Dissertations / Theses: 'Magritte'

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Yu, Myongja. "René Magritte : écriture, peinture." Poitiers, 1995. http://www.theses.fr/1995POIT5012.

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Etude de l'evolution des idees de rene magritte (1898-1967) sur les mots et les images qui comporte quatre parties : "genese d'un peintre", "sous lesigne des mots et des images", "pensee image", "poetiqsue de l'art de magritte". Evolution vers l'alliance des mots et des images pour rendre visible la veritable "pensee" inspiree qui tend a aboutir la conception magrittienne du "veritable art de peindre" : c'est une poesie "visible". L'art de magritte vise a "obliger" la pensee, a "penser" ("voir") et a devenir libre a travers les images liberees. Cette peinture est le "signe materiel de la liberte de la pensee". En ce sens, elle a le meme but que le langage verbal, elle sert de moyen de penser. C'est la plus remarquable analogie entre ecriture et peinture magrittienne. La recherche de la pensee poetique conduit l'artiste, chercheur du "mystere" du monde, a la revelation de la pensee comme un mystere absolu. Ainsi l'evocation du mystere devient la finalite de son art des mots et des images qui s'incarne dans le tableau les deux mysteres (1966) A study rene magritte, writing painging on the evolution of rene magritte's (1898-1967) ideas about words and images composed of four parts : "genesis of a painter", "under the sign of the words and the images", "thaught image", "poetry of magritte's art". Evolution towords the combination of words and images to makes visible the true inspirated poetic thaught which tend to end in magrittian conception of "real art of painting", that is a visible poetry. Magritte's art pursue to oblige the thaught, "prisoner", to "think" ("see") and to make free throwout the liberated images. This painting is the material sign of the liberty of the thaught. In this way, it has the same goal as the verbal langage, it is used as a mean pf think. This the most remarkable analogy bethween writing and magritt's painting which trys to be poetic. The research of the poetic thaught lead the artist to the reveal of the thaught as a absolut mystery which becomes incarnate in the picture the two mysteries (1966). That is the materialisation of magritte's pictorial and mental univers who was researcher of the mystery of the world and the life

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Ávila, Roberta Vieira da Cunha. "Julio Cortázar e René Magritte." reponame:Repositório Institucional da UFSC, 2017. https://repositorio.ufsc.br/xmlui/handle/123456789/182800.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2017. Made available in DSpace on 2018-01-23T03:17:34Z (GMT). No. of bitstreams: 1 349628.pdf: 1492625 bytes, checksum: 3035035f66f3a240e0dc79bf8190ecf1 (MD5) Previous issue date: 2017 Essa dissertação é uma proposta de leitura comparada de Julio Cortázar e René Magritte. Para realizar essa análise, foram destacados, principalmente, os contos de Cortázar ?Circe? publicado em Bestiário, de 1951, e ?Axolote?, publicado em Final de Jogo, de 1956. As obras de Magritte selecionadas foram L´invention collective, de 1934, Le mal du pays (1940) e La bataille de l´Argonne (1964). O objetivo da dissertação é realizar uma leitura que ressalte a proximidade teórica e a intertextualidade entre os dois autores, que tinham raízes no surrealismo e exploraram temas relacionados ao mito. Abstract : This dissertation is a comparative reading proposal of Julio Cortázar and René Magritte. To carry out this analysis, the short stories of Cortázar "Circe" published in Bestiário (1951) and "Axolote", published in Final of Game (1956) were highlighted. The works of Magritte selected were ?L'invention collective?, 1934, ?Le mal du pays? (1940), and ?La bataille de l'Argonne? (1964). The objective of the dissertation is to carry out a reading that emphasizes the theoretical proximity and the intertextuality between the two authors, who had roots in the surrealism and explored subjects related to the myth.

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Joemets, Micheline. "René Magritte, a critique of reification." Master's thesis, Université Laval, 1991. http://hdl.handle.net/20.500.11794/33550.

