Dissertations / Theses on the topic '1912-1975'

Le mouvement national marocain qui est forme d'un ensemble d'organisations politiques est etudie ici pour degager d'un cote son histoire a travers la mise en relief de quatre etapes importantes de son developpement, d'un autre cote ses structures qui sont approchees par le biais des differentes caracteristiques de ce mouvement. Cette etude a tente de montrer que l'histoire du mouvement national marocain ne saurait se dissocier de l'histoire contemporaine du maroc, que le mouvement national marocain a garde les memes structures avant et apres l'independance du maroc et que malgre la diversite des formations qui le composent il est uni dans son orientation generale et dans la nature de la direction de la pratique politique.

The Trans-Australian railway crossed the continent from east to west. It was built in 1912 to 1917 and the section from Port Augusta to Kalgoorlie was administered by the Commonwealth Government. This study focuses on the workers and their families who were involved in the construction and operation of the transline and lived in railway settlements and fettlers' camps from 1912-1975. Although these people are now part of Australian folklore, little is known of what life was like for them outside of their work environment. This study looks at family life, social activities, welfare and medical services, schools and the teachers, as well as children's leisure activities and how women coped while providing for their families in an isolated environment. It indicates that life for the fettlers in small communities of six to eight families was physically hard and living conditions primitive. They had very few possessions because they had to keep moving their camps to keep up with the progress of the line. Life was lonely and isolated with only their fellow residents for company and support. Completion of the line reduced the number of workers needed, and the railways built permanent accommodation in the remaining camps. The camps were well run and law abiding, and residents learnt to ignore minor problems or disagreements in order to maintain good relations with their neighbours. The much larger locomotive settlements of Cook, Tarcoola, Rawlinna and Zanthus became centres for all transline employees, where the railways helped residents build hospitals and schools, and constructed provision stores to cater for the settlements and the camps along the line. Employees who could tolerate the heat and the duststorms, had a secure lifestyle where the railways provided housing, a credit system for household supplies and food if needed, and provided medical, welfare and education facilities for its workers. Most ex-residents interviewed had endured a hard working environment, but they believed the railways had looked after them well. Their most pleasant memories were of the companionship and the support of their fellow workers during their years on the transline. Illness or misfortune were rarely remembered as they looked back on 'a good life'. However, for some workers life was not good, where alcoholism and depression could cause misery in a family not able to cope with the environment.

The laundry industry in Western Australia has divided into two major sectors: the private commercial and the government hospital laundries. This labour intensive service industry has relied on a labour market structured to provide a workforce of women to satisfy its demand for cheap labour. The many analyses of workplace practices place strong emphasis on both the broad gender division of labour and gender segregation on the factory floor. This thesis does not dispute the realities of these forces which place women in jobs deemed unskilled and unworthy. The introduction of new technologies further deskilled and divided the female workforce in all laundries. Unity of action to improve their conditions and wages was difficult. External forces provided the impetus. Unions as key institutions of organised labour have been the vehicle for reform. Many studies state that the very essence of unionism, its maleness, has been reflected in the failure of the union movement to assist women. This thesis supports that conclusion but also argues that the success of unionism for laundry workers was restricted by the structure of the industry. Private sector managements' willingness to consider reform was determined by competition. This limitation did not arise in the government sector where managements accepted greater responsibility towards workers. An analysis of the work of the Metropolitan Laundry Employees' Union and the Hospital Employees' Union over the sixty three year period of this study shows that the success of the unionisation of the laundry workers depended primarily on the structure of the industry as well as the nature of the work, the role of technology and the quality of union leadership. Underlying all these factors was society's fundamental assumption that laundry work was women's work.

