Cette recherche s'articule autour de trois pôles : Autoportrait, Photographie et Mélancolie et questionne les enjeux de la mélancolie dans les dispositifs de création des images de soi et de son expression au sein de l'autoreprésentation photographique. La mélancolie est ici pensée comme rapport singulier à l'image de soi, une définition qui prend appui sur des théories de la psychanalyse – bien que notre réflexion demeure esthétique – mais qui s'inscrit aussi dans l'histoire de la mélancolie, une histoire médicale, artistique et philosophique. Le corpus est constitué d'artistes dont le parcours est jalonné d'autoportraits ou bien, dont l'œuvre photographique se compose essentiellement ou exclusivement d'autoportraits. Trois artistes principaux sont ainsi convoqués : Kimiko Yoshida, Marie L. et David Nebreda. / This research articulates three axes : Selfportrait, Photography and Melancholia. It questions Melancholia's issues under the devices of pictures of the self creation and their expressions within photographic selfrepresentation. Melancholia is here thought as a singular relation to the picture of the self, a definition that is supported on psychanalysis theories – although our reflexion remains aesthetic – but which also fits within history of melancholia, history of medicine, art and philosophy. The corpus is made with artists who deal with selfportraits or else, whose photographic work consists essentially or exclusively of selfportraits. Three mains artists will be summoned : Kimiko Yoshida, Marie L. and David Nebreda.

In this Thesis ‘Sel-f (DESIRES SN#2) 100MG' I will talk about my origin and how my life of living in the United States for 13 years made me become who I am and my concerns. It helped to make me realized why I make and why I have become an artist. While living in the US I realized I was like a frog that's in a well. I began to realized and appreciate my country and its histories and so on. Encountering many people from different walks of life, being able to connect with them and share made me grow a lot and appreciate what I do as an Artist.

Cinq thèmes vont servir de support aux exposés. « Le projet autobiographique», « pratique du genre », «La vie « filtrée»» suivra « L'invention de Soi» et pour finir « Ecriture et fiction ». Mes travaux d'études artistiques et intellectuelles ont été pressentis afin de libérer ma mémoire et pouvoir revisiter cette dernière il n'importe quels moments. De la sorte, cette mémoire mise en défaut. Par moment pour des raisons thérapeutiques, s'est trouvé stimulée par mes recherches. En revisitant les travaux que j'ai réalisés, je me suis rendu compte du peu de souvenance de certains faits alors que d'autres sont apparus complètement différents. Réalité proposée ou mensonge avéré lors des photomontages sont dans ma croyance d'une réalité plus réelle que la mienne. L’individualisme sort vainqueur d'un épisode de contradictions générales dans une société en proie à des connivences communautaristes ou des volontés fédératrices. Ma démonstration a apporté la signification que la société est univoque et que l'individu est unique. De ce point de vue, ma sensation d'appartenir à un modèle sociétal disparaît et mon travail fait le sens inverse en m'intégrant dans mon quotidien au mouvement de la société. J'ai conscience que les étapes actuelles peuvent m'être étrangères, que mes préoccupations peuvent m'être tout à fait lointaines, revenant avec l'aide de mes travaux à la perception de mes images construites : l'individuel et le global Ce qui m'intéresse au plus près ressemble plus aux dialogues entre les cultures et aux actions humaines immédiatement comprises. Ces deux éléments comportementaux, apparemment barbares comme deux matières à l'alliance impossible (fer et argile), rendent la situation des consciences contemporaines hétérogènes. Il me faut montrer, exemplifier par mes instincts de photographe que les éléments du quotidien, hétérogènes eux aussi et présents autour de moi, sont la nourriture de mon langage artistique. / Five themes will be used to support presentations. "The autobiographical project," "practice of gender", "Life" filtered "" will be followed by "The Invention of Self' and finally writing and fiction. My work artistic and intellectual studies were contacted to release my memory and be able to revisit it in any time. In this way, the memory at fault, at times for therapeutic reasons, has been stimulated by my research. By revisiting the work I have done, I realized how little recollection of facts or other appeared completely different. Proposed or actually lie in the photomontages are proved in mv belief a reality more real than mine. Individualism emerged victorious from an episode of general contradictions in a society plagued by collusion or communitarian federative intentions. My demonstration brought meaning that the company is unique and that the individual is unique. From this point of view, my sense of belonging to a social model disappears and my work is the opposite of me in my daily life including the movement of society. I am aware that I may be the current steps abroad, that my concerns I may be quite distant, returning with the help of my work to my perception of images constructed : the individual and the global, the I'm interested in closer, more like the dialogue between cultures and human actions immediately understood. Both behavioral elements, as two seemingly barbaric materials alliance impossible (iron and clay), make the situation of contemporary consciousness heterogeneous. I must show my instincts exemplify by photographer items daily, heterogeneous also present around me arc the food of my artistic language.

