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Prates, Maria Luzia Fouto. "Maria Lamas ( 1893-1983). Uma participante na história da mentalidade feminina". Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2011. http://hdl.handle.net/10362/5576.
Pełny tekst źródłaNascida nos finais do século XIX, Maria Lamas viveu até à década de oitenta do século XX, onde se destacou como mulher de cultura e da cultura. Durante o seu percurso, teve participações ao nível da literatura, sendo considerada como uma das precursoras da literatura infantil portuguesa, mas percorreu também o caminho da poesia, do romance, da novela. Na área da escrita movimentou-se ainda pela área da reportagem, de que resultou o livro único no nosso país, As Mulheres do Meu País, pela área da pesquisa, cujas repercussões são verificáveis em outros dois livros: A Mulher no Mundo e Mitologia Geral. Ainda na escrita, não podemos esquecer a sua participação jornalística, tanto em revistas femininas, como em jornais nacionais, como por exemplo, o jornal O Século, e ainda a sua actuação na área da tradução. A sua intervenção na sociedade destacou-se pela presidência do Conselho Nacional das Mulheres Portuguesas, pela actividade na Associação Feminina Portuguesa para a Paz e pela sua conduta política de oposição ao regime salazarista, que a levou à prisão e posteriormente ao exílio. Maria Lamas foi uma mulher que se relacionou com todos os sectores da sociedade, o que provamos através da correspondência mantida ao longo da sua vida. Na área da cultura, Maria Lamas constitui um exemplo a seguir, tendo-se desdobrado em actividades como a organização de exposições, participando como conferencista ou assistindo a congressos internacionais onde travou conhecimentos com individualidades mundiais. A prova do reconhecimento da sua actividade é-nos dada através de várias homenagens de que foi alvo, ainda em vida. O que tentamos demonstrar com este trabalho é que quando uma mulher quer, pode contribuir para a alteração da mentalidade de um país, foi este o caso de Maria Lamas. As nossas expectativas serão atingidas se o presente estudo trouxer um contributo para a história cultural do nosso país
Charlon, Anne. "Condition féminine et roman féminin dans la Catalogne contemporaine, 1893-1983". Paris 4, 1987. http://www.theses.fr/1987PA040197.
Pełny tekst źródłaCharlon, Anne. "Condition féminine et roman féminin dans la Catalogne contemporaine, 1893-1983". Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37603828p.
Pełny tekst źródłaFrumkin, Beverly Ann. "The influence of the art of Antonio Gaudí on the work of Joan Miró /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63764.
Pełny tekst źródłaMeurer, Clio Elizabeth de Carvalho. "Joan MIRÓ, René MAGRITTE : écriture et création picturale". Paris 7, 2008. http://www.theses.fr/2008PA070003.
Pełny tekst źródłaThe present work has as its main objective to verify the role of writing in pictorial creation - to verify how written language may influence, interfere with and/or incorporate itself into the genesis of an artwork. It does so by carrying out a contrastive analysis of the interaction of text and image in the works of Joan Miró and René Magritte. The research rests upon four main axes of analysis, each one having its own methodology and its own theoretical approach. The first axis examines the founding principles of the artists' modus operandi, in an attempt to bring forth evidence of the important role played by poetry in the construction of such principles. The second axis places the two artists side by side in order to analyze a certain number of aesthetic instances where text and image interact with one another, first in their graphic and plastic work (titles, narrative, literary influences, illustration), and then in their literary work (their poetry and prose, as well as Magritte's aphorisms). The third and fourth axes of analysis explore the question of the role of writing in pictorial creation from the perspective of genetic criticism. The third axis tries to bring an understanding of Magritte's creative process through the traces that can be found in his correspondence. The fourth and last axis of analysis searches for the main operative functions of writing in the notebooks and the preliminary drawings of Miró, in order to see how writing can play a role in the creation of an image. It is thus through writing that this work aims to bring an understanding of the pictorial creation of Miró and Magritte
Dessus, de Cérou Marie-Agnès. "Le desir a l'oeil dans l'art pictural ou la question de "la femme" dans l'oeuvre de joan miro". Paris 7, 1998. http://www.theses.fr/1998PA070080.
