Made available in DSpace on 2016-04-26T18:15:36Z (GMT). No. of bitstreams: 1 MARIA CRISTINA MIRANDA DA SILVA.pdf: 4794309 bytes, checksum: 8dfdb518bb29415945268f68c53f3068 (MD5) Previous issue date: 2006-05-09 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The study investigates the presence of optical apparatus and optical devices in Brazil of century XIX, in special in the city of Rio de Janeiro, objectifying examining its users and diffusers, as well as the forms of comment and social contexts of the use the same ones The research is based on the studies of the early cinema, especially in Tom Gunning and Charles Musser, and in the workmanship of the historian of the art Jonathan Crary, the authors that help us, respectively, in the process of the recontextualizing of the use of optical devices and the dimensionality of the observer of modernity. The empirical work consists of the analysis of the orders of license to the city council of Rio de Janeiro for the exhibition of the devices in the period of 1830 the1890, and in the systematic study of the announcements published in newspapers in that period like Jornal do Commercio from 1850 to 1870. The organization and the categorization of the findings of the research prove that the popularization of the devices mentioned, over all in the street parties. Special emphasis was conferred on the arrival of the photograph in Brazil and the precocity with that the photographer Revert Henrique Klumb developed the Stereoscopy. Thematic that they had been the reference for the Brazilian visuality had been mapped and the Brazilian photographers who had developed this technique had been inventoried. From the announcements published in the Almanak Laemmert, between 1844 and 1889, we have done a survey of the establishments that imported and commercialized the apparatus and devices in the period in question. Taking into account all the information provided, the study questioned the presence of the optical apparatus and devices in the city of Rio de Janeiro in the 19th century, considering the particularities of them in the historical, economical and social context of the time / O estudo investiga a presença dos aparelhos e dispositivos ópticos no Brasil do século XIX, em especial na cidade do Rio de Janeiro, objetivando examinar os seus usuários e difusores, bem como as formas de observação e os contextos sociais de utilização dos mesmos. A pesquisa é fundamentada nos estudos do primeiro cinema, especialmente em Tom Gunning e Charles Musser, e na obra do historiador da arte Jonathan Crary, autores que nos ajudam a analisar, respectivamente, o processo de recontextualização do uso dos dispositivos ópticos e do redimensionamento do observador da modernidade. O trabalho empírico consiste na análise dos pedidos de licença à Câmara Municipal do Rio de Janeiro para a exibição dos dispositivos, no período de 1830 a 1890, e no estudo sistemático de anúncios publicados nos periódicos do período, em especial no Jornal do Commercio, entre as décadas de 1850 e 1870. A organização e categorização dos achados da pesquisa comprovam a popularização dos referidos dispositivos e aparelhos, sobretudo nas festas de rua. Especial ênfase foi conferida a chegada da fotografia no Brasil e a precocidade com que a estereoscopia foi aqui desenvolvida pelo fotógrafo Revert Henrique Klumb. As temáticas que foram referência para a visualidade brasileira foram mapeadas e os fotógrafos brasileiros que desenvolveram esta técnica em seus trabalhos foram inventariados. A partir dos anúncios publicados no Almanak Laemmert, entre os anos de 1844 e 1889, realizamos um levantamento dos estabelecimentos que importavam e comercializavam os aparelhos e dispositivos no período referido. A partir das informações coligidas, a investigação problematiza a presença dos dispositivos e aparelhos ópticos na cidade do Rio de Janeiro no século XIX, considerando as particularidades dos aparelhos e dispositivos no contexto histórico, econômico e social da época

