Esta tese ocupa-se da investigação da semiótica da agudeza, utilizando como corpus poemas do final do século XX, chamados neobarrocos, e fragmentos de Galáxias, de Haroldo de Campos, e Finnegans1Wake, de James Joyce. As recepções contemporâneas aos séculos XVI e XVII não entendem as produções literárias como barrocas, mas como clássicas, diferentemente, portanto, do valor atribuído ao estado de barroco constante dos textos da crítica do século XX. Da investigação das obras de Peregrini, Gracián, Hansen e Pécora, depreende-se a agudeza como sistematizadora das produções barrocas dos seiscentos. Além disso, esta pesquisa constata não a presença eufórica de barroco sincrônico ou a existência de um possível neobarroco, mas gradações da agudeza como um operador formal da poesia dita barroquista. Com base nessa agudeza, propõe-se, dentro do quadro teórico-metodológico da semiótica tensiva, demonstrar como essa poesia, vista por muitos críticos como neobarroca, é regida segundo uma oscilação que a regula, reconhecendo nela uma dominância de agudeza do plano da expressão (PE) e/ou uma dominância de agudeza do plano do conteúdo (PC). Observadas as propriedades da agudeza, os objetos poéticos apresentam diferenças tensivas que os encaminham para uma poesia que conhece a graduação entre mais fluida e mais nítida, manifestando diferenças de acentuação no obscurecimento formal do enunciado. O enunciador, ao privilegiar a vivificação das agudezas, promove uma tensão estetizante: um jogo entre o rápido prazer da conservação sensível e o demorado prazer do reconhecimento inteligível do objeto estético, dois tipos diferentes de fruição. Dividida em cinco capítulos, a tese aborda inicialmente a ausência e a presença do recorte de barroco nos estudos literários, bem como a dominância do sobrevir nos semas de barroco e a sincronia e diacronia dos estados de barroco em direção a uma agudeza idiossincrônica. Em seguida, examina o jogo tensivo entre agudeza da expressão e agudeza do conteúdo, focalizando sobretudo os tratadistas seiscentistas e as propriedades da agudeza. Ocupa-se também da negação da euforia barroquista em direção à visualidade na poesia da agudeza. Como o conceito de neobarroco varia de autor para autor, examina-se o ponto de vista de Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Affonso Ávila, Affonso Romano SantAnna, Horácio Costa, Ana Hatherly, Ivan Teixeira, para estabelecer um modelo mais conforme à semiótica tensiva. A tese trata ainda dos limites entre sensível e inteligível na poesia aguda do século XX, realizando uma recapitulação da fenomenologia em diálogo com a semiótica tensiva, da qual sobressai o conceito de fé perceptiva e de perobjeto zilberberguiano. Finalmente, entra em cena a agudeza do final do século XX na direção do objeto fluido. / This thesis is concerned with the investigation of semiotics of sharpness. Its corpus consists of poems from the late 20th century which are called \"neo-baroque\", and fragments of Haroldo de Campos Galáxias and James Joyces Finnegans Wake. Contemporary receptions to the sixteenth and seventeenth centuries do not understand the literary productions as baroque, but as classical, therefore unlike the value assigned to the \"state of baroque\" in critical texts of the 20th century. Sharpness is inferred from the research of the works of Peregrini, Gracián, Hansen and Pécora as systematizing baroque productions of the 1600s. Furthermore, this research finds not the euphoric presence of synchronous baroque or the existence of a possible neo-baroque but gradations of sharpness as a formal operator of the so-called baroqueist poetry. Based on this sharpness, and within the theoretical and methodological framework of tensive semiotics, it is proposed to demonstrate how this poetry, regarded by many critics as \"neo-baroque\", is governed according to an oscillation that regulates it, recognizing in it a sharpness dominance of the level of expression (PE plano da expressão) and / or a sharpness dominance of the level of content (PC plano do conteúdo). Once observed the properties of sharpness, poetic objects show tensive differences that forward them for a poetry that knows the graduation from more fluent to more clear, manifesting differences of emphasis in the formal obscuration of the enunciation. The enunciator, while privileging the enlivenment of sharpness, promotes aesthetic tension: a game between the quick pleasure of sensitive conservation and delayed enjoyment of intelligible recognition of the aesthetic object two different types of enjoyment. Divided into five chapters, the thesis first addresses the absence and the presence of baroque slice in literary studies as well as the dominance of occurrence in baroque units of meaning and the synchrony and diachrony of baroque states towards an idiosynchronic sharpness. Then it examines the tensive game between sharpness of expression and sharpness of content, particularly focusing on the seventeenth-century treatise writers and the properties of sharpness. It also deals with the denial of baroqueist euphoria towards the visuality in the poetry of sharpness. As the concept of \"neo-baroque\" varies from author to author, the thesis examines the viewpoint of Umberto Eco, Omar Calabrese, Severo Sarduy, Lezama Lima, Alejo Carpentier, Haroldo de Campos, Alfonso Ávila, Affonso Romano Sant\'Anna, Horácio Costa, Ana Hatherly, Ivan Teixeira, in order to establish a model more consistent with tensive semiotics. It also addresses the boundaries between sensible and intelligible in the sharp poetry of the 20th century, making a recapitulation of phenomenology in a dialogue with tensive semiotics, from which the concepts of perceptual faith and zilberbergian perobject stand out. Finally, the sharpness of the late 20th century comes into play towards the fluid object.