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Cet ouvrage examine les oeuvres de René Magritte datant de 1925 à 1933. L’auteur considère les oeuvres crées au cours de ces années comme appartenant à deux moments distincts d’un même cheminement critique des relations marchandes. Le premier moment est situé de 1925 à 1927, le second en 1933, au seuil de la découverte d’un processus de formation d’images appelé "objet- réponse". Ces deux périodes sont considérées comme étant basées sur des modes de construction opposés. Les oeuvres datant de la première période sont perçues comme étant le résultat d’une volonté de nier les principes structurels de l’oeuvre "organique". Les oeuvres construites d’après le modèle de T objet- réponse sont, quant à elles, interprétées en tant que tentative de transcender les limites strictement quantitatives et rationelles imposées à tout objet par les rapports marchands. Cette poursuite vers un dépassement de la valeur d’échange s’établit grâce à la construction de liens et d’images qui débordent toutes considérations pratiques. This essay examines René Magritte’s works from 1925 to 1933. It posits that Magritte’s paintings underwent two distinct stages of resistance to commodity relations, one around 1925-1927, the other starting in 1933 with the development of a work process known as objet-réponse. It suggests that the two stages of resistance to commodity relations were founded on opposite modes of construction. The works dating from the early years are understood as being the result of a constant effort to negate the structural principles of the 'organic’ work of art, while the works dating from 1933, are understood as aiming for the creation of a new value system, one which transcends the rational and quantitative norms imposed by reified society. Montréal Trigonix inc. 2018

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Meurer, Clio Elizabeth de Carvalho. "Joan MIRÓ, René MAGRITTE : écriture et création picturale." Paris 7, 2008. http://www.theses.fr/2008PA070003.

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C'est en procédant à une analyse de l'interaction entre l'écriture et l'image dans les œuvres de Joan Miró et de René Magritte que ce travail de mise en contraste cherche à vérifier quel est le rôle joué par l'écriture dans la création picturale - vérifier comment le langage écrit influence, interfère et/ou s'incorpore dans la genèse de l'œuvre d'art. Le texte est structuré autour de quatre axes centraux d'analyse, chacun comportant son propre fondement théorique et méthodologique. Le premier axe examine les fondements du modus operandi des deux artistes, et vise à mettre en valeur l'importance que la poésie a eue dans leur construction. Le deuxième confronte les deux artistes sans les comparer et pose la question de l'interaction entre le texte et l'image dans leurs œuvres picturales respectives (titres de tableaux, narration en peinture, influences littéraires, illustration) - et de même dans leur production littéraire, en prenant comme objet leurs poèmes et proses, ainsi que les aphorismes de Magritte. Les deux axes suivants explorent le rôle de l'écriture dans la création picturale des deux artistes au travers du prisme de la critique génétique. Le troisième étudie le processus de création de Magritte en prenant comme objet d'étude sa correspondance, laquelle conserverait la trace d'une documentation disparue. Dans le quatrième axe, les carnets de travail et les dessins préparatoires de Miró servent de base à une réflexion qui vise à dégager les principales fonctions que l'écriture occupe à l'intérieur du processus de création d'une peinture. C'est donc à la lumière de l'écriture que ce travail cherche à comprendre la création picturale de Miró et de Magritte The present work has as its main objective to verify the role of writing in pictorial creation - to verify how written language may influence, interfere with and/or incorporate itself into the genesis of an artwork. It does so by carrying out a contrastive analysis of the interaction of text and image in the works of Joan Miró and René Magritte. The research rests upon four main axes of analysis, each one having its own methodology and its own theoretical approach. The first axis examines the founding principles of the artists' modus operandi, in an attempt to bring forth evidence of the important role played by poetry in the construction of such principles. The second axis places the two artists side by side in order to analyze a certain number of aesthetic instances where text and image interact with one another, first in their graphic and plastic work (titles, narrative, literary influences, illustration), and then in their literary work (their poetry and prose, as well as Magritte's aphorisms). The third and fourth axes of analysis explore the question of the role of writing in pictorial creation from the perspective of genetic criticism. The third axis tries to bring an understanding of Magritte's creative process through the traces that can be found in his correspondence. The fourth and last axis of analysis searches for the main operative functions of writing in the notebooks and the preliminary drawings of Miró, in order to see how writing can play a role in the creation of an image. It is thus through writing that this work aims to bring an understanding of the pictorial creation of Miró and Magritte

