Acompanha: Desenho com as formas geométricas + Cadê meu instrumento? / Essa pesquisa reporta-se à duas áreas de conhecimento, Artes Visuais e Matemática. A questão que apresentamos é quanto à possibilidade de relacionarmos essas duas áreas a partir das formas. Teve como objetivo desenvolver uma proposta interdisciplinar a partir das áreas de Artes Visuais e Matemática que utilize o desenho e as formas geométricas para criação de um livro ilustrado. A pesquisa caracterizada como qualitativa, de natureza interpretativa, pelo problema apresentado e pela abordagem da pesquisa, em especial pela relação de sujeito com o mundo real, que envolve uma aproximação entre o objeto e a subjetividade, de forma a coletar, descrever e analisar de maneira contextualizada. Os produtos da pesquisa foram dois: o livro ilustrado Cadê meu instrumento? E o Guia de Aprendizagem O Desenho com as formas Geométricas. O primeiro caracterizado como produção do autor, como ilustrador, com aplicação da proposta de construção da imagem utilizando as formas geométricas na ilustração e, o segundo, apresenta a relação entre a Matemática e as Artes Visuais a partir das formas geométricas, com a proposta de experimentação do desenho. A aplicação prática da pesquisa foi desenvolvida a partir da construção de um curso de extensão Aproximações entre Artes Visuais e Matemática a partir das Formas Geométricas e do Desenho. No curso, foram apresentados os conteúdos teóricos e as atividades com desenho a partir das formas geométricas contidas no Guia de Aprendizagem. A aplicação envolveu sete estudantes do último ano do curso de Artes Visuais, que tinham experiências como professores e produtores de arte. Entre os resultados da pesquisa, destacamos a aproximação entre as Artes Visuais e a Matemática com a elaboração dos dois produtos, com potencialidade ao ensino, esses validados pelas aplicações teóricas e práticas. Espera-se com essa proposta auxiliar, além da aproximação entre as duas áreas de conhecimento, Matemática e Artes Visuais, potencializar o desenvolvimento prático, intelectual, criativo e sensível dos alunos. / This research relates to two areas of knowledge, Visual Arts and Mathematics. The question that presents the question as to the possibility of relating the two areas from the forms. It aimed to develop an interdisciplinary proposal from the areas of Visual Arts and Mathematics that use drawing and geometric forms for the creation of an illustrated book. A research characterized as qualitative, of an interpretive nature, by problem and research approach, especially by the relation of subject to the real world, which involves an approximation between the object and subjectivity, in order to collect, describe and analyze in a Contextualized way. The research products were two: the illustrated book Where's my instrument? And the Learning Guide The Drawing with Geometric Forms. The first character as production of the author, as illustrator, with application of the proposal of construction of the image using as geometric forms in the illustration and, second, present a relation between Mathematics and Visual Arts from the geometric forms, with a proposal of Experimentation of the drawing. The practical application of the research was developed from the construction of an extension course between ApproachesVisual Arts and Mathematics from Geometric Forms and Drawing. There is no course, the theoretical contents and the activities with drawing from the geometric forms contained in the Learning Guide. The application involved seven seniors from the Visual Arts course, who are the teachers and art producers. Among the results of the research, we highlight the approximation between Visual Arts and Mathematics with an elaboration of the two products, with potential for teaching, these are valid for theoretical and practical applications. It is hoped that this auxiliary proposal, besides the approximation between two areas of knowledge, Mathematics and Visual Arts, will enhance the students' practical, intellectual, creative and sensitive development.

This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.

Société ”iconique” par excellence, les Provinces-Unies au XVIIe siècle sont un espace où la représentation graphique envahit le quotidien. Parallèlement, le mariage est une institution au cœur d’un processus de réhabilitation et de cristallisation confessionnelle de dispositions dogmatiques et disciplinaires. Il constitue en outre une expérience anthropologique fondamentale, dont chacun fait l’expérience, comme acteur ou spectateur. Dans cette perspective, les images du mariage innervent toute la culture visuelle de la société néerlandaise et sont au croisement d’enjeux sociaux, religieux et politiques, perceptibles à différentes échelles, par la symbolique qu’elles mettent en jeu et les usages sociaux qui en sont faits. Comment les différences confessionnelles s’y articulent-elles ? Comment les distinctions sociales s’y manifestent-elles ? Quels bénéfices symboliques les usages métaphoriques visuels du mariage permettent-ils d’obtenir pour les acteurs sociaux ? Enfin comment ces images fonctionnent-elles vis-à-vis du lecteur-spectateur ? A travers un corpus de sources très divers (livres ou brochures illustrés, feuilles volantes, mais aussi peintures ou médailles), la thèse répond à ces questions en examinant successivement comment les images accompagnent les discours prescriptifs sur le mariage, la façon dont elles sont mobilisées lors des noces des élites urbaines et lors de la célébration des noces princières, mais aussi comment elles permettent de donner métaphoriquement corps au lien entre le croyant et Dieu ou, paradoxalement, à celui entre le Prince d’Orange et la Patrie, dans un système politique revendiqué comme une République. / "Iconic" society par excellence, the United Provinces in the seventeenth century is a place where images play a tremendous role in daily life. Meanwhile, marriage is an institution at the heart of a rehabilitation process and of a differentiation process of confessional identities involving dogmatic and disciplinary provisions. It is also a fundamental anthropological experience, experienced by everybody in the society, be it as actor or spectator. In this perspective, the matrimonial images pervade the whole visual culture of Dutch society and are at the crossroads of social, religious and political issues, at different scales, through the symbolics they involve and the social uses they are submitted to. How are confessional differences articulated to them? How are social distinctions manifested? What symbolic benefits do social actors get out of visual metaphors of marriage? Finally, how do these images interact with the reader-viewer? Through a diverse corpus of sources (illustrated books or pamphlets, single-leaf engravings, but also paintings and medals), the thesis addresses these questions by examining successively how images accompany prescriptive discourses on marriage, how they are involved in the urban elites weddings and during wedding festivities for princes, but also how they can metaphorically embody the link between the believer and God, or, paradoxically, that between the Prince of Orange and the Fatherland, in a political system claimed to be a Republic.