Cette these est consacree a l'etude des nouvelles d'elizabeth taylor, cette femme ecrivain britannique oubliee puis redecouverte et celebree. Outre une bibliographie de l'auteur et une approche rapide de sa person- nalite, elle comprend quatre grandes parties. Une introduction generale qui a pour objectif de situer la nouvelle contemporaine dans le genre litteraire qui lui appartient, puis une introduction a l'analyse des nouvelles d'elizabeth taylor suivie d'une etude d'un certain nombre d'entre elles qui sont apparues etre les plus caracteristiques. Elles sont classees par themes : etude de la psychologie d'enfants et d'adolescents, etude des rapports femmes/femmes, etude des rapports hommes/femmes. La derniere partie est une conclusion generale aux nou- velles de taylor qui selectionne les aspects recurrents et specifiques dans l'oeuvre a savoir une vision du monde et une vision des individus. Enfin, cette ultime partie se termine par une analyse de l'ecriture de l'auteur, considerant les procedes qu'elle utilise et la replacant dans la lignee de ses plus illustres contemporaines
This thesis is a study of short stories by elizabeth taylor, a forgot- ten british author, who once rediscovered became a celebrity. In addition to the author bibliography and a brief description of her personality, this study is composed of four main parts. A general des- cription placing the contemporary short story in the literary genre to which it belongs, an introduction to the analysis of the short stories of elizabeth taylor, followed by a study of a certain number of her short stories which best characterize her manner. These short stories are separated into themes : the study of child and adolescent psycho- logy, the study of women to women relationships, and the study of men to women relationships. The fourth part is a general conclusion of the short stories of taylor which identifies the recurring characteristics in her works : her vision of the world and her vision of individuals. This final part is concluded with an analysis of the style of the author, taking into consideration the methods she uses and showing that she finds a place in the tradi- tions of her most famous contemporaries

La thèse présente le nationalisme linguistique au Liban gravitant autour d'un poète et politicien libanais, Sa'Ìd 'Aql (né en 1912) et la politique linguistique, liée à l'idée de langue libanaise, exprimée dans son organe politique, la revue Lebnaan" en nouvel alphabet (no 372-639, période: 03. 1983 - 10. 1988). El-sawra l-luoawiyye l-muzdawie (la double révolution linguistique) de 'Aql envisage la réduction de la diglossie (non bilinguisme) par la reconnaissance de la langue vernaculaire comme langue nationale et langue officielle du Liban, ainsi que le remplacement de la graphie arabe par un nouvel alphabet se distinguant considérablement des systèmes de translittération. L'absence des tentatives de la standardisation du libanais prouve que l'idée de langue libanaise est un phénomène purement idéologique. La thèse présente l'analyse critique de notation du corpus dans le cadre de la dialectologie arabe. Les procédés argotiques (langage enfantin, hybridation avec un rôle important du turc, régionalismes, renvoi à un référent sexuel, vulgarismes, considérés par le poète comme non recevables par la norme du libanais littéraire) visent à discréditer des adversaires politiques (les Palestiniens, certains politiciens libanais et étrangers). La purification du lexique s'inscrit dans le cadre du " phénicianisme " (supériorité supposée de la culture phénicienne sur les civilisations: européenne et arabe) et du " libanisme " tentant de séparer le Liban du monde arabe. L'intellectualisation du libanais (enrichissement de la terminologie des sciences humaines) s'effectue surtout par des emprunts (arabe standard compris) et avec un rôle connotatif du français. La modernisation du libanais (ajustement aux sommations contemporaines, imposées par l'essor technologique) se caractérise par une fluctuation des calques et par l'adaptation des emprunts aux systèmes: phonologique et morphologique du libanais
The doctoral thesis analyses the idea of the Lebanese language in the trunk of the linguistic nationalism by the Lebanese poet and politician, Sa'Ìd 'Aql. Its "double language revolution" assumes the reduction of diglossia in Lebanon by making the Lebanese dialect a national and an official language of Lebanon and replacing the Arabic alphabet with a new one, created by the poet and based on the Latin alphabet. The most important part of the corpus in the new alphabet was Sa'Ìd 'Aql's political instrument, weekly "Lebnaan", published in the new alphabet from 1983 to 1988. The thesis analyzes the system of notation in the new alphabet in the trunk of the Arabic dialectology. It describes the language planning which intends to compensate the lacking prestige of Lebanese vernacular towards the standard Arabic by the enrichment of the terminology of the human sciences (the intellectualization of the "Lebanese language" by borrowings, neologisms, with a special role of French as a connotative language). The expressive language of "Lebnaan" has the common points with a jargon (baby talk, hybridization, sexual references, regionalisms considered as non normative for the literary Lebanese, etc. ). The purification of the Lexis in our corpus is coherent with the "Phoenicianism" (supposed superiority of the Phoenician culture over the European one) and with the anti-Arabic tendencies in the trunk of the "Lebanism" of the analyzed movement. The modernization (which we distinguish from the intellectualization) of the Lexis in the weekly "Lebnaan" is characterized among others by the fluctuation as regards to the loan translations, their functional and stylistic co-existence with the Arabic Lexis and their different adaptation into the Lebanese phonological and morphological systems. The absence of the standard planning of Lebanese proves that the idea of the Lebanese language has an ideological, not linguistic aspect