Pełny tekst źródłaViewing the surrealist period leads to the centre of the artistic creation where changes, customs and liberating thought are part of an existential ideology in search of the real desire. In paris, miro is truly amazed discovering this world of art which methods he will practice. Everlasting rebel, he is always in struggle between two principles : pleasure and reality ; the artist lives on illusion in delusion of grandeur and constantly works in order not to collapse. Phallus is the stake of his works : avoiding at any price the castration's fear and the meeting with the thing which is revealing of the lack of object. By refusing castration, miro is obsessed by the search for + mother form ; purity. In his whole works, which is dedicated to + woman ;, regarded as an enigma, he asks the following question: + what's a woman? ;. Once his painting achieved, miro orders the other to see. This one is fascinated. The disturbing strangeness, met in miro's works where the eye is omnipresent, seems to replace the maternal thing and it goes so far as to put the glance in suffering, as it was already proved in an experiment made with students. Reactions to the works - support of fantasy- are different, depending on sex identity. How does the eyes react to the mirror experiment when two persons, respectively the artist and the spectator, have as a stake the a object which is the language of the so called phenomenology of visible and invisible? what would be the desire connection between the lost object and the a object, when it acts as a + glance trap ; (the principle elaborated by lacan, a french psycho analyst)? how does the vicious look impose the aesthetic pleasure of that over reality? at least, how are men and women determined by both phallic function and castration law to the question of feminine?
Greene, Charlotte Jordon. "Fantastic dreams : William Liu and the origins and influence of protest against the White Australia Policy in the 20th century". Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/4028.
Pełny tekst źródłaGreene, Charlotte Jordon. ""Fantastic dreams" William Liu and the origins and influence of protest against the White Australia Policy in the 20th century /". University of Sydney, 2005. http://hdl.handle.net/2123/4028.
Pełny tekst źródłaThe structure of this study of William Liu will closely reflect his ideas and the major historical influences in his life, and will span the period from 1893 through ninety years spent mainly in Sydney, ending in 1983, the year before the beginning of the attack on multiculturalism launched by the historian Geoffrey Blainey. The memorialisation of Liu in the post-Blainey “immigration debate” period will then be considered. The study will also reflect the changes in protest against racially discriminatory immigration policies in Australia, as Liu moved from a period in which his was an almost isolated critique to one in which he was able to embrace the ever-widening group of people opposed to the ‘White Australia Policy’. This process has not been fully examined, perhaps due to the fact that the protest often appeared to have little impact upon policy. But the way in which Liu and other protestors expressed their view of what Australia should be and how the ‘White Australia Policy’ affected this vision sheds a great deal of light on these periods in Australian history. The structure of this thesis around Liu’s life, beginning with a period in which the ‘White Australia Policy’ was widely accepted, and ending in a period in which multiculturalism was entrenched as official policy, emphasises the cultural shift which was brought about by decades of protest against the Anglo-conformist model of Australian identity
Carneiro, Junior Renato Augusto. "Amor em tempos de ressentimento". reponame:Repositório Institucional da UFPR, 2011. http://hdl.handle.net/1884/25891.
Pełny tekst źródłaAslangul, Claire. "Représentations de la guerre chez les peintres, graveurs et dessinateurs allemands au XXe siècle dans le contexte européen : traditions, évolutions et ruptures dans les codes iconographiques". Paris, EPHE, 2003. http://www.theses.fr/2003EPHE4066.
Pełny tekst źródłaThe aim of this Ph. D is to look into the traces left by 20th century conflicts in German art (painting, engraving, and graphic arts). With modern warfare, artists are faced with several challenges, among which changing methods of combat, new weapons causing new types of wounds, casualties reaching unprecedented figures, but also the increasing importance of other types of images (from photography, the cinema, etc), and the risk of war being "aestheticized" by being transfered into the field of art. What were the responses to these challenges ? The works of German artists are studied here in their context : the iconographic conventions that prevailed earlier on are introduced, to bring out the breaks and continuities in the representation of modern conflicts, the emergence of new motifs, the development of palimpsest works made from stock elements. Comparisons are made with works by other european artists. To refine the overall analysis, the individual paths of four artists are examined : those of Franz Radziwill (1895-1983), Otto Pankok (1893-1966), Heinrich Maria Davringhausen (1894-1970) and Andreas Paul Weber (1893-1980). All of them were twenty years old when World War I broke out, and also pictured the other conflicts of the century (from the Spanish to the Vietnam War). The key question in this research revolves around the relationship with tradition : in spite of the novelty of the conflicts, inherited processes of composition and themes are often resorted to, whether simply taken up again, or meant as a subversive play on conventions, aiming to clash with the viewer's expectations
Bogoni, Roberta. "Joan Miró 1922-1942. Interpretación del simbolismo místico de la obra mironiana surrealista". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398392.
