Submitted by Marcelo Andrade Silva (marcelo.andradesilva@ufpe.br) on 2015-03-06T13:36:22Z No. of bitstreams: 2 dissertação fernanda pdf.pdf: 4185078 bytes, checksum: 51fab7d309f422168160be278eb84544 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) / Made available in DSpace on 2015-03-06T13:36:22Z (GMT). No. of bitstreams: 2 dissertação fernanda pdf.pdf: 4185078 bytes, checksum: 51fab7d309f422168160be278eb84544 (MD5) license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Previous issue date: 2012 / Atualmente, a esquizofrenia se destaca por ser uma das doenças mentais mais graves que se tem conhecimento. As alterações na sensopercepção, como as alucinações visuais, estão entre seus sintomas mais característicos. Por exercer um papel fundamental no comportamento humano, a percepção tem sido alvo de diversas pesquisas, incluindo aquelas realizadas com pacientes esquizofrênicos. O presente estudo teve como objetivo avaliar possíveis alterações na percepção visual de forma e tamanho em pacientes portadores de esquizofrenia utilizando como indicadores estímulos visuais complexos. O estudo contou com a participação de 67 voluntários, de ambos os sexos, que foram divididos em três grupos. O primeiro deles foi composto por 29 pacientes esquizofrênicos medicados internos do Hospital Portugal Ramalho, que compuseram o Grupo Experimental do Hospital (GEH). No segundo grupo participaram 16 pacientes esquizofrênicos medicados presentes nos CAPS Casa Verde e Maria Salete da Silva, que fizeram parte do Grupo Experimental dos CAPS (GEC). Já o Grupo Controle (GC) foi composto por 22 participantes que não possuíam histórico de transtornos psiquiátricos. Para o experimento foram utilizados 24 quadros de Salvador Dalí, 15 quadros de Bev Doolittle e 10 pranchas de Rorschach, todos no tamanho 10 x 15 cm. As figuras foram apresentadas uma de cada vez, sem limites de tempo para a observação, a uma distância de 30 cm do olho do observador (medida através de uma régua de 30 cm). Os participantes foram instruídos a circular a primeira figura que ele viu. Na sequência, o próprio participante circulava a figura com um marcador permanente. Após essa primeira fase, o pesquisador mediu as figuras circuladas em cada quadro em centímetros, e posteriormente as transformou em grau de ângulo visual para a análise estatística, utilizando a fórmula matemática a seguir: Tang a = Tamanho da figura (cm) / Distância do observador (30 cm). Ao comparar GEH ao GC, os resultados indicaram diferença estatisticamente significante para todas as categorias de estímulos. Assim, obteve-se: Dalí [(F23, 1288) = 6.199, p < 0.0000]; Bev [(F14, 784) = 3.8769, p < 0.0000]; e Rorschach [(F9, 504) = 4.5471, p < 0.0000]. Da mesma forma, os resultados da análise entre o GC e o GEC também apresentaram diferenças estatísticas significativas para todas as categorias: Dalí (F23, 966) = 3.4074, p < 0.0000; Bev (F14, 588) = 2.8021, p < 0.0004; e Rorschach (F9, 378) = 4.7101, p < 0.0000. Esses resultados sugerem a existência de alterações na percepção visual em pacientes com esquizofrenia na medida em que demonstram que esses pacientes percebem figuras que possuem ângulos visuais maiores quando comparados a participantes saudáveis, o que pode indicar uma disfunção nas vias visuais que processam objetos pequenos.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

Made available in DSpace on 2016-03-15T19:43:27Z (GMT). No. of bitstreams: 1 Leia Claudia Silva Andrade.pdf: 1697697 bytes, checksum: aef58b06b33c662874778e786364cb73 (MD5) Previous issue date: 2009-02-16 / Fundo Mackenzie de Pesquisa / Contemporary society constantly lives under a flow of images which invades the visual field all the time. Considering this fact, the act of seeing can produce uncertain conditions of interpretations and articulations of the images. Analysing the paintings of Salvador Dalí, Gala Looking to the Mediterranean Sea that, in Eighteen meters away, becomes the portrait of Abraham Lincoln, 1975, will guide us to a path conducted by the act of seeing and also comprehending what has just been seen. This reasearch proposes a deep analysis of the artist Salvador Dalí, as well as dialogue between the fields of art, technology, cultural history and related whenever possible with the pixels of digital images. / A sociedade contemporânea vivencia em situações do cotidiano um universo de imagens que invadem nosso campo visual a todo momento. Nesta trajetória o olhar fragmentado muitas vezes nos dá condições incertas de interpretações e articulações dessas imagens. Neste cenário, a pintura de Salvador Dalí, Gala a Olhar o Mar Mediterrâneo que, a Dezoito Metros de Distância, se Transforma no Retrato de Abraão Lincoln, 1975, nos conduzirá a um itinerário direcionado à prática do ato de olhar e não apenas de ver ou não ver. Este trabalho teórico propõe, dentro deste contexto e da trajetória do artista, um diálogo entre os campos da arte, da tecnologia e história da cultura relacionado sempre que possível com o pixel das imagens digitais.