Emile Nelligan est un poète de référence. Il est vrai qu'il a été le premier à s'exprimer à la première personne du singulier et à utiliser des images singulièrement fortes. Son talent a été découvert par Louis Dantin qui l'a préfacé. Sa célébrité a été renforcée par quelques apparitions aux séances de l'école littéraire de Montréal. Cette poésie sans référence au pays natal a généré une querelle entre exotistes et régionalistes. L'hommage rendu au poète incitera des amateurs à écrire. Rejean Ducharme fera réciter ses vers par ses personnages de roman, tous des adolescents épris de liberté. Charles ab der Halden fut le défenseur, en France, de la poésie canadienne-française et de Nelligan. Cette poésie est si énigmatique que la mise en parallèle de différentes interprétations du poème La vierge noire aide à une meilleure interprétation. Emile Nelligan initie la poésie de l'intériorité. Un rapprochement avec Arthur Rimbaud s'impose tant les deux grands mythes sont comparables. Poète de la solitude, Emile Nelligan a-t-il influencé les grands poètes contemporains? Saint-Denys Garneau qui avoue ne pas le connaitre ressent un malaise comparable mais pratique une poésie plus libérée. Alain Grandbois, par sa personnalité et sa forme poétique, s'éloigne de la poésie de Nelligan mais cherche comme lui un ailleurs pour abolir le temps et l'espace. Anne Hébert semble, par une parole libératrice, donner réponse aux sujets d'angoisse de Nelligan. Les thèmes récurrents communs à tous ces poètes permettent d'envisager un particularisme québécois. Des écrivains plus jeunes comme Normand Chaurette et Claude Beausoleil se réfèrent à Nelligan montrant ainsi que celui-ci a facilité la naissance d'une identité québécoise. C'est pourquoi Emile Nelligan appartient incontestablement à la postérité.

Etude, suivant une biographie chronologique volontairement reduite a un fil conducteur et aux evenements importants d'une crise d'adolescence particuliere. Cette crise est attestee par les lettres de jeunesse d'alexis leger, les poemes de l'epoque paloise etudies exclusivement dans leur texte pre-original et les articles de paugazette (1909-1910) qui definissent une conception des moyens techniques de toute creation artistique : musicale, picturale ou poetique. En 1909 cette tension atteint son acme et s'apaise, apres l'adieu definitif a l'etat d'enfance d'eloges, par la naissance de soi avec l'acquisition d'un langage personnel, base de la poetique perseenne. -la nature de cette crise n'est pas celle d'un simple depaysement, ni d'un bovarysme, mais le regret de cet etat de participation, "categorie" affective du surnaturel", qui devient chez l'adulte un exil de l'absolu et la recherche par l'experience poetique du retour a l'etre. -sa dynamique passe de la connaissance immediate aux chemins du langage, sous-entendue par une dialectique d'inertie-violence d'inspiration civaite, et dans laquelle la pratique du yoga n'est pas exclue. Cette recherche releve ainsi d'un pantheisme hindou, mais aussi animiste africain et pre-socratique, retrouve chez spinoza et expliquant un absolu a visage des forces elementaires. -l'instrument de la connaissance est un langage elliptique et approprie avec un rythme syllabique et tonique pindarique qui seront renforces plus tard par l'eclair de la metaphore. Ces recherches metaphysiques sont contemporaines des etudes de droit, puis de la recherche d'une carriere, finalement diplomatique. Jammes, frizeau et claudel sont les soutiens de cette evolution et l'amitie de j. Riviere ouvre a leger les portes de la n. R. F. Et celle d'andre gide. Plusieurs portraits de leger, dissemines dans le cours du texte, revelent un comportement ambigu sans etre pour autant moins attachant
A study of a particular adolescence crisis according to a chronological biography intentionally shortened to a leading thread and to its main events. Such a crisis is attested to by alexis leger's youth letters, his pau period poems exclusively studied in their pre-original text and the articles in the pau-gazette (1909-1910) that define a conception of the technical means of any artistical creation : either musical, or pictural, or poetical. In 1909, this crisis reached its climax and then died down, after a final farewell to his childhood in "eloges", and thanks to birth through acquising a language of his own as a basis of the st-john perse poetries. The nature of such a crisis does not proceed from an ordinary change of surrowndings or from bovarysm but it is based on the regrets of that state of participation, an affective category of the supernatural, which becomes for an adult an exile from the absolute, and the quest of the return to the being through poetical experience. Its dynamics go through the immediate knowledge to the ways of language resting on a civaist inspired dialectic of inertia-violence from which the practice of yoga is not ruled out. Therefore such a quest partakes of an indian as well as african animist and pre-socratic pantheism, also to be found in spinoza and accounting for an absolute represented by the elementary forces. The instrument of knowledge is an elliptic and proper language with a syllabic and tonic pindaric rythm, later on reinforced by the lightning of metaphore. These metaphysical quests were led in the same time as studying law and, later on, looking for a career, eventually to be found in the diplomatic service. Jammes, frizeau and claudel supported such an evolution and j. Riviere's friendship opened the gates of the n. R. F. , and also andre gide's, for leger

