Submitted by IVANOR LUIZ GUARNIERI null (ivanoremarta@hotmail.com) on 2016-02-15T18:53:07Z No. of bitstreams: 1 Ivanor Luiz Guarnieri Tese O Engenho e os retábulos de Osman Lins.pdf: 2742680 bytes, checksum: be037b46bd03c27d303b64e16cab3770 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-17T12:47:49Z (GMT) No. of bitstreams: 1 guarnieri_il_dr_sjrp.pdf: 2742680 bytes, checksum: be037b46bd03c27d303b64e16cab3770 (MD5) / Made available in DSpace on 2016-02-17T12:47:49Z (GMT). No. of bitstreams: 1 guarnieri_il_dr_sjrp.pdf: 2742680 bytes, checksum: be037b46bd03c27d303b64e16cab3770 (MD5) Previous issue date: 2016-02-05 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A hipótese inicial desta pesquisa sugeria a existência de procedimentos intersemióticos no discurso literário do escritor Osman Lins (1924-1978). Contudo, a leitura de todas as suas obras, somada ao estudo de parte de sua fortuna crítica, indicava também outro elemento importante de sua poética: sua crítica social. Com isso, chegou-se à seguinte questão: como a literatura intersemiótica de Osman Lins se realiza e, ao realizar-se, contribui para avançar as fronteiras de seu trabalho, sem perder a perspectiva ético-social desse autor? A tese está dividida em cinco capítulos e três partes. Na primeira parte, o capítulo um apresenta as obras de Osman Lins e o capítulo dois destaca os processos de bricolagem, metaficção e intertextualidade. Na segunda parte, o capítulo três enfoca os procedimentos de intersemioticidade, em especial nas obras da segunda fase do escritor, expandindo as fronteiras de seu discurso literário; o quarto capítulo trata da imagética presente em uma das narrativas de Nove, novena, intitulada “Retábulo de Santa Joana Carolina”. Na terceira parte da tese, demonstramos como os procedimentos intersemióticos são decisivos por contribuírem para a realização do compromisso ético do autor, compromisso que se efetiva em sua crítica social. / The initial hypothesis of this research suggested the existence of intersemiotic procedures in the literary discourse of the writer Osman Lins (1924-1978). However, the reading of all his works, in addition to the study of their critical reception, also indicated another important element of his poetics: his social criticism. Thereafter, the following question was raised: how is Osman Lins’ intersemiotic literature performed and how does it contribute for stretching the boundaries of his work, without losing the author’s ethical and social perspective? This thesis is divided into five chapters and into three parts. In the first part, the chapter one presents Osman Lins’ works and the second chapter focuses on the processes of bricolage, metafiction and intertextuality. In the second part, the chapter three focuses on the intersemiotic procedures, especially in the works of the second period of the writer, which expands the boundaries of his literary discourse; the fourth chapter deals with the imagery that is present in one of the narratives from Nove, Novena, entitled “Retábulo de Santa Joana Carolina”. In the third part of this thesis, we demonstrate how intersemiotic procedures are crucial once they contribute for the accomplishment of the ethical commitment of the author, which becomes effective through his social criticism.