As praias de Agnès é um filme elaborado por meio de um movimento retrospectivo em que a cineasta Agnès Varda reflete sobre sua vida e compõe uma costura entre a sua narrativa e a maneira como mobiliza trechos de diversas obras suas. O trabalho está voltado para analisar o filme partindo da hipótese de que As praias de Agnes, além de estabelecer esse contato entre recordações e processo de criação, reúne elementos que atravessam a filmografia da cineasta. A pesquisa esteve dedicada a lançar luz sobre as recorrências mas também observando as singularidades de cada trabalho, percebendo neles o que torna Agnès Varda uma artista que instiga o estudo sobre sua obra. O esforço foi de investigar o modo como a cineasta aliou seus temas à forma fílmica a partir da relação que estabelece entre memórias, história e os contatos que promove entre o cinema e outras artes. / The beaches of Agnès is a film elaborated through a retrospective movement in which filmmaker Agnès Varda reflects about her life and composes an articulation between her narrative and the way she mobilizes excerpts from her various works. This work is focused on analyzing the film based on the hypothesis that The beaches of Agnès, in addition to establishing this contact between memories and the creation process, brings together recurring elements in the work of the filmmaker. The research was dedicated to shed light on the recurrences but also observing the singularities of each work, realizing in them what makes Agnès Varda an artist whose study of the work becomes so instigating. The thesis investigates the way in which Varda articulates form and content through an analysis of the rapport between memory ans history and of cinema relationship with other forms of art.

Submitted by Luanna Matias (lua_matias@yahoo.com.br) on 2015-02-05T17:46:11Z No. of bitstreams: 2 Dissertação - Kárita Gonzaga de Oliveira Arcanjo - 2014.pdf: 6146846 bytes, checksum: 955bf89826e7ed17b1c516a0341460d3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-02-19T10:52:15Z (GMT) No. of bitstreams: 2 Dissertação - Kárita Gonzaga de Oliveira Arcanjo - 2014.pdf: 6146846 bytes, checksum: 955bf89826e7ed17b1c516a0341460d3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-02-19T10:52:15Z (GMT). No. of bitstreams: 2 Dissertação - Kárita Gonzaga de Oliveira Arcanjo - 2014.pdf: 6146846 bytes, checksum: 955bf89826e7ed17b1c516a0341460d3 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-07-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to investigate the sick body and the pain representation by means of photography, considering its documentary and narrative elements. To that end we elected the photographic series The Picture of Health? (1982-1986) and Narratives of Disease (1990) by Jo Spence (1934-92) and Intra-Venus (1992-1993) by Hannah Wilke (1940-93), which focus on the cancer photographic documentation, taking into account their meanings as photographic narratives. In these series we have as interests the pathological pain of the sick and treated body and the image built from its appropriation by these artists. Basing on the study of self-portrait we discuss the relationship between pose and identity in the photographic image constitution as well as the concepts of photography-document proposed by André Rouillé and photographic narrative adopted by Susan e. Bell. Thus, we understand Jo Spence‘s and Hannah Wilke‘s narratives as potent instruments to face the pain, the silence and the stigma which the cancer patient is submitted, and still, a way for questioning the female image socially and culturally constructed. / Essa pesquisa tem como objetivo investigar a representação do corpo doente e da dor por meio da fotografia, levando em conta seus elementos documentais e narrativos. Para tal elegemos como recorte as séries fotográficas The Picture of Health? (1982-1986) e Narratives of Disease (1990) de Jo Spence (1934-92) e Intra-Vênus (1992-1993) de Hannah Wilke (1940-93), produzidas com foco na documentação fotográfica do câncer, considerando suas significações enquanto narrativas fotográficas. Nessas obras nos interessa a dor patológica do corpo doente, medicalizado e a imagem que se constrói a partir de sua apropriação por essas artistas. Partindo do estudo do autorretrato, abordamos a relação que se estabelece entre pose e identidade na constituição da imagem fotográfica, bem como os conceitos de fotografia-documento proposto por André Rouillé e de narrativa fotográfica adotado por Susan E. Bell. Desse modo, entendemos as narrativas de Jo Spence e Hannah Wilke como potentes instrumentos de enfrentamento da dor, do silêncio e do estigma aos quais o portador de câncer está submetido, e de questionamento de uma visualidade da imagem feminina construída social e culturalmente.