The imagery in Jackson Pollock's three extant sketchbooks which date from c.1934-1939 is dependent on that of other artists, especially El Greco, Rubens and Tintoretto. By 1947 however, the painter achieved a mature synthesis, distinctly his, which influenced contemporary painting, and was seminal for the work of a number of artists of the succeeding era. This dissertation is an attempt to document the phases of Pollock's artistic style from the early 1930s through to the middle 1950s, and to investigate the forces which may have catalyzed his temperament and precipitated his late style. The early sketchbooks begun in c.1934 represent Pollock's engagement with the art of the Old Masters and the teaching techniques of Thomas Hart Benton that utilized works from the Renaissance. The third sketchbook from c.1937-1939 induced him to re-examine the work of the Old Masters in a dialectical approach which incorporated new masters with old, but remained preoccupied with the sacred imagery found in the first two books. It is a resolution of these seemingly opposing modes of representation which produced several influential paintings in the early 1940s, including Guardians of the Secret and Pasiphae. At the same time these works display structural emulations related to those of Old Master paintings that would become increasingly prominent in Pollock's art. The canvases of 1947-1950, produced in what is commonly termed the “Classic Poured Period,” appear to represent a quantum leap beyond the concerns of Old Master works and European precedents. By this point Pollock had developed a fluency and assurance in his use of color and line that seems to extend further than the studied paradigmatic repetitions of his early sketchbooks. However, despite the radically new technique his paintings still exhibit pictorial and formal infrastructures derived from Renaissance paintings which were absorbed into Pollock's new idiom with surprising ease. In 1951 Pollock enters what Francis V.O'Connor termed as ‘his fourth phase'. The Black paintings of 1951-1953 betray a further exploration and adaptation of Old Master ideas, both iconographic and aesthetic and were created in Triptychs and Diptychs, typical altarpiece formats. With these paintings Pollock's forms acquired a confident plasticity and invention derived from the sculptural practices of Michelangelo, and progressively fewer individual images are quoted verbatim. An understanding of Pollock's early preoccupation with old Master painting is essential to comprehend the formation of the aesthetics of much of his later art. Significantly the underlying infrastructure remains fixed to old Master precedents and it was precisely these models of Renaissance and Baroque art which became the medium through which his mature synthesis was achieved.

