L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates.

[O]uvrir fermer / les portes, la première partie de ce mémoire, est un projet de poésie, divisé en cinq sections, qui allie le vers libre et la prose. Le sujet poétique essaie d'animer et de ranimer son "récit", son "histoire", entre autres par le rappel fragmentaire d'événements ou de lieux, la redite de paroles déjà échangées et, par l'adresse et l'apostrophe rétroactives. Derrière une énonciation piétinante, une tendance à la répétition, derrière une rythmique à la fois fuyante et brisée se trouve un questionnement: que dire et comment le dire? Que nommer et comment le nommer? Si le ton du projet est lyrique et intimiste, il veut aussi chercher à se positionner face aux variations existantes du lyrisme. La seconde partie, Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, est un essai qui s'intéresse aux rapports auratiques et mémoriels (G. Didi-Huberman) entre l'écriture et les objets d'art (six sculptures de la série Island de Martha Townsend) qui accompagnent le recueil Le saut de l'ange de la poète québécoise Denise Desautels. / [O]uvrir fermer / les portes, the first part of this M.A. Thesis is a poetic project, divided in five sections, that combine free verse and poetic prose. The poetic subject tries to animate and reanimate fragments of her "story" by recalling memories of events or places, by repeating past conversations or by retroactively addressing thoughts. Behind a repetitive voice and behind a rythm that is at once fast or broken, we can find a reflexion: what and how can we say? What and how can we name? While the project's tone is lyrical and intimist, ouvrir fermer / les portes tries to take position facing the multiple variations of lyrism. The second part, the essay Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, studies "auratic" and memorial (G. Didi-Huberman) connections between writing and the works of art (six sculptures of Island from artist Martha Townsend) that accompany the collection Le saut de l'ange by Quebec poet Denise Desautels.

L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates.

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013. / Submitted by Alaíde Gonçalves dos Santos (alaide@unb.br) on 2014-01-30T09:42:26Z No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-01-31T13:18:35Z (GMT) No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / Made available in DSpace on 2014-01-31T13:18:35Z (GMT). No. of bitstreams: 1 2013_VeraMarisaPugliesedeCastro.pdf: 29066073 bytes, checksum: 8eff92aa278479b1c2eff9941aa2de56 (MD5) / A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT / The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.

Orientador: Maria Betânia Amoroso / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T01:28:28Z (GMT). No. of bitstreams: 1 Corilow_PriscilaMalfattiVieira_D.pdf: 1336590 bytes, checksum: 7e46b6e821569982c57d67268a847864 (MD5) Previous issue date: 2015 / Resumo: O centro desse trabalho é um percurso crítico através de algumas das obras de Pier Paolo Pasolini, em especial, as compreendidas entre a segunda metade da década de 1960 e a primeira metade da de 1970. Foram lidos atentamente: a sequência da flor de papel, quatro poemas que integram a coletânea Trasumanar e Organizzar, o roteiro não filmado Porno-Teo-Kolossal, os escritos intitulados Divina mimesis, alguns artigos da coluna mantida no periódico Tempo, intitulada Il caos, assim como vários dos ensaios de Scritti Corsari, o romance Petrolio e os filmes Medea e Salò o le 120 giorni di Sodoma. Dialogando com a percepção de Georges Didi-Huberman em Survivance des lucioles, de que há certa relação de continuidade entre a obra de Pier Paolo Pasolini e a de Giorgio Agamben, procuro também dar corpo ao meu entendimento de que há uma confluência entre o pensamento de ambos, através do cruzamento das leituras dos escritos de Pasolini com algumas das obras de Agamben, em especial La comunità che viene e Altissima povertà e Signatura rerum. As linhas principais que norteiam esse percurso ¿ que ocorre em diálogo com algumas das leituras de Georges Didi-Huberman sobre o cinema e os escritos de Pasolini ¿ são certa percepção não linear do tempo, presente tanto no pensamento de Pasolini quanto no de Agamben e certo "caráter apocalíptico" do pensamento de ambos, apontado por Didi-Huberman. Estabelece-se como importante elemento nessa pesquisa o diálogo entre Elsa Morante e Pasolini, ao redor de Il mondo salvato dai ragazzini, livro de poemas de Morante considerado pelo escritor como um "manifesto político". Esse diálogo nos oferece elementos singulares para essa iniciativa interpretativa / Abstract: This work is based on a critical effort of understanding, it was done through some Pier Paolo Pasolini`s peace of artistic work, especially that one comprehended between the second decade of 1960 and the first decade of the 70¿s. I have not had the pretense of doing an exhaustive analysis of none of them, however they were read carefully: La sequenza del fiore di carta, four poems, which composes a collectanea Trasumanar e Organizzar, the non-filmed script of Porno-Teo-Kolossal, the writings entitled Divina mimesis, some articles of Il Caos column, that was maintained in the periodical Tempo, some of Scritti Corsari, the romance Petrolio and also the movies Medea and Salò, 120 giorni di Sodoma. In dialog with the perception of continuity between Pier Paolo Pasolini¿s work and Giorgio Agamben¿s work, which was sustained by Georgs Didi Huberman in Survivance des lucioles, I look for supporting my comprehension, that there is a confluence between them both work. It was done by crossing my readings with the writings of Pasolini and Agamben, particularly in La comunità che viene, Altissima povertà and Signatura rerum. The line that guide me ¿ which occurs in dialogue with some headings of Didi Huberman about cinema and Pasolini's writings ¿ are the non linear perception of time, that characterizes Agamben's "apocalyptic character" and can be found in the thoughts of both, as Didi Huberman has pointed. An element that has established its importance for this research is the dialog between Elsa Morante and Pasolini, it was considered by him as the "political manifest" of the writer in Il mondo salvato dai ragazzini, that offered us singular elements for this interpretative initiative / Doutorado / Teoria e Critica Literaria / Doutora em Teoria e História Literária