[pt] O objetivo desta dissertação é realizar um estudo intra e intertextual centrado nos romances Tempo de amar e Ópera dos fantoches, de Autran Dourado. Tendo como base o conceito de intertextualidade criado por Kristeva, a polifonia de Bakhtin, a noção barthesiana de que a leitura gera uma escritura, a idéia de abertura da obra de arte e alguns contos de Borges, é possível ver o escritor mineiro e seus personagens como leitores. Partindo da análise da construção de Tempo de amar, verifica-se como Autran o relê em Ópera dos fantoches, continuando-o e transformando-o numa ópera bufa e de forma barroca, que dialoga não só com o romance escrito em 1952, mas também com seus próprios romances O risco do bordado e Ópera dos mortos. A seguir, estuda-se como em Tempo de amar e Ópera dos fantoches, Autran e suas criaturas dialogam com a Bíblia e escritores da literatura brasileira e mundial como Oswald, Machado, Drummond, Flaubert, Virgílio, Camilo Castelo Branco, Pessoa, Bernardim Ribeiro, Dante, Calderón de La Barca, Skakespeare, Dostoievski e Tolstoi e discutem questões como o psicologismo no romance, a personagem, a autoria, a relação entre o romance e o real e a questão da verdade (com base em Nietzsche), ampliando a rede intra e intertextual na reescritura. / [en] This thesis is an intra- and intertextual study focusing on Autran Dourado`s novels Tempo de amar and Ópera dos fantoches. On the basis of Kristeva s concept of intertextuality, Bakhtin s polyphony, Barthes`s idea that reading generates writing, the notion of open work and some of Borgess 1952 novel but also with his other works O risco do bordado and Ópera dos mortos. Then it is shown that Dourado and his characters dialogue with the Bible and other writers, Brazilian or foreign, such as Oswald de Andrade, Machado de Assis, Carlos Drummond de Andrade, Flaubert, Virgil, Camilo Castelo Branco, Fernando Pessoa, Bernardim Ribeiro, Dante, Calderón de La Barca, Shakespeare, Dostoevsky and Tolstoy, and discuss such issues as psychology in the novel, character, authorship, the relationship between fiction and reality, and the question of truth (as stated by Nietzsche), casting an ever wider intra- and intrertextual net in the rewriting.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Possibly, Maybe is an exhibition of polychromatic, process-based objects made out of acrylic paint. Working with and against the limits of the material, the paint is systematically cast, peeled, and stretched colour by colour transforming it into three-dimensional hybrid forms. The working process I devise is predetermined and regulated, yet the element of chance is integral to the work due to material constraints. I explore the sculptural potential and plasticity of a material traditionally used for painting. While acrylic is a relatively new material, designed to be durable and long lasting, the forms I create out of acrylic paint are vulnerable to climate, gravity, and time and therefore counter plastic’s perceived resilience. Possibly, Maybe looks within the marginalized and the failed of our everyday, and uses these as aesthetic elements, which can constitute contemporary cultural potential. Through an engagement with the fallibility of plastic, with the hybridity of artistic practice, and the excess, opulence, and decay of the Baroque, my work plays with the paradoxes and relationships between the high and the low, pure and impure, precious and throw-away, which I find are all elements that exemplify our contemporary culture.