Le titre de cette thèse renvoie, de manière explicite, au célèbre recueil de Pier Paolo Pasolini Les cendres de Gramsci. L’influence de Pascoli sur Pasolini n’explique qu’une partie du titre. Les cendres de Pascoli se réfèrent plus précisément à la réception du poète de San Mauro, avec une attention spéciale portée à ce qui reste de son travail. À cet égard, de la fin du XIXe siècle jusqu’aux années soixante du XXe, la continuité de la critique pascolienne a joué un rôle central. C’est à la fin de ce parcours qu’il nous est apparu que les différentes voix de la critique ont fini par dialoguer entre elles, en composant comme un réseau et en renvoyant au lecteur une image vivante de Pascoli et de son œuvre. Gianfranco Contini et Pier Paolo Pasolini n’auraient pas pu marquer un tournant dans la réception de l’œuvre de Pascoli s’il n’y avait pas eu au début du XXe siècle les critiques de Emilio Cecchi, Arturo Onofri ou de Renato Serra. De leurs études émerge l’image de Pascoli poète de la modernité, un aspect que Jean-Charles Vegliante réaffirme encore aujourd’hui, en soulignant jusqu’à quel point la poésie de Pascoli a continué à agir sur la littérature nationale, le Montale des Ossi par exemple, et au delà. Et cela en dépit du discrédit que les critiques de Benedetto Croce ont jeté sur l’œuvre de Pascoli, au point de le considérer le « poeta delle maestrine ».La continuité de la critique nous a permis aussi de saisir l’importance du contexte historique dans la réception littéraire. À côté de l’étude diachronique, nous avons développé un travail sur deux poèmes parmi les plus emblématiques de Pascoli – Italy (cinquième chapitre) et Gog et Magog (huitième chapitre) –, afin de comprendre les idéologies sous-jacentes aux différentes approches que nous avons essayé de reconstituer. Ce choix n’a pas été anodin, ces deux poèmes, au cœur du travail mythopoïétique de Pascoli, ayant divisé les critiques. Aujourd’hui Pascoli, dont les qualités poétiques permettent de remonter jusqu’à Dante et Pétrarque, représente un des Italiens majeurs qu’il serait important de faire mieux connaître en France
The title of this thesis refers, explicitly, to the famous Pier Paolo Pasolini’s collection, The ashes of Gramsci. Pascoli’s influence on Pasolini explains only in part the title of the thesis. The ashes of Pascoli refers more specifically to the reception of the poet of San Mauro, together with a special attention to the effects on his work. According to this point of view, the continuity of Pascolian criticism has played a central role: from the end of the nineteenth century until the sixties of the twentieth century. It was at the end of this journey that it became clear to us that the different voices of criticism ended up interacting with each other, composing a network and giving a living image of Pascoli and his work to the reader. Gianfranco Contini and Pier Paolo Pasolini could not have marked a turning point in the reception of Pascoli’s work if he had not received the criticisms from Emilio Cecchi, Arturo Onofri or Renato Serra at the beginning of the 20th century. In their studies the image of Pascoli clearly emerges as poet of modernity, an aspect that Jean-Charles Vegliante still reaffirms today, highlighting as the poetry of Pascoli has continued to act on the national literature, for example on Montale of the Ossi, and beyond. And this in spite of the discredit that the Benedetto Croce's criticisms have cast on the work of the Pascoli to the point of considering him as the “ poeta delle maestrine”.The continuity of the criticism has also allowed us to grasp the importance of the historical context in the literary reception. Alongside the diachronic study, we have developed a work on two of the most emblematic poems of Pascoli – Italy (fifth chapter) and Gog and Magog (eighth chapter) – in order to understand the ideologies underlying the different approaches we have tried to reconstitute. This choice was not insignificant. These two poems, at the heart of the mythopoetic work of Pascoli, have divided critics. Nowadays Pascoli, whose poetic qualities make it possible to go back to Dante and Petrarch, represents one of the major Italian poets that it would be really significant to make him known in France

