Dissertations / Theses: 'Ideological and aesthetic reception'

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Dempsey, Sinead. "Aesthetic and ideological trends in the reception of Mendelssohn's music in nineteenth-century Germany." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504770.

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This dissertation investigates trends in the critical reception of the music of Felix Mendelssohn Bartholdy in the second and third quarters of the nineteenth century; more precisely, from the earliest reviews ofhis works to appear in the German musical press (1824) up to the controversy provoked by Wagner's 'Judaism in Music' (1869). The reasons for this fifty-year span are twofold: first, to consider the changing dynamics in critical reactions towards the composer in greater detail than a broader time frame would afford; and second, to avoid the historical determinism present in our existing picture, which assumes a direct link between the anti-Semitic dimension of Mendelssohn reception in the 185Os and the composer's treatment in the Third Reich. In identifying and explaining changes in the reception ofMendelssohn's output, this . study explores some ofthe aesthetic and ideological issues shaping its evaluation. As such, it touches on many aspects ofnineteenth-century thought and culture. In'addition to revising and clarifying the existing picture ofMendelssohri's reception, secondary outcomes of this study include an elucidation of the aesthetic stances and competing agendas of a diverse selection ofpolemicists and critics such as Adolf Bernhard Marx, Eduard Hanslick, Eduard KrUger, Heinrich Heine, Robert Schumann, Franz Brendel, Richard Wagner, Richard Pohl, Peter Cornelius, Franz Liszt, Wilhelm Heinrich Riehl, Emil Naumann and Felix Draeseke. Thus, this dissertation aims to contribute to our broader understanding of music criticism and aesthetic discourse in this period.

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Staskievicz, Jurata. "Aesthetic and ideological functions of time and space shifts in the postmodernist narrative." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_174222-28427.

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The purpose of this study was to analyze aesthetic and ideological functions of time and space shifts in the postmodernist narrative. The paper investigates the problems of time and space relationships in literary discourse and is based on the material of famous postmodern novel by Kurt Vonnegut, Jr. Slaughterhouse – Five Or The Children’s Crusade A Duty – Dance With Death. The textual features expressed by space and time relations have not received enough attention in English critical literature. However, provides a continual response to the importance of time and space notions which are often included as part of the themes in the genre of novels. The method chosen for the study was descriptive. The paper consists of two basic parts and their subdivisions. The first part examines the differerences between traditional and postmodernist narrative discourse. The second focuses on the aesthetic and ideological functions of time and space shifts in the above mentioned novel by Kurt Vonnegut, Jr. In the introduction some general characteristics of the narrative structure are outlined. A narrative structure is usually defined as a story which develops in time and space. But the simpliest way of conceiving a narrative is presenting it as a series of events in specific order with a beginning, a middle and an end. The structuralist theoretician Genette distinguishes such features of a narrative: discourse, story and narration. The theoreticians ( Paul Ricoeur, Mikhail... [to full text]
Laiko kaita naratyve yra neatsiejama nuo erdvės, nes laiko poslinkiai visada sukelia erdvės pasikeitimą. Šiame darbe siekiama atskleisti laiko ir erdvės kaitos estetines ir ideologines funkcijas postmodernistiniame Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi. Laiko ir erdvės kaita romane apsprendžia jo struktūrines, semantines ir stilistines savybes. Pagrindinis metodas naudojamas šiame darbe yra aprašomasis. Darbas susideda iš dviejų dalių bei jų poskyrių. Pirmoje dalyje nagrinėjami skirtumai tarp tradicinio bei postmodernistinio literatūrinio diskurso. Pristatomos bendros žinios apie narratyvą bei tradiciniai ir postmodernistiniai požiūriai į literatūrinį diskursą. Tradiciniai naratologai kreipia dėmesį į romano struktūrą, laiką, įvykių seką, siužeto liniją, pasokotojo funkcijas. Postmodernistai yra priešingi tradiciniams požiūriams į naratyvo struktūrą. Jie neigia ne tik naratyvo linijiškumą bet ir pačio naratyvo ir jo elementų esmę. Postmodernistai pačiuose savo veikaluose nagrinėja kūrinio diskursą. Antroje darbo dalyje analizuojamos estetinės bei ideologinės laiko ir erdvės kaitos funkcijos Kurto Vonneguto, Jr. romane Skerdykla Nr.5 arba Vaikų Kryžiaus Žygis Privalomasis Šokis su Mirtimi. Romanas Skerdykla Nr.5 – pati ryškiausia antikarinė rašytojo knyga, kurią Vonnegutas komponuoja pasakojimo pasakojime principu, fragmentiškai pateikia sukurtą Bilio Pilgrimo istoriją ir į ją įaudžia dokumentinį... [toliau žr. visą tekstą]

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Xiang, Yu. "Ideological sinicization of China Central Television in Africa : a reception analysis of African audiences." Thesis, University of Westminster, 2018. https://westminsterresearch.westminster.ac.uk/item/q4yzw/ideological-sinicization-of-china-central-television-in-africa-a-reception-analysis-of-african-audiences.

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China’s booming investment in and trade with many African countries since the early 2000s marks the beginning of a new wave of industrial escalation on a global scale and at the same time a revived campaign for a new world information and communication order. The launch of CCTV-Africa in Nairobi, Kenya in January 2012 was a significant milestone in the ‘China media going global’ project initiated by the Chinese government in 2009. This research is aimed at conducting a reception analysis of the African audiences of CCTV-Africa from the perspective of critical political and economic media studies. The focus of this research is not limited to the audience reception of the media content produced by CCTV-Africa but also focuses on the wider context of China-Africa political and economic interactions within the global structure of capitalism. The thesis will explore how the Chinese media is paving its way in the African news market and the process of manufacturing ideological consent among its target audience of the elite classthrough the medium of CCTV-Africa news programmes by analyzing how African students in China perceive the ideology of Sinicism delivered by CCTV-Africa. Therefore, this thesis has two main aims: first, to provide a definition of ideological Sinicization through a comprehensive illustration of China’s political-economic reality as a semi-peripheral country and its political and economic interaction with the peripheral countries in Africa, deploying the revised theoretical frame of structural imperialism developed by Johan Galtung. The second goal is to look into the mechanism of the process by which CCTV-Africa news programmes represent ideological Sinicization. The term Sinicization is deployed in this research to summarize the ideological homogenization of the China-African elite class through the establishment of ‘harmony of interests’. One the one hand, as a semi-peripheral country conditioned by the contemporary global system of economy, China attempts to boost its economic interaction with peripheral countries from Africa in order to complete its domestic economic transition from semiperiphery to core. On the other hand, countries from Africa see the economic cooperation with China as an alternative opportunity to transfer their peripheral statues to semi-periphery by developing their labour-intensive industries. Therefore, there exists a consensus amongst transnational elite class underpinned by the “harmony of interest” to pursue economic growth. Such consensus is reinforced by the news of CCTV in Africa which is the state-controlled international media of Chinese government. Target audiences of CCTV in Africa, as the opinion leaders of their local societies, are more or less influenced by either the reality of China-Africa cooperation or the ideological agenda of CCTV in Africa to support such consensus. And the findings of this research achieved through content analysis and individual interviews show that the majority of the African audiences of CCTV-Africa do agree with the ideological agenda of the news channel to promote the economic development in local societies. The audience reception research of the thesis is situated within an analysis of the political and economic context, which conditions the agenda and production of the media. The extensive review of the literature of international communication studies, imperialism studies and ideology studies, contributes to establishing a theoretical framework for the empirical research. Together with the data collected from field research, it is intended that this analysis should contribute to the understanding of the development of China-Africa communication and media studies and also to the enrichment of the research topics in this field.

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Al-Omiri, Mona H. "The aesthetic experience of the Kuwaiti audience : an application of reception theory." Thesis, University of Leeds, 2007. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.486138.

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The aesthetic experience of the spectator has a continuous ability to become a new experience at every theatrical event. This thesis endeavours to explore this. phenomenon and test the variables that may influence the theatrical experience of a Kuwaiti spectator through the use and application of a survey questionnaire. In Chapter One we aimed to provide the thesis with a historical background to serve as a backdrop for the reader of this thesis to better understand the experience of Kuwaiti spectator and to know the main features and historical events that shaped the Kuwaiti society and how various historical events affected as well as shaped the Kuwaiti individual and society. The sea and the desert life, the discovery of oil and the Iraqi invasion are the main events which formulated the features of the Kuwaiti spectator. In Chapter Two we presented the theoretical framework ofthis study with emphasis on the reception theory. In Chapter Three we discussed the development ofArabic theatre as a backdrop of the Kuwaiti theatre. While the fourth chapter traces the stages ofthe development ofKuwaiti theatre' from its early beginnings to the present, Chapter Five is the presentation of the two study cases examined in this research. .. The sixth chapter is devoted to the experimental application and its results, and in Chapter Seven we have examined the correlation between the variables.

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Rubinson, Claude. "The Production of Style: Aesthetic and Ideological Diversity in the Arts and Crafts Movement, 1875--1914." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194514.

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What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts produced both organic and geometric forms. Examining two Arts and Crafts retrospective exhibitions, I find that organic aesthetics predominated in Great Britain, Scandinavian countries, and Hungary and that geometric aesthetics were more prevalent in the United States, Germany, and Austria. This finding is largely consistent with previous sociological research on artistic form, which has found that stronger political-economies are more likely to produce geometric work while weaker political-economies are more likely to produce organic work. Austria, however, is a contradictory case and here the Arts and Crafts movement was more geometric than the political-economic model would predict.Through a comparative-historical study, I determine that the cause of aesthetic diversity of the Arts and Crafts movement was not per se a region's political-economic situation. Rather--and in contradiction to existing sociological theories of artistic style--the aesthetic variation of the Arts and Crafts was a function of whether, in a given country, the movement was backward-looking or forward-looking which, in turn, was function of which Arts and Crafts principles particular regions privileged. In regions where the members of the movement emphasized the value of labor (Great Britain) or regionalism (Scandinavia and Hungary), the movement was backward-looking and characterized by an organic aesthetic. In contrast, in regions that emphasized the democratization of the arts (the United States and Germany) or artistic unity (Austria), the movement was forward-looking and characterized by a geometric aesthetic. I further argue that in order to make sense of the ideological diversity of the movement, we must appreciate that the Arts and Crafts was a cultural manifestation of a period of political and economic turbulence characterized by the emergence of the first great world-wide depression, the decline of British hegemony, and the rise of American hegemony. The Arts and Crafts movement served to buffer the disruptive effects of this period and, in doing so, helped to usher in the modern age.

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Pantoja, Jônatas Oliveira. "Benedetto Croce nos dois lados do Atlântico: os percursos de uma obra na Itália e nos Estados Unidos." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-21122016-125743/.

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Esta dissertação tem como objetivo analisar as raízes do prestígio de Croce na Itália e da recepção de suas ideias nos Estados Unidos. Interessa descobrir como ele se fez um intelectual reconhecido em seu país de origem, e quais sentidos sua obra teve entre os acadêmicos americanos. Para tanto, são aqui examinadas as condições sócio-históricas destes dois circuitos intelectuais socialmente diferenciados. A partir do exame da principal obra croceana, Estetica (1902), procura-se esclarecer como as especificidades destes universos intelectuais conferiram sentidos distintos ao pensamento de Croce.
This thesis aims to analyze the Croce prestigious roots in Italy and the reception of his ideas in the United States. Interests find out how he became an intellectual recognized in their country of origin, and which way his work has had among American academics. To that end, the socio-historical conditions of these two socially differentiated intellectual circuits examined here. From the examination of the main work of Croce, Estetica (1902), seeks to clarify how the specific features of these intellectual universes have given different meanings to the thought of Croce.