Ken Russell (1927-2011) was a renegade talent and the self-styled enfant terrible of British cinema. His legacy as a film-maker consists of a large number of films on the lives of artists, mainly composers. But Russell’s approach to artist biography was highly unorthodox: rather than reconstruct a factual account he offered a deeply personal interpretation of artists’ lives based on his own understanding of their work. In a programmatic text for his film on Mahler (1974), Russell explained that his films ‘evolve through a stream of consciousness in which the man and the myth, the music and its meaning, time, place, dream and fact all flow and blend into the mainstream of the film itself’ and that ‘my film is simply about some of the things I feel when I think of Mahler’s life and listen to his music’.This book is an attempt to explain what that statement means and to unpack its implications for the practice of life writing. It takes a baroque approach to performance and performativity to show how Russell not simply made highly inventive films on other artists, but also constructed those films as a kind of self-portrait. Russell’s work then becomes a performance of self through art. In four chapters of detailed analysis this book reconstructs Russell’s method, from the very first films he made for the BBC in the early 1960s through his major feature films of the 1970s and 1980s. / Doctorat en Histoire, histoire de l'art et archéologie / info:eu-repo/semantics/nonPublished

This dissertation concerns the socio-cultural politics expressed in the performances of Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The contention is that these artists mirror and dramatize marginalization and seem to reflect a desire to resolve conflicts experienced between social and psychological identities in contemporary society. The premise of this study is that these performers engage in a ‘dialogue’ with viewers as a form of self-preservation and self-healing. The Performance artists’ measure of socio-cultural tensions suggests the merging of mass media entertainment, theatrical devices and other cultural practices such as fetishism and rituals involving altered states of consciousness, props and allusions to shamanism. An ancient modality of healing, such as shamanism, when appropriated by artists, seems to reflect an urgent phenomenological need of the individual within Western society for overcoming feelings of powerlessness as a type of therapeutic practice. The Performance artists’ Othering is acted out as a survival mechanism addressing and questioning the ‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-29T14:12:56Z No. of bitstreams: 1 Michael Abrantes Kerr.pdf: 4793092 bytes, checksum: 4f190ddbdd6b2d5762a7a8400dddd6f4 (MD5) / Made available in DSpace on 2015-05-29T14:12:56Z (GMT). No. of bitstreams: 1 Michael Abrantes Kerr.pdf: 4793092 bytes, checksum: 4f190ddbdd6b2d5762a7a8400dddd6f4 (MD5) Previous issue date: 2015-02-26 / Nenhuma / Esta tese tem por objetivo refletir acerca de uma tendência espectral existente no audiovisual neobarroco contemporâneo, em específico naquele que circula no YouTube. A afirmação da existência de tal tendência é decorrente da percepção de que neste cenário há uma mistura de diferentes tipos de imagens em vídeos montados com imagens de arquivo e em vídeos tecnicamente originais (gravados com câmera) que buscam referências claras em materiais feitos anteriormente. Além disso, por contágio, observa-se um recorrente retorno de imagens, diretas ou indiretas, por repetição ou por diferença, que vêm criando um “estado-fantasma” imagético, no qual vivem, morrem e se movimentam as imagens. Os fantasmas são (ou não) reconhecidos na memória por conta de imagens-lembrança do que vemos naquilo que nos olha. Esses vídeos se encontram, lado a lado e anacronicamente, na mesma interface (a do YouTube), e disputam igualitariamente o interesse de espectadores-usuários. As montagens praticadas foram aqui analisadas e consteladas, pelo viés fantasmagórico, nas seguintes imagens dialéticas: imagem-de-arquivo, imagem-fantasma direta, imagem-fantasma indireta e imagem-fantasma indefinida. A metodologia utilizada implicou a articulação de procedimentos intuitivos (Bergson), cartográficos (Benjamin), desconstrutivos (Derrida) e dissecatórios (Kilpp). / This thesis aims to reflect about an existing spectral trend in contemporary neo-baroque audiovisual, in particular the one circulating on YouTube. The affirmation of the existence of such a trend is due to the perception that in this setting there is a mixture of different types of video footage mounted with archival footage and technically original videos (recorded with camera) seeking clear references in previously made material. In addition, by contagion, there is a recurring return of images, directly or indirectly, by repetition or by difference, that are creating an imagistic "ghost-state", in which the images live, die and move around. The ghosts are (or not) recognized in memory for remembrance images of what we see in what looks at us. These videos are, side by side and anachronistically, in the same interface (YouTube), and compete equally for the interest of viewers-users. The montages were analyzed and organized into a constellation, through a ghostly bias, in the following dialectical images: file-image, direct ghost-image, indirect ghost-image and undefined ghost-image. The methodology employed involved the articulation of intuitive (Bergson), cartographic (Benjamin), deconstructive (Derrida) and dissecative (Kilpp) procedures.