Philosophiquement le XXème siècle est de bien des façons un siècle existentialiste où l’existence est pensée comme transcendance du monde dans l’attente. Selon l’existentialisme l’homme est à la fois dans le monde et outre le monde car si la situation nous transcende dans sa factualité nous la transcendons par notre volonté. Pourtant pour l’existentialisme de l’échec rien – si ce n’est la mort – ne peut vraiment libérer l’homme de la situation de fait du monde historique: sa seule transcendance peut alors être seulement dans le sentiment d’une impossibilité de la transcendance et donc dans conscience de l’échec. On retrouve poétiquement cette situation d’échec dans le mythe d’Orphée où elle interroge métalogiquement le pouvoir de l’acte poétique. Au-delà de l’orphisme religieux le mythe d’Orphée nous propose alors la vision d’un chant qui est à la fois désenchantement nostalgique et enchantement épistémique et donc respectivement lamentation pour ce qui n’est plus et admiration pour ce qui est. Orphique est donc la mélancolie nostalgique qui en vain veut transcender le présent dans le passé mais qui toutefois en tant que phonie magique transcende le présent dans le futur. On peut alors pour le XXème siècle poétique parler d’existentialisme orphique et recenser certaines de ses manifestations les plus éminentes. Dans la poésie italienne le poème L’ultimo viaggio (1904) de Pascoli présente un syntagme – non esser più – qui porte à lui seul une problématique existentialiste – aussi bien dans son mode nostalgique négatif que dans son mode épistémique affirmatif – que l’on retrouve de manière tout aussi forte chez Ungaretti et Montale et Pasolini où l’aspiration à l’être vit indiscutablement dans la désolation du ne plus être. Ces quatre poètes sont alors affrontés selon une même méthode herméneutique qui actualise la microcritique d’un syntagme fortement circonstanciel – non esser più pour Pascoli, equivoco della luna pour Ungaretti, eternità d’istante pour Montale et grin di cristàl pour Pasolini – par la macrocritique du corpus poétique de chaque poète afin d’interroger – tout au long du XXème siècle – diverses modalités d’un même existentialisme orphique
Philosophically the 20th century is in many ways an existentialist century where the existence is thought of as transcendence of the world in the expectation. According to existentialism man is at the same time in the world and beyond the world because if the situation transcends us in its factuality we transcend it by our will. Yet for the existentialism of failure nothing – except death – can really free man from the factual situation of the historic world: his sole transcendence can only be in the feeling of the impossibility of transcendence and thus in the consciousness of failure. Poetically we find this situation of failure in the myth of Orpheus where the power of the poetic act is questioned metalogically. Beyond the religious orphism the myth of Orpheus offers us the vision of a chant which is at the same time nostalgic disenchantment and epistemic enchantment and therefore respectively a lamentation for what is no more and admiration for what is. Thus orphic is the nostalgic melancholy which in vain wants to transcend the present in the past but nontheless as a magic word transcends the present in the future. So for the 20th poetic century we can speak of orphic existentialism and list some of its most eminent manifestations. In the Italian poetry the poem L’ultimo viaggio (1904) by Pascoli presents a phrase – non esser più – which carries of its own an existentialist problematic – both in its negative nostalgic way as in its affirmative epistemic way – that we find with equal force in Ungaretti and Montale and Pasolini where, without any doubts, the aspiration to the being lives in the desolation of the no longer being. These four poets are thus faced with the same hermeneutic method which actualizes the microcriticism of a strongly circumstantial phrase – non esser più for Pascoli, equivoco della luna for Ungaretti, eternità d’istante for Montale and grin di cristàl for Pasolini – via the macrocriticism of the poetic corpus of each poet in order to question – all along the 20th century – different modalities of one and the same orphic existentialism

La présente thèse étudie la transformation de l’Italie vers la postmodernité (1957-1978) à travers le cinéma de trois auteurs : Michelangelo Antonioni, Federico Fellini et Pier Paolo Pasolini. Elle explore l’historicité du cinéma, en interrogeant la manière par laquelle le septième art constitue une mise en forme et une écriture de l’histoire. Dans la convergence de deux histoires, celle humaine et celle du cinéma, elle met en récit l’expérience de la transformation sociétale et artistique. En dernière analyse, il est question d’étudier le cas italien comme un paradigme. En réactualisant les propositions des trois cinéastes dans le contexte contemporain de la mondialisation, de l’hypermédiatisation et de la domination technologique, le présent travail nous invite à repenser la vie humaine et la création artistique face aux défis de la postmodernité
This thesis examines the transformation of Italy towards postmodernity (1957-1978) through the cinema of three film directors: Michelangelo Antonioni, Federico Fellini, and Pier Paolo Pasolini. It explores the historicity of cinema, by questioning the concrete means through which film constitutes a form and a writing of history. In the coming together of two histories, the human one and that of the cinema, the thesis recounts the experience of a societal and artistic transformation. In the final analysis, it is a question of studying the Italian case as a paradigm. By updating the proposals of the three filmmakers in the contemporary context of globalization, hypermedia and technological domination, this work invites us to rethink human life and artistic creation, facing the challenges of postmodernity

Tese de mestrado, Escultura, Universidade de Lisboa, Faculdade de Belas Artes, 2014
This dissertation focuses on the use of stone as a material for sculptural creation throughout the twentieth century in Portugal. It seeks to approach the issue not just from a technical point of view but also to include the history, art theory, aesthetics, social and cultural context - national and international, mostly from Europe – as considered essential to an overall assessment on the proposed topic. The text is divided into three categories related to stone sculpture: the sculptors and their work; the material’s history and theory; and the technique. The sculptors and the works mentioned were chosen for their plastic, aesthetic, technical or historical interest. The analysis on the works is organized into various themes related to the sculpture of the twentieth century, giving on each theme a national and international context. The concept of sculpture in general and their materials are also discussed, in particular the subject matter – stone: the different rock types; their application in sculpture throughout history, the changes in the context of the world of art and its consequences. The technique is exclusively dedicated to stone sculpture techniques: the tools; the different working methods; the technical developments - the modern technologies and working means. The working methods are divided in two phases: the classical system and the modern system; the former referring to the methods of the eighteenth and nineteenth centuries – which remained in use even into the twentieth century; and the second refers to the innovations in technology and the new ways of working stone of the twentieth and twenty first centuries