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Olsson, Eva-Kristina. "Att vara någon annan : Teater som estetisk läroprocess vid tre 6–9-skolor." Licentiate thesis, Växjö University, School of Humanities, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-889.

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The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects.

The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis.

The thesis aims to answer the following questions:

• What is required in order for theatre to create meaning and knowledge in practice within a school’s framework?

• How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation?

The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors.

The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential.

In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed.

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Gomes, Graziela Marcheti. "Uma escuta para a finitude: ensaio sobre RIO OIR de Cildo Meireles." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-10082015-113053/.

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Este trabalho é um ensaio que se propõe como forma de recepção estética da obra RIO OIR (1976-2011), do artista plástico contemporâneo Cildo Meireles. Trata-se de uma escultura sonora condensada num disco de vinil, composto, de um lado, por sons de águas captadas dos rios brasileiros (referente à palavra oir) e, de outro, de sons de risadas humanas (presentes no verbo rir/rio). O amplo processo de realização da obra deu-se por intermédio de uma expedição que percorreu quatro lugares diferentes do Brasil (Estação Ecológica de Águas Emendadas; Foz de Iguaçu; Foz do Rio São Francisco; pororoca do Rio Araguari), com o intuito de realizar a coleta destes sons. A partir desta obra e do documentário Ouvir o Rio (2011), de Marcela Lordy - que nos apresenta o processo de criação e execução da mesma -, iniciamos uma pesquisa acerca da poética do artista, suas escolhas e concepções sobre o trabalho, a partir de textos críticos e de seus depoimentos em entrevistas. O impacto da obra e, posteriormente, do documentário acerca de seu processo, levou a pesquisadora a buscar na Psicologia Social, assim como na Filosofia, na Psicanálise e na Antropologia, e também em suas próprias elaborações e memórias, estofo teórico e experiencial capaz de tornar possível a realização da recepção singular suscitada pelo contato com os dois trabalhos. Situando-se no universo da arte contemporânea, a autora partiu do campo da percepção e da materialidade da obra, composta por sons de águas e risadas, como abertura para o campo da escuta e da reflexão acerca de certa experiência que se revelou como experiência da finitude. O que a obra apresenta, portanto, pede interpretação, suscita leitura crítica; porém, só é possível realizá-la na medida em que o terreno do pensamento se abre ao não pensado e dele se fertiliza na forma de uma experiência, ou seja, como algo que nos acontece, que exige de nós criação e, portanto, nos transforma
This work is an essay which is intended as a form of aesthetic reception of RIO OIR (1976-2011), a work by contemporary artist Cildo Meireles. RIO OIR is a sound sculpture condensed in a vinyl record, which has on one side the sounds of waters collected from Brazilian rivers (relating to the word oir) and, on the other side, sounds of human laughter (which appear in the rir/rio verb forms). The extensive execution process of the work comprised a expedition through four different locations in Brazil (the Águas Emendadas Ecological Station; Foz do Iguaçu; the mouth of the São Francisco River; the pororoca of the Araguari River) in order to colect such sounds. Starting with this work and the documentary Ouvir o Rio (Listening to the River) (2011), by director Marcela Lordy, which shows us the process of creation and execution of Meireless work, we started an investigation into the artists poetics, his choices and conceptions about his work, based on critical writings and on his own statements in interviews. The impact of the work and subsequently of the documentary has led the researcher to seek experiential and theoretical background in Social Psychology, as well as in Philosophy, Psychoanalysis, Anthropology and in her own concoctions and memories, which could facilitate the production of a singular work of reception induced by the contact with both works of art. Standing in the contemporary art world, the author of this essay started from the field of perception and the materiality of Meireles work, made of water and laughter sounds, and used it as a doorway to the field of listening and thinking about a specific experience which revealed itself to be an experience of finitude. The stuff that is presented by the work hence calls for interpretation and evokes a critical reading; however, such a reading can only be accomplished if the field of thinking opens up to the unthought and allows itself to be nurtured from it in the shape of an experience, i.e., as something that happens to us, which demands creation of us and therefore transforms us

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Oliveira, Richard de. "Variações schumanianas: música e loucura no campo da recepção estética." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-08022017-093939/.

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Considerando as principais apreensões teóricas acerca da relação entre arte e loucura, define-se amplamente o propósito deste trabalho verificar as relações entre música e loucura no campo da recepção estética, enquanto subárea da Psicologia Social da Arte. Partindo sobretudo da perspectiva crítica de Michel Foucault, entre outros autores, consideramos a loucura um complexo fenômeno sócio - histórico que atravessa a cultura ocidental, e não a loucura como doença mental e o louco como fato. E dado o papel fundamental da atividade do espectador na produção e na circulação dos sentidos das obras de arte, realizamos um estudo sobre a percepção estética da obra de Robert Schumann, músico romântico do século XIX, cuja existência foi atravessada pela experiência trágica da loucura. Selecionamos alguns trabalhos significativos desse compositor e os apresentamos aos sujeitos da pesquisa, isto é, músicos eruditos, especificamente pianistas, que entrevistamos individualmente com o propósito de investigar a percepção da loucura vinculada à percepção da obra musical de Schumann. A reflexão fenomenológica a partir das percepções expressas pelos pianistas configurou três perspectivas: biográfica, psicopatológica e poética. A consideração desse conjunto teve por implicação um estudo teórico-crítico do campo multifacetado do Romantismo, estudo que focou principalmente as concepções de sujeito, universo e música ( assim como suas relações) que emergem na tempestade romântica. Tal estudo ensaístico permitiu-nos discutir mais amplamente, com base principalmente em Barthes e Merleau-Ponty (entre outros críticos e historiadores da arte), a questão arte-loucura, no tocante à música, articulada à questão vida-obra do artista, vida e obra que guardam aspectos trágicos em sua gênese e em sua forma
Considering the main theoretical apprehensions regarding the relation between art and madness, the purpose of this work is defined broadly to verify the relations between music and madness in the field of aesthetic reception, as a subarea of the Social Psychology of Art. Starting primarily from the critical perspective of Michel Foucault, among other authors, we consider madness a complex social historical phenomenon that crosses the western culture, and not the madness as a mental illness and the mad person as a fact. And given the fundamental role of the spectators activity in the production and circulation of the senses of the works of art, we conduct a study on the aesthetic perception of Robert Schumanns work, a romantic musician from the 19th century, whose existence was crossed by the tragic experience of madness. We selected some significant work from this composer and presented them to the subjects of the research, i.e., erudite musicians, specifically pianists, that we interviewed individually with the purpose of investigating the perception of madness bound to the perception of Schumanns musical work. The phenomenological reflection carried out from the perceptions expressed by the pianists constituted three perspectives: biographical, psychopathological and poetic. The consideration of this set had as an implication a theoretical critical study of the multifaceted field of the Romanticism, study that focused mainly on the concepts of subject, universe and music (as well as its relations) that emerge in the romantic storm. This essayistic study allowed us to discuss more broadly, based on Barthes and Merleau-Ponty (among other philosophers, critics and art historians), the art-madness matter, regarding the music, articulated to the artists life-work matter, life and work that hold tragic aspects in its genesis and its form

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Borges, Ellen Valotta Elias [UNESP]. "O poema concreto: um efeito de estranhamento na conduta dos leitores." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94042.

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Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:55:32Z : No. of bitstreams: 1 borges_eve_me_assis.pdf: 1006094 bytes, checksum: c7fd524a91e850355c83ef2ba8fde10a (MD5)
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Este trabalho tem por objetivo verificar a aplicabilidade dos princípios da teoria do efeito de Wolfgang Iser em textos literários com diferentes estruturas composicionais apresentados a diferentes leitores. Como corpus do trabalho utilizamos o texto bíblico “Coríntios”, a canção “Monte Castelo”, de Renato Russo, o soneto “Amor é fogo que arde sem se ver”, de Camões, e o poema concreto “Ferida”, de Augusto de Campos. Além das diferentes estruturas, consideramos a temática do amor e as relações de intertextualidade presentes nos textos. Ao entrevistarmos um grupo de trinta homens e trinta mulheres, procuramos observar o efeito estético na recepção dos textos. Verificamos que houve uma grande preferência pelo texto bíblico e um maior estranhamento em relação ao poema concreto, o que nos fez redefinir o corpus da pesquisa. Utilizamos, desta forma, o poema concreto para analisar os elementos que causaram seu estranhamento pelos leitores. Considerando o texto literário um conector entre o sujeito e a realidade, nosso intuito foi verificar em que medida a percepção dos elementos estéticos aproximou o leitor da função comunicativa do texto ficcional ou nos mostrou o quanto uma leitura escolarizada pode significar uma prática social que, mais do que formar, deforma, transformando leitores reais em simples ledores de textos literários
The aim of this study is to understand the theory of aesthetic response and check its application to literary texts read by different readers. The corpus consists of four texts with different structures: text 1 – THE biblical text “Coríntios”, text 2 - The lyrics of “Monte Castelo”, by Renato Russo, text 3 - the concrete poem “Ferida”, by Augusto de Campos and text 4 - the sonnet “Amor é fogo que arde sem se ver”, by Camões. The selection of texts took into account not only the different text structures but also the love theme and the intertextuality among the texts. We interviewed thirty men and thirty women to check the aesthetic response in the readers' receptions of the texts. The biblical text was the favorite one and the concrete poem was not so appreciated by the readers. These data led us to modify the corpus. So, we focused on the concrete poem in order to analyse elements that triggered the different response from the readers. Considering the communicative role of literary texts, which approach man and reality, we wanted to understand how relevant the esthetic elements are to the communicative role of literary texts as well as to check the relationship between basal reading and social formation, which can form, deform and transform real readers into innocent readers of literary texts

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Sousa, Glória Regina Carvalho de. "Quando as palavras pintam cenas: um estudo da construção de imagens na obra Crônica da casa assassinada, de Lúcio Cardoso." Universidade do Estado do Rio de Janeiro, 2009. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1008.

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Esta dissertação pretende analisar a construção da narrativa de Crônica da casa assassinada, de Lúcio Cardoso, investigando as cenas pictóricas que se formam por meio do preenchimento dos vazios textuais e da interpretação dos elementos ficcionais que contribuem para que a obra provoque a interação do leitor com sua linguagem poética. Neste sentido, o trabalho deverá se voltar para a observação do processo de formação de imagens, fruto da interação entre a dinâmica movimentação dos ambientes da obra com os conflitos dos personagens, levando-se em consideração a função social desempenhada pela propriedade Chácara dos Meneses. Serão também observados os atributos da narrativa que a caracterizam como estrutura provocadora de variadas possibilidades interpretativas. A análise será realizada à luz da Teoria do efeito estético, de Wolfgang Iser, bem como de outras teorias e críticos que auxiliaram a pesquisa a que me propus realizar.
This paper aims to analyze the narrative construction in Crônica da casa assassinada, by Lucio Cardoso, by investigating the pictorial scenes which are built up by the filling in of textual blanks and the interpretation of those fictional elements which help the novel to bring out a readers interaction with its poetic language. In this sense, the work should be geared to observing of the image-formation process, resulting from the interaction between the dynamic movement of the environments in the narrative, with the characters conflicts, taking into account the social role played by the Chácara dos Meneses property. The narrative attributes which feature the novel as a structure fostering various interpretative possibilities should be observed. The analysis shall be carried out in light of Theory of äesthetic response, by Wolfgang Iser as well as other theories and other critics opinions, which have been instrumental in the research I undertook to carry out

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Franzon, Érica Cristina de Souza. "A imagem midiatizada da morte de Aylan Kurdi : experiências estéticas e poéticas /." Bauru, 2020. http://hdl.handle.net/11449/192626.

