Dissertationen zum Thema „Arts – political aspects“
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Maguire, Geoffrey William. „Political postmemory : childhood, memory and politics in Argentina's post-dictatorship generation (2003-2013)“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709107.
Der volle Inhalt der QuelleAncel, Marie-Eve Zoe. „Les aspects juridiques du transport des œuvres d'art /“. Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34007.
Der volle Inhalt der QuelleYoung, Thomas Chesnutt. „Russell Kirk's Column "To the point": Traditional Aspects of Conservatism“. [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0714104-151923/unrestricted/YoungT080504f.pdf.
Der volle Inhalt der QuelleTitle from electronic submission form. ETSU ETD database URN: etd-0714104-151923 Includes bibliographical references. Also available via Internet at the UMI web site.
Antrobus, Richard Roy. „The advent of the 'Festivore' an exploration of South African audience attendance in the performing arts at the National Arts Festival“. Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002362.
Der volle Inhalt der QuellePolgovsky, Ezcurra Mara. „Touched bodies : corporeal ethics in Latin American art at the onset of the media age“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709431.
Der volle Inhalt der QuelleLaw, Nga Wing. „Performing identities: performative practices in post-handover Hong Kong art & activism“. HKBU Institutional Repository, 2018. https://repository.hkbu.edu.hk/etd_oa/518.
Der volle Inhalt der QuelleCooper, Craig. „The interrelationship and inscription in the experience of place in Hong Kong: art, bodies and architectures“. HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/749.
Der volle Inhalt der QuelleSnowball, Jen. „The economic valuation of cultural events in developing countries: combining market and non-market valuation techniques at the South African National Arts Festival“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002703.
Der volle Inhalt der QuelleShaw, Nancy (Nancy Alison) 1962. „Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
Der volle Inhalt der QuelleLochner, Eben. „The democratisation of art CAP as an alternative art space in South Africa“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002205.
Der volle Inhalt der QuelleKaden, Martha J. „Herinnering, geskiedenis, identiteit : 'n ondersoek na beeld en teks in mito-poesis“. Thesis, Stellenbosch : University of Stellenbosch, 2002. http://hdl.handle.net/10019.1/8546.
Der volle Inhalt der Quelle214 Leaves printed on single pages, preliminary pages i- xvi and numbered pages 1-191. Includes bibliography and illustrations.
Digitized at 600 dpi grayscale to pdf format (OCR), using a Bizhub 250 Konica Minolta Scanner. Digitized by Ivan Jacobs on request of Niel Hendrickz, 15 April 2011.
ENGLISH ABSTRACT: This investigation is informed by the assumption that language, as representation and as image, is positioned in a metaphorical relationship to reality. Language, as a structure of representation, is the way in which we represent reality to ourselves and to others and recreate the past, as well as the way in which we invest our lives with meaning, significance and experience. Language includes visual and verbal representation, and this investigation shows how image and text create a variety of multiple meanings through playful and interactive reciprocation. Following from the assumption that language comprises temporal and spatial qualities, it is also the terrain that enables us to know and understand reality, ourselves, and others. This emphasizes the material nature of language, which is also connected with social and cultural practices and, as such, involves reciprocation and interaction between divergences. Language is therefore a mode of action that makes the bridging of divisions possible. Language is proposed as a medium through which the monolithic hegemony of the apartheid past may be confronted within a multicultural South Africa. The aim of representing this past in my work is not to recall it as it was or to discover etemal, inheritable qualities, but rather to bring about re-demption (healing) through re-presentation. Re-demption and re-presentation is a textual practice that involves a re-script of the past. With the understanding that history and culture are regarded as text, re-writing the past does not involve representation as mimesis, but as production. This investigation recognizes the role of the subconscious as the other or the alterity in all language constructs that makes it possible to circumvent the logic of binary oppositions; entertain alternatives simultaneously; erase boundaries; share spaces, and discover the other in the self. This unconscious language of the other, as a strange doubling and interplay between near and far, gives rise to poies/s. The creation of multi-dimensional spaces that draw the poetical and the everyday into an imaginative and directed conceptual interplay as well as provoke dialogue between differences and diversities, engenders a desire for the complexity of the other. The interplay and recurrent movement across divisions and between paradoxes create a new and changed interspace, characterized by difference, plurality, and contradiction. Intertextual spaces allow relationships between differences and exist precisely as a result of dialogicity between diversities. In this way it is possible to establish, by virtue of difference, a mutual, interdependent relationship with the other. Metaphorical language requires an allegorical reading that places divergences in relation to one another, thereby causing a mythic animation of signification that moves from one level to another. Mytho-poeisis, as an allegorical structure, is proposed as a model by means of which symbolic transformation and redemption of the personal and collective psyche may occur. Poetic re-imagining as re-presentation impels change and transformation and points to other possible forms of social and ethical experiences. This impulse, to reconcile the social and the aesthetic, or the cultural with symbolic form, is based on the principle of reconciliation between art and life.
AFRIKAANSE OPSOMMING: Hierdie ondersoek handhaaf die veronderstelling dat taal in 'n metaforiese verhouding tot die werklikheid staan as voorstelling en as beeld. Taal, as 'n struktuur van voorstelling, is die wyse waarop ons die werklikheid aan onsself en ander voorstel en die verlede herskep, asook die wyse waarop ons sin, betekenis en ervaring aan ons lewens verskaf. Taal sluit visuele en verbale voorstellings in en hierdie ondersoek toon op watter wyse beeld en teks in speelse en interaktiewe wisselwerking 'n verskeidenheid meersinnige betekenisse skep. Uitgaande van die veronderstelling dat taal temporele en ruimtelike kwaliteite betrek, is dit ook die terrein wat ons in staat stel om die werklikheid, onsself en ander te ken en verstaan. Dit beklemtoon die materiele aard van taal, wat ook met sosiale en kulturele praktyke verbind is en sodanig wisselwerking en interaksie tussen uiteenlopendhede betrek. Taal is dus 'n modus van doen, wat oorbrugging van skeidings moontlik maak. Taal word as 'n medium voorgestel waardeur die monolitiese hegemonie van die apartheidsverlede binne 'n multikulturele Suid-Afrika gekonfronteer word. Voorstelling van hierdie verlede in my werk is nie met die doel om dit te herroep soos dit was, of ewige, erfbare eienskappe te ontdek nie, maar eerder om herstel deur her-voorstelling te bewerkstellig. Her-stel en her-voorstelling is 'n tekstuele praktyk wat 'n re-skripsie van die verlede behels. Met begrip dat geskiedenis en kultuur as teks beskou word, behels die her-skryf van die verlede nie voorstelling as mimesis nie, maar as produksie. Hierdie ondersoek erken die rol van die onderbewussyn as die ander of die alteriteit (alterity) in alle taalvoorstellings wat dit moontlik maak om die logika van binere oposisies te omseil; alternatiewe gelyktydig in ag te neem; grense uit te wis, ruimtes te deel en die ander in die self te ontdek. Hierdie onbewuste taal van die ander, as 'n vreemde verdubbeling en spel tussen naby en ver, gee aanleiding tot poesis (poiesis). Die skep van multidimensionele ruimtes wat die poetiese en die alledaagse in 'n verbeeldingryke en gerigte konseptuele wisselspel betrek, asook dialoog tussen verskille en diversiteite bewerkstellig, skep 'n aandrang vir die kompleksiteit van die ander. Die interspel en ewigdurende beweging oor skeidings en tussen paradokse skep 'n nuwe en veranderde interruimte, wat gekenmerk word deur verskil, pluraliteit en kontradiksie. Intertekstuele ruimtes laat verskilsverhoudings toe en bestaan juis as gevolg van dialogisiteit tussen diversiteite. Op hierdie wyse is dit moontlik om op grond van verskil 'n wedersydse en interafhanklike verhouding met die ander aan te knoop. Metaforiese taalgebruik verg 'n allegoriese lees wat uiteenlopendhede in verhouding tot mekaar plaas sodat dit 'n mitiese animasie van betekening bewerkstellig wat vanaf een vlak na 'n ander vlak beweeg. Mito-poesis, as 'n allegoriese struktuur, word voorgestel as model waarvolgens simboliese transformasie en herstel van die persoonlike en kollektiewe psige kan geskied. Poetiese her-verbeelding as her-voorstelling motiveer verandering en transformasie en dui op ander moontlike vorms van sosiale en etiese ervarings. Hierdie impuls, om die sosiale en die estetiese, of om die kulturele met simboliese vorm te vereenselwig, berus op die beginsel van versoening tussen kuns en lewe.