Esta dissertação de mestrado é resultado da apreciação crítica de seis gravuras de Salvador Dalí para os livros Inferno e Paraíso, da Divina Comédia de Dante Alighieri. Para o Inferno selecionamos: Canto XIV - Os Blasfemos; Canto XXIII - Os Hipócritas; e Canto XXIX - Os Causadores de Discórdias. Para o Paraíso optamos por: Canto XI - A Poeira das Almas; Canto XII - São Boaventura Fala a Dante; e Canto XX - A Constelação dos Espíritos Abençoados. As gravuras foram selecionadas de modo a proporcionar o melhor cenário possível para a comparação, uma vez que a proposta de Salvador Dalí para a narrativa de Dante mostra-se específica para cada livro da Comédia. Com o propósito de tornar a comparação efetiva, optamos por uma análise formal alicerçada em manifestos, diários e produções em outros suportes que não somente o da gravura. Esperamos contribuir com um debate ainda em formação sobre significados, bem como contribuir para a produção de conhecimento acadêmico sobre a circulação dessa obra em território nacional. / This dissertation represents the results of a critical appraisal for six prints by Salvador Dalí of Hell and Paradise books from Dante Alighieri\'s Divine Comedy. For Hell we have selected: Canto XIV - The Blasphemers; Canto XXIII - The Hypocrites; and Canto XXIX - The Causing of Disagreements. For Paradise we have chosen: Canto XI - The Dust of Souls; Canto XII - St. Bonaventure Speaks to Dante; and Canto XX - The Constellation of Blessed Spirits. The pictures were selected to provide the best possible scenario for the comparison, since Salvador Dalí\'s proposal to Dante\'s narrative appears to be specific to each book of the Comedy. In order to do an effective comparison, we have chosen not only engravings, but a formal analysis based on manifests, journals and other media productions. We intent to improve with discuss about meanings of Dali\'s work as an illustrator for the Divine Comedy, as well as contribute to the production of academic knowledge of the circulation of its content in Brazil.

À plusieurs reprises, Salvador Dalí a affirmé mépriser la musique. Pourtant, les références à cet art dans son œuvre sont omniprésentes dans des domaines variés : peinture, dessin, sculpture, cinéma, ballet, happening, photographie, écrits… La dissonance entre le discours et l’œuvre est au cœur de cette thèse qui cherche à définir le rôle joué par la musique dans la création de Dalí en décloisonnant les disciplines, tout en replaçant sa démarche dans le contexte du surréalisme et de l’histoire des arts. Cette approche est liée à la personnalité de l’artiste : curieux et ouvert, il souhaitait s’exprimer par tous les modes artistiques à sa disposition. Certains styles et genres musicaux comme le jazz, la sardane, le tango, la sonate, l’opéra, le rock ou la musique électronique l’ont inspiré. Sa représentation du musical, souvent associée au comique, à l’érotisme ou à la temporalité, a été atypique. Dalí s’est régulièrement mis en scène en tant que musicien pour correspondre à l’image de « génie » qu’il souhaitait offrir et qui masquait un désir inassouvi. Dans une quête « d’art total », il a eu la volonté de marier le sonore et le visuel en réunissant les arts, notamment dans ses œuvres scéniques, où l’influence de Wagner a été majeure. En 1974, il enregistre son opéra-poème Être Dieu dans lequel il parle et chante, accompagné par la musique d’Igor Wakhévitch. L’analyse de cette œuvre, très peu étudiée à ce jour, offre une synthèse des thèmes de prédilection de l’artiste. Ce travail se fonde sur des archives publiques et privées consultées en Europe et aux États-Unis et reproduit des sources et témoignages inédits de musiciens et personnalités ayant côtoyé Salvador Dalí. / Salvador Dalí asserted time and again that he despised music. Nevertheless, references to this art in his work are omnipresent in various domains: painting, drawing, sculpture, cinema, ballet, happenings, photography, writings… The dissonance between the word and the work is at the heart of this thesis which attempts to define the role played by music in the creation of Dalí by opening up the disciplines, while replacing his approach within the context of surrealism and art history. This approach is linked to the personality of the artist: curious and open, he wished to express himself through all artistic means at his disposal. Styles and musical genres such as jazz, sardana, tango, sonata, opera, rock and electronic music inspired him. His representation of the musical, often associated with the comic, the erotic or the temporal, was atypical. Dalí regularly performed as a musician to correspond to the image of « genius » which he wished to convey and which masked an unsated desire. In the quest for « total artwork », he had the will to marry the tonal and the visual by unifying the arts, in his scenic works in particular, where the influence of Wagner reigned supreme. In 1974, he records his opera-poem Être Dieu in which he speaks and sings, accompanied by the music of Igor Wakhévitch. The analysis of this work, little studied to this day, offers a synthesis of the artist’s preferred themes. This thesis is based on public and private archives consulted in Europe and in the United States and reproduces sources and unpublished testimonies of musicians and personalities who were close to Salvador Dalí.