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Orientador: Laan Mendes de Barros
Resumo: Esta tese tem por objetivo discutir a contribuição da experiência estética aos estudos da comunicação midiatizada a partir do fenômeno de interpretação da imagem de Aylan Kurdi, pequeno refugiado sírio morto numa praia da Turquia. Toma-se com ponto de partida a imagem na perspectiva da cultura e tratada como um objeto estético que se oferece à percepção estética, que se dá na experiência sensível. A experiência estética é compreendida no seu aspecto relacional, enquanto percepção ativa do espectador diante do objetivo estético midiatizado. Por sua vez, a comunicação é tomada em uma dimensão estética com a participação dos espectadores nas dinâmicas de produção e partilha de sentidos e de afetos. Com as possibilidades de reelaborações e compartilhamentos, as experiências estéticas se desdobram em experiências poéticas, conectadas com possibilidades dialógicas e dialéticas entre os sujeitos, em relações de reconhecimento e de alteridade. A tese fundamenta-se na pesquisa bibliográfica e na análise da imagem e suas releituras, com a elaboração de seis categorias temáticas e três eixos analíticos: temporalidades, territorialidades e mediações. O estudo identificou que alguns temas foram mais recorrentes nas criações dos espectadores de acordo com os elementos formais utilizados, associando a cena com circunstâncias religiosas, políticas e relativas à cotidianidade da criança. As releituras também tiveram aspectos que expandiram a interpretação da cena para manifestações de rua, pe... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This is the objective of discussing the contribution of aesthetic experience to studies of mediatized communication, based on the phenomenon of image interpretation of Aylan Kurdi, a small Syrian refugee who died on a beach in Turkey. It is taken as a starting point in the image in perspective of culture and treated as an aesthetic object that offers aesthetic perception, that offers a sensitive experience. The aesthetic experience is understood in its relational aspect, while the spectator's active perception is facing the mediatized aesthetic objective. In turn, communication is taken on an aesthetic scale with the participation of viewers in the dynamics of production and sharing of meanings and affections. With possibilities for re-elaborations and sharing, as aesthetic experiences unfold in poetic experiences, connected with dialogical and dialectical possibilities between the subjects, in relationships of recognition and change. This is a bibliographic and image analysis study and its reinterpretations,with an elaboration of six thematic categories and three analytical axes: temporalities, territorialities and mediations. The study identified that some themes were more recurrent in the spectators' creations according to the formed elements used, associating a scene with religious, political circumstancesandthe child's usual use. The reinterpretations also had aspects that expanded the interpretation of the scene to street demonstrations, performances, graffiti and monum... (Complete abstract click electronic access below)
Doutor

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Olsson, Kenneth. "Le discours beur comme positionnement littéraire : Romans et textes autobiographiques franςais (2005-2006) d'auteurs issus de l'immigration maghrébine." Doctoral thesis, Stockholms universitet, Institutionen för franska, italienska och klassiska språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-64072.

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The subject of this thesis is the contemporary literature written by the sons and daughters of North African immigrant families in France. Its main area of investigation is the place of this literature in the French literary field, in the Bourdieusian sense of the term, and the discursive features which motivate the ethnic based label of “Beur literature”. The study has a double approach in investigating both the argument for the socio-ethnic categorisation, and the reception of this literature in the French press. The literary corpus consists of twenty works from 2005 and 2006 by eighteen Beur writers. Thirteen of these works are subject to literary analysis. These are novels by Akli Tadjer, Zahia Rahmani, Faïza Guène, Mabrouck Rachedi, El Driss, Mohamed Razane, Houda Rouane, Nora Hamdi, Nor Eddine Boudjedia and Touhami Moualek, and three autobiographical narratives written by Razika Zitouni, Abel El Quandili and Aziz Senni. The press corpus from the corresponding period covers 14 titles of French national and regional daily papers, 8 titles of weekly general press and 6 titles of periodicals of literary and social debate. According to my hypothesis, the Beur fiction and the autobiographical narratives of my corpus are based on a common discourse that is expressed through certain literary means. A frequent strategy found in the novels is the subversion of French classics. Another feature is the constant referral to the French republican values. The novels share the latter of these two strategies with the autobiographical stories. This can be interpreted as resulting from a communication between a literary discourse and a social discourse which points toward a common ideological foundation. It also reveals the specific “Frenchness” of a literature that is often classified as “francophone” rather than “French” literature. The study of the journalistic reception confirms this aspect by the frequent referral of its authors to their ethnic and social origins.

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Kastler, Benoît. "Des âges au cinéma : la culture cinématographique des jeunes spectateurs." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3063.

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Ma thèse s’intitule « Des âges au cinéma : la culture cinématographique des jeunes spectateurs ». Elle se consacre à l’étude de la socialisation au septième art sous la perspective privilégiée de l’âge, variable déterminante, sans néanmoins réduire la recherche à une analyse uni-factorielle.Pour mieux comprendre l’action de la variable d’âge, nous la décomposons dans une première partie en traitant de notions connexes essentielles ; l’individu, la mémoire, les interrelations sociales, le temps et le corps. L’âge n’est plus entrevu au singulier : il laisse place à une pluralité d’âges que l’on décompose en quatre échelles distinctes : l’âge que j’ai, l’âge des autruis matérialisés, l’âge de société, l’âge des objets. Preuve est faite que tout acteur et a fortiori tout spectateur croise ces échelles au quotidien pour se construire et pour construire le monde qui l’entoure. De fait, les façons dont nous appréhendons l’art en sont un exemple flagrant. Par entrecroisements constants d’échelles mis au jour grâce aux jugements, positions, réflexions émises en situation, les âges, leur conception et leur prise en compte se révèlent comme formateurs particuliers de goûts. Dans l’absolu, ces échelles peuvent se lire comme espace virtuel déployant tous les possibles. Néanmoins et en situation, leur entrecroisement est lié à une construction individuelle et collective, toujours parcellaire, et le croisement des échelles qu’exercent chaque acteur selon la mesure qu’il en fait, aboutissent finalement à des positions, des dispositions et des postures spectatorielles.La seconde partie de ma thèse est alimentée de cet état de fait et se focalise sur les structures socio-politiques de la socialisation au septième art. Elle dresse en premier lieu une étude approfondie de la réception du cinéma d’animation qui est l’un des genres initiatiques principaux de l’enfance, cela depuis des décennies. Cette partie s’attache ensuite à suivre l’avancée en âge, les interrelations qui lui sont corrélatives et significatives dans la socialisation au cinéma. Elle rend également compte de la mémoire que l’on garde de sa prime enfance ainsi que de ce que ce passé implique dans la socialisation actuelle de la jeunesse. Vers 11-12 ans, le cinéma est marqué par l’encadrement d’une censure qui va decrescendo avec l’avancée en âge. Dès lors qu’on grandit, non seulement nous dépassons progressivement des seuils, étant ipso facto amené à découvrir de nouveaux genres, mais nous les appréhendons à travers de nouveaux cercles sociaux : sont donc abordés les changements de structures relationnelles qui participent de cette socialisation et leurs implications. En termes génériques, l’initiation aux scènes de volupté cinématographique et au cinéma d’horreur nous sont apparus comme deux moments décisifs, déployant sous les yeux de la jeunesse de nouvelles épreuves amenant conjointement à de nouvelles réflexions sur le social. S’ensuit les derniers chapitres de la thèse où j’expose, à l’aide de mes enquêtes, comment se construit le goût à travers le discours, quels sont les critères pertinents de mesure de la qualité cinématographique à cet âge, mais également comment le cinéma s’avère un laboratoire social, mieux : un des laboratoires de la construction de soi et du monde.Cette thèse s’appuie sur les données d’une enquête qualitative. Elle déploie des méthodes variées : entretiens individuels, ateliers collectifs en collège et dans des locaux associatifs regroupant au total une soixantaine d’informateurs issus de France, de Belgique, du Luxembourg, de Hollande, d’Allemagne et du Maghreb. Mes informateurs privilégiés ont d’abord été les jeunes, suivis de près par leurs parents. Cette recherche et la construction de ses axes sont le fruit d’un mouvement ascendant – proche en cela de la méthodologie par induction d’Howard Becker –, c’est-à-dire partant des informateurs pour remonter vers la construction de concepts grâce au traitement progressif des données recueillies
My thesis title is « ages and cinema : the cinematographic culture of young spectators ». This work deals with the seventh art socialization among youth and focus on the determinations of age – known as one of the most important sociological variable to understand societies – to select, taste and appreciate feature movies and series.In order to understand better its action, we decompose age between four different scales in the first part : individual age, socio-collective age, historical age and age of the objets surround us. This categories aren’t closed on themselves : they are combined by the actors to analyse and interprete arts and situations. Each temporality fragment known or imagined on each scale, lived or remembered by the actor can be mobilised as an appreciation’s tool. Theorising each age is a long work which necessits a better comprehension of individuality, memory, social interrelations, time, histories and body growth. We demonstrate that everybody embodies and crosses different fragments of different scales in everyday life to understand himself, the world surrounding and ultimately, the feature films content. Ways to understand, judge and appreciate art are a good field for studying temporal relations because arts objects are relatively preserved in time and tell about societies of the past. Each situation, person, object is structured by different kind of virtual or lived temporalities. When they are crossed according to the actor’s knowledge and his society position, they bring to different ways of art’s pleasure.The second part of my thesis shapes the first theorical one. It analyses the youth cinematographic culture. Thirty-four young spectators contributed to my sociological survey. They were aged from eight to fourteen years old. I studied the present socio-political structures in France and Europe leading to different forms of cinematographic socialisation. This part copes with the first feature movies rememberances – which are almost always composed by animation movies passed on by the parents – and their role in present art appreciation. At the age of the participants, the cinematography faces a global censure agreement : violent features are banished. Nevertheless, growing means to socialized with, that’s why two chapters of my thesis are consacred to the reception of more violent types of show at this ages, like the horrific gender for example which is often enjoyed by the youth. I try to understand how young people assimilate, step by step, the dark side of the world, the one which was previously hidded for their own safety. However, it is now a requirement of growth to mix with this forbidden shows. Peer reinforcement and autonomy help this initiation. They also bring to new cinematographic cultures as much as new social considerations. All this studies help us to understand how children and teenagers develop series and feature films’ taste by sharing it with friends or parents, depending on the content. This tell us about the developpment of quality classifications based on aesthetic, tales, relations, peers conversations, art memory, emotions and feelings. Finally, cinematographic culture appears to be a large social and aesthetical laboratory for the youth.This thesis is based on a qualitative survey. More specifically, I used a bottom-up method (Becker : 1988). The theories and the demonstrations are no less than the result of five years of several investigations’ technics on the field study. I began with individual consultations in France, Luxembourg and Belgium, then made collective groups in associations and schools. I created different questionnaires for the parents and the teenagers in aim to observe connections between their cinematographic cultures. This thesis claims interdisciplinarity

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Karlsson, Mattias O. "Genomleva eller genomlida? : En didaktisk studie av gymnasieelevers upplevelser av litteraturläsning och litteraturundervisning." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Sektionen för språk, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-17884.