Made available in DSpace on 2015-09-17T15:25:00Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-01-28. Added 1 bitstream(s) on 2015-09-17T15:46:51Z : No. of bitstreams: 1 000847388.pdf: 11210049 bytes, checksum: 853346e779ec5f9a7cc4ffd4e2d909a6 (MD5) / A partir de 1860, dois personagens tornaram-se familiares aos leitores da imprensa fluminense: o Moleque e o Dr. Semana, figuras que se transformaram em sinônimo da publicação que lhes deu vida, a Semana Ilustrada. Nas edições semanais, o cenário urbano da corte ganhava traços caricaturais e o jovem escravo alfabetizado e seu senhor branco circulavam livremente pelas ruas, abordavam os rumos da política imperial, as apresentações artísticas dos teatros e denunciavam as condições precárias dos serviços públicos. Dentro de uma grande comédia dos cidadãos, os mendigos, ratoneiros, pretos tigres, leões do norte, políticos e sinhás namoradeiras estavam sujeitos a esbarrar no esperto menino de libré e seu ioiô de cabeça avantajada e cabeleira volumosa. Para compor um heterogêneo mapa citadino, a sociedade fluminense, suas relações sociais e seus hábitos públicos e privados eram expostos pelas crônicas e caricaturas que não deixavam de cultuar a fumaça industrial, as artes civilizadoras, os estudiosos da ciência e o tempo do progresso. Tendo em conta a longevidade da revista, que atravessou diversas conjunturas que particularizaram o Segundo Reinado, a Semana Ilustrada apresenta-se ao historiador como uma fonte instigante, que se entrelaçou à imprensa ilustrada oitocentista, à escravidão urbana do Rio de Janeiro, aos aspectos anatômicos, afetivos e morais dos habitantes e à lógica do riso e do humor da época / From 1860, two characters became familiar to the readers of the Fluminense Press: the Moleque and Dr. Semana, figures that have become synonymous with the publication that gave them life, the Semana Ilustrada. Weekly editions, the urban setting of the Court wincaricature traces and the young literate slave and his white Lord freely circulated in the streets, talked about the imperial politics directions, the artistic presentations of theatres and denounced the precarious conditions of public services. Inside of large citizens of comedy, the beggars, lurchers, black tigers, lions of North, politicians and flirt ladies were subjects to bump the smart boy of liveryand your yo-yo, of a big head and voluminous hair. To compose a heterogeneous map city, the Fluminense society, their social relations and their publicand private habits were exposed by the chronics and caricatures that did not fail to worship the industrial smoke, civilizing arts, the scholars of science and the time of progress.Having regard to the longevity of the magazine, that crossed several times in the Second Reign, the Semana Ilustrada presents itself to the historian as an exciting source, that intertwined to illustrated press of 19th Century, to urban slavery of Rio de Janeiro, to anatomic, emotional and moral aspects of the inhabitants and to logic oflaughter and humor of the time

Esforçamo-nos por realizar uma leitura com ferramentas multidisciplinares na busca por transcender o reducionismo e os excessos de formalidades e de subjetivismo na abordagem do objeto arte, aproximando esta da ciência. Como objeto de estudo, selecionamos uma pequena parte da arte russa com o objetivo primordial de lê-la como uma narrativa pictórica. A partir disso, tratamos a pintura artes plásticas como uma narrativa que, por ser uma linguagem, porta as seis funções. A elaboração da narrativa pictórica, ao reunir inspiração, intuição e dedução, observações perceptivas racionais e emocionais, além de promover um predomínio da função poética, se vale da aplicação de leis estéticas comuns às artes plásticas não apenas da Rússia, mas à arte produzida em qualquer país. As seis funções da linguagem de Roman Jakobson e as nove leis da estética de Vilayanur S. Ramachandran são conjuntamente as chaves da nossa leitura. Na medida em que se baseia em leis universais da estética e da arte assim chamadas porque remetem à habilidade presente em todos os cérebros humanos que se desenvolvem normalmente , tal leitura, sem destituir o papel da cultura ou da individualidade do artista, centra-se não na diferença entre os vários estilos artísticos, mas em princípios que transcendem as barreiras culturais. Por essa razão, ao considerar a existência dos universais artísticos da neuroestética, consideramos também a ocorrência da convergência poética como uma afinidade artística entre os agentes expressivos que possuem elementos similares em sua realidade circundante para expressar sua mensagem. / We endeavoured to carry out a reading with multidisciplinary tools in the quest to transcend reductionism and the excesses of formalities and subjectivism in the art object approach, bringing art near to science. As object of study we select a small part of Russian art with the primordial objective of reading it as a pictorial narrative. From this, we treat painting plastic arts as a narrative that, because it is a language, bears the six functions. The elaboration of the pictorial narrative by gathering inspiration, intuition and deduction, rational and emotional perceptual observations, besides promoting a predominance of the poetic function, uses the application of aesthetic laws common to the plastic arts, not only of Russia, but to the art produced in any country. Roman Jakobsons six functions of language and Vilayanur S. Ramachandrans nine laws of aesthetics are together the keys of our reading. Insofar as it is based on universal laws of aesthetics and art so called because they refer to the ability present in all human brains that normally develop such a reading, without depriving the role of culture or the individuality of the artist, focuses not on the difference between the various artistic styles but on principles that transcend cultural barriers. For this reason, when considering the existence of the artistic universals of Neuroaesthetics, we also consider the occurrence of poetic convergence as an artistic affinity between expressive agents who possess similar elements in their surrounding reality to express their message.

Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Design in the Faculty of Informatics and Design at the Cape Peninsula University of Technology 2014 / This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.

A presente pesquisa tem como objeto de estudo a produção artística intitulada Convescotes, série de foto-eventos realizados em espaços ao ar livre, tendo a fotografia como seu modo de apresentação. Assim, a série de fotografias envolve a proposição de eventos comensais para ter como retorno uma imagem desse espaço de tempo compartilhado. Para tal feita, a pintura de Claude Monet Le déjeuner sur l´herbe apresenta-se como a grande referência e como o ponto de partida para tais situações serem construídas. Com o intento de construir uma reflexão acerca do processo de trabalho Convescotes, assumiuse o formato de fascículos para o texto que figura a presente tese, sendo a mesma organizada em três partes. A formatação em três fascículos independentes possibilita a sua leitura encadeada assim como também oferece lugar para leituras cruzadas, as quais apresentam as dimensões do processo de trabalho Convescotes. O primeiro fascículo apresenta as imagens que fundamentaram a pesquisa, tanto no âmbito de elaboração dos Convescotes quanto no das reflexões teóricas suscitadas por eles. Na arquitetura textual do segundo fascículo tomei partido do formato epistolar, através do envio de seis cartas a companheiros que me ajudaram a pensar os elementos que compõem os Convescotes. Para Claude Monet foram enviadas cartas que dialogam com os elementos formadores do processo, como o piquenique, a amizade e os espaços ao ar livre. Com Roland Barthes, a escrita investigou a fotografia e o modo como ela habita meu processo, estendendo-se aos projetos de uma série de outros artistas. Já no terceiro fascículo esta pesquisa apresenta uma abertura teórica para as questões disparadas nas cartas escritas para Monet e para Barthes, sendo a mesma mediada por outros pensadores e artistas. As cartas e as notas se relacionam por meio de uma espécie de correspondência numérica; a primeira desenvolve-se por meio de uma conversa mais informal e a segunda constitui-se de uma reflexão apoiada em outros pensadores, sejam eles da imagem ou dos conceitos. / This study has as its object the artistic production called Picnics, a series of photo events outdoors, which have photography as their form of presentation. Thus, the series of photos involves the proposal of eating events to have as a return a photo of this shared time frame. In order to achieve that, Claude Monet’s painting Le dejeuner sur l’herbe presentes itself as the major reference and the point of departure for the eating events to take place. Aiming at reflecting on the Picnics work process, we turned to the fascicle format for this dissertation, which is divided into three parts. The format of three independent fascicles makes a sequenced reading possible. It also provides room for crossed readings, which demonstrate the dimensions of the Picnics work process. The first fascicle introduces the images that support the study regarding the elaboration of the Picnics as well as the theoretical considerations that emerge from them. In the textual architecture of the second fascicle, I made the choice for the epistolar format, based on the letters sent to peers, which have helped me think about the elements that constitute the Picnics. To Claude Monet, letters that dialogue with the constituting elements of the process, such as the picnic, the friendship, and the outdoors, were sent. As for Roland Barthes, the study investigated photography and the way it is part of my artistic process, and extended itself to the projects of a series of other artists. In the third fascicle, this research study presentes a theoretical opening to the issues found in the letters written to Monet and Barthes, mediated by other intellectuals and artists. The letters and the notes are related through a numeric correspondence, in which the former unfolds as a more informal conversation and the latter constitutes a reflection based upon other intellectuals, whether their objects be images or concepts.

The pictorial language of the Swedish children is characterized by the idea that a “good” drawing should be in the right perspective and as photographically realistic as possible. This is a study about the pictorial language of the children in the Gambia and Senegal. Is the pictorial language different with the children living in a culture that has a stronger tradition of spoken word and visual communication than the children living in the western civilisation? With the help of different theories concerning children’s creating of art, this study is trying to sort out the differences. It is also explaining about different theories when it comes to development stages in the children’s drawings and how the culture, tradition and conventions influence both the pictorial grammar and the ideal image. The study is based on drawings collected in schools in The Gambia and Senegal and the drawings are analysed with the help of theories in Karin Aronssons “Barns världar – barns bilder”. The study is also based on observations and interviews with children and teachers in a school in the Gambia.