O foco central desta tese consiste em procurar compreender um fenômeno que se verifica na atualidade em torno das imagens ultra-sonográficas fetais. O que era a princípio e em princípio uma tecnologia de imagem médica, inventada com propósitos diagnósticos, gradualmente transformou-se em objeto de consumo e lazer. Para investigar o fenômeno, a pesquisa teórica aborda como foram construídos o olhar e o observador modernos, e de que modo as tecnologias de imageamento médico incidem na construção social do corpo. Outro aspecto teórico consiste na investigação, de um ponto de vista sócio-histórico, acerca da produção da gravidez e do feto como temas médicos, e de que modo a tecnologia de ultra-som aplicada à obstetrícia está situada na articulação de vários processos: o da construção de um novo olhar, o das reconfigurações do corpo, o da medicalização da gestação e do feto e, finalmente, o da construção do feto como Pessoa antes de seu nascimento. Estudos antropológicos produzidos no exterior, ao longo da década de 1990, apontaram que o fenômeno envolvendo as imagens fetais encontrava-se inscrito nos e delimitado pelos códigos socioculturais específicos de onde ocorriam. A inexistência de pesquisas acerca do tema, no contexto brasileiro, foi o ponto de partida para uma investigação empírica. Foi realizada uma observação antropológica de ultra-sonografias obstétricas, em abordagem etnográfica, em três clínicas privadas de imagem, ao longo de 2003, no Rio de Janeiro, visando compreender como tal fenômeno se dava, de que modo era produzido e significado pelos atores e quais os desdobramentos de tais práticas, modelados por especificidades culturais locais. O trabalho de campo evidenciou que a ultra-sonografia obstétrica caracteriza-se por ser uma tecnologia de imagem interativa, em contraste com outras técnicas de imageamento médico, uma peculiaridade que propicia a construção de diversos significados a partir das imagens fetais cinzentas e esfumaçadas. A produção do prazer de ver o feto é a pedra de toque que une o útil ao agradável, e o consumo de imagens é um ponto de articulação de diversas questões expostas ao longo da tese. Pode-se pensar nesta situação como parte de um panopticismo que devassa corpos femininos e fetais, em um mesmo processo normatizando-os e construindo novos sujeitos calcados em corporalidades virtuais. / The central focus of this thesis consists of seeking to understand a phenomenon which is presently taking place in the area of fetal ultrasound images. What began as a medical imaging technology, invented for diagnostic purposes, gradually became an object of consumption and leisure. In order to investigate this phenomenon, the theoretical investigation looks at how the modern mode of seeing and the observer were constructed, and in what way technologies of medical imaging impact the social construction of the body. Another theoretical aspect consists of the investigation, from a socio-historical point of view, of the production of pregnancy and of the fetus as medical subjects, and in what way the technology of ultra-sound applied to obstetrics is situated at the nexus of various processes: the process of constructing a new mode of seeing, of the reconfigurations of the body, of the medicalization of gestation and of the fetus, and, finally, of the construction of the fetus as a person before its birth. Anthropological studies carried out abroad, during the nineties, show that the phenomenon involving fetal images was inscribed in and delimited by the specific socio-cultural codes where the imaging was done. The lack of research in this area in the Brazilian context was the point of departure for an empirical investigation. An anthropological observation of obstetric ultra-sounds, with an ethnographic approach, was carried out in three private imaging clinics, during the course of 2003, in Rio de Janeiro, with the intention of understanding how this phenomenon took place, in what way it was produced and signified by those involved, and what were the ramifications of these practices, modeled by local cultural particularities. The field work showed that obstetric ultrasonography can be characterized as an interactive imaging technique, in contrast to other medical imaging techniques, a peculiarity which lends itself to the construction of various significations having as their origin gray and hazy fetal images. The production of the pleasure of seeing the fetus is the touchstone which links the useful to the pleasing, and the consumption of images is point of connection for various questions raised in the thesis. One can think of this situation as part of a panopticism which scans female and fetal bodies, at one and the same time normatizing them and constructing new subjects shaped by virtual corporalities.