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Denna studie syftar till att undersöka hur gymnasieelever upplever litteraturläsning samt i vilken utsträckning estetiska läsningar görs. Vidare undersöks hur litteraturläsningens potentiella pedagogisk-didaktiska funktioner uppnås och/eller utnyttjas. Data har samlats in genom en enkät med öppna och slutna frågor. Genom diskursanalys har respondenternas svar kategoriserats och kommenterats. Resultatet visar att eleverna både genomlider och genomlever undervisningen och läsningen. Andelen estetiska läsningar är låg jämfört med andelen efferenta. En grupp respondenter signalerar att de inte kan skapa någon mening i och av sin läsning alls och det finns respondenter som gör uttalat efferenta läsningar och som därvid lyckas sämre med att skapa mening: dessa genomlider således. Det finns tecken på goda estetiska läsningar i respondentgruppen som ett resultat av ett genomlevande av litteraturen. Dessa läsningar lyfts sällan fram som bas för kunskapsutvecklande samtal kring läsning vilket sannolikt skulle gynna den förra gruppen respondenter. Studien visar även att vissa respondenters läsningsförmåga är svag och denna primärt behöver stärkas. Studien visar på en relativt svag uppfattning kring litteraturläsningens syfte: från disciplinär åtgärd via språkriktighet till insikt om den egna individen. Det finns utrymme för att öka litteraturläsningens didaktiska funktioner och positiva effekter på kunskaps- och personlighetsutveckling. Studien visar att detta kan uppnås genom att främja läsningsförmågan hos efferenta och allmänt svaga läsare genom en förstärkning av uppfattningen av litteraturläsningens syften, uppdelning mellan litteraturhistoria och utveckling av läsningsförmåga, stärkt stöd före och efter läsningen, gemensam läsning och bok- och textsamtal. Formativ bedömning skulle stärka individuella insatser i förmågansutvecklingen samt höja den kvalitativa nivån på elevernas läsningar.

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Lingani, Ganda. "Témoignages littéraires sur l'intégration des femmes de religion musulmane dans la société allemande." Thesis, Brest, 2017. http://www.theses.fr/2017BRES0086.

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Dans l’optique de combler un déficit en main d’oeuvre, l’Allemagne a signé des accords avec la Turquie en 1961 entraînant l’arrivée de nombreux Turcs sur son territoire. Depuis cette période la question de l’intégration reste au centre des préoccupations de ce pays. Ce processus n’est possible que lorsque la population immigrante surmonte toutes sortes d’obstacles pour embrasser les représentations socioculturelles, économiques, politiques et linguistiques d’une société qui n’est pas la sienne. Ce phénomène « majeur » semble atteindre le stade de réussite lorsque les communautés non autochtones choisissent d’adopter la culture de la société d’accueil. Dans les recherches empiriques sociodémographiques, l’intégration se structure en différentes étapes. C’est un procédé qui englobe l’interculturalité, l’interaction sociale, l’acculturation, le biculturalisme et nécessite la prise en compte de la notion d’identité. Pourquoi parler d’intégration de la femme turque ? Les questions relatives au statut de la femme musulmane provoquent des débats houleux qui ne sont pas négligeables. La femme turque qui migre le plus souvent en Allemagne est originaire des campagnes. Le choc culturel auquel elle est confrontée pose d’emblée le problème de son intégration sociale. L’objectif de cette thèse est de s’intéresser à la vie sociale, politique, économique et religieuse de l’immigrée musulmane en s’appuyant sur la littérature germano-turque. Le but de cette étude est donc d’établir le rapport entre l’essence même de l’immigration et les enjeux de l’intégration dans les oeuvres Ich wollte nur frei sein d’Hülya Kalkan, Einmal Hans mit scharfer Soβe de Hatice Akyün, So wie ich will de Melda Akbas et Das Geheimnis meiner türkischen Groβmutter de Dilek Güngör. L’analyse des textes fait appel à l’esthétique de la réception, théorie qui se fonde d’ailleurs sur la démarche herméneutique. On constate également à la lecture des ouvrages de nombreux phénomènes d’intertextualité dans la mesure où les thèmes sont similaires. Le roman et l’autobiographie sont les moyens d’expression les plus courants qui enveloppent les multiples couleurs de l’intégration. L’acculturation ou la non-adaptation à l’altérité apparaissent comme le point focal de la littérature germano-turque. Les ouvrages qui font l’objet de notre étude sont pris en compte comme des génériques qui viennent mettre en lumière le thème de l’intégration développé par les précurseurs germano-turcs. Frappés tous par la volonté d’oeuvrer positivement, les auteurs germano-turcs ne se lassent pas d’agir par l’écriture ou le verbe
For the purpose of addressing the labour shortage, Germany signed in 1961 agreements with Turkey leading to massive arrivals of Turks on the country. Since this time the integration issue remains at the heart of concerns of this country. This integration process is only possible when immigrant population overcomes all kind of obstacles to embrace social, economic, political and linguistic representations of the receiving society. This major phenomenon seems to be successful when non-native communities choose to adopt the culture of the host country. Within empirical socio-demographic research, Integration is structured into different steps. This process encompasses interculturality, social interaction, acculturation, biculturalism and requires the consideration of the identity. Why talking about integration of Turkish women? Questions related to the status of Muslim women set off heated debate to be considered. The Turkish woman who usually immigrates in Germany comes originally from campaigns. The culture shock she deals with immediately raises the problem of her integration. The expected aim is to take an interest in the social, political, economic and religious life of Muslim immigrant woman by being based on German-Turkish literature. The objective of this study is therefore to establish a relationship between the essence of immigration and integration issues from works Ich wollte nur frei sein by Hülya Kalkan, Einmal Hans mit scharferSoβe by Hatice Akyün, So wie ich will by Melda Akbas and Das Geheimnis meiner türkischen Groβmutter by Dilek Güngör. The analysis of texts requires the aesthetic of reception, theory that is based on the hermeneutical approach. Upon reading works, we also notice many phenomena of intertextuality insofar as themes are similar.Novel and Autobiography are the common means of expression that envelop the multiple colours of integration.Acculturation or the non-adaptation to the alterity appears as the focal point of the German-Turkish literature. The works under our study are taken into account as generic books which highlight the theme of integration developed by the precursors of the German-Turkish literature while making a few modifications. Fortified by the will to positively work on, the German-Turkish authors never get tired of acting through the writing or the language

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Borges, Ellen Valotta Elias. "O poema concreto : um efeito de estranhamento na conduta dos leitores /." Assis : [s.n.], 2011. http://hdl.handle.net/11449/94042.

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Orientador: Benedito Antunes
Banca: Maria de Lourdes Ortiz Gandini Baldan
Banca: Sandra Aparecida Ferreira
Resumo: Este trabalho tem por objetivo verificar a aplicabilidade dos princípios da teoria do efeito de Wolfgang Iser em textos literários com diferentes estruturas composicionais apresentados a diferentes leitores. Como corpus do trabalho utilizamos o texto bíblico "Coríntios", a canção "Monte Castelo", de Renato Russo, o soneto "Amor é fogo que arde sem se ver", de Camões, e o poema concreto "Ferida", de Augusto de Campos. Além das diferentes estruturas, consideramos a temática do amor e as relações de intertextualidade presentes nos textos. Ao entrevistarmos um grupo de trinta homens e trinta mulheres, procuramos observar o efeito estético na recepção dos textos. Verificamos que houve uma grande preferência pelo texto bíblico e um maior estranhamento em relação ao poema concreto, o que nos fez redefinir o corpus da pesquisa. Utilizamos, desta forma, o poema concreto para analisar os elementos que causaram seu estranhamento pelos leitores. Considerando o texto literário um conector entre o sujeito e a realidade, nosso intuito foi verificar em que medida a percepção dos elementos estéticos aproximou o leitor da função comunicativa do texto ficcional ou nos mostrou o quanto uma leitura escolarizada pode significar uma prática social que, mais do que formar, deforma, transformando leitores reais em simples ledores de textos literários
Abstract: The aim of this study is to understand the theory of aesthetic response and check its application to literary texts read by different readers. The corpus consists of four texts with different structures: text 1 - THE biblical text "Coríntios", text 2 - The lyrics of "Monte Castelo", by Renato Russo, text 3 - the concrete poem "Ferida", by Augusto de Campos and text 4 - the sonnet "Amor é fogo que arde sem se ver", by Camões. The selection of texts took into account not only the different text structures but also the love theme and the intertextuality among the texts. We interviewed thirty men and thirty women to check the aesthetic response in the readers' receptions of the texts. The biblical text was the favorite one and the concrete poem was not so appreciated by the readers. These data led us to modify the corpus. So, we focused on the concrete poem in order to analyse elements that triggered the different response from the readers. Considering the communicative role of literary texts, which approach man and reality, we wanted to understand how relevant the esthetic elements are to the communicative role of literary texts as well as to check the relationship between basal reading and social formation, which can form, deform and transform real readers into innocent readers of literary texts
Mestre

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Koenig, Wendy K. "The art of interruption a comparison of works by Daniel Libeskind, Gerhard Richter, Ilya Kabakov /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1087574405.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains vi, 214 p. Includes bibliographical references (p. 205-214). Available online via OhioLINK's ETD Center

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Rousseau, Aloysia. "Réhabilitation d’un genre : la comédie de menace de David Campton à Martin Crimp (1957-2008)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040162.

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La comédie de menace, expression utilisée pour la première fois par le critique de théâtre Irving Wardle en 1958, est devenue aujourd’hui une notion stéréotypée, appliquée de manière systématique au théâtre d’Harold Pinter. Cette thèse, en proposant de nouveaux critères de définition à la fois sémiotiques et esthétiques, vise à réhabiliter ce genre qui ne cesse de se développer depuis les années 1950, chez des auteurs tels que David Campton, Caryl Churchill et Martin Crimp. Ce théâtre repose tout d’abord sur un renversement entre intrus et autochtone qui n’a jamais été exploré depuis son évocation par Irving Wardle. La sémiotique horizontale du dehors vers le dedans, associée au phénomène d’intrusion, est remplacée par une sémiotique verticale du surgissement : la menace émane des sous-sols et des profondeurs du moi dans une double acception topographique et psychanalytique. Théâtre de l’inversion, mais aussi de l’implicite : la comédie de menace suggère l’horreur plutôt qu’elle ne la donne à voir. Ce refus de l’opsis n’est toutefois pas synonyme d’euphémisation de la violence. Enfin, l’insertion de passages ludiques ne permet pas d’atténuer l’atmosphère menaçante mais décuple au contraire le malaise du lecteur-spectateur. Les dramaturges de la menace proposent ainsi un nouveau genre de comédie qui induit une nouvelle esthétique de la réception
First used by the theatre critic Irving Wardle in 1958, the expression comedy of menace has become a catch-all phrase systematically applied to Harold Pinter. This thesis aims at redefining this genre, both semiotically and aesthetically, as well as restoring it to favour by showing that it has considerably evolved since the 1950s in the plays of David Campton, Caryl Churchill and Martin Crimp. This theatre first hinges on a reversal between intruders and inhabitants which has not been studied since it was identified by Irving Wardle. The horizontal semiotics linked to the intrusion motif is replaced by a vertical semiotics: menace looms up from the basements and the depths of the ego in a topographical and psychological perspective. Comedy of menace relies on inversion as well as unspoken feelings; it suggests horror rather than displaying it, yet it does not minimize violence. The comic interludes do not alleviate the menacing atmosphere but on the contrary enhance the spectators’ unease. The playwrights studied here thus devise a new comic genre which induces a new aesthetic of reception

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Prado, Daniela da Silva. "A recepção do \'novo romance\' no \'Suplemento Literário\' do jornal O Estado de São Paulo." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-06112007-105204/.