Pełny tekst źródłaThe present dissertation expounds the research results on the mystic contents and symbolism in Miró's work, based on the detection and interpretation of the symbols and symbol codes of metaphysical, religious, spiritual and mythical traits in the period between 1922 and 1942. This chronological period, which takes as a starting-point the interpretations of the first painting with mystic content, La Masía, involves the phases of constitution, development and consolidation of the selected symbols and symbol codes, completing an evolutionary cycle, whose established models are definitely installed in Miró's work of the later decades, reiterating symbols that do not manifest any further evolution from the iconographic or semiotic point of view.This dissertation started from the relevance of certain results in previous investigation, that were exposed in the licenciate thesis entitled: I disegni surrealisti di Joan Miró degli anni venti (Miro’s Surrealistic Drawings of the 1920s), and in the Master thesis La interpretación del simbolismo místico de la obra surrealista de Joan Miró (The Interpretation of Mystic Symbolism in Joan Miro’s Surrealistic Work). Both are the result of the opportunity to carry out an exhaustive investigation in the archives of the Fundación Joan Miró in Barcelona. Initial focusing on the contextualization and the relation between Miró's work and its symbols have clearly highlighted the mystical and spiritual nature of the contents and elements analyzed, thus offering the possibility of an interpretation of Miró's work on various levels, and thereby leading to research into the topic of mysticism, which up to now has partly been dealt with thanks to the insights of specialists which are referred in this dissertation.The first part of this thesis exposes a reinterpretation of Paisaje catalán canvas, in which, after the application of a method named “dislocation of the elements”, a system of signs that has been detected and that reveals the spiritual features of the painting and substantiates new connections with paintings that are directly linked to it: La masía and Tierra labrada.Miró's mystical symbolism expresses abstract concepts that he elaborated plastically, such as the condition of freedom of any being, the links between the tangible and intangible reality, the movements of transition between these two realities and the spiritual elevation experienced by the beings portrayed in the work and pursued by the author himself. The interpretation of determined mystical symbols, codes and contents and the study of their semantic and formal evolution, determined by the processes of synthesis, association, fusion, integration and mutation applied by the painter, are at any moment backed by findings derived from the archival research, secondary sources data, the artist's statements and his sources of mystical-religious inspiration, intellectual and iconographic as well as literary.Considering the relevance and the amount of unpublished research results, the final chapter has been dedicated to the sources of the artist's inspiration in the context of literature. In this chapter is testified how the mystical aspect not only concerns symbolism and Miró's work, but also the Catalan painter's purposes of expression and his artistic process, which have been compared, even by his contemporaries, to those of an ascetic and mystical character.
Shim, Jiyoung. "Joan Miró, "illustrateur" des poètes : à la lumière de l'Extrême-Orient". Paris 7, 2009. http://www.theses.fr/2009PA070036.
