archives@tulane.edu / 1 / Jordan Mintz

The present investigation developed in the Art and Visuality line of research of the Post Graduation Program in Visual Arts of the Universidade Federal de Santa Maria, RS, had the main purpose of analyzing how the contemporary artists works approaching the motto of sexuality dialogue with Robert Mapplethorpe s work, since he was one of the most significant artists to use such theme as the basis of his creative process in art. The research had as main axis the analysis of the artist s life path in which is verified in a determinant way the presence of the sexual thematic, being possible to observe the indivisibility between his personal life and his artistic work. We have tried to establish relationships between Mapplethorpe s pieces and the contemporary artists works holding the same thematic in order to observe the way how the artist s art remains current and relevant to the artistic sphere. Parallels have been established between Mapplethorpe s pieces and the selected artists ones so that we might observe several aspects of the sexuality by different glances, discussing concepts and prejudices around the theme. The main authors used were BATAILLE (1987 and 1988) FOUCAULT (1977, 1985 and 1990), PAGLIA (1993 and 1994) and CHAUÍ (1991) that approach the theme of sexuality, its repressing, and the eroticism in a comprising way; DIDI-HUBERMAN that suggests the work s spectral capacity; BARTHES (1984), FABRIS (2004, 2006), BENJAMIN (1993), LYRA and GARCIA (2002) that discuss issues about the image, and MORRISROE (1996) that presents the sexuality as decisive matter in Mapplethorpe s biography. These authors, among others, were the ones that have contributed for the research, allowing the discussion regarding the concepts analyzed. Thus, it was possible to observe that Mapplethorpe s work remains current and in constant dialogue with contemporary pieces. In these visual productions we have noticed the established sexuality, mainly by the speech created on it as well as the antagonistic forces and powers that end up for composing it. / A presente investigação desenvolvida na linha de pesquisa em Arte e Visualidade do Programa de Pós-graduação em Artes Visuais da Universidade Federal de Santa Maria/RS teve por objetivo principal analisar de que modo obras de artistas contemporâneos que abordam o mote da sexualidade dialogam com a obra de Robert Mapplethorpe, posto que este foi um dos mais significativos artistas que utilizaram o tema em questão como base do seu processo de criação em arte. A pesquisa teve como eixo principal a análise da trajetória de vida do artista, em que verifica-se a presença do temática sexual de modo determinante, observando-se a indivisibilidade de sua vida pessoal e sua produção artística. Destarte buscou-se tecer relações entre as obras de Mapplethorpe e obras de artistas contemporâneos que se utilizam do mesmo tema a fim de observar de que modo a obra do artista em questão permanece atual e relevante para a esfera artística. Foram estabelecidos paralelos entre as obras de Mapplethorpe e dos artistas selecionados, de modo a observar inúmeros aspectos da sexualidade por meio de olhares distintos, discutindo conceitos e preconceitos que circundam o tema. Para tanto foram utilizados como principais autores BATAILLE (1987 e 1988) FOUCAULT (1977, 1985 e 1990), PAGLIA (1993 1994) e CHAUÍ (1991) que abordam o tema da sexualidade, de sua repressão e do erotismo de modo abrangente; DIDI-HUBERMAN (1998) que sugere a capacidade espectral da obra; BARTHES (1984), FABRIS (2004, 2006), BENJAMIN (1993), LYRA e GARCIA (2002) que discutem questões acerca da imagem e MORRISROE (1996) que apresenta a sexualidade como questão determinante na biografia de Mapplethorpe. Estes, entre outros autores que subsidiaram a pesquisa possibilitando a discussão acerca dos conceitos discutidos. Deste modo foi possível observar que a obra de Robert Mapplethorpe permanece atual e em constante diálogo com obras contemporâneas. Nestas produções visuais observamos a sexualidade estabelecida, sobretudo pelo discurso criado sobre ela e as forças e poderes antagônicos que acabam por constituí-la.

Thesis (M.S.)--Rochester Institute of Technology, 2007. / Typescript. Includes bibliographical references (leaves 74-84).

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This thesis explores the reception history of Antinous, favourite to the roman emperor Hadrian. Using Michel Foucault's genealogical method, the aim of the thesis is to examine and conclude that Antinous is still, albeit at times hidden, the archetype of the young beautifulman in Western visual culture by examining the expressions of the representation and reception of Antinous as a male ideal of beauty and its change over time. The thesis also poses the question whether it is possible, with the employment of Foucault’s concept of genealogy, to approach the development over time of Antinous’s discourse, and to establish that its core is a male ideal of beauty that can at any time be linked, explicitly or implicitly, to Antinous. Furthermore, in order to answer the research questions and thus, be able to trace Antinous's reception, this essay uses material that lies outside a purely art historical discipline. In addition to artistic and visual images of Antinous från antiquity to the late nineteen-eighties, widespread fiction from authors such as Oscar Wilde, Thomas Mann and Herman Bang alongwith the feature films The Wings and Death in Venice have been thoroughly investigated in search of an Antinous type, along with the art historical writings of Johan Joachim Winckelmann and Viktor Rydberg. Lastly, the study succeeds in conveying that Antinous's distinctive traits, which arose from an apotheosis nearly two thousand years ago and which began when the historical figure Antinous ended his days in the Nile, have survived both a disappearance from the public consciousness and a coding as a homosexual icon and, for that specific reason, a concealment during different succeeding historical periods. Nevertheless, as this thesis establishes, the image and myth of Antinous has still operated whilst remaining in a hidden existence, and in spite of all the above, these traits have re-emerged as universal male traits in a typology of beauty whose overall significance for the male ideal is conspicuously provable.