Botma, Gabriel Johannes. „Manufacturing cultural capital : arts journalism at Die Burger (1990-1999)“. Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18065.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This study examines the discursive role and positioning of arts journalism at Die Burger during a period of radical transformation in South African society. The study is conducted within a critical-cultural paradigm. Arts journalists are considered to be manufacturers of cultural capital, a term devised by Pierre Bourdieu as part of his comprehensive field theory framework. While Bourdieu uses cultural capital in the main to describe the role of education and culture in the maintenance of elite power hierarchies, this study investigates how the nature of cultural capital at Die Burger was affected by power shifts when competing elites jostled for dominance in a post-apartheid dispensation. By drawing on Michel Foucault’s theory of discourse, the focus of research further incorporates the discursive positioning of arts journalists in their coverage of arts and cultural events in the 1990s in relation to shifting configurations of power. The argument is that arts journalism at Die Burger can be situated within networks of power and thus contributed to the structuring of post-apartheid society. In the words of Antonio Gramsci, arts journalists became involved in hegemonic and counter-hegemonic struggles. Flowing from these theoretical departure points, the study identifies critical discourse analysis (CDA) as an appropriate research method for textual analysis and adapts a five-phase model suggested by Teun van Dijk as part of his contextual CDA approach. The analysis thus focuses in turn on the context of discourse, discursive struggles between arts journalists and political journalists, strategies of classification used by arts journalists, emerging themes of discourse in arts journalism, and how the selection and presentation of arts journalism on news and arts pages were influenced by various factors, including the personal background and experiences of arts journalists (The concept of Bourdieu’s “habitus”). To affect triangulation and enhance the textual analysis, the study also employs semi-structured indepth interviews with arts journalists who were prominent at Die Burger in the 1990s. The study found that arts journalists were at the intersection of different and often diverging and contradictory power-points in post-apartheid discourses at the newspaper. On the one hand, some arts journalists embraced a legacy of editorial independence at the arts desk and sometimes created oppositional discourses to the official political view of the newspaper: for instance on the issue of alleged “collective guilt” for Afrikaners and whether Naspers should appear before the Truth and Reconciliation Commission (TRC) to explain its role in supporting the National Party (NP) during apartheid. On the other hand, many arts journalists shared the editor’s apparent aversion to the international cultural boycott supported by the ANC and harboured some of the same skepticism about the so-called Africanisation of society and resultant attacks on Eurocentrism in the arts. This study -- the first on this level to focus on Afrikaans arts journalism since 1994 -- represents a significant contribution to knowledge in the under-researched field of arts journalism in South Africa. Its purpose and process has furthermore developed theoretical and methodological innovations which can enrich the field of journalism studies.
AFRIKAANSE OPSOMMING: Die studie -- vanuit 'n kritiese kulturele paradigma -- ondersoek die diskursiewe posisionering en rol van kunsjoernalistiek by Die Burger gedurende 'n periode van radikale transformasie in die Suid-Afrikaanse samelewing. Kunsjoernaliste word beskryf as vervaardigers van kulturele kapitaal, soos gekonsepsualiseer deur Pierre Bourdieu in sy omvattende raamwerk van veldteorie. Terwyl Bourdieu die term kulturele kapitaal hoofsaaklik gebruik om die rol van opvoeding en kultuur in die behoud van hierargieë van elite-mag te beskryf, ondersoek hierdie studie hoe die aard van kulturele kapitaal by Die Burger beïnvloed is deur magsverskuiwings waarin mededingende post-apartheid elite-groepe mekaar die stryd aangesê het. Deur gebruik te maak van Michel Foucault se teorie van diskoers, val die fokus van navorsing dus op die diskursiewe posisionering van kunsjoernaliste in hul dekking van kuns-en-kultuurgebeure in the 1990’s. Die argument is dat kunsjoernalistiek by Die Burger binne magsnetwerke geplaas kan word en bygedra het tot die strukturering van die post-apartheid samelewing. In Antonio Gramsci se terme het kunsjoernaliste dus betrokke geraak in die stryd om hegemonie te skep en teen te werk. Uitvloeiend uit hierdie teoretiese vertrekpunte word kritiese diskoersanalise (KDA) as navorsingsmetode vir die ontleding van joernalistieke tekste geïdentifiseer. Daarvolgens word 'n model met vyf stappe, voorgestel deur Teun van Dijk as deel van sy KDA-benadering, aangepas vir gebruik. Die analise fokus dus om die beurt op die konteks van diskoers, die diskursiewe stryd tussen kunsjoernaliste en politieke joernaliste, strategieë van klassifikasie wat kunsjoernaliste gebruik het, temas van diskoers wat aan die lig gekom het in kunsjoernalistiek, en hoe die seleksie en aanbieding van kuns-en-kultuur-nuus deur verskillende faktore beïnvloed is, insluitend deur die persoonlike agtergrond en ondervinding van kunsjoernaliste (“habitus” in Bourdieu se teorie). Om triangulasie te bewerkstelling en die teks-analise te ondersteun, is semi-gestruktureerde in-diepte onderhoude met prominente kunsjoernaliste aangelê. Die studie het vasgestel dat kunsjoernaliste in post-apartheid diskoerse in die koerant hulself op 'n kruispunt van verskillende, soms uiteenlopende en selfs opponerende strominge van mag bevind het. Aan die een kant het sommige kunsjoernaliste 'n tradisie van redaksionele onafhanklikheid omarm en soms opposisionele politieke diskoerse in vergelyking met die amptelike beleid van die koerant geskep, byvoorbeeld oor die kwessie van beweerde “kollektiewe skuld” vir Afrikaners en of Naspers voor die Waarheid-en- Versoeniningskommissie (WVK) moes verskyn om sy rol as ondersteuner van die Nasionale Party (NP) gedurende apartheid te verduidelik. Maar aan die ander kant het talle kunsjoernaliste die redakteur se klaarblyklike afkeer gedeel aan die internasionale kultuurboikot wat deur die ANC ondersteun is. Kunsjoernaliste was ook skepties oor die sogenaamde Afrikanisering van die samelewing en gevolglike aanvalle op Eurosentriese kuns. Ten slotte maak hierdie studie -- die eerste op hierdie vlak oor Afrikaanse kunsjoernalistiek sedert 1994 -- 'n belangrike bydrae tot die yl kennisveld van kunsjoernalistiek in Suid-Afrika. In die proses het die studie ook teoretiese en metodologiese innovasies aangebring wat die veld van joernalistiek-studies kan verryk.
Resmann, Brittany. „The Games Must Go On: The Struggle Between Internationalism and Nationalism in Modern Olympic Movement“. Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/989.
Der volle Inhalt der QuelleBachelors
Arts and Sciences
Political Science
De, Kock-Wiesener Cornelia. „Teken, landskap en kennis : 'n ondersoek na die rol van teken in Suid-Afrikaanse kuns“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53613.
Der volle Inhalt der QuelleENGLISH ABSTRACT: This thesis explores the role played by drawings in the creation of knowledge. The study specifically focuses on drawings of the South African landscape and how it led to knowledge of our country. The Western perception of the concept of nature in relation to culture or civilisation is investigated by brief reference to a few periods in Western history. It is argued that man and nature was separated in Western thought by the establishment of rational thinking. This concept led to man's exploitation of nature to his own advantage. The division between man and nature was broadened in the quest for technological advancement. The first European travellers came to South Africa with a Western mind set, hoping for better economical conditions. The illustrated traveller's report reflects the verbal and visual capturing and exploitation of the South African landscape. It is further argued that European travellers tried to structure the landscape according to Western aesthetical traditions. Drawings appear to be picturesque but have radical political, economical and social implications. Colonial depictions created knowledge, but in fact symbolically legitimise the expansion of power. Until the middle of the twentieth century Western aesthetic traditions were applied to visual depictions of the South African landscape. During this period, artists were uncritical of the oppressive political system and in doing so gave their tacit consent. Ever since the middle of the twentieth century, several artists voiced their opinions against the unfair policy of the ruling political party. Visual images asked subtle questions and gave radical judgements; thus knowledge was created and a contribution made to the freedom of all South Africans. My drawings of South African landscapes are to be understood against this theoretical background. I use drawings to ask questions about the relationship between the visual image and the establishment of knowledge. I also refer to the relationship between the original and the copy, reality, the photo and the drawing. I conclude the following: drawings lead to the creation of knowledge and landscape depictions have implications of power. The solution to this problem lies, in the end, once more III drawings.My depictions of South African landscapes are given as an answer.
AFRIKAANSE OPSOMMING: Hierdie tesis is 'n ondersoek na die rol wat visuele beelde kan speel in die oordrag van idees. Daar word spesifiek gekyk na hoe tekeninge van die Suid-Afrikaanse landskap gelei het tot die totstandkoming van kennis oor ons land. Die Westerse verstaan van die begrip natuur in verhouding tot kultuur of beskawing word ondersoek deur kortliks te verwys na 'n paar periodes gedurende die Westerse geskiedenis. Daar word aangevoer dat Westerse denke die mens en die natuur van mekaar geskei het deur die instelling van rasionele denke. So het daar 'n geloof in menslike rede ontstaan. Dié beskouing het daartoe gelei dat die mens die natuur begin uitbuit het tot eie voordeel. Die kloof tussen mens en natuur het al hoe dieper geword in 'n strewe na tegnologiese vooruitgang. Die eerste Europese reisigers het vanuit 'n Westerse verwysingsraamwerk na Suid-Afrika gekom met die hoop op beter ekonomiese vooruitsigte. Die geïllustreerde reisverslag weerspieël die inneming en uitbuiting van die Suid-Afrikaanse landskap visueel en verbaal. Daar word aangevoer dat Europese reisigers die landskap deur middel van tekeninge, uitgevoer volgens Westerse estetiese tradisies, probeer struktureer het. Tekeninge kom skilderagtig voor, maar het radikale politiese, ekonomiese en sosiale implikasies. Koloniale tekeninge het kennis geskep en in werklikheid magsuitbreiding simbolies gelegitimeer. Westerse estetiese tradisies is tot die middel van die twintigste eeu toegepas op visuele uitbeeldings van die Suid-Afrikaanse landskap. Gedurende dié tydperk het kunstenaars die onderdrukkende, heersende politieke stelsel in werklikheid ondersteun deur totaalonkrities daarteenoor te staan. Teen die middel van die twintigste eeu het verskillende kunstenaars in opstand gekom teen die onregverdige beleid van die regerende party. Visuele beelde is gebruik om subtiele vrae te stel sowel as radikale uitsprake te lewer en het so kennis geskep en bygedra tot die bevryding van alle Suid- Afrikaners. My tekeninge van Suid-Afrikaanse landskappe moet teen dié teoretiese agtergrond gelees word. Ek gebruik teken om vrae steloor die verhouding tussen die visuele beeld en kennis wat so tot stand kom. Daar word verwys na die verhouding tussen oorspronklike en kopie, werklikheid, foto en tekening. Die gevolgtrekking is dat tekeninge kan lei tot die totstandkoming van kennis en dat uitbeeldings van landskappe magsimplikasies kan hê. Die oplossing vir hierdie probleem lê uiteindelik weer in tekeninge. My uitbeeldings van Suid-Afrikaanse landskappe word as antwoord gebied.