Made available in DSpace on 2015-05-14T13:16:29Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 603199 bytes, checksum: 72bc18a107c523c089a076f9cde495fd (MD5) Previous issue date: 2006-02-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Schizophrenia, one of the main forms of psychotic upheaval, can be folloied of damage in the representation and visuo-spatial perception. The aim of the work was to investigate alterations in the visual perception in patients with of schizophrenia, using some pictures of surrealista painter Salvador Dalí. Sixty adults participated in the experiments, thirty without neuropsiquiátrica pathology (Control Group -GC) and thirty with schizophrenia in remissive phase (Experimental Group - GE). The participants of the GC and GE presented equivalents degree of escolaridade (M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivelly) and etárias bands ((M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivelly). All volunteers had good visual acuity. Twenty and four pictures of Salvador painter from there photographed in 20 dimension x 30 cm, based on categories previously established had been used. The photographs of the pictures had been presented the volunteers successively, after to another one without limit of time for comment. After the presentation of each photograph, the participant indicated the figure that more was distinguished. After that, each engraving was measured in centimeter and used to calculate the visual angle for the mathematical function tang alpha-1. The data had been collected in the Centers of Atenção Psicossocial (CAPS) of the cities of João Pessoa - PB and Recife - PE. The results had shown significant difference between the two groups (F 1, 58 = 550, 62, p<0,001). That is, the majority of the participants of GE preferred figures with average size bigger (between 10-15°) of that the GC that preferred figures with lesser average size (4-5°). In the generality, the figures indicated for GE had been in average 3 times bigger than the indicated ones for the GC. These data had indicated that the schizophrenia carriers had from there presented alteration in the visual perception of pictures of Salvador and that the same ones can be used to mark and to study this pathology. / A esquizofrenia, uma das principais formas de transtorno psicótico, pode ser acompanhada de prejuízo na representação e percepção visuo-espacial. O presente trabalho teve por objetivo investigar alterações na percepção visual de portadores de esquizofrenia, utilizando como marcador fotografias de alguns quadros do pintor surrealista Salvador Dalí. Participaram deste estudo 60 adultos, 30 isentos de patologia neuropsiquiátrica (Grupo controle - GC) e 30 portadores de esquizofrenia medicados e em fase remissiva (Grupo Experimental - GE). Os participantes do GC e do GE apresentavam grau de escolaridade(M= 11,6, DP= 4,78 e M= 8,26, DP= 2,91; GC e GE, respectivamente) e faixas etárias semelhantes (M= 28,3, DP= 5,35 e M= 31,23, DP= 6,78; GC e GE, respectivamente). Todos voluntários apresentaram acuidade visual normal ou corrigida. Foram utilizados vinte e quatro quadros do pintor Salvador Dalí fotografados na dimensão 20 x 30 cm, baseados em categorias previamente estabelecidas. As fotografias dos quadros foram apresentadas aos voluntários sucessivamente, uma após a outra, sem limite de tempo para observação. Após a apresentação de cada fotografia, o participante indicou a gravura que mais se destacou. Em seguida, cada uma delas foi medida em centímetro e utilizada para calcular o ângulo visual pela função matemática tang alfa-1. Os dados foram coletados nos Centros de Atenção Psicossocial (CAPS) das cidades de João Pessoa - PB e Recife - PE. Os resultados mostraram diferença significativa entre os dois grupos (F 1, 58= 550, 62, p<0,001). Isto é, a maioria dos participantes do GE preferiu figuras com tamanho médio maior (entre 10-15°) do que o GC que preferiu figuras com tamanho médio menor (4-5°). No geral, as figuras indicadas pelo GE foram em média 3 vezes maiores que as indicadas pelo GC. Estes dados indicaram que os portadores de esquizofrenia apresentaram alteração na percepção visual de quadros de Salvador Dalí e que os mesmos podem ser utilizados para marcar e estudar esta patologia.