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O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\".
The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".

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Olin-Scheller, Christina. "Mellan Dante och 'Big Brother' : En studie om gymnasieelevers textvärldar." Doctoral thesis, Karlstad University, Faculty of Arts and Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-474.

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This dissertation deals with Swedish upper secondary school students’ encounter and reception of various fictional texts in and outside of school. The focus of the study is how literary instruction, based on an expanded text concept, succeeds in meeting the students’ expectations and previous experiences of fictional texts. The theoretical framework consists of theories that approach reading as a transaction between text and reader in a social and cultural context.

The study is founded on qualitative methods, and the empirical material was collected through participant observation and interviews with students and teachers in four upper secondary school classes between 2001 and 2003. The research questions are: How does literary instruction develop students’ knowledge of fictional texts and reading? In what ways are the students’ textual worlds in and outside of school dialogically interrelated? How do students use different fictional texts in building their identities? Which values regarding different texts are visible in the classroom?

Findings indicate that mismatches between teachers’ and students’ literary repertoires are common in upper secondary school literary teaching. Since the literary instruction mainly drew upon traditional fiction, the students’ construction of literary worlds was not sufficiently supported. The students’ expectations of fiction reading were characterized by strong emotional involvement, and this was particularly true for the male students. The female students reported that there was a lack of female perspectives in the literary teaching.

The pedagogical implications of the study concern the importance of identifying the students’ literary repertoires and matching those with the literary instruction. Literary pedagogy should aim to expand these repertoires, and to help students acquire new reader roles. One way of achieving this is to promote dialogical teaching that encourages both efferent and aesthetic reading. Findings of the present study also indicate that teachers’ resources for working with an expanded text concept are limited. Consequently, current teacher education programmes and further training of working teachers must deal with reading of fictional texts from new and broader perspectives.

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Chen, Kedi, and Jialu Yang. "A good one or a bad one：A comparison of US and Chinese reviews of the film : Crouching Tiger, Hidden Dragon." Thesis, Högskolan Väst, Institutionen för ekonomi och it, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-4403.

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The aim of this thesis is to compare the different Crouching Tiger, Hidden Dragon film reviews from Chinese and American reviewers respectively, and to see how they evaluate and understand the film in the different ways. We use reception theory as our theoretical tool, and divide the film into four themes so that we can compare the different reviews in a more relative way. Meanwhile, we also present some brief ideas to explain the reason why the film gets the different response from both sides. Since our main purpose is to compare the different film reviews, so we choose the comparative design as our research design. The main findings of this thesis show that Chinese and American reviewers do have some distinct evaluations, understandings and views about the film.Besides, culture and aesthetic become the two major factors to influence the response from both sides.

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Vatain-Corfdir, Julie. "Traduire la lettre vive, vers une approche théorique de la traduction théâtrale : l’exemple du duo dans le répertoire britannique." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040262.

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Cette thèse propose une réflexion théorique et esthétique sur la traduction du théâtre, à partir d’un corpus de scènes à deux personnages (duos et duels) tirées du répertoire britannique, de l’époque élisabéthaine à nos jours. Selon la démarche traductologique recommandée par Antoine Berman, un parcours historique des théories fait d’abord ressortir la nécessité croissante, dans la pensée de la traduction, de prendre en compte les exigences spécifiques posées par le genre du texte — par sa forme et par son usage. S’impose alors un travail de définition du langage dramatique comme matière vivante et sonore, qui concentre les effets et prépare l’incarnation. Ceci conduit à l’analyse détaillée de sa traduction, depuis l’expressivité des phonèmes jusqu’aux grandes articulations de toute la scène et aux rapports qui s’établissent entre la voix de personnages venus d’ailleurs et l’écoute du public. La traduction participe ainsi à la recréation de l’œuvre théâtrale, tout en permettant d’explorer sa nature paradoxale, entre le dit et l’écrit
The aim of this thesis is to provide a theoretical and aesthetic background for the translation of theatre, basing the analysis on a corpus of two-character scenes (love scenes, duels or witty dialogues), from the Elisabethan age to contemporary British authors. Following the method for translation analysis recommended by Antoine Berman, the thesis begins with a historical overview of translation theories which highlights the growing need to take into account the demands of each genre in terms of form as well as use. It is then necessary to define the language of theatre as acting matter—words which are efficient, resonant, and alive. This leads to a detailed analysis of their translation, from the expressivity of phonemes to the mechanics of a whole scene and to the relationship between the voices of foreign characters and the audience’s perception. Thus, translation becomes a way of participating in the recreation of a dramatic work of art, while providing a way to explore its paradoxical nature, halfway between the spoken word and the written word

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Mutarelli, Sandra Regina Kuka. "O querer, o sentir e o pensar de Rudolf Steiner na literatura para crianças e jovens: os atos da vontade." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-09062015-121600/.

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Rudolf Steiner (1861-1925) foi um filósofo, jornalista e educador. Atualmente seu nome está associado ao movimento Camphill de educação curativa, sua arquitetura, vários estudos sobre religião, à agricultura biodinâmica, à medicina antroposófica e à pedagogia Waldorf. O objetivo principal desta pesquisa é investigar a contribuição e validade das concepções sobre o querer, o sentir e o pensar de Rudolf Steiner para os estudos literários. Espera-se contribuir para a ressignificação do papel da literatura como força impulsora na mediação entre o sentimento e a razão para o desenvolvimento e constituição do pensar conceitual e formação do ser harmônico e integral. Esta tese contém uma introdução e seis capítulos. O capítulo 1 dá uma ideia geral do contexto de Rudolf Steiner e trata de sua formação, carreira, interesses profissionais, bem como sobre algumas possíveis influências sobre seu pensamento. O capítulo 2 apresenta as concepções do homem, do querer, do sentir e do pensar que aparecem na obra Filosofia da Liberdade e suas relações com outros estudos do autor. Discute também a importância da arte e das narrativas para a formação do ser humano integral, harmônico e espiritualmente livre. O capítulo 3 compara as ideias de Steiner acerca do pensar, da criança, das narrativas com as concepções de Edgar Morin e Walter Benjamin. Também apresenta indicações de narrativas propostas por seguidores de Steiner. O capítulo 4 apresenta a metodologia e as obras utilizadas na experiência estética de recepção de leitura desenvolvida com ex-alunos formados pela pedagogia Waldorf e ex-alunos formados por outras pedagogias. O capítulo 5 discute os resultados da pesquisa. O capítulo 6 apresenta algumas considerações finais sobre o assunto.
Rudolf Steiner (1861-1925) was a philosopher, journalist and educator. Nowadays his name is usually associated with the Camphill moviment of curative education, architecture, biodynamical agriculture, the anthroposophical medicine, several studies on religion and the Waldorf education. The aim of this research is to examine the contribution and validity of Rudolf Steiners concepts of willing, feeling and thinking that may be seen in literary studies. This work is expected to render some contrtibution to resignifying the role of literature as a thrust in mediating feelings and reason in order to develop and constitute conceptual thinking as well as in forming a harmonious and wholesome being. This thesis contains an introduction and six chapters. Chapter 1 provides a general overlook of Steiners context and deals with his background, career, professional interests as well as some of the possible influences he received. Chapter 2 studies Steiners concepts of man, willing, feeling and thinking presented in his work The Philosophy of Freedom as well as in other works by Steiner. It also discusses the importance of Art and the importance of narrative to form a wholesome and harmonious being who is also spiritually free. Chapter 3 compares Steiner\'s ideas about thinking, about the child and about the narratives that follow conceptions by Edgar Morin and Walter Benjamin. It also presents indications of narrative proposed by Steiners followers. Chapter 4 presents the methodology and the works used in the aesthetic experience of reading reception, which was developed with alumni graduated in Waldorf and alumni graduated in other pedagogies. Chapter 5 discusses the results of the research. Chapter 6 presents some final thoughts on the subject.

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Montaud, Dominique. "Le rapport aux œuvres dans l'enseignement de la danse au collège : analyse didactique de l'évolution de l'épistémologie pratique d'un professeur d'éducation physique et sportive." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20002/document.

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Cette thèse étudie, dans le cadre de la théorie de l’action conjointe, l’évolution de l’épistémologie pratique d’un enseignant d’EPS non spécialiste en danse, en lien avec des stages de formation continue qu’il a suivis pendant trois ans. L’analyse longitudinale effectuée sur une durée de six ans a été menée selon une approche multidimensionnelle de données d’observation de séances. Un premier niveau s’intéresse au système de didactique-formation mis en œuvre dans chacun des trois stages. Un deuxième étudie les pratiques d’enseignement de la danse en classes de sixième selon deux échelles d’analyse. La première, macro-didactique, s’attache à décrire les pratiques et les savoirs mobilisés par l’enseignant au fil des années et à faire émerger des "jeux d’apprentissage" en lien avec les œuvres chorégraphiques. La deuxième échelle, micro-didactique, étudie plus spécifiquement, à partir de quatre jeux d’apprentissage, l’évolution du rapport aux œuvres chorégraphiques de ce professeur. Les résultats montrent que les savoirs mis à l’étude et les expériences réalisées pendant les stages de formation sont (re)convoqués et remaniés de façon singulière par l’enseignant au cours de l’action conjointe avec les élèves, contribuant à faire évoluer son épistémologie pratique
This doctoral thesis studies within the joint action theory in didactics the evolution of a teacher’s practical epistemology that has no expertise in dance. The analysis is in relation with teacher continuing professional learning sessions he followed during three years. A longitudinal six years analysis was conducted using a multi-dimensional approach of observational data lessons. At a first step the didactical system of professional learning sessions was studied. The second step concerns the observation of teacher’s practice in a middle school during physical education classes (students: 11 to 12 years). Two scales were used: the first macro-didactic scale describes the practices and the knowledge enacted by the teacher all over the years and contributes to define “learning games” which are in relation with choreographic artworks. The second micro-didactic scale examines in details the teacher’s relationships to choreographic artworks during four learning games. The findings show that the knowledge to be taught and learned as proposed during the professional learning sessions is remodeled and mobilized in singular ways during the joint action with students. All of this contributing to teacher’s practical epistemology moves

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Borgé, Nathalie. "Réception, médiation et expérience esthétiques des oeuvres d'art dans des classes de français comme langue étrangère de niveau avancé." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA119.