Purnomo, Setianingsih. „The voice of muted people in modern Indonesian art“. Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/661.
Der volle Inhalt der QuelleCarrasco, Clare. „The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923“. Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.
Der volle Inhalt der QuelleChen, Fangyu. „The post-2000 Hong Kong film workers“. HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/751.
Der volle Inhalt der QuelleMorelos, Ronaldo. „Symbols and power in the theatre of the oppressed“. Thesis, Queensland University of Technology, 1999.
Den vollen Inhalt der Quelle findenVan, Robbroeck Lize. „Writing white on black : modernism as discursive paradigm in South African writing on modern Black art“. Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
Der volle Inhalt der QuelleMouzakis-Neolis, Fotis. „Empirical and theoretical aspects of the international arms trade“. Thesis, University of Surrey, 1999. http://epubs.surrey.ac.uk/2148/.
Der volle Inhalt der QuelleOliveira, Mariana Bueno de. „"Tenho gatilhos e tambores" : impasses estéticos e engajamento político nas canções de Sérgio Ricardo (1958 - 1967) /“. Marília, 2018. http://hdl.handle.net/11449/157168.
Der volle Inhalt der QuelleBanca: Rodrigo Czajka
Banca: Thaís Regina Pavez
Resumo: A presente pesquisa aborda o engajamento da bossa nova por meio da análise da obra fonográfica de Sérgio Ricardo, momento de impasses de uma geração de artistas que se debateu no limiar do engajamento artístico, da politização das artes e da emergência de uma indústria cultural no Brasil. Temos no período um projeto desenvolvimentista que contempla grande parte da classe média no Brasil, dessa mesma classe média surge um grupo de artistas e intelectuais que estão completamente relacionados com uma dimensão ideológica e política produzida em décadas anteriores, anos 1920, 1930 e 1940 (como o modernismo cultural, literatura regional, etc.) e usam da arte para tematizar questões que a política não consegue resolver. Sérgio Ricardo é um desses artistas que se sensibilizam com essas questões da realidade nacional, dos problemas da desigualdade social, da pobreza, mas eles não são oriundos dessa classe pela qual se sensibilizam. Demonstraremos como a obra de Sérgio Ricardo reflete, concomitantemente, uma síntese e um desajuste fecundo no processo de politização da arte e do artista na passagem das décadas de 1950 e 1960, tendo como referência a questão do nacional-popular e o engajamento de intelectuais e artistas contra a ditadura militar instaurada em 1964. Sérgio Ricardo demonstra através de suas canções que é possível assumir a vertente da bossa nova Nacionalista sem abandonar as formalidades estéticas da bossa nova Intimista. Aproximou-se dos músicos populares, mas nunca negou... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This research addresses the engagement of bossa nova by recording work of Sergio Ricardo's analysis, deadlocks time of a generation of artists who struggled on the threshold of artistic engagement, the politicization of the arts and the emergence of a cultural industry in Brazil. In this period we have a developmentalist project that contemplates a large part of the middle class in Brazil, from the same middle class a group of artists and intellectuals who are completely related to an ideological and political dimension produced in previous decades, 1920s, 1930s and 1940s cultural modernism, regional literature, etc.) and use art to thematize issues that politics can not solve. Sérgio Ricardo is one of those artists who are sensitive to these issues of the national reality, the problems of social inequality and poverty, but they do not come from this class by which they are sensitized. We will demonstrate how Sérgio Ricardo's work reflects, simultaneously, a fruitful synthesis and mismatch in the process of politicizing art and the artist in the 1950s and 1960s, with reference to the national-popular issue and the engagement of intellectuals and artists. Artists against the military dictatorship established in 1964. Sérgio Ricardo demonstrates through his songs that it is possible to take on the bossa nova Nacionalista side without abandoning the aesthetic formalities of bossa nova Intimista. He approached the popular musicians, but never denied the influence of jazz or class... (Complete abstract click electronic access below)
Mestre
Hayaud-Din, Mian Ahad. „U.S. Foreign Policy in Islamic South Asia: Realism, Culture, and Policy Toward Pakistan and Afghanistan“. [Tampa, Fla. : s.n.], 2003. http://purl.fcla.edu/fcla/etd/SFE0000074.
Der volle Inhalt der QuelleDickenson, Rachelle. „The stories told : indigenous art collections, museums, and national identities“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
Der volle Inhalt der QuelleSamwanda, Biggie. „Postcolonial monuments and public sculpture in Zimbabwe“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
Der volle Inhalt der QuelleMicrosoft� Word 2010
Adobe Acrobat 9.54 Paper Capture Plug-in
Fouche, Pierre. „The distance between us : strategizing a queer, artistic, personal and social politic“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2137.
Der volle Inhalt der QuelleThis thesis considers radical and reactionary political strategies for questioning systems of gender/sexuality categorisation and finds both wanting in terms of the cultural insularity and mainstream assimilation each respectively engenders. An alternative is posited in the form of radical assimilation, a theory borrowing the best elements from both approaches. The remainder of the study is focussed on the search for personal and iconographic strategies to pursue a politic of radical assimilation in my creative production. These strategies are finally exemplified and manifested via discussions of the practical corpus of artworks that aided in the formation of this politic. The discursive framework in which this theorization occurs includes considerations of queer theory and photography (especially domestic photography and portraiture) and subjective contextualization (invoking the domestic uses of images), and all should be seen as constituting a personal discursive framework: an attempt to counter the reductive scope an uncontextualised analysis of my work allows. This study is accordingly an explication of the processes that turn the personal into the political; a critical affirmation of difference; and an attempt to narrow the distances between us.
Rodrigues, Carolina Cantarino 1977. „Entre corpos, tempos e sujeitos = ciências, políticas e artes improvisando identidades“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281012.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A proposta dessa tese é pensar a ciência e a arte em suas criações de políticas que se efetuam por entre corpos, tempos e sujeitos. A ciência será discutida através do modo como ela mobiliza e é mobilizada numa política de identidades, tomando-se como horizonte o tema da raça e do racismo no Brasil, e as estratégias adotadas no jogo de forças que colocam esse tema sob disputa. Nela, uma identidade negra, arquitetada através de evidências científicas, será acionada na denúncia e combate às desigualdades. A reação virá na figura de um Homo brasilis que torna a miscigenação, através de mapeamentos genéticos, a natureza da sociedade brasileira à qual somente os cientistas teriam acesso. Uma estratégia de despolitização da disputa. O pressuposto será o de que, a despeito dessas controvérsias, todos estão a se emaranhar enquanto linhas de um dispositivo pele-rosto-DNA marcado pela cientificidade, identificação e por uma política da representação que toma o corpo como realidade orgânica e visível a ser usado como parâmetro de julgamento e testemunho da autenticidade das identidades. Será possível operar uma resistência política desde dentro do dispositivo? Saíremos dele, então, para, com a arte, montar um outro jogo. O conceito de "romance histórico" criado pela literatura de Toni Morrison será explorado, em suas propostas de tensão entre o real e a ficção que problematizam a representação e a noção de autenticidade e testemunho. Por sua vez, as canções e o universo da música serão levados à sério como resistência política que abre mão da identificação. A literatura e a música serão convocadas para rachar os conceitos de representação, história, verdade, política, identidade e diferença, esvaziando-os dos sentidos que o dispositivo pele-rosto-DNA insiste em lhes fixar. Ciência e Arte serão tomadas enquanto duas políticas distintas e reunidas, nas condições criadas por essa tese, para pensar, de modo mais geral, a relação entre a linguagem e a vida
Abstract: This dissertation concerns the ways that science and art are responsible for the creation of politics that have an effect on bodies, times and subjects. Science is discussed in so much as it mobilizes and is mobilized in a politics of identity, taking as a point of departure the topic of race and racism in Brazil; and the strategies adopted by the forces of power responsible for putting these topics under dispute. Within science, a black identity, is constructed with scientific evidence, which is then used in an effort to denounce and combat inequality. A reaction will come on the configuration of a Homo brasilis which becomes miscegenated, by way of genetically mapping the nature of Brazilian society and giving only scientists access. This strategy is also used to depoliticize the debate. This work proposes that in spite of these controversies, everyone is becoming entangled along lines of a skin-face- DNA apparatus which is being determined by scientific theories, identities and by a politics of representation, which assume that the body is an organic and visible reality that should be used as the parameter of judgment and the means for certifying the authenticity of identities. Is it possible to operate a political resistance from within skin-face-DNA apparatus? Moving away from a scientific perspective, this work will use art as yet another force. The concept of "historical romance," such as that used in the literature of Toni Morrison, will be explored because it proposes a tension between that which is real and that which is fiction, allowing us to problematize the representation and the notion of authenticity and certification. Furthermore, song and the universe of music will be taken into consideration as a form of political resistance that cut identification. Literature and music will be evoked as a way of breaking open the concepts of representation, history, truth, politics, identity and difference, emptying them of the fixed meanings that the skin-face-DNA apparatus tries to prescribe them with. In order to think in a more general way about the relationship between language and life, this thesis creates conditions in which science and art will be seen as two forms of politics that are both distinct and connected
Doutorado
Ciências Sociais, Antropologia da Ciência e Antropologia Afro-Brasileira
Doutor em Ciências Sociais
Younge, James Gavin Forrest. „The mirror and the square : a study of ideology within contemporary art systems with special reference to the American avant-garde in the period 1933-1953“. Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/16370.
