Experiencing a turbulence of source and subject in the variable inversions and supports of one source to another--the wreck of the U-352, Carpeaux’s Ugolino and his Sons, a movie poster for J.A. Bayona’s The Impossible, and Cassiopeia mythology--these four sources as sons, in sacrifice to and surviving by way of “daddy” documentation, are here refigured to reenact and critique the patriarchally recreational, monumental, cinematic, and mythological infrastructures supporting the sources of this work and thereby serving to critique the newer patriarchies to which these sources and their subjectifications here seek to cross consumptively dead end. Following three public installations, and in service to a final publication, this text hereby functions as the myth of this work.

The Cornish Colony (1895 - 1920) was a group of artists, writers, actors, musicians and public figures attracted to the rural beauty of Cornish, New Hampshire. The colony developed into a social and innovative community of common interests and artistic values that included over 75 artists who shared a love of classical traditions in literature and art. Colony Members included: Augustus Saint-Gardens, Thomas Dewing, Charles Adams Platt, Louis Evan Shipman, Juliet Barrett Rublee, Maxfield Parrish, Lucia Fairchild Fuller, Percy MacKaye and Winston Churchill. This thesis will explore the theatrical productions in the colony based in collaboration between visual and theatrical artists in the Colony and how this collaboration extended to the townspeople. It will also explore how the Colony’s dramatics had an influence on the artistic growth of Cornish and the surrounding Upper Valley of Vermont and New Hampshire.

A comparison of copyright protection of authors and performing artists The aim of this thesis is to compare the legal regulation of the authors' rights in their works and the performing artists' rights in their performances as it arises from the Czech Copyright Act. I have chosen this topic because it requires profound study of the Copyright Act, good understanding of most of its provisions and their analysis. In my opinion, this kind of research could be very useful in my upcoming profession. Besides it seems to be quiet an actual theme, as for example the term of protection of these rights is largely discussed of late. The structure of this paper is following. The first three chapters are introducing the main characteristics of the authors' and performing artists' rights, their development and the main sources. Other chapters are dealing with the comparison of the protection itself. I examine the aspects I consider to be crucial. It is the subject of the rights, the object, moral and economic rights, the criterions of the protection, the contractual and non-contractual obligations and the term of protection. Two final chapters are focused on the collective management and the infringement of copyright. It can be concluded that the protection of the performing artists' rights is a bit weaker. It is...

Pierre II Mignard naquit en Avignon, terre partagée entre papauté et royauté, dans une famille d’artistes. Il fit d’abord son apprentissage de dessinateur, de copiste et de peintre auprès de son père Nicolas, avant de suivre à Paris son oncle Pierre Mignard (dit le Romain). Ce fut dans la capitale que Pierre II fit évoluer son art pictural et architectural. Il partit dans le sud de la France puis en Italie pour lever les beaux monuments antiques avant de revenir en France. Enrichi de ce qu’il avait vu et fait, il devint, en 1671, membre fondateur et Professeur de l’Académie Royale d’Architecture, l’élevant à un art sans fioriture, avec ses propres codes, des lignes pures, simples et modernes. Après plusieurs années dans la capitale, il repartit dans sa ville natale. En Avignon, il fut un architecte et un peintre très prisé, un ingénieur, cartographe, expert,médiateur passionné par son travail. Dernier artiste de génie, il laissa dans cette ville son empreinte moulée d’un art nouveau. Il fit de son style une référence et de son expérience un art. Il bâtit de riches et magnifiques demeures bourgeoises, encore visibles aujourd’hui. Cette architecture épurée plaisait à ses contemporains notables et religieux qui le considéraient comme un créateur de génie. Couronné de gloire par des titres prestigieux tel qu’Architecte du Roi ou Chevalier de l’Ordre du Christ, il fut copié par les artistes de son temps et notamment par son filleul Pierre Thibault, l’architecte Jean Baptiste Franque ou encore le peintre Joseph Péru. Trois siècles plus tard, grâce au talent de Pierre II Mignard, le coeur de la ville d’Avignon, cerné par ses remparts ressemble à un joyau dans son écrin. / Pierre II Mignard born in Avignon, a land divided between papacy and kingdom, in an artist’s family. He was formed to the drawing and the painting in his father’s studio, before he followed his uncle, Pierre Mignard (as the Roman) in Paris. It was in the capital that Pierre II upgraded his pictorial and architectural art. He went to the south of France and in Italia to draw the most beautiful antic monument after to come back in France. Enriched by all he saw and he did, he became, in 1671, a founder member and Professor of the Royal Academy of Architecture, raising it to an art without embellishment, with its owncodes, pure simple and modern lines. After several years in the capital, he came back to his natal city. In Avignon, he was a very appreciated architect and painter, a civil engineer, cartographer, expert, mediator fascinated by its work. Last genius artist, he gave to the city his stamp mould on a new art. He did to his style a reference, and to his experience an art. He built big and gorgeous residence, still visible nowadays. This refined architecture was liked by his notable and religious contemporaries who considered him like a genius creative. Wreathed with glory by prestigious title like Architect of the King or Christ’s Knight, he was reproduced and imitated by artists and notably by his godson Pierre Thibault, the architectJean-Baptiste Franque or the painter Joseph Péru. Three century later, thanks to Pierre II Mignard’s talent, Avignon’s city’s heart, surrounded by its walls look like jewel in his case.