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-10-04T11:03:28Z No. of bitstreams: 1 João Bosco de Camargo Millen.pdf: 4410144 bytes, checksum: 8f23ff9f5fd3b6aa6a3cc26998eb2390 (MD5) / Made available in DSpace on 2017-10-04T11:03:28Z (GMT). No. of bitstreams: 1 João Bosco de Camargo Millen.pdf: 4410144 bytes, checksum: 8f23ff9f5fd3b6aa6a3cc26998eb2390 (MD5) Previous issue date: 2017-09-21 / This work objective is to investigate the temporality matter as well as its relation to the expographic presentation mode of the images so-called Atlas Mnemosyne, brought to pass by the philosopher George Didi-Huberman, in accordance to the project initiated by the historian Aby Warburg. There are, in the realm of art, elements that enable us to assert that Didi-Huberman comprehends the images as the exposition basis, which, as a matter of fact, are the timing and also the anachronism in its constituent mode. As for the author’s understanding, the phenomenological dimension world be the basis that should be taken into account when it comes to the images relation, thought of as elements of the unconsciousness dimension and its expression, and in its waken the anachronism in the fundaments. We have as an aim, in this work, to analyze how the relation mode would be translated by means of some discourse which could fit the dialectic movement that would come about due to the temporality-subject-image-art relation. To reach this goal, the investigation pathway has as basis the method called kaleidoscopic, where the these concepts relation analysis are possible with the Merleau-Ponty’s thoughts as well as others modern thinkers, from and of which the author utilizes to delineate his thought construction, as an example, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin and others. Thus, we have sought to point out how Mnemosyne Atlas can be considered a paradigm to those that look on the epigraphic images as a fundamental resource, propitiating the review of the production, exposition and curadory / O presente trabalho tem o objetivo de investigar a questão da temporalidade e sua relação com o modo de apresentação expográfico das imagens intitulado Atlas Mnemosyne, preconizado pelo filósofo George Didi-Huberman, em fidelidade ao projeto iniciado pelo historiador da Arte Aby Warburg. Se existem, no âmbito da Arte, elementos que nos permitem enunciar o que Didi-Huberman compreende como base de exposição das imagens, esses se constituem, de fato, na temporalidade e no modo anacrônico que a constituiria. Na compreensão do autor, a dimensão fenomenológica seria a base a ser considerada na relação com as imagens, tidas como elementos da dimensão do inconsciente e de sua expressão e, por isso, fundamentadas de modo anacrônico. Visamos ainda, com este trabalho, a analisar como o modo de relação poderia ser traduzido por algum discurso que procura acomodar o movimento dialético que se daria na relação entre sujeito-temporalidade-imagem-Arte. Para atingir esse intento, o percurso da investigação tomou como base o método denominado caleidoscópico, em que as análises das relações desses conceitos se tornaram possíveis com as contribuições do pensamento de Merleau-Ponty e outros interlocutores do pensamento moderno e contemporâneo que esse autor utiliza para delinear a construção de seu pensamento, como, por exemplo, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin, entre outros. Por derradeiro, procuramos fundamentar como o Atlas Mnemosyne pode ser considerado um paradigma para aqueles que têm, na expografia das imagens, um recurso fundamental, permitindo revisar as experiências de produção, exposição e curadoria

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