Made available in DSpace on 2014-07-29T16:27:56Z (GMT). No. of bitstreams: 1 Dissertacao Adriane M.pdf: 5261530 bytes, checksum: c2e32e5a9c5dab83bd813126cba73239 (MD5) Previous issue date: 2009-06-30 / This study, still in course, investigates the magnifying of the joint possibilities, information and interaction of students with the world of the visual culture and its multiple forms of expression, having the cinema as orienting axle. In these terms, part in comment of the mental picture construction favored by the visuality that the cinema provides, questioning how this construction is understood by children with age between 8 and 10 years. The search was developed into two stages, with two groups of children, each group with numbers distincts of components. The first group was formed with twenty five children, and the second one was formed with nine of these children. The work with the first group approached, in dynamics and quantity of students , whith the regular classrooms; while the work with the second group has permited more approximation of the assimilation process and knowledge building. While the children had interacted with the information of the histories from the films and built images, drawing working with clay and another ways, they exercised the observation, the imagination and the memory. The kids represented the relations established among the sensed into the film with the already acquainted for them, with the elaboration way of imaginary. This Project confirms how the importance of the movie can assume in the construction of the knowledge and the esthetic experience among the children between eight and ten years old. / Neste estudo é proposta uma investigação sobre a ampliação das possibilidades de articulação, informação e interação de estudantes com o mundo da cultura visual e suas múltiplas formas de expressão, tendo como eixo orientador o cinema. Nesses termos, parte da observação de construção imagética favorecida pela visualidade que o cinema proporciona e potencializa, questionando como essa construção é compreendida por crianças com idade entre 08 e 10 anos. A pesquisa de campo foi realizada em duas etapas, com dois grupos de crianças, cada grupo com números distintos de componentes. O primeiro grupo foi formado com vinte e cinco crianças, e o segundo por nove destas crianças. O trabalho com o grupo maior se aproximou, na dinâmica e na quantidade de alunos, com o contexto das salas de aula da educação formal; enquanto o trabalho com o grupo menor permitiu uma maior aproximação do processo de assimilação e construção de conhecimento. À medida que as crianças interagiam com as informações fornecidas pelas histórias dos filmes e construíam imagens por meio de desenhos, trabalhos com argila e outros meios, exercitavam a observação, a imaginação e a memória. As crianças representaram as relações estabelecidas entre o percebido no filme com o já conhecido por elas, por meio da elaboração imaginária. Este estudo confirma o importante papel que o cinema pode assumir na dinâmica da construção de conhecimento e experiência estética junto às crianças na faixa etária entre oito e dez anos.

Made available in DSpace on 2014-07-29T16:29:27Z (GMT). No. of bitstreams: 1 Patricia Ferreira da Silva Martins1.pdf: 8275051 bytes, checksum: 771d7defb137f5b27695b645dcf5f56f (MD5) Previous issue date: 2010-04-23 / This thesis, developed within the research line Modern Poetics, aims at providing a critical and analytical reading of the experimental poetry by Arnaldo Antunes and Eduardo Kac, focusing on the practices that emphasize, above all, the relations between poetic experimentation, visuality and technology. In this sense, we present a reflection that develops among the border of literature, art and science. The work also presents a general notion of what can be called digital poetry and cyberpoetry, emphasizing the poetic works, within these inter-related practices, that have been produced in Brazil and in the world. This field imposes upon us a theoretical discussion that develops around the way of approaching the computational poetry and, consequently, around the questions related to interface and interactivity and the shifts within the system author-work-reception. In order to do that, our theoretical discussion is articulated around Jorge Luiz Antonio s and Christopher Funkhouser s reflections about the electronic and digital poetry. We also count with the aesthetic proposals of Suzete Venturelli, Anne Cauquelin and Claudia Giannetti. From these readings, we establish an approach to deal with this poetic form. This approach, as an open process of negotiation, emphasizes the link observer-work that aligns with the concepts of interface and interactivity. It is intended to investigate, with this work, elements as the vitality of the experimental technological poetic production of both poets in reveling tensions in our time, exploiting the limits of subjectivity before the new means and collaborating to the humanization of technologies. / Esta tese, desenvolvida na linha de pesquisa Poéticas da Modernidade, tem por objetivo fazer uma leitura crítico-interpretativa da poesia experimental de Arnaldo Antunes e Eduardo Kac, centrando-se, sobretudo, nas relações entre a experimentação poética, a visualidade e a tecnologia. Desse modo, apresentamos uma reflexão que se desenvolve nas fronteiras entre a literatura, as artes plásticas e a ciência. A tese também