Artist communities are often the first in revolting within a repressive society in the outer marginal borders of state control. This silent revolt takes place in the time period before larger oppositional movements gain momentum. However, the research has been scarce, especially when looking at the specific circumstance of the 17 years long Chilean dictatorship and the social influence that the artists had during this period. This Bachelor thesis will treat the subject and time period from a specific cultural angle, namely the effect the artistic production made by a specific art group, Colectivo de Acciones de Arte (henceforth named CADA) had on the social, and in effect, political discourse in society. CADA, a group of four Chilean artists, sociologists and writers, started collaborating in 1979, applying their artistic endeavors within a social practice that intended to interrupt and challenge the normalized routines of daily life during the Pinochet dictatorship – by utilizing semiotics and signs to reorganize and transform urban behaviors and social discourse. To illustrate the conversation CADAs production held, I will analyze two art works from their total oeuvre, as I am interested in researching the forbidden discourse that the artist movement conducted in Chile at this particular time. During the dictatorship, the official politics regressed to favor cultural symbols and expressions with a patriotic, nationalist and conservative message. This thesis wants to investigate the clash between the rules imposed by the ruling military regime and the actual art scene in Chile.

The goal of this thesis is to understand what creativity is and how creative processes work in general as well as how different mindsets can influence it.

La thèse questionne la place d’interventions artistiques, telle que le spectacle vivant, auprès des professionnel/le/s de la petite enfance, travaillant dans les établissements d’accueil du jeune enfant (EAJE). Elle s’inscrit dans un contexte professionnel à deux niveaux. Le premier considère les dernières réformes juridiques et les contraintes financières, qui ont accru une rationalité instrumentale des institutions, et entraîné une recomposition des identités professionnelles. Le second étudie les caractéristiques du travail près des jeunes enfants, où les actes répétitifs sont nombreux, associés à une implication subjective et émotionnelle, imposant des références aux théories du care. Le cadre épistémologique de la thèse prend appui sur les fondements de l’histoire de l’Ecole de Chicago, les professionnel/le/s de la petite enfance sont alors considéré/e/s dans un rôle d’acteur/rice/s. Différents types de matériaux ont été collectés. Le premier a été la constitution d’un recueil et d’une analyse de la presse spécialisée de la petite enfance. Un deuxième a été la réalisation d’entretien semi-directifs avec des spécialistes de la petite enfance (2), de l’art (2), des institutions politiques (2). Le dernier a été un temps d’immersion, dans une crèche collective, le jour où est accueilli un spectacle de danse contemporaine, avec deux entretiens pour trois salarié/e/s : avant le spectacle et un mois après. La thèse met en lumière dans quelle mesure il/elle/s sont aussi les destinataires du spectacle. La thèse montre la construction de la posture de spectateur/rice, tout en étant professionnel/le, et des éléments de compréhension des relations entre les intervenant/e/s artistiques et les professionnel/le/s. Ces éléments sont pensés en tenant compte des différents paramètres pouvant constituer des freins, tout en considérant une valorisation de la vie quotidienne des jeunes enfants. / This PhD thesis deals with the use, by early childhood professionals working in establishment proving care for young children, of artistic intervention such