Der volle Inhalt der QuelleThis dissertation argues that abstract art is not ideologically neutral. In spite of many artists' anti-fascist stance early in their careers, the mantle of neutrality was assumed as a reaction to the protracted struggle between the two major ideologies confronting artists living in Europe and the United States of America in the period 1933-1953, namely capitalism and communism. These ideologies were not peripheral to artists lives, but were actively debated by both artists and intellectuals and resulted in the establishment of powerful cultural organisations. The ensuing growth in prestige and influence of left-wing artist's organisations was countered by a campaign which included direct suppression of left-wing artists as well as a form of ideological control. This control was vested in what has been called the specifics of patronage and is reflected in the establishment of the Arts Council in Britain and the private art museums in the United States. Changes in the art market have meant that, together with dealers and critics, these institutions wielded almost complete economic control over artists. The prevailing ideology of liberal humanism, which glorified individualism and defined democracy as a middle ground between the left and the right, favoured the development of a seemingly apolitical abstract art style. Analysis of the demise of the Artists International Association and the American Artist's Congress supports the conclusion that the figurative tradition lost prestige as a result of the stigma attached to Socialist Realism and the idealised realism demanded by National Socialism in Germany. Account is also taken of the attempt by well-positioned and influential commentators to identify all forms of realism with totalitarianism. It is not surprising therefore, that it was commonly believed that to paint in an abstract modern style was to strike a blow against fascism. In the same way that realism was identified with the regimentation of Soviet society, the avant-gardes' abstract experiments came to symbolize democracy. Drawing on the texts of writers, critics, artists and theorists, this dissertation shows that the force of the identification of progressive realism with totalitarianism, prepared the way for acceptance of the idea that freedom of expression epitomised freedom in general. In this way, anti-Stalinism and the post-war liberal philosophy of individual freedom, coupled with a search for 'essences' and the 'universal', directed artists inward to the medium of art as relevant subject-matter. This dissertation argues that this identification was ideologically motivated in respect to the balance of social and political power in America.
Khwela, Gcwelumusa Chrysostomus. „Challenges of arms transfers facing the emerging supplier states in the new international political economy“. Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53324.
Der volle Inhalt der QuelleENGLISH ABSTRACT: The fundamental motivation for emerging arms suppliers to produce arms was the desire to overcome their position of dependence in the system of arms production and transfers. However, their predicament as late entrants into the system castigated them to fail in this endeavour. This failure is based on three criteria, which also assist in the identification of emerging suppliers. Firstly, the weaponry they produce is far below the sophistication characterised by higher levels of technological advancement. Secondly, they can only produce one or two advanced weapon systems. Finally, they rely on the leading suppliers for certain sophisticated components of weapon systems which they cannot produce themselves and as a result, become so dependent that they, with an exception of a few, are unable to go beyond the simple reproduction or retrofitting of existing weapon systems. The capability to produce arms was restrictedly extended to certain states in the post-war era, and even those states that obtained such a capability were confmed to producing small arms and platforms for naval vessels. Those states that went beyond these capabilities did so with the assistance of other states or specialists, the initial intention being to meet domestic requirements, and ultimately to dispose surplus Second World War equipment in the re-transfer market. The emerging supplier states' intention to develop indigenous arms industries was driven by the political urge to reduce their reliance on the leading suppliers and to nationalise the arms production process for import substitution in order to meet domestic security needs. Since the emerging suppliers began the process of defence industrialisation from the importation of complete weapon systems to import substitution, and ultimately to the promotion of exports, they mainly relied on technology imported from the leading suppliers. On the one hand, the leading suppliers attempted to hinder the efforts of emerging suppliers to promote arms exports so as to protect their oligopolistic share of the arms market through tightening the controls and regulations on technological supplies. On the other, the emerging suppliers were impelled to promote their arms exports in order to overcome the saturation of their domestic markets, to utilise effectively their arms production capacities, and to positively affect their balance of payments through the procreation of foreign exchange returns. This study reached the following conclusions and inferences: 1. The arms trade has evolved to be characterised by the transfer of military technology, which did not feature in the arms transactions of the previous periods. 2. The gap between the leading and emerging suppliers is widening with regard to the sophistication of technological capabilities, and accordingly the stratification within the arms production and transfer system is sustainable and reinforced, thus making it hard for the lower tiers to progress beyond their current status. 3. The emerging suppliers' share of and contribution into the arms market is constricted, and as such they specialise in specific (often uncomplicated) weapon systems that constitute niches in the global market. 4. The unfolding arms production and transfer system is characterised by a fiercely competitive atmosphere, and consequently, only those states that can subsidise or integrate their efforts are enabled to sustain an advanced arms production faculty. 5. As the emerging suppliers begin to introduce more and more of their wares into the market, the costs of research and development begin to soar in the same manner as those of the leading suppliers, thus urging them to become more export-oriented. 6. Participants in the system will be compelled to relinquish their comparative technological superiority in order to survive, thus narrowing the gap between the capabilities possessed by both the leading and the emerging suppliers.
AFRIKAANSE OPSOMMING: Die onderliggende motivering van opkomende wapenverskaffers om wapens te produseer word toegeskryf aan 'n behoefte om hulle relatiewe afhanklikheid in die stelsel van wapenproduksie en - handel te oorkom. Boonop het die laat toetrede tot die stelsel hierdie opkomende verskaffers se kanse tot sukses verder belemmer. Die rede vir die onsuksesvolle toetrede word gebasseer op drie kriteria (wat ook dien as identifiserende eienskappe van opkomende wapenverskaffers). Eerstens, die wapens wat opkomende verskaffers lewer skiet tekort aan die vereiste gesofistikeerde standaarde van die gevestigde wapenprodusente. Tweedens, hulle kan slegs een of twee gevorderde wapenstelsels produseer. Derdens, sekere komponente van wapenstelsels word verkry by die gevestigde verskaffers, wat lei tot afhanklikheid tot so 'n mate dat die opkomende verskaffer se vermoëns beperk word tot eenvoudige reprodusering of herinstallasies van bestaande stelsels. Trouens, in die post-oorlog tydperk is die vermoë om wapens te produseer doelbewus beperk tot sekere state wat 'n afgebakende reeks van handwapens en uitrusting vir vloot vaartuie kon vervaardig. State wat verby hierdie vermoë beweeg het, het dit gedoen met behulp van ander state of spesaliste, oorspronklik met die oog op die huishoudelike behoefte maar ook om ontslae te raak van surplusse uit die Tweede Wêreldoorlog. 'n Politieke begeerte om in hulle eie sekuriteitsbehoeftes te voorsien deur middel van invoersubstitusie, het die opkomende verskaffers genoop om ontslae te raak van die afhanklikheid op gevestigde verskaffers en om die wapenproduseringsproses te nasionaliseer. Hulle het hoofsaaklik gesteun op ingevoerde tegnologie om die verdedigingsbedryf te industrialiseer. Die proses het so verloop: volledige wapenstelsels is ingevoer, daarna het invoersubstitusie plaasgevind, en daarna 'n bevordering van uitvoere. Gevestigde verskaffers het endersyds probeer om (deur middel van strenger kontrole en regulasies of tegnologiese ware) die opkomende verskaffers te verhoed om hulle oligopolistiese houvas op die mark te belemmer en andersyds moes opkomende verskaffers noodgedwonge hulle uitvoere bevorder om te voorkom dat die plaaslike mark versadig word. Die laasgenoemde aspek het ook die betalingsbalans van opkomende verskaffers positief beinvloed as gevolg van die inkomste uit buitelandse valuta. Hierdie studie kom tot die volgende aanames en gevolgtrekkings: 1. Wapenhandel het só ontwikkel dat die oordrag van militêre tegnologie die hoofkenmerk geword het in die stelsel - 'n ongekende kenmerk tot dusver in die ontwikkelingsgang van internasionale wapenhandel. 2. Die gaping van tegnologiese vermoëns tussen opkomende en gevestigde wapenverskaffers word groter en daarmee saam word die stratifikasie in wapenproduksie en -lewering volhoubaar en versterk, wat lei tot 'n beperking op die vermoë van opkomende verskaffers om vooruitgang te maak. 3. Opkomende verskaffers se aandeel in en bydrae tot wapenmarkte bly beperk en spesialiseer daarom op spesifieke (meestalongekompliseerde) wapenstelsels wat gemik is op sekere nisse in die wêreldmark. 4. Die ontluikende wapenproduksie en -handelsisteem is uiters kompeterend, met die gevolg dat slegs state wat hulle pogings kan subsidieer of integreer in staat is om gevorderde fasiliteite te onderhou. 5. Met die toenemende aanbod vanaf opkomende verskaffers, styg die kostes van navorsing en ontwikkeling vir beide die opkomende en die gevestigde verskaffer wat weer beide dwing om hulle uitvoere te beklemtoon. 6. Deelnemers in die stelsel sal gedwing word om hulle vergelykende tegnologiese voorsprong prys te gee om te oorleef in die stelsel, waarna die gaping tussen die vermoëns van opkomende en gevestigde verskaffers verminder sal word.
