Zugl.: Düsseldorf, Univ., Diss., 2006

Zugl.: Salzburg, Univ., Habil.-Schr., 2006

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This Master Degree Thesis aims to identify how a small set taken from a series of contemporary artworks, considered by some authors as "contemporary Vanitas" is characterized formal, symbolic and thematically, delving to evidence how the today s art can incorporate its historical past and especially the Vanitas traditional theme. The study, using an iconographic approach based on the method of Erwin Panofsky, primarily noted that the analyzed group of artworks, besides incorporating other themes with that of traditional Vanitas, showed a great formal distance from the ancient Vanitas paintings. The survey also verified that these artworks do not take the traditional Vanitas only by displaying the same symbolic motifs of the theme, but in fact, by the apprehension of its idea, which can be summarized as the confrontation between the man's vanity and the transience of his earthly life. / Esta pesquisa de mestrado se propõe a identificar como um pequeno conjunto retirado de uma série de obras de arte contemporânea, consideradas por alguns autores como Vanitas contemporâneas se caracteriza formal, simbólica e tematicamente, buscando evidenciar como a arte atual pode incorporar seu passado histórico e, especialmente, o tradicional tema da Vanitas. O estudo, por meio de uma abordagem iconográfica baseada no método de Erwin Panofsky, constatou principalmente que o grupo de obras analisado, além de incorporar outros temas junto ao da Vanitas tradicional, apresentou uma grande distância formal das Vanitas antigas. A pesquisa também verificou que estas obras não assumem a Vanitas tradicional apenas pela exibição dos mesmos motivos simbólicos da temática, mas sim pela apreensão de sua ideia, que pode ser sintetizada como o confronto entre as vaidades do homem e a efemeridade de sua vida terrena.

Using slow camera movement in 20 minutes in five video scenes of completely CGI-rendered environment called Area of Universal Latency, I am mapping space-time of the zone which is located in the north-western Slovakia. Minimalistic narration of the autonomous single-channel video projection is confronting subjectivism with universality of the Anthropocene, vanitas and spirituality with the belief of consumerism in infinite accumulation and simulacra of virtuality with the absolute truth. The story of this video-poem is communicated through virtual environment, composed sounds and natural noises. This thesis is presenting a fragment of my attempt to record the morphology of the specific place through which, as the title of the video states, I am indicating the state of reality and its consequences yet not describing it explicitly.

Le travail de recherche que nous proposons a pour cadre la prédication au XVIIe siècle dans la période de l’édit de Nantes (1598-1685) et concerne l’expression de la vanité dans des oeuvres oratoires (sermons catholiques et protestants) et picturales (Vanités, tableaux d’autel). Ces dernières années, l’étude de la rhétorique a ouvert la voie à de nouvelles perspectives intéressantes à exploiter. La problématique qui guide cette recherche concerne la manière dont le concept de la vanité permet de renouveler, à cette époque, la rhétorique de la prédication. Autrement dit, il s’agit de montrer que le concept de vanité est, dans la prédication, un enjeu théologique et littéraire. Ma démarche consiste donc à étudier lescaractéristiques d’un discours, héritier des conceptions antiques, remodelé pour s’adapter aux circonstances qui imposent une nécessaire réflexion sur la nature et le pouvoir de la parole exprimée dans les sermons et les tableaux de Vanité. Le concept de vanité témoigne non seulement d’un douloureux constat anthropologique, mais est aussi employé, dans le discours, comme un argument moral, religieux, tout en étant source paradoxalement de fascination esthétique. Nous reconsidérons donc plus précisément les thèmes privilégiés de la prédication (mort, mépris du monde, pénitence…), et les stratégies discursives mises en place par les prédicateurs protestants et catholiques pour étudier les paradoxes du discours sur la vanité. / This research is set within the framework of XVIIth-century preaching during the Edict of Nantes period (1598-1685). It regards the expression of vanity in oratorical works (Catholic and Protestant sermons) as well as pictorial works (Vanitas, altar paintings). These last years, the study of rhetoric opened new paths that are interesting to explore. The issue at thecore of this study is the way the concept of vanity led to a renewal of the rhetoric of preaching in that period. In other words, I will show that for preachers the concept of vanityis both a theological and a literary concern. Thus my approach is to study the characteristics of a form of speech which, while it is heir to ancient conceptions, is also remodeled in order to adapt tonew circumstances that demand necessary reflections about nature and the power of speech as expressed in sermons and in Vanitas. The concept of vanity isnot only evidence of painful anthropological assessments, but is also used as a moral and religious argumentin sermons, while paradoxically generating an aesthetic fascination. I will thus consider moreparticularly the preachers’ favorite themes (death, scorn for the world, penitence) and their speech strategies, as Catholics and as Protestants, in order to study the paradoxes of speeches about vanity.

