Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-11T19:31:48Z No. of bitstreams: 1 jacksonleocadiodasilva.pdf: 4558209 bytes, checksum: 152c56fc8c6097c01c8bdbd30a4ce68d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T15:23:09Z (GMT) No. of bitstreams: 1 jacksonleocadiodasilva.pdf: 4558209 bytes, checksum: 152c56fc8c6097c01c8bdbd30a4ce68d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-17T15:23:27Z (GMT) No. of bitstreams: 1 jacksonleocadiodasilva.pdf: 4558209 bytes, checksum: 152c56fc8c6097c01c8bdbd30a4ce68d (MD5) / Made available in DSpace on 2017-05-17T15:23:27Z (GMT). No. of bitstreams: 1 jacksonleocadiodasilva.pdf: 4558209 bytes, checksum: 152c56fc8c6097c01c8bdbd30a4ce68d (MD5) Previous issue date: 2017-03-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A presente dissertação tem como objetivo central a compreensão da estética particular da obra de William Blake (1757 – 1827), caracterizada por uma combinação de visualidade e discurso místico. Como Blake era um poeta-gravurista, o casamento entre texto e imagem é o aspecto mais notável das páginas que compunha através da sua técnica peculiar de impressão. As devidas análises serão feitas a partir de uma determinada seleção de obras compostas pelo poeta, levando-se em conta a sua filosofia particular, estabelecida em O casamento do céu e do inferno (1790), e a sua própria mitologia, cuja amostra é representada por uma tríade de poemas que podemos chamar de ―os livros de Urizen‖: O primeiro livro de Urizen (1794), O livro de Ahania (1795) e O livro de Los (1795). Serão analisadas não apenas passagens de seus poemas, mas também determinadas imagens destacadas desses poemas, tanto na categoria das ilustrações quanto na categoria das iluminuras. As discussões teóricas abordarão os seguintes tópicos: a noção de profecia como gênero literário, a relação entre o discurso blakiano e as heresias gnósticas, as particularidades da iconofilia blakiana, a tensão entre monismos e dualismos na obra de Blake, assim como a filiação do poeta à tradição dos pensadores místicos e sua relação com a própria tradição literária. O eixo conceitual em torno do qual se desenvolve esta dissertação está na chamada Bíblia do Inferno, ideia satírica que o poeta-gravurista concebeu como um símbolo estético de sua própria postura em relação aos moralismos religiosos. / The central goal of the present dissertation is to understand the particular aesthetics of the works composed by William Blake (1757 – 1827), characterized by a combination of visuality and mystical discourse. As Blake was a poet-engraver, the marriage of text and image is the most remarkable aspect of the pages he composed through his peculiar printing technique. The proper analyses will be carried out from a specific selection of Blake‘s works, considering his particular philosophy, established in The Marriage of Heaven and Hell (1790), and his own mythology, whose sample is represented by a trio of poems that we can call ―the books of Urizen‖: The First Book of Urizen (1794), The Book of Ahania (1795) and The Book of Los (1795). Not only passages from his poems will be analyzed, but also specific images from these poems will be examined, both illustrations and illuminations. The theoretical discussion will approach the following topics: the notion of prophecy as a literary genre, the relationship between the Blakean discourse and the Gnostic heresies, the particularities of the Blakean iconophilia, the tension between monism and dualism in Blake‘s work, as well as the affiliation of the poet to the tradition of mystical thinkers and his relation to the literary tradition itself. The conceptual axis around which this dissertation will be developed is the so-called Bible of Hell, a satirical idea conceived by the poet-engraver as an aesthetic symbol of his own posture towards the religious morality.

The thesis is concerned with the instances of the figures of mythology of the antiquity in the works of Jean Cocteau and their application. It focuses on the character of Narcissus, which is examined in connection to Oedipus and Orpheus, while concentrating mainly on the topic of mirroring and the related motives of the eye and sight. This mirroring is then not examined only on the level of an aesthetic object, but also in relation to the recipient and in mutual interferences between various media. The thesis is methodologically based on selected philosophical theses by Maurice Merlau-Ponty and the theoretical concepts of Pierre Brunel, Mieke Bal and Mary Ann Caws. Within the works of Jean Cocteau the thesis is primarily concerned with the analysis of the novels The Holy Terrors (Les Enfants Terribles), Le Livre Blanc and their illustrations, the poem "Tombeau de Narcisse", the play La Machine infernale and the films Blood of a Poet, Orpheus and The Testament of Orpheus.