A presente pesquisa deu-se a partir do material de arte da Rede Salesiana de Escolas, Galeria de retratos, para alunos do 1º ano do Ensino Fundamental, no ano de 2012. Tem como objeto de investigação a relação entre autorretratos e crianças de seis anos, inserida numa educação contemporânea em Arte. A partir de uma abordagem autobiográfica, apresentam-se as diferentes situações de investigações vivenciadas nas aulas com os alunos, buscando entender como acontecem seus processos expressivos. O trabalho é desenvolvido em três capítulos: o primeiro trata do autorretrato e a relação com a criança. O segundo apresenta o relato das aulas realizado através de registros. Já no terceiro são apresentadas as questões relacionadas ao processo de identificação e de identidade cultural. / This research aims to research the relationship between the self-portraits in the identity formation of students six years, set in contemporary education in Art. The issue occurred after receipt the art material of Rede Salesiana de Escolas in 2007, \"Gallery of portraits,\" for students in the 1st year of elementary school. The object of investigation the relationship between self-portraits and six year olds, set in contemporary art education. From an autobiographical approach, present the different situations experienced investigations in classes with students, seeking to understand how their expressive processes happen. This work is developed in three chapters: the first deals with the self-portrait and the relationship with the child. The second presents an account of lessons conducted through records. In the third the issues relating to identification and cultural identity process.

Nell’ambito delle odierne teorie del cinema e dell’audiovisivo il problema dell’autoritrattistica e dei suoi rapporti con i nuovi mezzi è oramai di acclarato rilievo. Se la teoria contemporanea pare infatti polarizzarsi da un lato intorno alla questione mediologica e dall’altro a quella dell’immagine, l’autoritratto, inteso nel senso più ampio, si colloca, per la sua peculiare e costitutiva metadiscorsività, all’intersezione di questi due ordini di problemi, interrogandone la correlazione. Ne emerge una comune strutturazione del discorso intorno alla questione fondamentale dell’opposizione e reciproca implicazione di sensibile e intelligibile, frastico e ostensivo, dicibile e indicabile. Una simile problematica si imponeva già in linguistica con Benveniste e nel campo dell’immagine, in modi diversi, con Metz e Marin, e trova oggi nuova e feconda formulazione nella riflessione recentemente sviluppata da Rancière intorno al “regime estetico delle arti”. A partire da ciò che, alla luce dell’implicita dimensione “estetica” che risulterebbe allora soggiacente all’orizzonte teorico contemporaneo, abbiamo chiamato “la scena dell’autoritratto”, quest’ultimo sembra allora assumere complessivamente una valenza di traccia, di impronta, manifestante nella presenza sensibile dell’immagine l’assenza di ciò che vi si è impresso. Modalità mediale di ciò che Derrida ha chiamato spettralità. / In the field of contemporary cinema and audiovisual theories, the subject matter of self-portrait and its relations to new media is by now noticeably relevant. If contemporary theories are indeed polarized between media and visual studies, self-portrait, as a whole, appears, because of its peculiar metadiscursivity, as a crossroad between these two main issues, and therefore as a chance to question their correlation. What emerges is a common and fundamental problem, that of the opposition and mutual implication of perceptible and intelligible, discursive and figural: what can be expressed with words and what can be shown, indicated. Such problems had already been discussed by Benveniste in the field of language and by Metz and Marin in that of the image, and finds today a new and fertile formulation in Rancière’s reflection on the “aesthetic regime of the arts”. Starting from what, in the light of what would then be the “aesthetic” dimension implied by the contemporary theoretical horizon, we called “the scene of the self-portrait”, the latter would then take value of track, imprint, displaying in the perceptible presence of the image the absence of what is impressed in it: mediated modality of what Derrida called spectrality.