Vilas, Boas Alexandre Gomes [UNESP]. „Artivismo: Arte + Política + Ativismo: sistemas híbridos em ação“. Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/128178.
Der volle Inhalt der QuelleEsta dissertação apresenta o estudo e a problematização da produção plástica deste artista-pesquisador, oferecendo ao leitor, um fio condutor que percorre o caminho entre as origens e os desdobramentos do que se convencionou chamar de arte ativista, engajada, ou arte política. A reflexão sobre este processo e sua trajetória, são fatores determinantes para entender a configuração de sua poética como a de um artista ativista, evidenciando os aspectos relacionais às questões materiais e processuais. Consideramos neste sentido, a interação entre suas obras anteriores, que transitam entre o universo da arte postal e do livro de artista, até o seu ingresso na academia e a transformação daí ocorrida através da potencialização de sua metodologia de trabalho. A interação proporcionada pela pesquisa modificou a hipótese inicial, a tal ponto, de gerar mudanças significativas na estrutura deste trabalho. A partir das ações vivenciadas, foi possível identificar poéticas que fazem uso de sistemas híbridos de produção. A construção de trabalhos sob estas premissas corroboraram e direcionaram para que tenhamos como perspectiva, o aprofundamento de questões relativas às metodologias colaborativas, onde os problemas relacionados à matéria sugerem procedimentos autônomos e independentes; ora individuais, ora colaborativos; de interação e não lineares; envolvidos por fatores não necessariamente pertencentes ao universo plástico, constituindo-se em processos essencialmente híbridos, múltiplos, tanto sob a ótica do cruzamento de sistemas, quanto da relação de produção material entre diferentes áreas de conhecimento.
This work presents the study and the questioning of plastic production of this artistresearcher, offering the reader, a common thread that runs through the path between the origins and developments of the so-called activist art, engaged, or political art. Reflection on this process and its history, are key factors to understand the configuration of his poetic as that of an activist artist, showing the relational aspects to substantive and procedural issues. We consider in this regard, the interaction between his earlier works, traveling through the world of mail art and the artist book, until his admission to the academy and the transformation that took place there through the enhancement of its working methods. The interaction provided by the research changed the initial hypothesis, to the point of generating significant changes in the structure of this work. From the experienced actions, were identified poetic that make use of hybrid production systems. The construction work under these corroborated and directed premises so that we have as perspective, the deepening of issues related to collaborative methodologies, where problems related to the matter suggest autonomous and independent procedures; sometimes individual, sometimes collaborative; and nonlinear interaction; surrounded by factors not necessarily belonging to the plastic universe, thus becoming essentially hybrid processes, multiple, both from the perspective of systems crossing, as the ratio of production material between different areas of knowledge
Bassas, Assumpta. „La trayectoria de tres artistas en el pasaje del conceptualismo en Cataluña: Silvia Gubern, Àngels Ribé y Eulàlia“. Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/387112.
Der volle Inhalt der QuelleThis research builds and discusses the artistic career of Silvia Gubern, Àngels Ribé and Eulàlia (Grau), mainly in the stage called "conceptual practices" from documentary sources and introducing the voice of the artists and biographic facts. These three monographs also incorporate critical reception and evaluation of the press and the art critics. The author points out the importance of reading those careers taking into account the perspective of the Italian and Spanish feminism of sexual difference. Beyond the "neutral" interpretive framework that has been used to classify them as conceptual artists in the modernist history of catalan avantgarde art, this thesis lays the foundation for reading women genealogies of creativity oriented by the female sexuation of knowledge and to explore women's freedom in history. Thus, conceptualism would not be a single framework to assess their contribution to the history of art. It is defined as a living moment in a much longer and complex creative itinerary, a stage in which many issues intersect, focusing on some core aspects such as sexual politics in the history of women in the 60s and 70s in Catalonia (Spain).
Koekemoer, Carmen. „Political grey : areas of ambiguity and contradiction“. Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013136.
Der volle Inhalt der QuelleGarcia-Sheets, Maria. „An ideological criticism of David Duke's rhetoric of racism and exclusion“. Scholarly Commons, 1999. https://scholarlycommons.pacific.edu/uop_etds/525.
Der volle Inhalt der QuellePinto, Camila Antonino. „Entre arte(s) e poder(es)“. Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91646.
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Esta dissertação investiga eventos ligados às comemorações dos 500 anos do Brasil, ocorridos no ano de 2.000: a festa de Porto Seguro, a Mostra do Redescobrimento e um dos módulos que a compôs, a exposição #Negro de Corpo e Alma#. A análise gira em torno da interface entre os campos da arte, da política e do poder, especialmente articulados no contexto comemorativo. Reflete-se, a partir da observação da (re) construção de narrativas, que contou com a inclusão ou exclusão de gêneros discursivos diversos (visuais, textuais e sonoros), sobre a atuação e a interação entre as diferentes instâncias presentes nos eventos: Estado, Imprensa, Intelectuais e Público. This dissertation investigates events related to Brazil#s 500 years celebrations, which happened in 2000: Porto Seguro party, Brazil Rediscovery Exhibition and one of its modules, #Black in body and Soul# Exposition. The analysis involves the interface among art, politics and power, specifically articulated in the celebration context. It is based on narrative re-construction, considering the inclusion and exclusion of several discursive genres (visual, textual and sonorous), about the acting and interaction between different instances in the events: State, Press, Intellectuals and Public.
Brognoli, Ila da Silva. „Frida Kahlo“. Florianópolis, SC, 2009. http://repositorio.ufsc.br/xmlui/handle/123456789/92682.
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A revolução ocorrida em princípios do século XX no México teve grande impacto sobre o país e a sua repercussão foi sentida em diversos campos sociais e culturais. Nesta dissertação me ocuparei sobretudo de abordar a transição ocorrida no meio artístico, uma vez que este também teve papel fundamental nas transformações por que passou o país a partir desse momento histórico, ocupando, concomitantemente, os espaços de sujeito e objeto da história. Identificando a artista plástica Frida Kahlo como uma intelectual engajada no cenário político em questão, utilizarei sua vida e sua obra para discutir a influência que o ambiente social exerce sobre o indivíduo, podendo modificar e/ou determinar suas atitudes em relação às transformações sociais que acompanha. Através de análises estéticas, artísticas e de contexto histórico de suas obras plásticas, de cartas e fragmentos de seu diário pessoal, procuro mostrar que a artista reconheceu ao longo de sua vida a necessidade de aliar arte e política, por identificar na sua própria prática o potencial transformador do fazer artístico, seja como forma de conscientização, seja como forma de contestação. Esta pesquisa visa também reforçar a necessidade de estudar-se cada vez mais os aspectos relativos à realidade latino-americana. The revolution that occurred at the beginning of the twentieth century in Mexico, had a major impact in the country and its impact was felt in several social and cultural fields. In this dissertation I will seek particularly to address the transition that occurred in the art context, as it also played a fundamental role in the transformations that the country went through from this historical moment, simultaneously acting like subject and object of history. By identifying the plastic artist Frida Kahlo as an intellectual engaged in the referred political scenario, I will use her life and work to discuss the influence that the social environment exerts over the individual, potentially modifying and/or determining his attitudes regarding social transformations that he witness. Through an aesthetic, artistic and historical context analysis of her paintings, fragments of letters and from her personal diary, I will show that the artist recognized throughout her life the need to combine art and politics, because she identified on her own practice the transforming potential of art making, whether as a form of consciousness, or as a contestation. This research also aims to reinforce the need to study ever more aspects of Latin American reality.
Donelson, Sarah L. „Cries of agony : a work in photographic montage“. Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864904.
Der volle Inhalt der QuelleDepartment of Art
Pinto, Levi Fernando Lopes Vieira 1991. „"A par dum trabalhador, devemos fazer um pensador" : a cultura anarquista paulistana nas práticas artísticas e pedagógicas das Escolas Modernas n. 1 e 2. /“. São Paulo, 2019. http://hdl.handle.net/11449/183268.