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Il s'agit d'examiner les médiations langagières déclenchées par l'introduction d'oeuvres d'art picturales et photographiques dans un dispositif pédagogique universitaire de français comme langue étrangère de niveau avancé et d'étudier leurs apports en termes langagiers et translangagiers, à la lumière d'un cadre théorique transdisciplinaire, prenant en compte les travaux à la fois du socioconstructivisme, de l'émergentisme et de l'approche énactive. Cette forme de recherche-action, menée auprès de quatre groupes d'étudiants plurilingues et pluriculturels de niveau avancé, interroge les modalités de la réception esthétique de l'oeuvre d'art dans un contexte social académique d'apprentissage et propose une approche didactique multimodale, prenant appui aussi bien sur les interactions verbales, sur la production orale en continu et sur le recours à la production écrite. Elle met en exergue l'impact contextuel et situationnel sur les manifestations corporelles et sur la verbalisation des réactions esthétiques, d'ordre esthétique, émotionnel et évaluait devant l'oeuvre d'art, en se fondant sur les outils développés par le courant disciplinaire de l'analyse de discours. Enfin, elle analyse le rôle des médiations enseignante et apprenante à l'oeuvre, pour montrer dans quelle mesure, celles-ci, lorsqu'elles s'inscrivent dans une approche plus expérientielle, sont susceptibles à la fois de développer des capacités langagières chez l'apprenant et de favoriser l'émergence d'une expérience langagière, interculturelle et esthétique au sein du dispositif
This research aims at examining the language mediations stimulated by the introduction of paintings and photographs in a pedagogical environment of French as a foreign language of advanced level and at studying their contributions in language and translanguage terms in light of a transdisciplinary theoretical framework taking into account the works of socioconstructivism, of emergentism and the enactive approach. This research led with four groups of multilingual and multicultural students, within the framework of an action-research, questions the modalities of the aesthetic reception in an academic social context of learning and proposes a multimodal didactic approach which relies on verbal interactions, on continuous oral and written production. It enhances the contextual and situational impact on the body manifestations and on the verbalization of aesthetic reactions, that is to say reactions of aesthesia, emotions and aesthetic appreciation by relying on the tools developed by the disciplinary current of discourse analysis. Last but not least, it examines the role of teacher's and learner's mediation with the artistic object, to show to what extent they are likely to foster the emergence of language abilities for the learner and to promote a language, intercultural and aesthetic experience within the teaching context

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Niskala, Marian. "Kvinnlig representation i offentlig skulptur : En receptionsestetisk studie med utgångspunkt i tre mellansvenska städer: Gävle, Uppsala och Västerås." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-454958.

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This essay explores public monuments and memorials raised in dedication to historic women in the Swedish cities of Uppsala, Gävle and Västerås. Through the reception aesthetic method, the chosen works of art are analysed from a gender perspective. The overall history of public sculpture in Sweden, including the female nude sculptures, is examined closely, where the monuments and memorials which have been raised in dedication to historic men are compared to those raised in dedication for historic women. The range of artworks vary from traditional monument to modern and postmodern aestethics. The importance of figurative representation is the main focus of this study, and the purpose is to convey how women are represented in the monuments spatial situation and how it varies from the male sculptural representation.

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Krajewski, Pascal. "Les appareils à l'oeuvre : L’art au risque de la technologie." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3034/document.

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La deuxième moitié du XXè siècle a vu l'explosion de l'ordre des appareils et de leur milieu, la technologie. L'art n'est pas resté à l'abri de cette invasion, et les œuvres ont, elles aussi, commencé de s'appareiller. Ces œuvres appareillées sont dynamiques, indéterminées, interactives, algorithmiques, instables. Nous chercherons ici à suivre cette irruption technologique dans les différents régimes artistiques : au moment de la création de l'œuvre, dans son existence objectale et au moment de sa réception esthétique. Se dessinera alors, peut-être, une forme spécifique à ce que pourrait être un « art technologique ». L'analyse finie, les lignes de fracture posées – la question décisive pourra alors être posée, à défaut d'être tranchée : l'art survit-il à sa collusion avec la technologie ?
During the second half of the 20th century, the world of devices and their technological ground have tremendously spread. Art, also, has been impacted by this invasion, and some artworks have become equipped-artworks. Those specific artworks are : unstable, dynamic, algorithmic, unseen, interactive. We will try here to follow this technological invasion in the three different places of the artistic regime : how the artist creates his piece of work, how this object appears and exists, and how the spectator receives it. Thus, might appear a new form for a genuine « technological art »… Finally, we will be able to ask the core question and to tackle the main issue : are art and technology compatible ?

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Oliveira, Solange de. "Arte por um fio: mitopoética nas obras têxteis de Bispo do Rosário e de Judith Scott: um estudo no campo da recepção crítica." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/47/47134/tde-14112017-173649/.

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Esta pesquisa averigua a forma como tem sido estabelecido o estatuto de recepção de algumas obras de arte no registro bruto/culto. Os artistas que abordamos são frequentemente classificados segundo tais categorias, ainda que tradicionalmente opostas: Arthur Bispo do Rosario (1909-1989), artista cujas obras foram alinhadas à Arte Contemporânea, e Judith Scott (1943-2005), artista com apenas algumas obras inseridas no campo da Arte Moderna e Contemporânea. O intento é examinar se os critérios e modos de leitura, praticados por críticos e curadores em mostras e exposições nacionais e internacionais, contemporaneamente, têm observado o vivido como significante preponderante do acervo desses artistas ou se, por outro lado, a prática é a de aproximação e incorporação no sistema de arte por aspectos meramente formais. Através do recolhimento da literatura referida a esses eventos, pretendemos explicitar os critérios de leitura e de fruição das obras desses artistas que compartilham o gosto por materiais têxteis, cujo processo de tecimento/destecimento é ingrediente-base de suas poéticas, mas que participam do sistema de arte em diferentes estatutos de integração. Finalmente, a pesquisa visa investigar até que ponto o sentido da escolha de têxteis no desenvolvimento de suas mitopoéticas foi considerado no campo da recepção crítica. A meio termo, destacamos um olhar de dentro do sistema de arte, contabilizando alguns dos pronunciamentos da artista francesa contemporânea Louise Bourgeois (1911-2010), considerando-os especialmente em dois aspectos que nos interessam neste estudo: sua relação com os têxteis, dos pontos de vista formal ou conceitual, e também sua singular perspectiva sobre o processo criativo e o engajamento do criador. A artista não tece julgamentos ou considerações de modo a estabelecer uma delimitação ou alguma fronteira entre os campos (in-) e (out-)sider, o que torna sua perspectiva particularmente atrativa. Colaborar para a reflexão sobre a interpretação de obras estrangeiras à esfera da arte institucionalizada é importante instrumento de compreensão dos processos de construção do saber artístico e de consolidação da fortuna crítica, além de proporcionar uma discussão sobre a possibilidade de pensar lArt Brut a partir de um ponto de vista do próprio sistema de arte
This research aims to enquire how the statute of some art works has been established in the outsider/cultivated art reception register. In this approach the artists are often classified accordingly to those categories, even though they are traditionally opposites: Arthur Bispo do Rosario (1909-1989), an artist whose works are linked to the contemporaneous art, and Judith Scott (1943-2005), an artist who has only some of her work included in the modern and Contemporary Arts system. The intent is to examine what is the criteria and reading tools currently used by curators and art critics in both national and international exhibits, to evaluate if they have considered that bulk of work as something of significant value or if the approach is one of incorporating it into the system in merely formal terms. Through the investigation of the available literature related to those events, we intend to think the criteria used in the evaluation and fruition of those artists work. They have in common the preference for textile materials; the weaving/unweaving process is the basis of their poetic. However, they hold different status of integration in the arts system. Finally, this research aims to investigate how much the choice of textile materials in the development of mythopoetic has been considered and accepted by the critics. In the middle ground, we point to a view that is inside the arts system, listing some of the pronoucements of the contemporary french artist Louise Bourgeois (1911-2010), regarding specially two aspects of interest in the present study: her relation with textiles, be it from the formal or conceptual point of view, and also her singular perspective about the creative process and the creators commitment to it. The artist does not judge or deliberate in order to establish or set out a boundary between the fields of (in-) and (out-)sider art, which makes her perspective even more interesting. Reflecting on the interpretation of foreign works connected to the institutionalized art is an important and valuable contribution to the construction of artistic knowledge and to the consolidation of critical fortune. It also provides a discussion on how to consider the possibility of viewing the Outsider Art from the art systems perspective

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Wilhelmsson, Thea. "Att minnas och att hedra det förflutna : Minnesmärken och Monument över Finska inbördeskriget 1918." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-416664.

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This essay looks at memorials and monuments raised in Finland dedicated to the civil war 1918 from both the red and the white side. The earliest memorials are from 1918 and the newest one from 1964. The difference between the two sides and the change over time is looked at through a few chosen monuments and memorials analyzed using semiotics and reception aesthetics. The use of symbols is extensive throughout the period, but the form they take, as well as their connotation, change over time, depending on the political context they are created in. They are created with different aims.

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Metzler, Widmark Cornelia. "Totalität und Ganzes versus Ausschnitt und Detail : Normbewahrung und Normveränderung im deutschsprachigen roman- und literaturtheoretischen Diskurs der 60er Jahre." Doctoral thesis, Stockholms universitet, Institutionen för baltiska språk, finska och tyska, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-656.

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This study is a thematic-descriptive investigation of the reproduction and transformation of norms in the theoretical discourse on the novel during the 1960s. Primary literature consists of articles and essays published in West German literary and cultural journals 1959-1967. The term ‘discourse’ is applied partly in accordance with Busse/Hermanns/Teubert (1994), the term ‘theory of the novel’ chiefly in accordance with Lämmert (ed. 1984). ‘Ideology’ is not used in the sense of ‘false ideology’ but rather as an umbrella term for various types of value-related statements. From this, the theory-of-the-novel discourse is perceived as an aesthetic-ideological discourse, containing statements directed at the contemporary novel which have clear programmatic function and significant thematic width. The objective of the investigation is to show that specific comprehensive thematic fields – Werteverlust (breakdown and loss of values), Subjektproblematik (‘problematisation of the concept of the subject’), Sprachproblematik (language related problems) and Realitätszerfall (reality loss, breakdown of the reality concept) – bear discursive significance as regards the discussion of literary norms during the 1960s, and that this discussion realises itself as two aesthetic-ideological discourses competing for interpretative precedence. The major issues are: Which reiterated patterns of argumentation, i.e. norm-related categories, concepts and rhetorical patterns, are used in the discourses for diagnoses and programmatic imperatives? How are the comprehensive thematic fields accentuated? What is treated, postulated or set aside as ‘truth’? How - based on the above – is the novel formulated as a ‘problem’ (‘crisis of the novel’)? The investigation confirms that the comprehensive thematic fields are particularly central to the theoretical discussion of literature in the 1960s. This manifests itself as a discursive re-evaluation process which may be characterised as a conflict between an ‘aesthetic-conservative discourse’ and a ‘discourse of change’ (‘Veränderungsdiskurs’) where the right to define and evaluate the novel in terms of literature is at stake. It is in the collision between these two discourses and their largely incompatible concepts of literature that the novel discursively becomes a ‘problem’. The discourses are maintained by specific reiterated patterns of argumentation which in the investigation are subsumed under the following headings: die negative Modernität (negative modernity), das bloß Moderne (phenomena of ‘fashionable character’, simply expressing trends) and das Überzeitliche und das Ganze (the timeless and the totality); respectively die traditionelle, bürgerliche Gesellschaft (traditional bourgeois society), die technisch-sprachliche Realität (technolinguistic reality) and der subjektive, sprachliche Realitätsausschnitt (‘subjective language based slice of reality’). The first group of argumentation patterns is linked to universal, ‘eternal’ and essential categories and inherited norms, ethical-aesthetical educational grounding and a ‘rhetoric of the spirit’ or of ‘mankind’, oriented around a specific reception of German Classicism and Idealism, a downgrading of the present and an upgrading of the past. The other group embraces an incipient constructivism, contextually bound and societal categories and norms as well as implicitly critical programmes of enlightenment, devaluing the past and ‘acknowledging’ rather than criticising the present. In doing so they tend rather to realise a rhetoric of the linguistic and political reality and of more modest programmatic proposals.

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Djoumbé, Thoueïbat. "Un autre aspect de la francophonie, la littérature comorienne : société, histoire, culture et création." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030039.

