Orientador: Lygia Eluf / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-21T00:29:47Z (GMT). No. of bitstreams: 1 Barros_YnaiadePaulaSouza_M.pdf: 185059668 bytes, checksum: 2bf2e2acb0ba9b70ca31b9f096f32d4c (MD5) Previous issue date: 2005 / Resumo: O trabalho que apresento como dissertação de mestrado, buscou compreender a maneira como construo a representação da paisagem por meio do desenho e da pintura. Ao longo dos últimos quatro anos foram realizadas séries de desenhos e anotações (apresento aqui uma mostra) que reflete o meu embate cotidiano com a paisagem, com a sua representação e com as nossas referencias de construção desta, as pinturas que nos antecederam, as imagens literárias que nos remetem a ela / Abstract: Not informed / Mestrado / Artes / Mestre em Artes

In the first part conceivable interpretation of the term, which is written more serious and argumentative tone, we view the horizon in several stops, which are based primarily on theories of art and Philosophy and carry the wave of post-modern methodology in style Umberto Eco. Didactic of DP indicates possible use as a theme for the term hours of art education, two of these ideas were implemented at Red Hill Primary School and are further detailed. In the end I tried to enter into a theoretical problem and evaluate show some benefits for my work. The practical part of the thesis is a series of paintings and drawings incurred in the last five years, and bear in themselves the poetic approach horitontu on a line that clearly separates our sometimes mundane lived world and spirituality, and sometimes disappear again behind a tangle of "objects" in which the But still somehow present.

Thesis (doctoral)--Uppsala universitet, 1989. / Summary in English. Includes bibliographical references (p. 280-288) and index.

(in English) This thesis called Grave, Tombstone, Graveyard. The Range of Motifs of the Czech Painting of the 19th Century is based on the analysis of paintings, drawings and graphics made by Czech authors throughout the 19th century. Artists worked with funeral motifs in different ways and these will be presented in different case studies. Some painters were fascinated by these subjects and they turned their attention to them systematically and repeatedly throughout their career. Other artists worked with funeral motifs rarely, although significantly. Artists integrated motifs of graves, monuments and cemeteries to their pieces of art for different purposes; this was connected with the interest of Romanticism in aesthetic anomalies and mystery, with their personal experience and feelings. Artists were also interested in genre scenes that were situated in cemeteries. Funeral motifs can be found in illustrated journals as well. Their aim was to document the specific place and as to symbolically express the finality of the life. The pieces of art will be presented in the context of the burial rites and literature of the 19th century. This phenomenon was also reflected by foreign artists, some of them will be also mentioned in the thesis as an analogy to the Czech works.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.