Pełny tekst źródłaJoan Mirô dedicated an important part of his energy to creating illustrated books, unveiling a new relationship between text and image. For him, the poetry appears as the motor of renewal for his pictorial art and as that of his many collaborations with poets. The abounding creativity of his various books, which escape from any categorization for an illustrated book, allows us to sense the singularity of his art to illustrate the poetry. It comes more from the interpretation of the moment of his reading of the poetic text, than from the visual transposition of the textual content. His illustrations thus being far away from the literal representation of the poems, it is necessary to avoid ail analysis of the image based on a linguistic model, linked to the ideology of the mimesis. That is why we propose here a model of reading into this matter that is based on the Far-Eastern ideas of the visual, which is justified also by the affinity of Mirô with this aesthetics that manifests itself through his will to be a total artist (painter, poet and calligrapher) and his taste for ideogrammatical signs, as well as through even his creative principles. The concepts, proposed as a framework of reading include: the common creative principle shared among painting, calligraphic writing and poetry (Qiyun Shengdong)', the art of singular detour in the practices of painting from a poem-subject (hwaje-shi ); visual harmony between painting and poetic writing (shuhua tongyuari). The analysis reveals Miró as the illustrator of the poets, who proposes a visual interpretation of his reading experience and invites us to feel the union of his mind with the spirit of the poetry
Umaña, José Luis. "Lecture sémiologique d'une œuvre d'art : la Sieste de Joan Miro". Master's thesis, Université Laval, 1992. http://hdl.handle.net/20.500.11794/33436.
Pełny tekst źródłaMontréal Trigonix inc. 2018
Rodrigues, Cândido Moreira [UNESP]. "Alceu Amoroso Lima: matrizes e posições de um intelectual católico militante em perspectiva histórica - 1928-1946". Universidade Estadual Paulista (UNESP), 2006. http://hdl.handle.net/11449/93434.
Pełny tekst źródłaFundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Este trabalho estuda o intelectual católico Alceu Amoroso Lima no período histórico de 1928 a 1946 e tem por objetivo provar que esse intelectual passou do conservadorismo à democracia, nesse espaço de tempo, na medida em que abandonou suas idéias autoritárias - oriundas do contato com Jackson de Figueiredo e com o pensamento e a obra de autores conservadores europeus do século XIX, entre os quais Edmund Burke, Louis-Ambroise De Bonald, Juan Donoso Cortés e, principalmente, Joseph De Maistre. Mais tarde, Alceu Amoroso Lima chegou à democracia por meio do contato pessoal com o filósofo católico francês Jacques Maritain e das leituras que fez de sua obra, concretizando esse processo no início da segunda metade da década de 1940, mais especificamente em 1946. Esse processo de mudança pelo qual Alceu Amoroso Lima passou rumo à democracia ocorreu em um dos períodos mais decisivos da história do mundo contemporâneo, as décadas de 1930 e 1940, momento da ascensão e queda dos totalitarismos, da perseguição a judeus, comunistas, e da fragilidade da liberdade e da democracia. A atuação de Alceu Amoroso Lima no Brasil do governo de Getúlio Vargas carrega consigo o ônus de ser constituída pela defesa do princípio de autoridade e da limitação da liberdade, mas revela também a postura de um intelectual que soube, por meio do contato com a filosofia democrática de Jacques Maritain, abandonar posições insustentáveis e se converter à democracia e à liberdade, ainda em tempo, enquanto outros se mantiveram em silêncio.
This dissertation studies the Catholic intellectual Alceu de Amoroso Lima in the historical period from 1928 to 1946 and it was carried out to prove that this intellectual evolved from conservativeness to democracy, in that period, while he discarded his authoritarian ideas - derived from his contact with Jackson de Figueiredo and the thought and works of European conservative writers of the 19th century, such as Edmund Burke, Louis-Ambroise De Bonald, Juan Donoso Cortés and, in particular, Joseph De Maistre. Alceu Amoroso Lima approached democracy by establishing personal contact with the French Catholic philosopher Jacques Maritain and, by reading his works, he accomplished such a process at the beginning of the second half of the 1940s, more specifically in 1946. The evolution process experienced by Alceu Amoroso Lima towards democracy took place in one of the most decisive periods of contemporary world history, the 1930s and the 1940s, with the ascension and fall of totalitarian regimes, the chase after Jews, Communists, and the debility of freedom and democracy. Alceu Amoroso Limaþs action during Getulio Vargasþs government carries the burden of comprising both his defense of the authority principle and freedom restriction, but also shows the posture of an intellectual who, by having close contact with Jacques Maritainþs democratic philosophy, learned how to discard unsustainable positions and, in time, to convert to democracy and freedom, while other ones kept silence.