Der volle Inhalt der QuelleBanca: Rejane Galvao Coutinho
Banca: Anna Mae Tavares Bastos Barbosa
Resumo: No final do século XIX, o anarquismo chegou ao Brasil graças a imigração europeia, estimulada tanto pela crise econômica alguns países do continente, como a Itália, Espanha e Portugal, quanto pelo financiamento a essa imigração por parte do governo brasileiro, sobretudo no Estado de São Paulo. A consolidação do anarquismo no interior da classe operária paulistana - classe social que começou a surgir com a progressiva reconfiguração do capitalismo brasileiro que começou a dar seus primeiros passos à industrialização - fomentou uma cultura própria, desdobrando-se na música, teatro, poesia, literatura e na educação, com a abertura de escolas libertárias. Nossa narrativa contará a história das Escolas Modernas de São Paulo, que funcionaram na década de 1910 nos bairros operários do Brás e Belenzinho. Falar sobre elas teve, basicamente, dois objetivos: primeiro, contribuir para a história do anarquismo, da educação e da arte/educação no Brasil - considerando que há pouca bibliografia sobre elas ou ainda a sua omissão nas narrativas oficiais; segundo, tentar compreender de que maneira a cultura libertária formada na classe trabalhadora em questão se conciliava com o programa curricular das Escolas e se, por consequência, contou com aulas de artes que se contrapunham ao currículo oficial. Esse trabalho só foi possível a partir da consulta e leitura de documentos preservados em alguns acervos, em conjunto ao material bibliográfico existente
Résumé: À la fin du XIXème siècle, l'anarchisme est arrivé au Brésil grâce à l'immigration européenne, stimulée à la fois par la crise économique dans certains pays du continent, tels que l'Italie, l'Espagne et le Portugal, et par le financement de cette immigration par le gouvernement brésilien, en particulier dans l'État de São Paulo. La consolidation de l'anarchisme au sein de la classe ouvrière de la ville de São Paulo - une classe sociale qui a commencé à émerger avec la reconfiguration progressive du capitalisme brésilien qui commeçait à faire ses premiers pas vers l'industrialisation - a favorisé la création d'une culture propre, qui s'est étendue à la musique, au théâtre, à la poésie, la littérature et l'éducation, avec l'ouverture des écoles libertaires. Notre récit racontera l'histoire des Écoles Modernes de São Paulo, qui ont fonctionné pendant les années 1910 dans les quartiers ouvriers du Brás et Belenzinho. Parler de ces écoles avait deux objectifs principaux: premièrement, contribuer à l'histoire de l'anarchisme, de l'éducation et de l'art/éducation au Brésil - compte tenu du fait qu'il existe peu de bibliographie à leur sujets ou même leur omission dans les récits officiels; deuxièmement, essayer de comprendre la manière dont la culture libertaire formée dans la classe ouvrière en question s'est réconciliée avec le programme éducationnel des Écoles et si, par conséquent, elle comptait sur des classes d'art que s'opposaient au programme officiel. Ce travail n'a été... (Résumé complet accès életronique ci-dessous)
Mestre
Josephy, Svea Valeska. „The development of a critical practice in post-apartheid South African photography“. Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52508.
Der volle Inhalt der QuelleENGLISH ABSTRACT: South African photography in the 20th century was dominated by the documentary genre. This genre has its roots in 19th century Modernist and colonialist belief in the accuracy of the camera as a tool of representation, and faith in the camera's objectivity and ability to present empirical evidence and 'truth'. These positivist notions were carried into South African documentary practice during the apartheid era. Apartheid-era South African documentary photography was particularly focused on exposing the socio-political ills of apartheid in order to gain support for the liberation movement, both locally and abroad. It was serious and didactic in its purpose and did not allow for creative responses to the medium, as the camera was seen as a 'weapon' of the struggle. The 1990s saw the beginning of the emergence of a liberated South Africa. The documentary imperative to record and expose apartheid practices was now increasingly redundant. Photographers, particularly after the elections, were faced with a 'crisis' of sorts in documentary as the main focus of their subject had been removed. The upshot of this was that documentary photographers had to find new subjects, which they had to approach in different ways. The arrival of Postmodernism in South Africa coincided with the demise of apartheid. It had in essence been kept at bay by what seemed to be the more pressing issues of the struggle. Postmodern art and its theoretical base, post-structuralism, argued for an erosion of the previously fixed concepts of genre, and allowed for the mixing of the previously separate categories of 'documentary' and 'art'. There was a radical questioning of previously fixed constructs of race, identity, class and gender. The erosion of the documentary imperative to record allowed for more creative responses to the medium than ever before. Artists were able to experiment technically, with video, multi-media, digital photography, historical processes, colour, composite work and interactive pieces. In this thesis I explore the above-mentioned shift and situate my practical work within this contemporary paradigm.
AFRIKAANSE OPSOMMING: Op die gebied van fotografie is die toneel in Suid-Afrika in die 20ste eeu deur die dokumentêre genre oorheers. Die genre het sy oorsprong in 'n Modernistiese en kolonialistiese, 19de-eeuse siening, naamlik dat die kamera 'n objektiewe en akkurate voorstellingsmiddel is waarmee empiriese bewyse ingesamel en die "waarheid" uitgebeeld kan word. Hierdie positiwistiese uitkyk is tydens die apartheidsjare op die dokumentêre praktyk in Suid-Afrika oorgedra. Tydens hierdie era was dokumentêre fotografie daarop gemik om die sosiopolitieke euwels van Suid-Afrika onder apartheid bloot te lê, ten einde sowel binnelands as buitelands vir die bevrydingsbewegings steun te werf Met hierdie gewigtige en didaktiese doel voor oë, was daar min ruimte vir 'n kreatiewe hantering van die medium, aangesien die kamera as 'n "wapen" in die stryd teen apartheid gesien is. Die 1990's het die begin van Suid-Afrika se bevryding ingelui. Die dokumentêre imperatief om apartheidsdade op rekord te stel en aan die groot klok te hang, het vervaag. Fotograwe het 'n soort "krisis" in die gesig gestaar, veral na die verkiesing, want die onderwerp van hulle fokus het verdwyn. Die resultaat was dat dokumentêre fotograwe nuwe temas moes vind, wat hulle vanuit 'n ander oogpunt moes benader. In Suid-Afrika het die koms van Postmodernisme met die ondergang van apartheid saamgeval. Voorheen is dit in wese oorskadu deur oënskynlik belangriker kwessies rondom die "struggle". Postmoderne kuns en die teoretiese grondslag daarvan, naamlik post-strukturalisme, bepleit 'n beweging weg van die vaste begrip van genre wat voorheen gegeld het. Hiervolgens raak 'n vermenging van die voorheen afsonderlike kategorieë 'dokumentêr' en 'kuns' moontlik. Dit bring ook 'n radikale bevraagtekening mee van die konstrukte ras, identiteit, klas en geslag, wat voorheen as vaste indelings beskou is. Die verflouing van die dokumentêre imperatief om dinge op rekord te stel, maak dit moontlik om op 'n meer kreatiewe wyse as ooit tevore met die medium om te gaan. Kunstenaars kan nou met die tegniese sy van fotografie eksperimenteer: video, multimedia, digitale fotografie, historiese prosesse, kleur, saamgestelde werke en interaktiewe stukke. In hierdie tesis kyk ek op verkennende wyse na die veranderings waarna hierbo verwys word, en situeer ek my praktiese werk binne hierdie kontemporêre paradigma.
Fonseca, Felipe Schmidt 1978. „Redelabs : laboratórios experimentais em rede“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/268901.
Der volle Inhalt der QuelleDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação relata as descobertas, hipóteses e conclusões de pesquisa a respeito de um tipo de produção colaborativa que aproxima arte, ciência, ativismo, inovação, design, entre outras áreas. Concentra-se no surgimento, em anos recentes, dos assim chamados laboratórios experimentais - espaços articulados em rede nos quais tal produção toma corpo. São abordadas sob tal perspectiva denominações tais como labs de mídia, hackerspaces, Fablabs, entre outras. A pesquisa analisa alguns desses modelos sobre o pano de fundo do imaginário tecnoutópico, que afirma as tecnologias de informação como instrumentos de combate à burocratização e à alienação da sociedade. Com o objetivo de questionar a usual associação dos labs experimentais em termos gerais ao desenvolvimento da cibernética e em particular ao histórico do estadunidense MIT Media Lab, a pesquisa explora outros fios narrativos para os múltiplos campos que influenciam a formação dos labs. Debruça-se ainda sobre o diálogo entre, de um lado, o contexto contemporâneo dos labs em diferentes partes do mundo, e de outro a contribuição da ideia de uma cultura digital particularmente brasileira - que ao longo da última década proporcionou a construção de um discurso que aproximava software livre, diversidade cultural e políticas públicas de inclusão social. São debatidos em particular dois eixos da cultura digital brasileira: o compensatório, que buscaria corrigir distorções históricas incluindo populações na chamada era da informação; e o exploratório, que buscaria criticar e influenciar os caminhos futuros da articulação entre tecnologia e sociedade. A dissertação relata ainda pesquisa de campo desenvolvida na Finlândia, onde foram vivenciados a preparação de um festival internacional de arte e tecnologia, visitas a diferentes espaços que se situam no campo dos labs experimentais, e o contato pessoal com integrantes de grupos e coletivos que atuam na fronteira entre cultura e tecnologia. Tais experiências contribuíram para a compreensão de elementos importantes dos labs experimentais, principalmente o aspecto da não conformação às expectativas de uma sociedade cada vez mais regida pela transformação de toda expressão cultural em valor econômico. Esse entendimento é aprofundado ao fim da dissertação na imagem do lab experimental como espaço em branco que, ao mesmo tempo em que funciona como interface entre redes digitais e as dinâmicas particulares dos locais onde se encontram, também situam-se como instâncias de resistência e reinvenção frente ao capitalismo informacional de matriz cibernética
Abstract: This dissertation reports on discoveries, hypotheses and conclusions of research on a kind of collaborative production that connects arts, science, activism, innovation, design, among other areas. It focuses on the appearing, in recent years, of the so-called experimental labs ¿ network articulated spaces in which such a production comes into being. Under that perspective are approached denominations such as media labs, hackerspaces, Fablabs, among others. The research analyses some of these models against the background of techno-utopian imaginary, which asserts information technologies as tools to fight against burocracy and allienation of society. With the goal of questioning the usual association of experimental labs in general to the development of cybernetics and particularly to the history of MIT Media Lab in the USA, the research explores other narrative threads for the multiple fields that influence the formation of labs. Attention is paid to the dialogue between, on one side, the contemporary context of labs in different parts of the wirld, and on the other the contribution of the idea of a particularly brazilian digital culture ¿ which over the last decade offered the possibility of building a discourse that draws closer free (open) software, cultural diversity and public policies for social inclusion. Two particular axes of the brazilian digital culture are discussed: the compensatory, which seeks to correct historical distortions by including populations in the so-called information age; and the exploratory, that seeks to criticize and influence future paths of the articulation of technology and society. The dissertation reports as weel on field research undertaken in Finland, where were experimented the preparation of an international festival on arts and technology, visits to different spaces situated on the field of experimental labs, and personal contact with members of groups and collectives that work on the border of culture and technology. Such experiences contributed to the understanding of important elements of experimental labs, especially the aspect of non-conformation to the expectations of a society increasingly ruled by the transformation of every cultural expression into economic value. This understanding is deepened by the end of the dissertation on the image of the experimental lab as a blank space that, as well as working as an interface between digital networks and the particular dynamics of the places in which they are located, are also situated as instances of resistance and reinvention before the cybernetical informational capitalism
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
Souza, Paulo Rogério Luciano Vilela de. „A cidade imaginada: percursos poéticos“. Universidade Federal de Uberlândia, 2013. https://repositorio.ufu.br/handle/123456789/12326.