A presente pesquisa tem como objeto de estudo a produção artística intitulada Convescotes, série de foto-eventos realizados em espaços ao ar livre, tendo a fotografia como seu modo de apresentação. Assim, a série de fotografias envolve a proposição de eventos comensais para ter como retorno uma imagem desse espaço de tempo compartilhado. Para tal feita, a pintura de Claude Monet Le déjeuner sur l´herbe apresenta-se como a grande referência e como o ponto de partida para tais situações serem construídas. Com o intento de construir uma reflexão acerca do processo de trabalho Convescotes, assumiuse o formato de fascículos para o texto que figura a presente tese, sendo a mesma organizada em três partes. A formatação em três fascículos independentes possibilita a sua leitura encadeada assim como também oferece lugar para leituras cruzadas, as quais apresentam as dimensões do processo de trabalho Convescotes. O primeiro fascículo apresenta as imagens que fundamentaram a pesquisa, tanto no âmbito de elaboração dos Convescotes quanto no das reflexões teóricas suscitadas por eles. Na arquitetura textual do segundo fascículo tomei partido do formato epistolar, através do envio de seis cartas a companheiros que me ajudaram a pensar os elementos que compõem os Convescotes. Para Claude Monet foram enviadas cartas que dialogam com os elementos formadores do processo, como o piquenique, a amizade e os espaços ao ar livre. Com Roland Barthes, a escrita investigou a fotografia e o modo como ela habita meu processo, estendendo-se aos projetos de uma série de outros artistas. Já no terceiro fascículo esta pesquisa apresenta uma abertura teórica para as questões disparadas nas cartas escritas para Monet e para Barthes, sendo a mesma mediada por outros pensadores e artistas. As cartas e as notas se relacionam por meio de uma espécie de correspondência numérica; a primeira desenvolve-se por meio de uma conversa mais informal e a segunda constitui-se de uma reflexão apoiada em outros pensadores, sejam eles da imagem ou dos conceitos. / This study has as its object the artistic production called Picnics, a series of photo events outdoors, which have photography as their form of presentation. Thus, the series of photos involves the proposal of eating events to have as a return a photo of this shared time frame. In order to achieve that, Claude Monet’s painting Le dejeuner sur l’herbe presentes itself as the major reference and the point of departure for the eating events to take place. Aiming at reflecting on the Picnics work process, we turned to the fascicle format for this dissertation, which is divided into three parts. The format of three independent fascicles makes a sequenced reading possible. It also provides room for crossed readings, which demonstrate the dimensions of the Picnics work process. The first fascicle introduces the images that support the study regarding the elaboration of the Picnics as well as the theoretical considerations that emerge from them. In the textual architecture of the second fascicle, I made the choice for the epistolar format, based on the letters sent to peers, which have helped me think about the elements that constitute the Picnics. To Claude Monet, letters that dialogue with the constituting elements of the process, such as the picnic, the friendship, and the outdoors, were sent. As for Roland Barthes, the study investigated photography and the way it is part of my artistic process, and extended itself to the projects of a series of other artists. In the third fascicle, this research study presentes a theoretical opening to the issues found in the letters written to Monet and Barthes, mediated by other intellectuals and artists. The letters and the notes are related through a numeric correspondence, in which the former unfolds as a more informal conversation and the latter constitutes a reflection based upon other intellectuals, whether their objects be images or concepts.

For fifty-seven years the National Film Board of Canada (NFB) has been interpreting Canada to Canadians through documentary films which have simultaneously reflected and shaped the identity of this country and its peoples. This study is concerned with the NFB's documentary film portrayal of Native Canadians. Over the half century that the NFB has been making films about Canada's indigenous peoples their portrayal has undergone much change. Comparisons are made in this study between three of the earliest examples and three of the most recent examples of such films, with regard to attitude, voice, and technique. The effect these choices have upon representation is also discussed. Changes in technical, artistic, and philosophical aspects of the documentary film genre have also had a significant effect upon representation of Native peoples over the past fifty years, and are considered as well. Educationally, the study considers issues of manipulation of knowledge and hidden curricula. Playing an increasingly important role in education today, the media is a powerful tool both for teaching and for the inculcation of social norms. Suggestions are made as to ways in which this medium can best be used in the classroom. / Education, Faculty of / Graduate