procura apresentar uma noção geral do que pode ser denominado como poesia digital e ciberpoesia, enfatizando o que tem sido produzido no Brasil e no mundo no âmbito dessas práticas. A entrada neste campo de investigação nos impõe uma discussão teórica sobre possíveis modos de abordagem da poesia que lança mão de procedimentos computacionais e, conseqüentemente, sobre questões relacionadas à interatividade e à interface e, também, sobre as mudanças no sistema autor-obra-recepção. Esta pesquisa é articulada, principalmente, em torno das reflexões de Jorge Luiz Antonio e Christopher Funkhouser sobre a poesia eletrônica e digital. Contamos ainda com o suporte das propostas estéticas das pesquisadoras Suzete Venturelli, Anne Cauquelin e Claudia Giannetti. A partir das colocações destas pesquisadoras, estabelecemos uma abordagem para os textos poéticos tecnológicos experimentais de Antunes e Kac. Esta abordagem, como um processo de negociação aberto, prioriza o vínculo observador-obra que se alinha aos conceitos de interface e interatividade. Pretendemos, desse modo, investigar elementos como a vitalidade da produção poética experimental tecnológica de ambos os poetas em revelar tensões de nosso tempo, explorar os limites da subjetividade diante dos novos meios e colaborar para a humanização das tecnologias.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

The influence of new media on theatrical practice over the past fifty years has spurred a movement towards theatrical forms which are increasingly organized around the sensory elements of performance. This change is most noticeable in the visual approaches to theatre, and it has produced what I have labeled a theatre of visuality. This thesis argues that the tendencies for visualization found in visual media have extensively marked the performance strategies of contemporary theatre practice, resulting in a shift away from the logocentric dramatic text and towards theatre performance organized around the visual. Looking at four contemporary productions of Georg Buchner’s Woyzeck –Thomas Ostermeier’s Woyzeck (2005), Vesturport’s Woyzeck (2005), Robert Wilson’s Woyzeck (2000), and Josef Nadj’s Woyzeck ou l’Ébauche du Vertige (1994)– this thesis produces a preliminary typology of four distinct visualities/theatrical forms which make up the theatre of visuality: hyperrealism, synesthesia, superficiality, and visual narration. This thesis contributes to the conceptualization and understanding of postdramatic theatre by linking the theatre’s rejection of the text to the increased centrality of the visual in performance, and by tracing these shifts to the influence of visual media.

La thèse comporte deux parties. Dans la première, constatant, d’une part, que les publications de référence à l’égard de la fiction télévisuelle québécoise sont rares, et que, d’autre part, les études télévisuelles souffrent d’un manque à penser l’esthétique de la fiction, elle avance une approche nouvelle. La fiction télévisuelle est l’objet d’une évolution esthétique portée par ses deux dispositifs et scandée en trois degrés d’expression. Elle évolue d’un dispositif où le son prévaut dans le cadre de la télé-audition à un autre dispositif où l’image prédomine au sein de la télé-vision. La fiction télévisuelle réalise ce parcours en trois degrés d’expression: du degré zéro, la monstration de la parole, nommé la télé-oralité, au second degré, l’image énonciative, nommé la télé-visualité, en passant par le premier degré, une oscillation transitoire, nommé la télé-dualité. Elle remédiatise le trajet du cinéma de fiction des premiers temps à l’auteurielité, un demi-siècle plus tard. Dans la seconde partie, la thèse applique le modèle théorique au corpus téléromanesque. Elle démontre que la fiction télévisuelle québécoise connait une évolution du téléroman à la sérietélé, en passant par la télésérie et par une trilogie épistémique. Au terme du parcours réflexif, une conclusion s’impose: le téléromanesque actuel participe de plain-pied à ce qui semble être, depuis le nouveau millénaire, l’Age d’art de la fiction télévisuelle. / The thesis has two parts. In the first, noting, on the one hand, that reference publications on Québec’s television fiction are rare, and, on the other hand, that television studies suffer from a lack of works on aesthetics, it advances a new approach. The televisual fiction is the subject of aesthetic evolution driven by two apparatus and punctuated by three degrees of expression. It evolves from an apparatus where the sound prevails through tele-hearing to an apparatus where the image predominates within the tele-eying. The televisual fiction achieves the journey through three degrees of expression: from the zero-degree, the monstration of the speech, called the tele-orality, to the second-degree, the enunciative image, called the tele-visuality, through the first-degree, a transilient oscillation, called the tele-duality. It remediates the aesthetic path of the fiction film from earlysm to auteurism half a century later. In the second part, the thesis applies the theoretical model to the téléromanesque corpus. It shows that Québec’s television fiction evolves from téléroman to sérietélé, through the télésérie and an epistemic trilogy. At the end of the reflexive journey, a conclusion emerges: the current Québec’s television fiction is taking full part in what appears to be since the new millennium the television's art age.