Der volle Inhalt der QuelleEsta pesquisa de mestrado na linha de pesquisa práticas e processos em artes , tem como proposta olhar e refletir sobre a cidade (Uberlândia, MG) a partir de projetos artísticos, considerando sua aparência física em contraposição às percepções dos usuários do seu espaço urbano, naquilo que observam e naquilo que imaginam e relatam através de suas falas. Procura abordar esta cidade contextualizada e que se mistura à própria dinâmica da vida, de trocas, de poder, de conformação e de anseios. Dá-se através de trabalhos artísticos entremeados à reflexão e abordagens teóricas destes exercícios plásticos. Portanto está contextualizada no exercício do fazer artístico e no diálogo entre estes e pensadores da arte, da cidade, da geografia e da própria condição humana. Cinco trabalhos plásticos foram realizados durante a pesquisa: A Cidade Imaginada deflagrador de situações e condições contraditórias da cidade real, a partir da sua aparência factual e entrecruzada ao que se fala dela; Itinerários Urbanos que provoca o espectador a partir de um convite para ir de encontro a esta cidade real ou imaginada. Ambos foram apresentados na galeria pública municipal de arte Oficina Cultural , em Uberlândia. Como desdobramento da pesquisa também foram realizadas duas intervenções urbanas: Almoço de Artista (a praça é de quem?) , ação esta realizada na praça Coronel Virgílio Rodrigues da Cunha, colocando em discussão as relações entre o que é público e o que é privado na cidade, e Ponto Crítico realizado em dois bairros de Uberlândia, com um olhar voltado aos equipamentos e aparelhos urbanos, neste caso os pontos de ônibus, a partir de suas placas de sinalização. O quinto e último trabalho Classificados foi apresentado no Museu Universitário de Arte (MUnA Uberlândia, MG), deflagrando uma cidade constantemente envolta por negociações que incluem supostos aluguéis de seus prédios públicos, decisões políticas sendo barganhadas e outros acontecimentos que também transitam entre o real e o imaginado, deixando pistas de situações duvidosas aos visitantes da exposição. No transcorrer da pesquisa o trabalho plástico alimenta a reflexão em torno do tema central da pesquisa, e ao mesmo tempo esta reflexão também traz subsídios para a elaboração de trabalhos alinhados com a proposta aqui apresentada. Atuar com trabalhos de arte na cidade e tendo a cidade como território de investigação é também exercer uma constante negociação na esfera do poder público através de autorizações e desautorizações, questão também abordada pela pesquisa.
Mestre em Artes
Purnomo, Setianingsih, University of Western Sydney, Faculty of Visual and Performing Arts und Department of Art History and Criticism. „The voice of muted people in modern Indonesian art“. THESIS_FVPA_XXX_Purnomo_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/661.
Der volle Inhalt der QuelleMaster of Arts (Hons)
Almeida, Gabriel Bueno. „Política, subjetividade e arte urbana“. reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106968.
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Esta pesquisa teve como objetivo realizar uma imersão etnográfica na cultura da arte urbana de Florianópolis. Características destacadas desta cultura foram sua dimensão política, sua relação com a cidade e como os sujeitos nela envolvidos se constituem como grafiteiros, pichadores, artistas. O método etnográfico foi composto por duas frentes: primeiro o pesquisador veio a praticar a arte do graffiti, alçando proximidade com os demais praticantes, buscando compreender seus códigos e o que representa realizar tais pinturas pela cidade; segundo foi realizado, paralelamente a escrita da pesquisa, um documentário sobre o graffiti de Florianópolis. O documentário proporcionou acesso aos artistas e o registro de suas ações e depoimentos. A etnografia foi orientada segundo a teoria do antropólogo Massimo Canevacci, compondo a compreensão da cidade e da cultura do graffiti a partir de fragmentos e de seus códigos comunicacionais. A produção do documentário teve como orientação a teoria de Jean-Louis Comolli, onde o imprevisível é um rico elemento numa obra documental. A análise desta pesquisa foi dividida em três unidades temáticas: O signo como campo de afirmação axiológica; Política, resistência e enfrentamento; e Graffiti como forma de experienciar a cidade contemporânea. A primeira analisa como a linguagem se caracteriza como um campo político de afirmação ideológica a partir da teoria do Circulo de Bakhtin; a segunda aponta para características de formas contemporâneas de se fazer política, tendo como base a teoria de Jacques Rancière e Michel Foucault; a terceira analisa o envolvimento dos participantes da pesquisa com a cidade a partir de suas ações estéticas, segundo autores que teorizam sobre a cidade, como Richard Sennett, David Harvey e Marshall Berman, e também a partir de reflexões próprias do núcleo de pesquisa onde está dissertação foi realizada, o NUPRA/UFSC. Esta pesquisa apresenta alguns modos de se fazer política na sociedade contemporânea, não por via de enfrentamentos diretos, mas sim inventando novas práticas de existir nas cidades.
Abstract : This research had as objective do an ethnographic immersion in street art culture from Florianópolis. The aspects to be discussed are its political dimension, the relationship with the city and how this young people become graffiti writers and artists. The ethnographic method was develop in two fronts: first the researcher started himself to do graffiti art, getting into the culture, learning their codes and how they feel about painting in the street; second was made, in the same time that the ethnographic immersion was been doing, a documentary about graffiti in Florianópolis. The documentary helped to reach the artists and record their action and speech. The ethnography was planned following Massimo Canevacci anthropologic studies about cities in a fragmental and communicative comprehension. The documentary production was based in Jean-Louis Comolli thoughts, treating the unpredictable as a rich element in the movie. Analysis was made in three different subjects: the sign as an axiological affirmation; Politics, resistance and fighting; and Graffiti as a way to live the city. The first one is about how the language works as an ideological and political issue according to Bakhtin?s Circle; the second one is about contemporary ways of political actions according to Jacques Rancière and Michel Foucault theory; the third one is about how this young artists get involved with the city due to their aesthetics actions, according to Richard Sennett, David Harvey and Marshall Berman, and also according to studies made by the research group where this text was wrote. This research shows some new political gestures in the contemporary society, not by direct fighting, but creating new ways to be in the city.
Czajka, Rodrigo. „Praticando delitos, formando opinião : intelectuais, comunismo e repressão no Brasil (1958-1968)“. [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280603.
Der volle Inhalt der QuelleTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A produção artística e cultural realizada no Brasil entre as décadas de 1950 e 1960 é permeada de intensas discussões, tensões e conflitos que envolvem a disputa de distintos projetos intelectuais. Assim, a formação de um campo intelectual, a diversificação dos circuitos culturais e núcleos intelectuais e a emergência de uma intelectualidade de esquerda foram elementos presentes nesse contexto sócio-cultural. Estes foram fatores essenciais na consolidação de uma resistência cultural de esquerda que se defrontava tanto com o centralismo burocrático do Partido Comunista Brasileiro quanto com o regime militar após 1964. Entre dilemas ideológicos e políticos uma intelectualidade de esquerda floresceu não de forma homogênea e unitária, mas entremeada de impasses, disputas e embates que permitiram, em certa medida, a formação de núcleos culturais caracterizados, sobretudo, pela fragmentação. Com intuito de aferir tal modelo de análise dispusemos de um conjunto de Inquéritos Policiais-Militares (IPMs) que além de constituírem um material inédito de pesquisa, trazem elementos importantes para a discussão e detalhamento das questões culturais caras à intelectualidade de esquerda daquele momento. Constata-se, por exemplo, que a resistência cultural, mais que símbolo de uma unidade contra a repressão seja dos partidos ou do Estado, foi um fenômeno a partir do qual determinados núcleos intelectuais viram-se representados; uma hegemonia cultural de esquerda construída não pela coesão dos projetos de resistência, mas pelas dissensões e por aquilo que representava a resistência e a subversão comunista
Abstract: The artistic and cultural production made in Brazil at the 1950s and 1960s is permeated intensive discussions, tensions and conflicts involving the dispute of different intellectual projects. The formation of an intellectual sphere and the emergence of a left intellectuals group were elements presents in this context. These were key factors in consolidating a culture resistance of left that was built in the middle at the bureaucratic centralism of the Brazilian Communist Party and the military dictatorship after 1964. Between ideological and political dilemmas the left intellectuals appeared not homogeneous, but permeate of impasses, disputes and conflicts that favored the formation of cultural groups characterized by ragmentation. To check this analysis we searched a large number of military process (called IPMs) that as being a new material research, provide important elements for discussion and details of the cultural questions of the intellectuals at that time. For example, that cultural resistance, more than a symbol of unity against oppression of the the Party or the State, was a phenomenon from which certain intelectuals groups have been represented; a cultural hegemony of the left not made the cohesion of the projects of resistance, but by dissension and by what it represented the resistence and communist subversion
Doutorado
Doutor em Sociologia
Lorenzi, Marie-Emilie. „Activisme rose : cultures et arts féministes queer en France“. Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010578/document.