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Cette thèse interroge les origines, les interférences et la production de la littérature comorienne d’expression française. Au confluent entre critique littéraire, historiographie anthropologique des sources et analyse des thématiques dans la création, elle questionne aussi la notion de réception dans un contexte éditorial minimaliste et où langue d’écriture et langue vernaculaire s’interfèrent. En près de 30 ans, les quelques 160 ouvrages publiés de 1985 à nos jours, laissent percer des débuts lents et difficiles. Une réalité qui sera contredite à la fin des années 90 où des maisons d’éditions, même éphémères, naissent avec pour mot d’ordre, promouvoir la littérature comorienne. Va alors s’amorcer une dynamique nouvelle inscrite par le nombre et la variété des genres édités, la multiplicité des thématiques abordées et par l’orientation des revendications littéraires d’ordre esthétique en écho à des revendications identitaires. Parallèlement, transparaît une forme de tâtonnement textuel qui laisse apparaître une dualité narrative sous-tendue dans l’organisation fictionnelle et narratologique des œuvres et mettant en place un type de personnage-pensée à l’origine d’une hybridité textuelle. Par conséquent, cette thèse procède à une forme de bilan de ces trente années d’écriture suivant deux axes d’analyse. Un axe chronologique qui fait coïncider des éléments liés à l’histoire du peuplement avec l’établissement d’une écriture pour les îles afin d’appréhender le contexte originel de production ; un axe analytique et herméneutique recoupant faits historiques et sociaux en rapport avec les objets ou motifs de production et révélant la source des interrogations des écrivains comoriens francophones
This thesis questions the origins, interferences and the production of French-speaking Comorian literature. At the junction of literary criticism, anthropologic historiography of the source documents and thematic analysis within the creation, it also investigates the notion of reception in a minimalist editorial context where the written and the vernacular languages interfere with each other. For the past 30 years, the 160 publications that have been published, since 1985 to date, have shown slow and difficult beginnings. A trend that would be reversed from the late 1990s, where many publishing houses have emerged, even if it was quite briefly for some of them, with a shared goal: to promote Comorian literature. A new trend will then begin as proven by the number and variety of genres being published, the diversity of the themes discussed, and the direction of the literary assertions of an aesthetic angle in response to identity assertions. At the same time, a form of textual hesitation transpired, shedding a light on a narrative duality, from a narratologic and fictional organisation of the publications, highlighting a type of character-thought creating a form of literal hybridity. Therefore, As a consequence, this thesis proceeds a kind of statement from thirty years of writing according to two axis of analysis. A chronological axis matches elements which are linked to the peopling History with the establishment of a writing for the islands in order to grasp the original context of production; an analytic and hermeneutic axis matching historical and social facts related to subjects or sources of production and revealing the sources of French-speaking Comorian writers’ questionings

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Léglise, Matthieu. "Manet après Manet : 1900-1960 : le spectre du moderne." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H056.

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Cette thèse se propose de décomposer le spectre des commentaires critiques, historiques ou littéraires qui se sont projetés sur l'œuvre d'Édouard Manet dans la première moitié du XXe siècle, en regard de multiples contrepoints visuels. Cet «exercice de style méthodologique total» que permet Manet, selon les mots de Pierre Bourdieu, vise à rendre compte d'une réception mythique, monumentale et pourtant méconnue, tout en procédant en permanence à l'analyse réflexive de ses propres outils d'investigation. Par le prisme de ces présences posthumes très hétérogènes, souvent d'une grande violence, le but est de retracer la généalogie du concept narratif de «modernité» qui s'est déployé à partir d'Édouard Manet, en Europe et aux États-Unis, alors que son œuvre était simultanément défigurée en incarnation du classicisme national. Plus qu'une origine, Manet peut alors se définir comme un «carrefour» : un embranchement, à la puissance spéculaire considérable, d'idéologies, d'historicités et de projections fantasmagoriques. Ces analyses ont pour objet des réseaux très denses d'attraction, de répulsion, et de contamination entre différents systèmes d' énonciation dissonants, envisagés en regard des procédés déployés par Manet lui-même, dans le mouvement d'une œuvre à la fois profondément relationnelle et d'une radicale altérité. La problématique récurrente du fractionnement - dans la multiplicité de ses enjeux et de ses déterminations schizoïdes, du dualisme au fétichisme - forme le fil directeur de cet effort d'exhumation intellectuelle : est ici retracée en détail l'impossible tentative d'en finir avec un peintre qui ne cesse d'inquiéter une modernité constituée sur son nom
The purpose of this dissertation is to decompose the spectrum of commentary, historical and literary, along with the multiple visual counterpoints, that were generated from the work of Édouard Manet in the first half of the 20th century. Manet allows for this « total methodological exercise », in Pierre Bourdieu's words, which endeavours to reckon with a mythical, monumental, yet mostly unknown reception, while continually conducting a reflexive analysis of its own investigative tools. Through the scope of these posthumous, heterogeneous and often extremely violent occurrences, the goal is to retrace the genealogy of the narrative concept of« modernity » which was uncoiled from the figure of Édouard Manet, in Europe and the United States, during a time when his work was simultaneously being distorted as an incarnation of national classicism. More than a point of origin, Manet can be defined as a « crossroad » : a powerful specular junction of ideologies, historicities and phantasmagorical projections. The abject of these analyses is the dense network of attraction, repulsion, and contamination that has been woven between the various and discordant systems of enunciation, studied in the light of processes set up by Manet himself, through a body of work both profoundly relational, yet radically alien. The recurrent question of fractioning, in its multiple issues and schizoid determinations - from dualism to fetishism - make up the guiding principle of this effort of intellectual exhumation; here are retraced in detail the impossible attempts that were made to do away with a painter who has time and again proven to be cause for concern to an idea of modernity created under his name

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André, Laury Nuria. "Formes et fonctions du paysage dans l'épopée hellénistique et tardive." Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0779.

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Notre travail se propose d'analyser les formes et les fonctions que peut revêtir le paysage dans un corpus de textes épiques posthomériques. Les Argonautiques d'Apollonios de Rhodes et leur réécriture tardive anonyme, les Argonautiques Orphiques, les Posthomériques de Quintus de Smyrne, la Prise d'Ilion de Triphiodore et les Dionysiaques de Nonnos de Panopolis nous offrent un champ d’investigation fructueux pour analyser les représentations littéraires du paysage de manière transhistorique. Nos textes opèrent une première transformation du paysage épique archaïque qui est d'abord l'image du monde avec laquelle il se confond (adéquation posée entre bouclier, île et monde) en détachant de cette équation le paysage pour lui conférer une plus grande autonomie. Le monde devient une mosaïque de paysages autonomes qui gagnent en épaisseur du fait qu'ils se chargent d'une dimension identitaire. La polymorphie du paysage donne alors sa texture mouvante au monde des Grecs : c'est la dimension plastique et artiste que le texte de poésie épique emprunte pour mettre en mots ces images du monde qui révèle les formes du paysage épique. Une diversité de schèmes paysagers émergent et ouvre l'intertexte littéraire à l'hétérogénéité des formes artistiques. De cette fusion de processus et de formes naît une singularité bien antique de perception et de traduction du paysage : la merveille. Paysage et merveille s'entremêlent étroitement au point de se substituer l'un à l'autre : c'est là une définition possible du paysage antique à partir de la période hellénistique. Mais le paysage ainsi identifié et construit appartient aussi au monde dont il contribue à imager la forme. Il est clairement localisé d'un point de vue géographique : image vivante d'une partie du monde il lui offre son identité par ses caractéristiques topiques singulières. Il est une forme d'identification régionale et confine au vernaculaire. Le paysage devient un instrument de promotion intellectuelle et culturelle. Entre diversité formelle et singularité locale, le paysage voyage entre fiction et réel : ses modalités de construction empruntent au littéraire et à l'artistique et s'étendent ensuite grandeur nature. Le genre épique, marqué par l'intertextualité innovante, fait du paysage l'image même du processus de transposition et d'adaptation. Manifestation de l'exercice d'une subjectivité antique singulière puis collective, instrument de mesure du travail de l'imaginaire à l’œuvre dans les processus complexes de réception littéraire et culturelle, le paysage antique entre transmission et invention, s'ouvre à l'expérience quotidienne et sociale. Son existence antique est effective
The undertaking of this work is to analyze the forms and functions that the landscape can take in a corpus of posthomeric epic texts. The Argonautica of Apollonius of Rhodes and its late anonymous rewriting The Orphic Argonautica, the Posthomerica of Quintus Smyrnaeus, the Ilioupersis of Triphiodorus, and The Dionysiaca of Nonnus Panopolitanus provide us with a fruitful field of investigation for the analysis of the literary representations of the landscape as transhistorical. Firstly, our texts operate one transformation of the archaic epic landscape that is first the image of the world with which it merges (the conformity placed between shield, island, and world) by separating the landscape from this equation and giving it greater autonomy. The world is a mosaic of autonomous landscapes that gain texture as they take on a dimension of identity. The polymorphism of the landscape then gives its moving texture to the world of the ancient Greeks : the plastic and artist dimension is borrowed by the Epic text to put into words the images of the world, which reveal epic landforms. A variety of landscape patterns emerges and opens the literary intertext to the heterogeneity of artistic forms. From this fusion of process and forms, a singularity arises, a singularity particularly antique of the perception and the translation of the landscape : wonder. Landscape and wonder mingle so narrowly as to substitute one for the other : this is a possible definition of the ancient landscape from the Hellenistic period. But the landscape as thus identified and constructed also belongs to the world the image of which it contributes to form. It is clearly localized in a geographical perspective : the landscape becomes a vivid picture of the world and the former offers the latter its identity by its unique topical characteristics. It is a form of regional identification and it is sometimes confined to the vernacular. The landscape becomes an instrument for intellectual and cultural promotion. Between formal diversity and local singularity, the landscape travels between fiction and reality : its construction methods borrow from the literary and artistic and then extend to nature. The epic genre, characterised by innovative intertextuality, makes the landscape the image of the process of transposition and adaptation. As a manifestation of the exercise of a singular and then a collective ancient subjectivity, the landscape is an instrument for measuring the unfolding of the imagination at work in the complex process of literary reception and cultural transmission ; the ancient landscape between transmission and invention, opens itself up to the everyday and social experience. Its ancient existence is effective

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Zajícová, Eliška. "Jazyková a kulturní specifičnost české filmové produkce v titulkovaném exportu." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-323441.

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This thesis focuses on the transfer of Czech linguistic and cultural characteristics through English subtitles. Using four Oscar-nominated Czech films, it endeavours to explain to what extent English subtitles can influence and assist the understanding and artistic values of a Czech feature film when screened to a foreign audience. The paper is of a theoretical- empirical nature. Firstly, the parameters of audiovisual translation are described, together with the technical and linguistic features of subtitling, followed by a definition of culture-bound references categories. As part of the research, Western understanding and appreciation of Czech artistic heritage is summarised. The empirical part presents an analysis of culture- bound references transfer. Excerpts are taken from the Czech films The Wild Bees (Divoké včely), Up and Down (Horem pádem), Divided We Fall (Musíme si pomáhat) and I Served the King of England (Obsluhoval jsem anglického krále). The results of the analysis are contrasted with a survey on the reception of The Wild Bees film conducted with native speakers of English. Keywords audiovisual translation (AVT), subtitling, ideological and aesthetic reception, culture-bound references, Oscar, Czech feature film

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Tang, Yun-wei, and 湯云瑋. "An Aesthetic of Reception in Liu Zongyuan''s poetry." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/ps595v.