Maldonado, Guitemie. "Le biomorphisme dans l'art occidental des années trente : l'analogie créatrice". Paris 4, 2000. http://www.theses.fr/1999PA040274.
Pełny tekst źródłaCorbella, Domènec 1946. "Anàlisi del sistema idiolectal de la sèrie Barcelona de Joan Miró (morfogènia i composició)". Doctoral thesis, Universitat de Barcelona, 1986. http://hdl.handle.net/10803/586008.
Pełny tekst źródłaCosta, Alyni Ferreira. "Artes em diálogo. Poesia e Pintura: João Cabral de Melo Neto e Joan Miró". www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/8086.
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Painting and Literature, although they consist of different activities, interact and communicate to each other into a large field, denominated Art. This study aims to approximate, like a dialogue, between Poetry and Painting. We propose a comparative approach between some parts of the Spanish painter Joan Miró’s (1893-1983) work and some poems of A pedra do sono (1942), by João Cabral de Melo Neto (1920-1999), a Brazilian poet from Pernambuco. This study will have as a backdrop the Surrealist aesthetic, postulated by André Breton, in 1924, in France. We will have as a fundamental theoretical basis João Cabral de Melo Neto’s thought, exhibited in a critical essay, in 1949, entitled “Joan Miró”. The famous “engineer poet” had a strong relation with the Literary Theory, and he wrote some critic texts of Art and Literature, in which the author discusses about the artistic composition process, kinds of aesthetic, literary movements, Brazilian and foreign personalities. To enable this analyses, we used the Comparative Literature Theoretical, like: Tânia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; and the Art critics: Fayga Ostrower, Omar Calabrese, Paul Valéry, among other, who have allowed a comprehension about artistic movements, kinds of aesthetic and creation’s and composition’s peculiar techniques. We will begin thinking about Art and artistic making; then, João Cabral de Melo Neto’s artistic profile will be focused, as his theoretical/critical face, based on his Joan Miró study. The last step includes an analysis of the João Cabral’s essay about Miró’s paintings, concerned to his own work. The dialogue is made possible with regard to the evidence of recurrent themes, as well as the composition process with a lot of approximated points between those artists.
A Pintura e a Literatura, apesar de consistirem em atividades distintas, interagem entre si e se comunicam dentro de um campo abrangente, denominado Arte. O presente estudo pretende uma aproximação, um diálogo, estabelecido entre poesia e pintura. Propomos uma abordagem comparativa entre algumas peças da obra do pintor catalão Joan Miró (1893-1983), e os poemas presentes no livro A pedra do sono (1942) do poeta pernambucano João Cabral de Melo Neto (1920-1999), tendo como pano de fundo a estética surrealista, postulada por André Breton, em 1924, na França. Teremos como base teórica fundamental o pensamento de João Cabral de Melo Neto, exposto em um ensaio crítico, no ano de 1949, intitulado “Joan Miró”. O conhecido “poeta engenheiro” possuía forte afinidade com a Teoria Literária, escrevendo alguns textos de crítica de arte e literatura. Neles discorre acerca do processo de composição artística, correntes estéticas, movimentos literários, personalidades brasileiras e estrangeiras. Para viabilizar a análise, recorremos aos teóricos de Literatura Comparada, como: Tânia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; bem como, aos críticos de Arte: Fayga Ostrower, Omar Calabrese, Paul Valéry, dentre outros, que possibilitaram uma compreensão acerca de movimentos artísticos, correntes estéticas e técnicas peculiares de criação e composição. Iniciamos com uma reflexão acerca da Arte e do fazer artístico; em seguida, foi enfocado o perfil artístico de João Cabral de Melo Neto e sua face teórico-crítica, tendo por base o estudo relativo à obra de Joan Miró. A última etapa contempla uma análise do ensaio de João Cabral acerca da pintura de Miró, concernente à construção de sua obra. O diálogo é viabilizado no tocante à evidência de temas recorrentes, bem como pelo processo de composição com vários pontos de aproximação entre os dois artistas.
Sclaunick, Élisa. "L'écriture de Joan Miró dans l'oeuvre de Jacques Dupin". Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC049.