as performing arts. Its inscription in a professional context is double. The first one takes into account the last legal reforms and financial constraints. Both participate to increase the use of an instrumental rationality inside these institutions leading to a reconfiguration of professionals’ identities. The second one highlights the different characteristics of such a work which requires many repetitive acts with a need of both emotional and subjective implication. References of the theory of care can therefore be useful.The epistemological framework of this research leans on the School of Chicago’s historical background, which mean that early childhood professionals are considered as actors.Different sets of data were collected. The first one was a compilation and analysis of early childhood specialized press. The second one was semi-structured interviews with experts of early childhood, arts and political institutions. The last one was an immersion inside a collaborative crèche, during the day of the performance of a contemporary dance show. Two interviews, one before the performance and another a month after, were conducted with three professionals of the crèche.This PhD thesis highlights that performing arts are also addressed to professionals of crèche. It shows how the posture of being a spectator is built by these professionals. It gives an understanding on the relationship between artists and professionals. It is thought by taking into account different parameters that can constitute brakes in this relationship as well as considering the valorization of the everyday life of young children.

Esta pesquisa analisa o papel da nipobrasileira a partir da perspectiva de artista do corpo, tendo como contexto a cena artística paulistana: uma realidade brasileira de imigração e diáspora, num viés praticoteórico. Partimos de processos de contaminação entre ocidente e oriente, representados aqui por Brasil e Japão, respectivamente, e a partir de experiências singulares que resultam dessa relação, trazendo o relato de seis artistas mulheres nikkeis. Levamos em consideração a mestiçagem (PINHEIRO, 2013; LAPLANTINE & NOUSS, 2016; GRUZINSKI, 2001) decorrente desse encontro utilizando, inclusive, termos da cultura japonesa, Ma (?) e D? (?), devidamente deslocados em seus sentidos e ressignificados no contexto mencionado. A Teoria Corpomídia de Greiner e Katz (2001) é importante para a compreensão de co-relação e co-evolução inestanque e mútua de corpo e ambiente. Os estudos de Hashiguti (2008) e Takeuchi (2016), que tratam especificamente do corpo nipobrasileiro, também compõem as referências teóricas deste estudo. / This research analysis the roll of the Brazilian Japanese descendant from the perspective of an artist of the body, with the scenic arts of the city of São Paulo as context: a Brazilian reality of immigration and diaspora, in a practicaltheoretical bias. Our start points are the processes of contamina-tion between West and East, represented here by Brazil and Japan, respectively, and the singular experiences that result from this relation, which are represented by the conversation with six Brazilian nikkei artists. We are considering the Miscegenation (mestiçagem) (PINHEIRO, 2013; LAPLANTINE & NOUSS, 2016; GRUZINSKI, 2001) that occurs from this rendez-vous, using terms from the Japanese culture, inclusive, Ma (?) and D? (?), properly displaced from its meaning and resignified in the context that we mentioned before. The Corpomídia Theory from Greiner and Katz (2001) is important for the comprehension of the co-relation and co-evolution of body and environment which is mutual and non-stagnant. The studies of Hashiguti (2008) and Takeuchi (2016) that reflect specifi-cally the Japanese descendant body also compose the theorical refer-ences of this study.