Der volle Inhalt der QuelleThe term queer, when used in the French language, does not echo the same way as in English –then referring to the anglo-saxon context of emergence. The main purpose of this study is to question the phenomena of cultural transfers of queer feminism – which appeared in the mid 1980s in the United States as both a subculture and a movement of critical thinking and activism- into the French context. This cultural translation resulted in pink activism which unlike its anglo saxon original model developed a policy based on strong identity affirmation, on both a collective and individual level. The goal was to beat the French integration system deeply imbued with republican ideals, where the drifts of an abstract universalism had produced blindness towards inequalities therefore the central issue investigated in this research is how this pink activism arose in a French context of opposition to identity-based politics.Moreover, the phenomena of reception and appropriation of queer feminism into the French context must be understood beyond the sole linguistic translation – in all their dimensions, cultural political, theoritical, artistic, etc. This study aims to understand the special features of this activism, from its sometimes uneasy integration among feminist and LGBT movements to its specific applications in terms of cultural and artistic practices, thus questioning the phenomenon of aestheticism of resistance techniques
Santos, Ricardo Sant'Ana Felix dos. „"Antígonas tribunal de mulheres": arte como estratégia política de memória histórica“. reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/135095.
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Esta pesquisa pretende investigar aspectos da prática artística de um grupo de mulheres vítimas de violências decorrentes do conflito armado colombiano como estratégia política de memória histórica. Através da relação comumente estabelecida ao se pensar no fenômeno da violência e nas possíveis respostas políticas a ela produzidas, vale pensar nas verdades estéticas, históricas e pedagógicas que esta violência reposiciona enquanto expressão de um conflito. Paralelamente, percebe-se que a morte, a dor, o sofrimento e o desaparecimento podem gerar luta e vida política para as mesmas vítimas. Uma política de perfil identitário reivindicado por mulheres que, neste despertar para a memória da produção de vítimas por crimes de Estado, demandam uma transição de consciência através de sua politização, refletindo algumas nuances relativas ao processo de poetização das experiências de violências do conflito interno e suas políticas de terror e extermínio. Para tanto, nos limitaremos a trabalhar com um estudo de caso que delimite o campo de análise às inter-relações presentes numa produção artística encampada por um grupo de mulheres que transformam-se de mães (e vítimas tornadas secundárias na esfera pública) a sujeitas políticas e agentes de cidadania ? novas ?Antígonas?. Aqui evocamos a imagem mitológica de Antígona, imortalizada por Sófocles, atualizada pelo teatro político colombiano em que emerge a peça ?Antígonas tribunal de mulheres?. Implícita e explicitamente, se notam questões tais como: as dimensões sócio-subjetivas da experiência da dor, da perda e da morte; as estruturações políticas e determinações sociais de um longo dinamismo histórico em que se reconfiguram as políticas de terror de Estado; a generificação da violência em sua forma política experienciada especificamente por mulheres.
Abstract : This study aims to investigate aspects of the artistic practice of one group of women victims of Colombian armed conflict violence as political strategy of historical memory. Through the relationship commonly established when we think about the phenomenon of violence and the possible political responses therefore produced, it?s worth thinking about the aesthetic, historical and pedagogical truths that this violence repositions as an expression of a conflict. At the same time, one realizes that death, pain, suffering and the disappearance can generate political struggle and life to the same victims. A political identity profile claimed by women: this awakening to the memory of the victims produced by state crimes requires an awareness transition through its politicization, reflecting some nuances concerning the poetics process constituted through the experiences of violence of the Colombian internal conflict and its politics of terror and extermination. Therefore, we limit ourselves to work with a case study that encloses the field of analysis to present interrelationships in an artistic production taken over by a group of women who turn from mothers (and secondary victims made by the public sphere) to become political subjects and citizenship agents - new "Antigones". Here we recall the mythological image of Antigone, immortalized by Sophocles, updated by the Colombian political theater in which emerges the play "Antigones court of women?. Implicitly and explicitly, we note issues such as: the socio-subjective dimensions of the pain experience, loss and death; the political structuration and social determinations of a long historical dynamism in which is reconfigured the state terrorism; the gendering of violence in its political form specifically experienced by women.
Wise, Gianni Ian Media Arts College of Fine Arts UNSW. „Scenario House“. Awarded by:University of New South Wales. Media Arts, 2006. http://handle.unsw.edu.au/1959.4/26230.
Der volle Inhalt der QuelleSteyn, Pieter Andrew. „The relationship between the concept 'art' and its institutionalisation during the period 1850-1871 in South Africa“. Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005626.
Der volle Inhalt der QuelleFilippin, Christina Christoforo da Silva. „Teatro legislativo: aspectos teatrais, políticos e jurídicos“. Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1330.
Der volle Inhalt der QuelleCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
The scientific inquiry presented has as central object the Legislative Theatre, of Augusto Boal. First of all, we try to register the experience carried through by Boal during his public mandate while councilman in the city of Rio de Janeiro in the year of 1993; by that time, the performances resulted on the approval of some municipal laws. From the accomplishment of workshop and interviews with people who had lived deeply the experience of the Legislative Theatre, and also through a critical analysis of the aesthetic, legal and political aspects of this theatrical form, we tried to verify if the Legislative Theatre would be able to extend the democratic participation in the legislative process. Besides that, we searched to inquire how the theatrical dimension would be related with the degree of participation in the legislative theatre. Finally, it has been proved that, beyond reflection, understanding and social inclusion of its participants, the Legislative Theatre is characterized as a tool of social performance
A investigação científica apresentada tem como objeto central o Teatro Legislativo, de Augusto Boal. Primeiramente, buscou-se documentar a experiência realizada por Boal na época de seu mandato político enquanto vereador na cidade do Rio de Janeiro no ano de 1993, que teve como resultado a aprovação de leis municipais, originadas a partir de encenações teatrais. A partir da realização de oficina e entrevistas com pessoas que vivenciaram a experiência do Teatro Legislativo, e através de uma análise crítica dos aspectos estéticos, políticos e jurídicos dessa forma teatral, buscou-se verificar se o Teatro Legislativo seria um instrumento apto a ampliar a participação democrática no processo legislativo. Demais disso, buscou-se averiguar em que medida a dimensão teatral estaria diretamente relacionada com o grau de participação nas práticas de teatro legislativo. Por fim, comprovou-se que, além de oportunizar reflexão, compreensão e conseqüente inclusão de seus participantes, o Teatro Legislativo caracteriza-se como uma ferramenta transdisciplinar de atuação social
Behrens, Monika Art College of Fine Arts UNSW. „Silent bang“. Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.
Der volle Inhalt der QuelleMussi, Joana Zatz. „O espaço como obra : ações, coletivos artísticos e cidade“. Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-14022013-161737/.
Der volle Inhalt der QuelleThe Space as theWork:Actions, Art Collectives and City is a reflection on creation processes and social impact of actions carried out by art collectives Contrafilé, Frente 3 de Fevereiro and Política do Impossível dfrom São Pauloe, as well as GAC Buenos Aires. These collectives have began work in the 1990\'s. The dissertation stems from multiple voices, which cross over and complement each other: a narrative voice that unravel discoveries made in my work as an artist in the urban space, emerging from a local and also intimate dimension, arriving at a \"more reflexive and academic\" voice; voices of the mainstream media; voices of the works studied; voices of the collectives, when they are mobilised as theoretical refeb rences and, lastly, voices of the thinkers who somehow influenced my thinking and voices of the cultural movement of which the urban practices under scrutiny are part of. The aim is to understand how the urban interventions at once result from and generate a network of affects and meanings, as they render evident the emergence of a contemporary political subjectivity. This subjectivity necessarily involves discussing and carrying out a politics of representation, relation, subjectivation and modes of life alternative to those imposed by neoliberalism. Under this light, the dissertation seeks to think how the critical potency situated in this kind of resistance can be embodied and takes place at all, configuring current forms of political making, in the specific and complex context of the city as scale and as referential space. This study developed as an active and participating investigation of several works carried out by the collectives. I seek to observe the actions/interventions in their disruptive power, i.e., in their capacity to render present events that somehow destabilise social representations and previous sensations. And which, as they evidence the possibility of being carried out, they bring to the surface a circulatory knowledge that diffuses the image produced in situation direct representation and the experience of the \"public\" as work.
Ganczak, Iwona. „At the crossroads of politics and culture : Polish dissident art of the 1980s“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83104.
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