Cette étude que j'ai intitulé «Œuvre monstre, une création informe» s'inscrit dans une recherche dans l'art contemporain sur des phénomènes plastiques liés à l'idée de l'extrême. Ils restent tributaires d'une théorie de la forme vers celle de l'informe et d'une grande plasticité que rehaussent mes œuvres personnelles, mélangeant de façon heureuse la sculpture traditionnelle et le numérique. Or, associer l'image numérique, l'argile et la vidéo au sujet du monstre était une manière de toucher au plus profond des œuvres cruelles et informes, de ressemblances déchirantes et déchirées. La forme monstrueuse n'est donc pas réduite à une simple signification consciente, elle transcrit un discours univoque et le monstre devient alors le concept par excellence dans ma pratique plastique. L'œuvre devient de l'ordre de "monstrum", l'image est d'essence "monstrative". Chaque image, telle qu'elle soit, numérique, photographique ou vidéographique est une monstrance. La sculpture serait la représentation du corps déchu, ou de l'image de la mort, qui surgit dans le miroir de Narcisse qui n'a plus rien à faire de la ressemblance, donnant un reflet qui appréhende le masque de Méduse. Cette recherche qui s'attache à l'informe, débusque les mythes sous des pratiques violentes et accidentées, appuyée par une recherche théorique qui s'est développée notamment autour de la pensée de Georges Bataille, ainsi que des anthropologues et de la phénoménologie, et par leurs pensées, l'œuvre ramène les différentes expériences d'extrême, d'excès, et de perte, à la dimension du sacrifice. / This study I entitled "Monster Work, a Formless Creation" is to be inscribed within a contemporary art research that deals with the idea of the extreme in relation to plastic phenomena, for the latter depend on the theory of form and on a great plasticity enhanced by personal creations that happily melt traditional sculptures with digital technology. As a matter of fact, combining the digital image, the clay and the video, with the monster, was a way to reach what is profound within formless and cruel works of art that are of painful and torn resemblances. The monstrous form is, thus, not reduced to a simple conscious significance, it transcribes an unambiguous discourse and the monster becomes the concept, par excellence, of my plastic practice. The work of art becomes connected to the "monstrum" and the image is inherently endowed with a visual power (in French "monstrative"). Every image, be it digital, photographic or video graphic is a monstrance. Sculpture would be the representation of the fallen body or the image of death that appears in Narcissus Mirror and that is no longer related to any form of resemblance, showing a reflection that grasps the Mask of Medusa. This research that is focusing on formlessness serves to dispel the myths under violent and rugged practices supported by a theoretical research based on the philosophy of Georges Bataille as well as that of anthropologists and phenomenologists, and through their thoughts, the work brings the different experiences of extremes, excess and loss to the dimension of sacrifice.