O autor explora o corpo neutro do referente da imagem fotográfica e o resultado da sua pesquisa é este conjunto de narrativas. Cada uma é construída a partir dos retratos da família e desenvolvida em diálogo com outros autores. Ele conta em particular a história de um homem e de uma mulher. Mas eles não são um casal. Ele é avô dela. E ela, ainda criança nestas imagens, é agora mãe do autor. Ele lê no verso do retrato dela: \"Vimeiro 1968\". É a costa ocidental portuguesa. Lugar onde se travou a batalha com os franceses no início do século XIX e, pelo que parece, destino de férias da sua família. Lugar esperado e distante, onde águas doces e salgadas se encontram e a ilha de Saturno pontua o horizonte. Ilha granítica situada no oceano Atlântico, a meia dúzia de milhas do Cabo Carvoeiro. No horizonte do Vimeiro, onde o avô ensinou a criança a nadar. Acontecimento testemunhado pelo aparelho fotográfico do pai e comprovado até hoje pelos retratos do álbum da família. Nestas férias o avô ensinou-a a nadar e o seu pai foi fotógrafo, a avó cozinhou e a mãe costurou um sorriso, não fosse ter chorado na Rocha do Conde de Óbidos quando ele embarcou no paquete Pátria da Companhia Nacional de Navegação no dia 29 de Agosto de 1961. / The author explores the referent\'s neutral body in the photographic image and the result of his research is this set of narratives, each one built from the family\'s portraits and the dialogue with other authors. He tells in particular the story of a man and a woman. They are not a couple though. He is her grandfather and she, a child in these images, is now the author\'s mother. He reads on the back of her picture, \"Vimeiro 1968\". It is the Portuguese west coast. Where the battle with the French was fought in the early nineteenth century and, it seems, his family\'s vacation destination. Expected and distant place, where fresh and salt waters meet and Saturno Island punctuates the horizon. Granitic island situated in the Atlantic Ocean, half a dozen miles from Cabo Carvoeiro. In the horizon of Vimeiro where the grandfather taught the children to swim. Event witnessed by the father\'s photographic apparatus and today testified by the pictures in the family\'s album. This holiday grandfather taught her to swim, father was photographer, grandmother cooked, and mother sewed a smile, had not she wept in Rocha do Conde de Óbidos when he boarded the packet Pátria, of Companhia Nacional de Navegação, on August 29, 1961.

Donas da Beleza discute a representação do feminino na cultura ocidental, presente na produção das artistas plásticas do século XX. O estudo foi desenvolvido para examinar, a partir de uma perspectiva estética e sóciocultural, os diferentes modelos de Beleza, a forma como são propostos, como coexistem, e ainda, como se remetem mutuamente através de diferentes períodos, sem perder o foco estabelecido o olhar feminino. Este parâmetro implicou um estudo comparativo que identifica semelhanças e diferenças no modo de representação de arquétipos dominantes no imaginário de homens e mulheres. Sob o título Configurações da Beleza Feminina comparecem as categorias: Divindade, Maternidade, Inocência, Maturidade, Sensualidade e Ideal. Constitui um quadro visual de referência em que artistas e obras estão alinhados a partir da diversidade quanto ao tratamento dos temas, técnicas e contextos de produção, localizando, numa linha de tempo que compreende o século XX e suas fases de transição, uma maior abertura, sugerindo outras leituras, ou seja; outros modos de ver a imagem da mulher, a mulher artista, a história da arte. / In Owners of the Beauty I have studied the representation of feminine in the occidental culture in the production of the plastic female artists of 20th century. The study was developed to examine, from an aesthetic and socio-cultural perspective, the different models of Beauty, as they are considered, as they coexist, and still, as they relate through different periods, without losing the established focus - the feminine look. This parameter implied a comparative study that identifies similarities and differences in the way of representation of dominant archetypes in men and women imaginary. Under the heading Configurations of the Feminine Beauty these categories appear: Deity, Maternity, Innocence, Maturity, Sensuality and Ideal. It is a visual picture of reference where artists and workmanships are lined up by the diversity of treatment of subjects, techniques and contexts of production, in a time line that comprehends 20th century and its phases of transition and which imply other readings, other ways to see the image of the woman, the woman artist, the history of the art.