Jaques Ranciére (2009b) argues that if there is a political question in contemporary art, ‘…it will be grasped through the analysis of the metamorphoses of the political ‘third’, the politics founded on the play of exchanges and displacements between the art world and that of non art’ (2009b:51). Looking at graffiti and street art in Barcelona as ‘textures’, which stimulate the mind, body and senses. I have investigated what public space means for its inhabitants through the material nature of the surfaces by which it is contained and by applying media devices. This has led me to develop an ethnography of encounters, perceptions and sensibilities linked to political practices and different modes of participation in the everyday life of the city. Following Jacques Ranciére’s (2004) conception of ‘political aesthetics’, I argue that the aesthetic of graffiti and street art can be embodied according to different sensible orders in the city. The public space is key in this process and I see it as an interface between graffiti artists, the general public and the institutions of the city. Graffiti activate the urban landscape through visual and tactile transformations of space through surfaces. These interactions, as De Certeau (1985) claims about everyday practices, may articulate narratives, which became the main source of information for this thesis. Thinking about the graffiti works in Barcelona in terms of Bakhtin’s (1981) idea of ‘the chronotope’, I have recounted the stories, which make the transformation of public space indicative of the everyday life of the city applying practices of collaboration, dialogue and intervention. These practices connected me to different surfaces of the city so as to explore how their material qualities are permeated with social relations and artistically inscribed with historical and political meanings. Here, graffiti and the city formed a compound of images in which I have studied the ‘visuality’ of graffiti in Barcelona. This, as Hal Foster (1988) argues, encloses at the same time social facts and physical operations (body and psyche) and moves, as I will show throughout this thesis, between dominant and resistance cultures. In short, I have materialized these ideas and images in the graffiti texture of Barcelona, seeing it as a mutable surface, which mediates between different ways of seeing and living in this city.

This dissertation explores the ways in which media, visuality, and politics intersect through an analysis of contemporary war photography. In so doing, it seeks to uncover how war photography as a social practice works to produce, perform and construct the State. Furthermore, it argues that this productive and performative power works to constrain the conditions of possibility for geopolitics. The central argument of this project is that contemporary war photography reifies a view of the international in which the liberal, democratic West is pitted against the barbaric Islamic world in a ‘civilizational’ struggle. This project’s key contribution to knowledge rests in its unique and rigorous research methodology (Visual Discourse Analysis) – mixing as it does inspiration from both quantitative and qualitative approaches to scholarship. Empirically, the dissertation rests on the detailed analysis of over 1900 war images collected from 30 different media sources published between the years 2000-2013.

My PhD. thesis "Physiognomy of Writing: In the Folds of Literary Ornament" deals with the relation between literature and ornament. It interconnects the sphere of literary history and literary theory with that of visuality. Ornament is analyzed and interpreted as a theoretical figure which allows an examination of literature from the point of view of its visuality and its movement. This approach, elaborated and applied here, labeled "physiognomy of writing", offers a possibility of a visual reading of literature; it represents a way to read literary texts not only in terms of their meaning and message, but also from the point of view of their visual and figural performance. In the first part I outline the concept of ornament in its historical, esthetic and philosophical frames, and explain how to use it in order to interpret literature. The second part offers readings of several 20th century literary texts (Franz Kafka, Rainer Maria Rilke, Hugo von Hofmannsthal, Samuel Beckett, Louis Wolfson and Blanche T.) from the perspective of the affinity of their literary speech and particular ornamental manifestations.

Bibliographic Record ZÁHORA, JAKUB. Mundane Self-Legitimizations of Power: Distribution of the Sensible in the Israeli Settlements in the West Bank. Prague, 2017. 277 p. Doctoral dissertation (Ph.D.) Charles University in Prague, Faculty of Social Sciences, Institute of Political Studies. Thesis supervisor: PhDr. Ondřej Ditrych, MPhil., Ph.D. Abstract: In this doctoral thesis I am looking into mechanisms, practices and political technologies that work to depoliticize contested and potentially disturbing realities. To make sense of these processes, I am utilizing the theoretical and conceptual apparatus derived from Foucault's and Rancière's respective works. Following Rancière, I conceptualize depolitization as a "distribution of the sensible", a particular ordering of what is presented to the senses and thus made intelligible, "obvious" and "natural". Understanding such arrangements in terms of a governmental programme, I focus mostly on material and visual elements of the dispositif that promotes this depoliticizing rationality. Empirically, I am investigating the case of the Israeli so-called non-ideological settlements in the West Bank. Despite some popular misconceptions, these communities attract Israelis by offering cheap public services and housing rather than for their religious-nationalistic...