PRETÉRITO IMPERFEITO DE TERRITÓRIOS MÓVEIS é uma pesquisa que busca diferentes maneiras de explorar fotograficamente o rosto - e até a ausência dele -, no universo dos álbuns de Redes Sociais. As experimentações poéticas se dividem nas séries EGOSHOTS, BIOSHOTS e THERE'S NO PLACE LIKE 127.0.0.1., criando-se imagens que são chaves, portas e espelhos que refletem o eu, o outro e o lugar. Tendo como mote os conceitos de Rostidade e de Nomadismo de Gilles Deleuze & Felix Guattari e de Michel Maffesoli, cada série propõe pensar o rosto como um território que migra conforme os fluxos de interação social, e como tal adotá-lo como uma espécie de plataforma para múltiplas inscrições. Os rostos que se apresentam nesses ambientes virtuais são móveis e multifacetados. São muitos como se fossem um só, e únicos em suas particularidades. São fragmentos visuais de territórios móveis, de passado incerto, presente inconcluso e futuro fragmentado em pixels. / THE PAST IMPERFECT OF MOBILE TERRITORIES is a research which aims to photographically explore different ways to the face - and even the lack of face - of the universe of a/bums of Social Networks. The trials are divided into the poetic series EGOSHOTS, BIOSHOTS and THERE'S NO PLACE LIKE 127.0.0.1., creating images that are keys, doors and mirrors that reflect the se/f and the other place. Having as its the concepts of Faciality and Nomadism of Gi//es Deleuze & Felix Guattari and Michel Maffesoli, each series proposes to discuss the face as a territory which migrates as the flow of social interaction, and therefore adopt it as a kind of platform for multiple applications. The faces that appear in these virtual environments are mobile and multifaceted. Many as if they were one and unique in their particulars. They are fragments of territory visual furniture, obscure past, present and future unfinished fragmented into pixels.

Consagradas escritoras brasileiras por suas obras de ficção, na forma de contos, crônicas e romances, Lygia Fagundes Telles e Nélida Piñon se ocuparam também do memorialismo em algum momento de suas carreiras. Lygia Fagundes Telles evitou escrever a sua autobiografia e optou por se autorrepresentar por meio de textos híbridos, em que os gêneros textuais se misturam e a ficção e a memória se amalgamam. Desse modo, a dissertação analisará esses textos que estão presentes nos livros A disciplina do amor (1980), Invenção e memória (2000), Durante aquele estranho chá (2002) e Conspiração de nuvens (2007), nos quais Lygia Fagundes Telles espalhou biografemas, termo cunhado por Roland Barthes, e apenas esboçou um autorretrato. Por sua vez, Nélida Piñon publicou o seu livro de memórias, Coração andarilho (2009), utilizando procedimentos de autorrepresentação característicos de uma autobiografia propriamente dita. O trabalho também examinará a obra referida, na qual a escritora buscou construir uma autoimagem sólida e nítida. Além disso, abordará as diferentes estratégias de autofiguração de ambas as escritoras acionadas nas obras conforme o objetivo perseguido por cada uma delas na construção de seus empreendimentos memorialísticos / Brazilian writers exalted for their fictional works in the form of short stories, chronicles and novels, Lygia Fagundes Telles and Nélida Piñon also worked with memorialism at some point in their careers. Lygia Fagundes Telles avoided writing her autobiography, choosing to represent herself by hybrid texts, in which textual genres are mixed and fiction and memory amalgamate. Thereby, this dissertation will analyze the texts that are presented in A disciplina do amor (1980), Invenção e memória (2000), Durante aquele estranho chá (2002) and Conspiração de nuvens (2007). Books in which Lygia Fagundes Telles spread biographemes, a term coined by Roland Barthes, and just draft a self-portrait. In turn, Nélida Piñon published her memoirs, Coração andarilho (2009), using procedures of self-representation characteristic of an autobiography. The work will also examine such oeuvre, by which the writer seeks to construct a clear and solid self-image. Furthermore, this work approaches the different strategies of self-figuration from both writers performed in their works according to the pursued objective by each of them in building their memoirs