The hagioscope—a small tunnel or opening usually set at eye-level in a church wall—is a complex and multifaceted device that appears in Europe during the late medieval period. Despite an increased interest in the  history of the senses, the hagioscope has been overlooked until now. Drawing from Hans Georg Gadamer’s ideas  about hermeneutics, Jacques Le Goff’s work on Purgatory, and the medieval intellectual Peter of Limoges’ thoughts on vision, this study aims to shed light on why the hagioscope appeared when it did and how it may  have been used.   This case study of the hagioscope concerns the known hagioscopes with connected cells on the island of Gotland.  It is introduced with two themes that combined, create a conceptual understanding of the hagioscope: the first is the device as a physical boundary or spatial division in a church room resulting from changes in theology and liturgy and the second is the device in the context of a medieval discourse on visuality, derived from the widespread thirteenth century treatise, De oculi morali. With this understanding in mind, the last chapter presents and discusses previous theories on the Gotland hagioscopes. In contrast with previous research, this thesis proves that the cells of Gotland are clearly of two different kinds: earlier cells are small, lack windows and have trefoil-shaped hagioscopes and a deep niche that significantly distances the observer from the nave. Later cells are bigger, equipped with a single window, have a niche spatially closer to the nave, and have differently shaped hagioscopes.

Over the last decades, film theories with their focus on the mere audiovisual quality of cinema have been questioned by film scholars with a phenomenological interest. According to these critical approaches, the film experience cannot be understood through a mere involvement of the eye (and the ear). In this context, to disregard the significance of a multisensory attachment to the film results in the consideration of relationship between the film and the viewer to be a dominating one. This dissertation examines this multisensory attachment and aims to define the film experience as an embodied relationship between the film and the viewer by means of a formal analysis of the Turkish director Nuri Bilge Ceylan’s early films. Throughout the dissertation, it is argued that Ceylan encourages his viewer in various forms to have a more sensual and immediate experience of his films rather than to compel them to adhere to symbols and abstractions through a kind of intellectual effort – an intellectual effort that would damage the “sensuous” attachment between the film and the viewer.

ANTROPOLOGICKÝ SERIÁL - Kognitívne a semiotické modely kultury Abstract /english version/: The author of the thesis has developed a methodological framework of visual anthropology by collecting relevant information concerning the subject and by verifying this knowledge practically in an authentic living environment. This interconnection represents the main twist in the methodology, which turns away from the informative and interpretative version of ethnographic (anthropological) film and moves towards its functional, socio-cultural analysis. The subject of the thesis is an interdisciplinary research and possibilities of applying cognitive and semiotic analytical schemes into the process of directing an anthropological series. The entire project of an authentic ethnographic research and the film tumenge (I., II., III.) attempt to display the interethnical relations in the village Palota in the North-East of Slovakia, particularly bringing the life in the local Roma settlement and its individual members into sharp focus.