Orientador: Rúbia Barcelos Amaral-Schio / Resumo: O principal objetivo deste trabalho é investigar as funções que a Geometria desempenha em campos não-geométricos em livros didáticos dos Anos Finais do Ensino Fundamental, aprovados pelo Programa Nacional do Livro Didático 2017. A partir dele foram delineados dois objetivos específicos, a saber: analisar como os conteúdos de Geometria estão estruturados (introdução, abordagem e desenvolvimento) em capítulos não-geométricos; mapear, em capítulos não-geométricos, as tarefas que fazem uso da Geometria em seus enunciados. A base teórica que fundamentou esta pesquisa foram os estudos de Flores (2003, 2010, 2013) acerca da cultura visual, entendida como as concepções inerentes à cultura de uma sociedade, manifestas em sua forma visual. Dentro da cultura visual, foi assumido o termo visualidade, definido como os discursos que informam sobre o modo como nós vemos. Pautada numa abordagem qualitativa, foram analisadas, nesta dissertação, três coleções de livros didáticos, totalizando 12 obras. Todo o conteúdo de Geometria que permeava os capítulos de Álgebra, Aritmética, Probabilidade e Estatística foi classificado de acordo com as funções que exerce, a saber: função ilustrativa, formativa, explicativa, demonstrativa, representativa e imagem mental. Resultados reforçam o caráter histórico e cultural da Geometria ao pontuar o uso de figuras geométricas como parte do discurso visual da sala de aula. Em alguns conteúdos de Álgebra e Aritmética, a Geometria se estabeleceu como prática visu... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The main goal of this paper is to investigate the functions Geometry performs in non-geometric fields in textbooks of the last years of Elementary School, approved by the National Textbook Program 2017. From it, two specific objectives were outlined: to analyze how geometry contents are structured (introduction, approach and development) in non-geometric chapters; to map, in non-geometric chapters, the tasks that make use of geometry in their tasks. The theoretical basis that underpinted this research was Flores' studies (2003, 2010, 2013) about visual culture, understood as the conceptions inherent to the culture of a society, manifested in its visual form. Within the visual culture, the term visuality was assumed, defined as the discourses that inform us about the way we see. Based on a qualitative approach, three collections of textbooks were analyzed in this research, totaling 12 books. All the content of Geometry that permeated the chapters of Algebra, Arithmetic, Probability and Statistics was classified according to the functions it performs, namely: illustrative, formative, explanatory, demonstrative, representative and mental image function. Results reinforce the historical and cultural character of Geometry by highlighting the use of geometric figures as part of the visual discourse of the classroom. In some contents of Algebra and Arithmetic, Geometry has established itself as a visual practice that composes the ways students of basic education look at it. Therefor... (Complete abstract click electronic access below) / Mestre

Drawing from de Certeau (1984), in this thesis I investigate graffiti and street art as part of the everyday visual landscapes. The city of Stockholm has gone from zero tolerance towards all forms of street art to now including the art form as a strategy for creating a so-called attractive city. In this thesis, I aim to examine street art and graffiti in relation to Stockholm´s mobile landscapes. The theoretical framework builds on mobility and landscape theory. I argue that if we are to better understand the world we live in, the concepts of mobility must be understood both in terms of its physical and social implications (Cresswell, 2006). Using a qualitative approach, interviews, document analysis, and ethnographic methods have been used to gather data. By analysing discourses and statements by artists, officials, and housing companies, I demonstrate how graffiti and street art moves between different expressions in Stockholm. Furthermore, I discuss the perspectives of artists who are engaged with their bodies to produce the visual landscape we live in, and how their bodily mobilities affect the outcome of the landscape of Stockholm. I argue that there is a paradox between mobility and immobility in the use of street art to create safe environments. The positioning of these concepts as opposites reveals how Stockholm stad and housing companies use the mobile in graffiti and street art, to create something static, attachment to place. This thesis thereby contributes to the societal and academic debate concerning mobility and the understanding of how the visual landscape is created.

(in English) The diploma thesis entitled "Communication and visual presentation of the Girls Without Clothes brand on online platforms and their influence on creating a community of customers" analyzes the image of the clothing company Girls Without Clothes from two points of view. Primarily, it examines the communication of the brand on the social media platforms Facebook and Instagram. Subsequently, attention is drawn to opinions of those customers who follow the brand on these specific platforms. The theoretical part of the thesis focuses on explaining the necessary topics (visuality, community, advertising image, etc.) from the fields of visual rhetoric, image theory and media theory. In the practical part, the company Girls Without Clothes is first introduced and then placed in a competitive environment. The image of the company is explored using the analysis of visual images, focusing primarily on the method of communication. Specifically, the emphasis is placed on significant elements that may appear in communication, such as the use of humor, vulgarisms, being on first-name terms, etc. The various aspects shaping the way of communication are studied in detail and compared with competing local companies Life is porno and Surfr, which are, in some ways, similar to the brand Girls Without...

The thesis of theoreticaly- empirical orientation is focused on voyeurism in contemporary society. Special attention is paid to the subject in a position of such voyeur and to the reflection of voyeurism by subject himself, on the case of series as artificial privacy, which is ready for voyeur's gaze. The thesis has interdisciplinary character and seeks to explore voyeurism as a society-wide phenomenon and point out its causes in contemporary society. Theoretical part put voyeurism into a broader context of various theories of contemporary (visual) society. In the empirical part, it tries to reveal the causes of voyeurism and especially subject's reflection of this causes and of voyeurism itself. In a final part it tries to sketch possible insights into the issue of voyeurism with regard to results from empirical part. The object of the thesis is to study voyeurism interdisciplinary as a characteristics for contemporary society and connect individual parts and aspects of this problem, which provide us with more complex view, and also attempt to reveal its causes and refelection of this causes by subject Keywords voyeur, voyeurismu, gaze, visuality, series, contemporary society, identification