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碩士
國立中山大學
中國文學系研究所
103
Abstract During the mid-Tang dynasty, the ideas of Realism rose and Confucianism, known as Confucian Pragmatism, surfed to surface. Bai Juyi became the voice of people to depict their life and the society while Liu Zongyuan described the society via criticism and sarcasm in his essays and allegories, which both of them advocate. Bai Juyi and Liu Zhenyuan were the leaders of poetry in mid-Tang dynasty meanwhile Liu Zongyuan’s work became understated. The various perspectives of Liu Zongyuan’s poetry from readers of different dynasties and the acceptances of his writing styles will be discussed in this paper. According to Roman Ingarden, literatures are categorized into the followings: the surface structure of languages, the deep structure of languages, the aesthetic objects, and the schematized aspects. The analysis of Liu’s poetry by means of the four categories indicates how readers nowadays taste the deep meaning and the aesthetics Liu conveyed as well as his characteristics. Extensively thinking, there will be discussion about the reason why Liu’s poetry was unpopular in Tang dynasty by considering the Tang’s and Song’s various inside factors and outside environment. Systematically and historically appreciating Liu’s features, the author connects the Liu, Liu’s works and readers, hoping to go deep into literature and grasp it as a whole. Keywords：Liu Zongyuan,Roman Ingarden,An Aesthetic of Reception,Relegate,Tang poetry

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Lai, Yu-Chai, and 賴玉釵. "Readers' aesthetic experience in reading Jing Yong's swordplay fictions: A reception-theory approach." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/59523373338713941078.

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KÖNIGSMARKOVÁ, Jana. "Recepce básnických poetik roku 1950 jako pokus o naplnění Štollovy ideologicko-estetické koncepce." Master's thesis, 2007. http://www.nusl.cz/ntk/nusl-46880.

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Thesis called "The reception of poetry poetics of the year 1950 as an attempt of fulfilling Štoll`s ideologically-aesthetical conception" aims, baring in mind a wider cultural-political context, to trace back the extent of indentification of stalin literal critique with Štoll`s ideologically-aesthetical conception soon after its presentation on the business conference of the Czechoslovak Writers` Union in January 1950. Working with selected poetry poetics of that year it is trying to render the specifics of their reception after this speech had been accepted as a final methodological and value indicator of all contemporary literal-crtitic cretive activity. As an initial document for this thesis is therefore Ladislav Štoll`s book {\clqq}Thirty Years of Fight for the Czech Socialist Poetry`` (1950), the extended printed version of Štoll`s report which even contains parts of Jiří Taufer`s speech from the same conference. In three autonomous parts, for all that linked in a way, the thesis tries concretely bring into effect these requested intentions by focusing on books of poetry {\clqq}Zpěv míru`` by Vítězslav Nezval, {\clqq}Píseň o Viktorce`` by Jaroslav Seifert and {\clqq}Máj země`` by Ivan Skála. Being aware of the necessity of taking into account even the non-literal influences it looks into not only their contemporary reception itself but also aboriginal cultural-political circumstances and the poets` status in the hierarchical mosaic of cultural politics of that time. In the overall framework effort of creating complex view of the questions introduced, the thesis` subchapters offer attempts of own literal analysis of discussed poetry works.

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WU, TA-FU, and 吳大甫. "A Study of Managing Art Commercialization for "The Beauty of Taoyuan" on Reception Aesthetic." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/x58cuy.

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碩士
建國科技大學
創意生活應用設計研究所
105
Abstract Taoyuan is a modern city which connects to the global networks with reputation of Aerotropolis. The City is blessed with its convenient transportation network, natural geographical barrier, and many unique tourist attractions. Along with the enhancement of living standards, the development of the city is often inseparable with aesthetic. This study has been participating in a publication program of "The Beauty of Taoyuan-Artists Series" entrusted by Department of Cultural Affairs, Taoyuan. The program has investigated more than 300 Taoyuan artists and presented their best creative features, including the fields of ink painting, calligraphy/seal cutting, Western painting, plastic coloring, sculpture and craft, applied media and photography, etc. During the study period, the author of this study was stunned by the creative energy of these artists, and discovered that the same subject can be interpreted by different artists through their own emotions, thoughts and unique performance techniques and then manifest a variety of appearances. The emotions (joy, anger, sadness, and happiness) of these creators were visually presented in their works which touched and moved the audience. In order to manifest the inherent profundity of Chinese culture, the Department of Cultural Affairs, Taoyuan actively develops Taoyuan as a hometown of ink painting recently. Therefore, the study aims to deeply explore the development and learning traces of Taoyuan artists specializing in the ink painting and calligraphy/seal cutting, their creative trajectories, as well as the perspicacity development of art commercialization. Five artists specializing in the ink painting and calligraphy/seal cutting are interviewed with a perspective of reception aesthetic in the study. The methods of document analysis and in-depth interview were applied to explore how these artists focus on the provision and dissemination for culture, art and aesthetics which become the cornerstone and nutrition of cultural and creative industries. The three purposes of this study are as follows: (1) to analyze the cultural soft power of Taoyuan by exploring the importance of artists specializing in ink painting and calligraphy/seal cutting to the development of Taoyuan’s art and culture; (b) to analyze the context of contemporary ink painting with the perspective of reception aesthetic (3) to assess the possibility of transforming contemporary arts into licensed commercial images. This study was designed to explore two stages of the present situations for the licensed commercial image and art commercialization industries. The methods of document analysis was applied in the first stage to analyze the process of art inheritance, in terms of how to evolve, teach and share experience, and to construct a chronology database of artists. “Literature analysis” and “in-depth interview” were then employed in the second stage to observe and film artists. It provided descriptions on the contribution and present situations of contemporary arts and creations, and assessed the viable opportunities for the conversion of contemporary art into licensed commercial image. The research results are listed as the analysis and evidences of this study. Overall, ink painting art is the soft power for the cultural infrastructure in Taoyuan City. It is a carrier to solidify the humanistic depth of Taoyuan and inherit the mission for prolonging Taoyuan art. This study aims to analyze the modern trends of art commercialization, which was expected to bring more links to the construction of Taoyuan culture and achieve a grandiose "The Beauty of Taoyuan."

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LIN, YUAN-HE, and 林元禾. "Exploring the Transmedia Adaptation from the Perspective of Reception Aesthetic Theory: A Case Study of Dong- Huachun Barbershop." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/tfabyy.

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碩士
世新大學
公共關係暨廣告學研究所(含碩專班)
107
Films, television series and other media forms, adapted from texts such as comics, picture books and novels, are a common operational strategies of today's transmedia adaptation. Pictorial narrative uses numerous visual elements to create meaningful plots, this distinctive feature allows adaptors to interpret the meaning of the images without limitions. To generate a significant network between original scripts and adapted versions, the concept of “intermediality” plays a key role in the adaptation. Base on the theory of transmedia adaptation, reception aesthetic and intermediality, the research examines the comic and TV series “Dong-Huachun Barbershop”. The oiginal comic was created by Taiwanese cartoonist RUAN Guang- Min. Firstly, the study compares the various narrative strategies presented in the comic book and TV version. Secondly, a semi-structured interview was conducted to explore adaptor’s interactions and interpretation of RUAN’s original work, and the audience’s response toward of the adaptation. Three major results are presented in the research. Firstly, regardless of media forms, the stories are presented in interposed narration. The adapted versions are all based on the original text, and they are aided with animated and audio features to create highlights in plot. However, the adapted versions of the text aim to stay as reasonable and realistic as it can be. The adapted versions include a great deal of “satellite” to establish a certain context and elicit the characters’ emotional changes in enhancing the consistency of the plot. Especially, the elements of love and romance are also infused into the TV version to fit into the theme of idol drama. Secondly, the adaptor’s operation strategies are predominately based on the executive producers of artistic pole’s preferences. However, the adaptors are able to fill in blank by adding various narrative elements, including adaptor’s personal experience, imagination towards the original work and connection with other relevant works, playwrights’ collective creation into the adapted versions in accordance with the target audience’s preferences and viewing habits. Additionally, adaptor had to decide the proportion of original narrative and his own creation in the new version. Lastly, when viewing the adapted works, the knowing audience is always looking for the thrill they received from the original work and the resemblance to the text. The audience expects the adaptors to intensify the plots from different perspectives and with different media attributes. With this expectation, the audience would negate the past viewing experiences, mobilize their experience in reality and put themselves into the characters’ shoes to shorten the aesthetic distance with the adapted versions. However, if too many elements are added to the adapted version, the adapted version would fail to re-create the same emotional reaction brought by the original work and broke the fill-in-blank process.

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Csicsely, Lukáš. "Dandy jako umělecké dílo?" Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-357870.

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(in English): My goal in this diploma thesis is to verify the claim that "dandy is a work of art". The figure of Dandy is often defined by the claim that it truly is a work of art. Dandy is after all defined like that by the founders of the debate on dandysm (Barbey d`Aurevilly, Charles Baudelaire and Oscar Wilde) and also by contemporary theoreticians of dandysm (such as Francois Coblence, Daniel S. Schiffer and Karin Becker). However, despite the numerous occurrences of the definition, the claim was never extended into general theory of dandy as work of art. I am here trying to do that. First, I am looking for a definition that best suits the concept of dandy according to the founders. I confront the concept of dandysm with several definitions of art (mimetic, expressive, formalistic, institutional or functionalist). With the definition that the comparison shows as the most appropriate - the functionalist theory of art - I continue to operate. With a structuralist definition of Jan Mukařovský. From the structuralistic point of view I answer the basic questions connected within the discourse of aesthetics with the concept of the work of art. I am looking for a basic material (material norm) that would create the identity of dandy as a specific kind of artwork. Based on that, I distinguish artistic...

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Khalife, Lamis. "Autour des nouvelles valorisations des collections permanentes au musée : le cas de l'exposition Encounters : New Art from Old." Thèse, 2016. http://hdl.handle.net/1866/16147.

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Dans le cadre de la célébration du nouveau millénaire, la National Gallery de Londres a organisé l'exposition Encounters: New Art from Old (14 juin - 17 septembre 2000). La formule consistait à inviter vingt-cinq artistes contemporains à choisir une œuvre de la collection permanente du musée et à s'en inspirer afin d'en créer une nouvelle. Certaines des œuvres produites pour l’occasion ont été exposées près de leurs sources dans les salles historiques de la collection du musée. Ce mémoire examine comment la formule de cette exposition et son accrochage anachronique agissent de façon directe sur la temporalité de la collection historique en invitant à sa réactualisation, et à la mise en valeur de la création. Il situe cette formule dans le cadre d’un regain d’intérêt pour les collections, décortique la sélection des artistes par le musée et la sélection des œuvres de la collection par les artistes. Il propose aussi une classification des modalités par lesquelles ceux-ci ré-interprètent la tradition. Enfin, en s’appuyant sur la théorie de la réception, ce mémoire considère les réponses générées par l’exposition : celles des artistes aux œuvres de leurs prédécesseurs, celles des critiques et celles du public.
As part of the celebration of the new millennium, the National Gallery of London organized the exhibition Encounters: New Art from Old (June 14 to September 17, 2000). The concept was to invite twenty-five eminent contemporary artists to choose a painting from the permanent collection of the museum in order to create a new artwork. Some of the works produced for the occasion were displayed near the works that inspired them in the historic galleries of the museum. This dissertation examines how the anachronistic hanging of the works of art helped Encounters in shedding new light on the permanent collection of the museum and in showcasing the contemporary artists' interpretations. The dissertation seeks to situate Encounters in the context of a new interest in museum collections, to reflect on its selection of artists as well as on the selection of works chosen by the artists. It then proceeds to classify the new creations in four modalities of intervention and in conclusion addresses the reception generated by the exhibition: that embodied by the new works created and those of the press and the public.

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Dissertations / Theses on the topic 'Ideological and aesthetic reception'

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