The content of the thesis is the surrealistic object and its reflection among the czech theorists. The first part of the thesis describes the problematic of surrealistic object and subject-objective relations in surrealism. Breton's philosophical approach is introduced, as well as his concept of object's crisis. The first part also outlines the meaning of found object, concept of convulsive beauty and Dali's paranoic-critical method as a source of surrealistic imagery. The second part of the thesis is focused on the reflection of surrealistic object presentation and on relations between arts and reality according to the concepts of Jan Mukařovský. The third part of the thesis is dedicated to conceptualization of aesthetics of Bohuslav Brouk in the light of surrealism. In this part the scope of Brouk's understanding of subject-objective relations is briefly described, as well his interpretation of surrealistic object.The last part of the thesis outlines the Teige's conception of surrealistic work in the terms of the sources of surrealistic imagination.

My research on Victor Brauner’s work in the first two decades of his affiliation with the Surrealist group in Paris re-establishes the role played by the Romanian Jewish artist in the definition of automatic Surrealist procedures of painting and mixed-technique objects that relied upon a new and unconventional understanding of the occult. In the three chapters of this study of Victor Brauner’s work in the 1930s and early 1940s, I analyse key notions, such as the fantastic, animal magnetism, and the occult practices of art making in a Surrealist context. The fantastic is discussed in the first chapter of the thesis from a literary perspective with political connotations in Surrealism, which resulted from a debate engaged in nineteenth-century French literature on the issue of the marvellous versus the fantastic. Due to the Surrealists’ interest in the fantastic a new category emerged, the fantastic art, which is examined in this first chapter in connection with Brauner’s artworks in the 1930s. The incursion into the fantastic, with focus on the premonition of the painter’s left eye loss in his artworks of the 1930s is completed with an approach to spiritualism that had a revival at the time. The second chapter of the thesis investigates the doctrine of animal magnetism and the state of magnetic somnambulism in eighteenth-century scholarship and shows how this experimentation had influenced the development of a new branch of the science, metapsychics or psychical research at the end of the nineteenth century and the beginning of the twentieth one. I take into account and demonstrate that these outdated and modern domains of enquiry into the unknown and beyond reality were appealing to Surrealists, in particular to Brauner, due to their research into unconscious processes of the mind. I argue that through the attainment of a condition similar to the one of the somnambulist in sessions of magnetic sleep, the Surrealists aimed to generate automatic procedures of painting and object making. In the third chapter of the thesis I discuss Victor Brauner’s technique of drawing with a candle, or le cirage, as an automatic procedure of art developed in connection with the occult. This final part of the thesis makes also manifest the association of Brauner’s artworks in the early 1940s with practices of the occult in the near and centuries before past.

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...

Univerzita Karlova v Praze Filosofická fakulta katedra estetiky Diploma thesis Šimon Svěrák Situation of the Surrealist Subject (abstract) 2012 thesis supervisor: prof. PhDr. Vlastimil Zuska, CSc. Abstract This thesis focuses on the situation of a substantial subject in the historical development of the surrealist experience and confronts it with our original postmodern interpretation of thoughts of early Marx. The surrealist consciousness is based on a dialectical opposition between rational and irrational elements of cognitive processes. André Breton apprehends this dialectics under the perspective of love life and relates it to values of love, freedom and poetry. Nevertheless, this conception changes in the immanent development of the surrealist consciousness from Breton over the work and thoughts Salvador Dalí and Mikuláš Medek to Vratislav Effenberger. Effenberger removes positive values from surrealism and puts emphasis on the critical functions of the irrational. On the psychological field, all these ideas are based on the conception of the unconscious which means there is the substantial approach in them. Our critical interpretation of Marx shows, that the surrealist concept of subject is in the contradiction with its substantial determination. The subject has to be perceived as the essential...