This paper is analyzing the Zlatan statue from an art -theoretical and -historical perspective, focusing on issues relating to its references to different sculptural traditions, its symbols of power and what consequences this has for the understanding of the artwork, and finally how the statue works as a portrait of the football player Zlatan Ibrahimovic. The analysis shows that the statue bears traces of both Greek sculptural tradition as well as fascist sculptural tradition, two imageries that shared the fascination for athletic body ideals but for completely different reasons. The paper also shows that the statue uses numerous symbols of power, symbols linked to the patriarchal dominance in public space, and builds on a long tradition of how men of power are portrayed in public art. Zlatan himself was involved in the design of his tribute portrait, something that here is interpreted as an attempt to subvert the inevitable ephemerality and thus uphold the myth of Zlatan.

The development of ethics with samples of period fine art pieces with the emphasis on Christian view. (Range 14.-16. century). The base of this thesis is a brief description of eschatology, developing in the frame of Christian ethics in the midstream of the pestilence's apocalypse of the late Middle Ages. The main part of the thesis is focused on changes in individual as well as social perception of death during the very demanding era of extreme wave of pestilence's epidemic in late Middle Ages even early modern history. The changes in approach and coping with the attribute of death are being observed. The aim of the thesis, on the basis of literary studies, is to gather and analyze the changes in interpretation of death during the mentioned period, evaluate their influence of people's behavior by verification or denial of given hypothesis. The accessible materials are supplemented by previews of period fine art pieces showing the attitude of people in given era towards the perception of their own death. Key words Ars moriendi, Bible, carpe diem, pestilence, eschatology, flagellant, macabre art, dying memento mori, death, death dances, vanitas.

Hamlet's tragedy is constructed as a perspective of matter that is destined for decay, and this "objective," or "object-focused," mode of viewing the material world enhances theatrical and theological understandings of the play's props, figurative language, and characters. Hamlet's "objective mode" evokes early modern materialist philosophies of vanitas and memento mori, and it is communicated in theatre through semiotic means, whereby material items stand for moral ideas according to an established sign-signified relation. Extending an objective reading to Hamlet's characters reveals their function as images, or two-dimensional emblems, in moments of slowing narrative time. In the graveyard scene (5.1), characters and theatrical props cooperate to materialize the objective perspective. As a prop, Ophelia's corpse complicates the objective mode through its semantic complexity. Thus, she stands apart from other characters as one that both serves to construct and to deconstruct the objective mode. Hamlet's tragic outlook, which depends upon an understanding of matter as destined for decay, and of material items as ends in themselves rather than vehicles for spiritual transformation, is an early modern notion concurrent with theological debates surrounding the Eucharist. Drawing upon art-historical, linguistic, feminist, theological, and theatrical approaches, this thesis contributes to concurrent discourse on Hamlet's tragic genre.

Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-07-19T15:49:16Z No. of bitstreams: 1 arquivototal.pdf: 4564038 bytes, checksum: 7f1c7139338d4ab5fafbbca4a0886f63 (MD5) / Made available in DSpace on 2016-07-19T15:49:16Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4564038 bytes, checksum: 7f1c7139338d4ab5fafbbca4a0886f63 (MD5) Previous issue date: 2016-03-29 / A survey about the work written by the composer Marcílio Onofre (1982), this research discusses the collaborative process between the composer and the performer in Caminho Anacoluto II – quasi-Vanitas for violin and piano. We will discuss about the process of technical expansion that occurs in contemporary music and the results in the music of this period. We will also introduce a brief presentation of the composer, the Laboratory of Musical Composition, Onofre’s participation on it and the collaborations that occurred. Finally, an approach to the work Caminho Anacoluto II – quasi-Vanitas, its structural aspects and a reflection on the collaborative process. / Uma pesquisa realizada acerca da obra escrita pelo compositor Marcílio Onofre (1982), o presente trabalho visa oferecer algumas reflexões sobre o processo de colaboração entre compositor e intérprete na música Caminho Anacoluto II – quasi-Vanitas para violino e piano. Trataremos do processo de expansão técnica que ocorre na música contemporânea e os resultados nas músicas deste período. Também será oferecida uma breve apresentação do compositor, do Laboratório de Composição Musical, a participação de Onofre no laboratório e as colaborações ocorridas. Por fim, será feita uma abordagem à obra Caminho Anacoluto II – quasi-Vanitas, seus aspectos estruturais e uma reflexão sobre a participação deste pesquisador no processo de colaboração com o compositor.

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