Pełny tekst źródłaJacques Dupin and Joan Miró undermine the borders between poetry and art, and yet they maintain the gap separating their subjects. Built on a field of reins, their art community is the place of a creative but negative expérience. That tension is what this dissertation explores, questioning the relations not only between plastic artist and writer, but also between plastic and linguistic signs and between forces of destruction and of creation. As a poet or an art critic, Jacques Dupin thinks a choice must be made. While he is considered as a specialist and even an expert of Joan Miró's works, he puts aside the poet's voice, disturbs the critic's and dismisses the specialist's. As a malter of fact, rather titan speaking front a different perspective, he chooses to dive into the workshop. There, the polymorphic work of Joan Miró, as well an artist and a poet, writes his reviews, and there too, the painter stands as a model for the critic and the poet. Without denying that otherness, the art review itself becomes a workshop and paradoxically identifies Jacques Dupin with Joan Miró. Jacques Dupin's critic and poetic work is there ore studied within the proximity of the Catalan artist
Vilar, Pierre. "Michel Leiris : vestiges des images et prestige de la peinture". Paris 8, 1995. http://www.theses.fr/1995PA081005.
Pełny tekst źródłaThis work is meant to make a contribution to investigation on relationship between writing and painting in xxth century. Michel leiris (1901-1990), aside from being one of the most original creators among french surrealists, devoted an important part of his work to painting criticism. Before analyzing on andre masson, joan miro, alberto giacometti, pablo picasso, wifredo lam and francis bacon - the poet, autobiographer, ethnographist and critic having been for a long time their close friend - , our aim has been to show the recurrent presence of a certain number of imaginary structures in his ethnographic, poetical, autobiographical and fiction work, to study how these structures were protected into his appreciation and poetics on painting. Concentration on images of blood and red colour, lingering assertion of a perspective angle of vision, numerous poetic puns around name and surname, references to translation and foreign artists original languages, are here studied as elements of a writing on vision, visual, and visibility
Hughes, Louise Elizabeth. "Chaim Soutine (1893-1943) : receptions, constructions and significance". Thesis, University of Bristol, 2010. http://hdl.handle.net/1983/f327fd64-61a7-4e05-a85d-c158279cdd6f.
Pełny tekst źródłaBernad, Gil Higinia Silvia. "San Francisco de Asís en la obra de Francisco de Zurbarán y Joan Miró: vigencia de lo santo y lo bello en el tiempo". Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/401553.
Pełny tekst źródłaThis is the representation of Zurbaran’s paintings centered on Saint Francis of Assis and Joan Miro. It is about 16 original canvasses and 10 engravings respectively whose only main theme is the Saint of Assisi in its full mystic splendor. This essay pretends to be the itinerary in the form of a deep look towards the spiritual and religious interior of the Franciscan Order, seen both as a religious practice and social community and also as a humane attitude. The investigation process is focused on a triple vision: the first, is an investigation around the beautiful and the sacred, the second, is a study on the birth of the Franciscan Order (12th Century) and its aesthetic conception of light. The third line of research lies on where the art begins in the realization of Zurbaran’s work during the Catholic Reformation. Concluding with the contribution of Joan Miro’s engravings within the Canticle of the Sun off Saint Francis of Assis.
Simões, Renata Duarte. "Integralismo e Ação Católica: sistematizando as propostas políticas e educacionais de Plínio Salgado, Jackson de Figueiredo e Alceu Amoroso Lima no período de 1921 a 1945". Pontifícia Universidade Católica de São Paulo, 2005. https://tede2.pucsp.br/handle/handle/10750.