« Lisez l’histoire et le tableau » : telle est l’invitation formulée par Poussin à l’adresse d’un de ses commanditaires, etqui d’une certaine manière consacre d’emblée le bien-fondé d’une approche iconologique de ses oeuvres. Et l’artisted’affirmer ailleurs que « la nouveauté dans la peinture ne consiste pas surtout dans un sujet non encore vu, mais dans labonne et nouvelle disposition et expression, et [qu’] ainsi de commun et vieux, le sujet devient singulier et neuf ».S’agissant cependant de la part cruciale de l’inspiration de ce peintre savant que représente la transposition des auteursclassiques, nous avons constaté que ses modalités n’avaient guère retenu l’attention de la critique. Nous avons donctenté de saisir, pour reprendre les mots de Poussin, ce qui fait la nouveauté et la singularité de la manière dont il traite sesapports littéraires. Il est ainsi apparu que le parti qu’il en tire, bien moins illustratif que d’ordre herméneutique, exige uneparticipation active du spectateur, en l’occurrence invité à déceler dans ses tableaux les rapports secrets qui s’y trouvent suggérés entre plusieurs passages d’une même oeuvre, voire entre le texte ancien apparemment figuré et tel autre, le cas échéant d’un auteur cette fois moderne. Une telle conception de sa pratique culmine dans le recours à un dispositif tout aussi ignoré de la critique, alors qu’il apparaît on ne peut plus caractéristique de l’art de Poussin : l’équivoque visuelle. Nous y percevons en dernier recours l’héritage du tableau à énigme cher aux collèges jésuites, et par là l’une des nombreuses marques que contient son oeuvre de la culture propre aux membres de la Compagnie. / « Read the story and the painting »: this invitation, sent by Poussin to one of his patrons, grounds the iconological approach of his works. The artist asserted elsewhere that « newness in painting does not consist mostly in a yet unrepresented subject, but in a proper and new dispositio and elocutio, thus turning the common and the old into the singular and new ». Still, little sustained critical attention has been paid to the actual ways in which Poussin made use and transposed the Ancient authors from which this erudite painter drew a large of share of his inspiration. We have therefore tried to recover what, according to Poussin himself, constitutes the newness, the singularity of his way of transposing the literary material. It appears that, rather than producing an illustration, Poussin’s word relied on a hermeneutic mode of engagement, calling upon the viewer to decipher in the paintings the secret relationships drawn between a plurality of a literary work’s loci, or between the Ancient source text ostensibly figured in the painting and another, eventually modern one. Such a conception of his practice is epitomized in Poussin’s characteristic use of a critically neglected device : the visual equivoque. We mayrecognize in its use the trace of a genre, that of the enigma painting, dear to the culture of Jesuit colleges, and anothermark of their influence on Poussin’s oeuvre.

Ce travail de thèse porte sur la question de la représentation picturale (l’aspect iconique de la peinture) et celle de la représentation de la peinture (l’aspect pictural de la peinture) dans le contexte contemporain. C’est un travail sur la peinture, avec la peinture et de la peinture. Un travail sur la peinture puisque l'acte de peindre n'a de finalité que celle de feindre la représentation et afin de permettre à la peinture de défendre un espace pictural. Un travail avec la peinture car il est question de partage lors d'une représentation, c'est à dire : tenir compte d'une libération de la peinture à travers la figure. Et enfin, un travail de la peinture qui est mise en exergue de la réalité matérielle de la peinture (la picturalité). Ma démarche a pour appui l'exercice d'une dialectique (acte de peindre et acte de peinture) et l'articulation d'un principe de la transfiguration (d’une figuration à une peinture figurée). De ce fait, j'opte pour une représentation qui s'élabore par dripping et jets de la peinture sur toile. / This thesis deals with the issue of pictorial representation (iconic aspect of the painting) and the representation of painting (pictorial aspect of the painting) in the contemporary context. It is a work on painting, with painting and painting. Work on the painting since the act of painting has finality than pretend representation and to allow the paint to defend a pictorial space. Work with the paint as it is about sharing during a performance, that is to say, reflect a release of painting through the figure. And finally, a paint job that is highlighted in the material reality of the painting (the pictoriality). My approach is to support the exercise of a dialectic (act of painting and action painting) and the articulation of a principle of transfiguration (in a figurative to a figurative painting). Therefore, I opt for a representation that is developed by dripping and throwing paint on canvas.