Tese de doutoramento, Ciências e Teorias da Arte, Universidade de Lisboa, Faculdade de Belas Artes,2009
A Nova-Figuração emergiu com sentido histórico por oposição ao domínio da arte abstracta no segundo pós-Guerra. Pertencendo a um tempo cultural pós-metafísico e sem a mesma consistência da percepção do real e da verdade, ela redefiniu a questão da figuração fora da autoridade e exclusividade do sistema tradicional de representação. A figura já não apresentava a mesma estabilidade ontológica, para passar a operar experimentalmente, em pluralidade e abertura. Enquanto na arte ocidental ela enquadrou movimentos como Pop Art, Nouveau Réalisme ou Figuration Narrative, no caso português verifica-se uma síntese destas orientações, localizadas particularmente em cada percurso artístico. Foi paralelamente à superação da querela neo-realista entre forma e conteúdo, como depois da querela entre figuração e abstracção necessária à afirmação da abstracção nos anos 50, que emergiu a nova-figuração ao longo da década seguinte. Perante novos projectos figurativos a crítica de arte participou na construção da noção de «nova-figuração», definindo um espaço cultural próprio na arte portuguesa. Numa primeira fase entendemos a génese criativa da nova-figuração como processo ainda assente numa superação de experiências abstractas (na primeira metade dos anos 60), com destaque para os projectos de Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro ou António Areal. Activando o esforço de reinvenção de tradições figurativas, sobretudo herdadas do surrealismo e do neo-realismo, desenvolveram-se as obras de Eduardo Luiz, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis ou Sá Nogueira. Outros nomes surgiram na segunda metade da década ou seguinte, já sem necessidade de superar a recente tradição abstracta, casos de Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, entre outros. Na dinâmica portuguesa a nova-figuração permitiu reequacionar as vanguardas numa exploração experimental que, ao contrário da abstracção, era dirigida ao mundo e o abarcava. Abstracção; Arte Portuguesa; Figura; Nova-Figuração; Representação.
In the aftermath of World War II, New-Figuration emerged as an historically significant trend in opposition to Abstract Art. As a style belonging to a post-metaphysical cultural period (without the same solid perception of “realness” and of “truth”), it redefined issues of figuration outside the authority and exclusivity that characterized the traditional system of representation. In these new settings, figuration ceased to present the same ontological stability and started to function at the experimental level with plurality and openness. While in western art it framed movements such as Pop Art, Nouveau Realism or Narrative Figuration, in the Portuguese fine art scene we find a kind of synthesis of all these artistic tendencies, marking idiosyncratically each artist’s production. Neo-Figuration emerged in the 60s as a result of the double quarrel that opposed form and content (neo-realism quarrel) on the one hand, and figuration and abstraction (crucial for the establishment of abstraction in the 50s) on the other. Facing emergent figurative works of art, Portuguese art criticism was involved in the construction of neo-figuration as a concept that resulted in the definition of a cultural space of its own in the Portuguese fine arts field. In this dissertation we depict firstly the creative genesis of New-Figuration as a process that was constructed in the aftermath of the abstract experiences of the first half of the 60s, as it can be emphasized in the work of artists such as Joaquim Rodrigo, René Bertholo, Lourdes Castro, Costa Pinheiro or António Areal. However, stimulated by the idea of reinvention of figurative traditions (mostly inherited from Surrealism and Neo-Realism), artists such as Eduardo Luis, Carlos Calvet, Cruz-Filipe, Júlio Pomar, Nikias Skapinakis or Sá Nogueira, developed their work. Some other names emerged in the second half of the 60s and throughout the 70s that did not demonstrate the need to move beyond the abstractionist tradition. This is the case of Henrique Ruivo, Álvaro Lapa, Palolo, Jorge Martins, Batarda, José de Guimarães, Noronha da Costa, among others. In the Portuguese fine arts scene, New-Figuration allowed rethinking the avant-garde, and contrary to abstractionism, it was directed to the world, while embracing it at the same time. Abstraction; Portuguese fine arts; Figure; New-Figuration; Representation.