Pełny tekst źródłaConselho Nacional de Desenvolvimento Científico e Tecnológico
Este trabalho constitui um exercício de sistematização do pensamento político e educacional dos autores Jackson de Figueiredo e Alceu Amoroso Lima, representantes católicos de destaque no período de 1921 a 1945, e de Plínio Salgado, Chefe Nacional do movimento social de grande repercussão política que emerge no Brasil na década de 30: a Ação Integralista Brasileira (AIB). Leva em conta que a fase de transição compreendida entre a Primeira e a Segunda Guerra Mundiais promove significativas transformações nos campos social, político, econômico e cultural brasileiro. Considera relevante investigar, buscar compreender e distinguir melhor as propostas desses pensadores, que dedicaram suas energias políticas e intelectuais à tentativa de estabelecer um modelo de critica autoritária,por vezes fascista, à modernização em curso no País e, freqüentemente, em seus escritos atribuíram um papel estratégico à educação na construção da sociedade que idealizavam. Investiga os escritos dos autores, principalmente aqueles nos quais o pensamento político está exposto em detalhes. Além disso, registra consultas em artigos da revista A Ordem, artigos de jornais integralistas,teses e dissertações relacionadas com a temática em questão, documentos que refletem os caminhos trilhados pelo Movimento Integralista e pela Ação Católica e livros concernentes a tais movimentos. O período a ser estudado, entre 1921 e 1945, tem como justificativa ser a data inicial da publicação da revista A Ordem, uma das fontes selecionadas para este estudo e que era lugar "oficial" de manifestação da militância laica católica,e também a data de inicio da Ação Católica no Brasil. Como justificativa para a data final, aponta que, ao término do Governo ditatorial de Getúlio Vargas, de certa forma, também termina, em termos de pensamento político, a "fase autoritária"de Alceu,critico literário que assume a posição de líder do Laicato brasileiro após a morte de Jackson de Figueiredo, em 1928. Os resultados demonstram que Jackson de Figueiredo, Alceu Amoroso Lima e Plínio Salgado buscaram definir de forma bastante clara os preceitos e limites de seus respectivos pensamentos, distinguindo-se evidentemente dos demais por meio das doutrinas às quais dedicaram energia política. Figueiredo, Lima e Salgado são atores dessa trama e seus pensamentos, transcritos em suas obras e em documentos, são o objeto deste estudo
Santos, de Oliveira Fábio José. "A curvatura das retas e a linearidade das curvas : um estudo comparado entre João Cabral, Piet Mondrian e Joan Miró". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080033.
Pełny tekst źródłaOur research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one
Arduini, Guilherme Ramalho 1983. "Em busca da Idade Nova : Alceu Amoroso Lima e os projetos catolicos de organização social (1928-1945)". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282068.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este estudo trata de um intelectual brasileiro chamado Alceu Amoroso Lima, também conhecido como Tristão do Ataíde. Em 1928, ele assumiu publicamente a fé católica, tornando-se uma das vozes mais importantes da Igreja no Brasil durante as décadas seguintes. Em outras palavras, ele envolveu-se indiretamente em política, tornando-se o representante oficioso da Igreja para assuntos ligados à política e escreveu muitos livros e artigos. Entre as décadas de 1920 e 1940 ele demonstrava uma mentalidade reacionária, mas gradativamente tornou-se um defensor ardoroso da liberdade de imprensa e outros direitos civis, especialmente após a II Guerra Mundial. Nosso objetivo é compreender as causas desta mudança, assim como as conseqüências que isto trouxe para suas ações e escritos sobre o problema da organização das classes trabalhadoras de acordo a Doutrina Social da Igreja.
Abstract: This study is about a Brazilian intellectual called Alceu Amoroso Lima, also known as "Tristão do Ataíde". In 1928, he publicly adopted Catholicism, becoming one of the most important voices of the Church in Brazil throughout the following decades. In other words, he got indirectly involved in politics by becoming the semi-official delegate for political affairs and wrote several articles and books. In the late 1920s and 1930s he expressed a very conservative mindset; nevertheless especially after the II World War he gradually became a champion of freedom of speech and other civil rights. Our aim is to understand the causes of this change as well as the consequences it brought to his actions and writings on the problem of organizing the working classes according to the Catholic Social Doctrine.
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Mestre em História
Martinez-Chauvin, Andrea. "L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
Pełny tekst źródłaIs it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
Santos, de Oliveira Fábio José. "A curvatura das retas e a linearidade das curvas : um estudo comparado entre João Cabral, Piet Mondrian e Joan Miró". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080033.
Pełny tekst źródłaOur research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one
Santos, Elis Denise Lélis dos. "Uma Leitura de Mão Dupla: Leituras e Influências na Poesia de João Cabral de Melo Neto". http://www.teses.ufc.br:, 2008. http://www.repositorio.ufc.br/handle/riufc/3436.
