo da “distorção elástica”, pressupondo um deslocamento não-espacial e temporal-não-linear através da análise fílmica e estética das obras. A adaptação de Fausto de Goethe realizada pelo cineasta russo em 2012, será o elemento condutor ao elucidar o trânsito imagético do suporte analógico para o digital e suas potencialidades estéticas de subversão à perspectiva linear. / The present work intends to elucidate the mechanisms that denied the linear perspective inherited from Ancient Greece and emphasized in the Renaissance period, to undergo the process of distortion of this mechanism of representation. From the theory of Deleuze's Dobra and the precepts of the Inverse Perspective of Pável Floriênski, will be analyzed pictorial works, ranging from the Baroque, passing by the Bauhaus, reaching Francis Bacon. Such works will be in tune with the filmmaking of the Russian filmmaker Alexandr Sokurov using the term "elastic distortion", presupposing a non-spatial and non-linear displacement through the filmic and aesthetic analysis of works. Goethe's Faust's adaptation by the Russian filmmaker in 2012 will be the driving element in elucidating the imaginary transit from analog to digital support and its aesthetic potential from subversion to linear perspective.

Orientador: Júlia Ziviani Vitiello / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T09:54:20Z (GMT). No. of bitstreams: 1 Lourenco_Robson_M.pdf: 4093412 bytes, checksum: 5644ca1ce88fba83b6892a2fee5237a4 (MD5) Previous issue date: 2012 / Resumo: Esta pesquisa propõe a investigação entre duas áreas de conhecimento: Dança e Embriologia Humana. A primeira é desenvolvida através das técnicas de dança e práticas artísticas. Através da Embriologia Humana considera algumas das reflexões sobre a fenomenologia de Johann Wolfgang Goethe (1749-1832), a qual desenha inter-relações a partir da observação da estrutura total dopróprio fenômeno, onde o individuo não está separado da pesquisa, mas faz parte integral da experiência. Desenvolve uma metodologia do corpo na dança, onde o conhecimento não deve vir através de fenômenos isolados, mas sim através de suas inter-relações entre sujeito e objeto de pesquisa, onde os sentidos, a intuição e o raciocínio devem ser usados para acompanhar a experiência do fenômeno.Nos relacionamentos entre Dança e Embriologia Humana é possível criar procedimentos artísticos diferenciados, visando tanto a compreensão corporal dos conteúdos da embriologia, quanto para a criação de um solo de dança / Abstract: This research proposes the investigation of two areas of expertise: Dance and Human Embryology. The first is developed through the techniques of dance and artistic practices. Through the Human Embryology considers some of the reflections on the phenomenology of Johann Wolfgang Goethe (1749-1832), which draws inter-relationshipsfrom the observation of the total structure of the phenomenon itself, where the individual is not separate from research, but is an integral part of the experience.This research develops a methodology of the body in dance, where knowledge should not come acrossas isolated phenomena, but rather through their inter-relationships between subject and object of research, where the senses, intuition and reasoning should be used to monitor the experience of the phenomenon. Inrelationships between dance and Human Embryology is possible to create different artistic procedures, aimed at both understanding in content of embryology and for the creation of a solo dance / Mestrado / Artes Cenicas / Mestre em Artes

Master of Music / Department of Music / Jennifer R. Edwards / This report consists of extended program notes and translations for programmed songs and arias presented in recital by Elizabeth Ann Rodina on April 22, 2008 at 7:30 p.m. in All Faith's Chapel on the Kansas State University campus. Included on the recital were works by George Frideric Handel, Franz Schubert, Reynaldo Hahn, Jules Massenet, Clifford Shaw, and Giacomo Puccini. The program notes include biographical information about the composers and a textual and musical analysis of their works.

Cultural diplomacy is one part of the public diplomacy which affects almost everybody of us. Studied countries- Germany and France - carry out two of the most intensive and generous foreign cultural policies, nevertheless which differ in basic principles. First two chapters examine both policies from the general point of view. The last one compares their cultural diplomacy in the Czech republic, from both historical and contemporary (institutional question and programme question)point of view.

This thesis deconstructs the gender symbolism evident in the opera Faust (1859) by Gounod. The objective is to determine the gendered authenticity, originality and contributing nature of the work, acknowledging the Catholic nineteenth-century French context in which it was written. The study aims to establish the nature of the gender constructs portrayed (whether representative of their conservative milieu, or suggestive of unconventionality, liberalism and innovation) and how these portrayals were executed by Gounod and his librettists. An exploration of the construction of Faust and a comparison with Goethe’s Faust: Der Tragödie Erster Teil (1808), on which the Gounodian creation is loosely based, initiates the study. The theory of performativity by Judith Butler (1990), together with other general gender hypotheses on, for instance, masculine and feminine personalities and perversity, follows. Hereafter, gender in the context of artistic performances, and gender constructs in Christianity are investigated. These general, performance-based and theological theories and ideas are then compared to the gendered characters in Faust. The secular and Catholic gender norms that governed men and women in nineteenth-century France inevitably had an influence on how gender is represented in the opera. Hence, contextual aspects, as well as Gounod’s own interaction with, and exhibition of gender are analysed in order to establish their influential extent on Faust. A deconstruction of the opera as three different texts – libretto, score and DVD productions of three Faust performances – is applied since this contributes to holistic and objective conclusions. The aspects investigated in the study have brought to light that Faust shamelessly highlights the destructive consequences of social, cultural and religious gender stereotypes governing nineteenth-century Catholic France, whilst simultaneously proposing liberated gender identities. Gounod is innovative in presenting a female protagonist through the role of Marguerite. She is an intricate, developing character representative of multiple perplexed femininities, many of which are conquering and symbolic of female empowerment. Siébel serves as a source of great gender ambiguity and contradiction. These aspects are fuelled by an ironic female identity – hence, the notion of performativity is ingeniously incorporated into this character. Both femininity and masculinity is advocated in the portrayals of Méphistophèles and the Christian God, while interesting and unexpected masculinities are embodied through Faust and Valentin. By using the above methodology, I suggest that Gounod’s Faust is an authentic and pioneering work representing ambivalent, controversial, contradictory and empowering gender constructs, making it a composition of considerable worth, both musically and historically. NB: Additional information available on a CD stored at the Merensky Library front Counter. / Dissertation (MMus)--University of Pretoria, Pretoria, 2013. / 5 CDs available with the study. Kept at the Open Scholarship Office in the Embargo room. / Music / unrestricted

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