This dissertation concerns the socio-cultural politics expressed in the performances of Matthew Barney, Steven Cohen, Marina Abramovic, and the ‘Pop’ artist Madonna. The contention is that these artists mirror and dramatize marginalization and seem to reflect a desire to resolve conflicts experienced between social and psychological identities in contemporary society. The premise of this study is that these performers engage in a ‘dialogue’ with viewers as a form of self-preservation and self-healing. The Performance artists’ measure of socio-cultural tensions suggests the merging of mass media entertainment, theatrical devices and other cultural practices such as fetishism and rituals involving altered states of consciousness, props and allusions to shamanism. An ancient modality of healing, such as shamanism, when appropriated by artists, seems to reflect an urgent phenomenological need of the individual within Western society for overcoming feelings of powerlessness as a type of therapeutic practice. The Performance artists’ Othering is acted out as a survival mechanism addressing and questioning the ‘degradation’ imposed on marginalized individuals who challenge the traditional notion of authentic identity and the ‘classic’ body. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Made available in DSpace on 2016-04-28T19:59:00Z (GMT). No. of bitstreams: 1 LCL - Maria das Dores P Santos.pdf: 457293 bytes, checksum: ed0935a2e359a704ec7ce6d7679306d6 (MD5) Previous issue date: 2006-10-16 / The objective of this dissertation is to track the ways poetical death is constructed in the novel As Meninas, by Lygia Fagundes Telles. The interest for this theme resulted from recognizing homologous aspects in the literary text and the military dictatorship context internal to lygian writing. The analysis is guided by the artisticliterary procedures of poetical death construction using the concept of modern allegory systemized by Walter Benjamin. The concept of allegory as an expression that articulates the synthesis between social crisis and artistic creation shows the condition of a romantic language built by the fragmented, evasive, and traumatizing perception of existence. To illustrate these procedures, the study focused on the structural aspects of the language, such as character, time and speech. The guiding hypothesis throughout the reading was that these aspects configure a fragmented poetry, designed using the construction/ruin paradox. The conclusion of this study is that these procedures articulate, in the novel, a neo-baroque effect on the image of death and puts forth questions related to the crisis of the narrative and of the post modern individual / Esta dissertação tem por objetivo rastrear os modos de elaboração de uma poética da morte no romance As Meninas, de Lygia Fagundes Telles. O interesse pela temática resultou do reconhecimento de aspectos referentes a homologações entre o texto literário e o contexto da ditadura Militar internalizado na escritura lygiana. A análise pautou-se nos procedimentos artístico-literários de elaboração de uma poética da morte à luz do conceito de alegoria moderna sistematizado por Walter Benjamin. O conceito de alegoria como expressão que opera a síntese entre crise social e criação artística presentifica a condição de uma linguagem romanesca edificada pela fragmentação, evasão e percepção traumatizante da existência. Para elucidar esses procedimentos, o estudo pautou-se nos aspectos estruturais da linguagem, tais como personagem, tempo e discurso. A hipótese que norteou a leitura foi que tais aspectos configuram uma poética fragmentária arquitetada pelo paradoxo da construção/ruína. A conclusão a que chegamos neste estudo foi a de que esses procedimentos articulam, na obra, um efeito neobarroco da imagem da morte e propõem questões relativas à crise da narrativa e do sujeito na pós-modernidade

One of the main goals of this thesis is to better understand Czech Neo-Baroque tendencies and their placement within the context of Czech sculpture in general. To be able to better understand the role of Neo-Baroque in this artistic branch it is important to first cover the process of Baroque's revival in Czech lands which triggered creative approach to Baroque motifs and the birth of Neo-Baroque at the end of the 19th century. This is covered in the first part of the thesis. The opening chapter mentions different perceptions of the term Neo-Baroque and how its understanding evolved from the 19th century until present. Chapter that follows elaborates on the topic of Neo-Baroque being one of the historicizing styles and discusses the cultural and ideological circumstances which led to its widespread use. The topic that strongly resonates here is the Prague urban sanitation which turned most of the sculptors into modelers who would transform Neo-Baroque facades of new buildings into complex decorative schemes. The topic in question also covers periodical swatches of Celda Klouček and Friedrich Ohmann, a very valuable ideological impulse which significantly contributed to raising awareness of the Baroque beauties of Czech provenience as an inspirational source for decorative sculpture and plaster...