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The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic.
O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.
洪文秀. "米羅繪畫風格之研究(JoanMiro,1893-1983)". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/83922364622661198310.
Pełny tekst źródłaMartins, Ana Maria Silva. "Os livros para crianças e jovens de Maria Lamas". Master's thesis, 2007. http://hdl.handle.net/10400.2/598.
Pełny tekst źródłaResumo - Com este trabalho pretendemos analisar cinco novelas para crianças e jovens de Maria Lamas (1893-1983), a saber: Aventuras de Cinco Irmãozinhos (1931); A Montanha Maravilhosa (1933); A Estrela do Norte (1934); Os Brincos de Cerejas (1935) e O Vale dos Encantos (1942). Tentaremos perceber como a autora tentava transmitir, através da palavra escrita, uma determinada concepção da criança, da educação e da moral da época, com as quais, por vezes, entra em ruptura. Partindo das personagens centrais das novelas equacionaremos como a recriação literária de cenários muito próximos da realidade quotidiana, coloca a criança (personagem e leitor) perante problemas que necessitam de ser ultrapassados e, naturalmente, causadores de situações dilema, despertando nos receptores a necessidade de compreender o como e o porquê de tais situações. A necessidade da criança evoluir psicologicamente obriga-a: a defrontar-se com problemas e obstáculos, decorrentes da acção; a enfrentar um qualquer tipo de viagem; a relacionar-se com os elementos da Natureza que enformam o cenário da acção. Para a progressão da personagem, a linguagem, enquanto transmissora de uma dimensão simbólica, é o meio usado para transmitir uma mensagem plurisignificativa, na qual a realidade e a fantasia se misturam, possibilitando o devaneio e o sonho das personagens, e também a aprendizagem de diferentes valores
Abstract - In this work we will try to analise five novels for young people and children of Maria Lamas (1893-1983), Aventuras de Cinco Irmãozinhos (1931); A Montanha Maravilhosa (1933); A Estrela do Norte(1934); Os Brincos de Cerejas (1935) e O Vale dos Encantos (1942). Through the analisis of the texts we will try to understand how the author tried to transmit, through the written word,a certain image of the children, the education and the moral of its time. Starting with the main characters of the texts we will try to understand how the author, through the literary recriation of real sets, puts the child (character and reader) in front of certain problems that need to be surpassed and which can origin dilemmas that will make emerge in the receptors the need to understand the how and why of such situations. The child necessity of a phsicological evolution makes her: face problems and obstacles during the story; face a certain kind of travel and deal with the different natural elements which create the senario of the novel’s plot. Language is used in a simbolic dimension which contributes to the characters evolution and to the divulgation of plural messages and meanings in which reality and fantasy are fundamental elements to the dream and learning of the characters
Valentim, Margarida Gomes 1988. "Um olhar sobre a evolução do espaço da cozinha e o contributo da mulher". Master's thesis, 2014. http://hdl.handle.net/10451/11532.
Pełny tekst źródłaThis present body of work aims to investigate the presence and the contribute of the woman figure to the design evolution of the domestic space, namely of the kitchen, having a particular focus on the national context. In order to fulfill this objective, the present investigation is divided in four main chapters that are complementary to one another. To start off, an historical contextualization of the women's character, and the way that she is perceived and treated by society, is necessary addressing subjects as the feminist movement and the portuguese Estado Novo regime. Then, we move on to a brief analysis and contextualization od the dwelling as a whole, paying special atention to the issues regarding the private life and the developing of the portuguese house. Next, on the third chapter, we investigate the international kitchen of the end of the 19th century and beggining of the 20th, highlighting three different female figures, that have revolutionized the domestic economy and the living space, with their studies and proposals. Finally, on the forth and final chapter, the portuguese kitchen is studied mainly through newspapers, magazines and some manuals regarding the domestic economy. A small chapter is dedicated to the only portuguese woman that can be considered a pioneer in the domestic realm. More than an investigation, the present work is intended to be a set up of various facts and historical documents, between the 19th century and the 1970's, pertaining the importance of said women and of their contribute to the evolution of kitchen design into what we know and use today