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Köhler, Astrid. "Das Bild im Bild als Reflexionsmedium : über die Doppelnatur von Malerei und das Verhältnis von Kunst und Wirklichkeit im Werk René Magrittes /." Saarbrücken : Müller, 2007. http://swbplus.bsz-bw.de/bsz275046141inh.htm.

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Lipinski, Lisa Kim. "René Magritte and simulation : effects beyond his wildest dreams /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Biserni, Marcella. "Le polyèdre de Magritte : Reflets littéraires de l’objet peint, filmé et scénarisé." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3082.

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Cette thèse se propose d’analyser les différents aspects de l'art de R. Magritte dans son interdisciplinarité. Le premier chapitre prend comme point de départ le versant philosophique et linguistique que l’on peut remarquer dans son œuvre, pour analyser de façon détaillée les aspects mimétiques et sémiotiques. L'utilisation que fait Magritte de certaines formes de la rhétorique rend évidente l'importance de l'aspect graphémique du mot, gouverné par le visible. La coïncidence entre les deux contraires (sémiosis et mimesis) laisse percevoir l'espace qui les sépare. D'un point de vue comparatiste, cet entrelacs permet d’établir des rapports entre certaines œuvres littéraires (de Baudelaire et de Mallarmé, notamment) et des titres ou des représentations dans les œuvres de Magritte. Les mots deviennent des images et le rôle de la mémoire et du rêve trouve un écho dans la pensée de R. Caillois. L'artiste place le passé, le présent et le futur dans un réseau qui peut être mis en parallèle avec l'Atlas de Warburg. Dans cette mosaïque, le geste d’écrire et celui de peindre s’entrelacent, de telle sorte que, chez Magritte, la distinction entre les deux actions s’efface dans la libre association du visible, qui acquiert ainsi un sens nouveau. Cette négation et cet écart se fondent en un seul contenant qui, d’un côté, exalte la différence mais qui, de l’autre, se construit à partir de sa propre appartenance. Certaines créations de R. Magritte dans le domaine de l'illustration ou de la production filmique le révèlent. On assiste à la décomposition et à la recomposition, par le biais de l'humour, de réalités distantes entre elles, ce qui laisse entrevoir la frange minime de l’écart This thesis aims at analyzing Magritte’s multifarious artistry in the light of its interdisciplinarity. The first chapter starts from the philosophical and linguistic côté that can be found in his work in order to deeply explore its figurative and semiotic aspects. The use of rhetorical forms in Magritte clearly shows the importance of the graphemic character of the word, dominated by the mimetic sign. The encounter, or rather the coincidence, between the two opposites (mimesis and semiosis) discloses the space that separates them: the nowhere we tried to define through various instruments. From a comparative point of view, this space of separation shows various literary ties (especially with Baudelaire and Mallarmé) inherent in the titles and in the representations of Magritte work. The words become images and the role of memory and dream attuned to the thought of R. Caillois. The artist constructs a network with the past, the present and the future, which suggests a parallelism with Warburg’s Atlas. In this mosaic, the gesture of writing mixes with the painting; similarly in Magritte the distinction between the two actions is cancelled through the free re-signified association of the visible.The painter destroys and builds at the same time, superimposing appearances, so to move away from a faithful description of reality. This rejection produces a gap in which the content of words and images fuses into a single element: page–canvas–screen. This is what some of Magritte’s creations reveal in their illustrative and film transposition, in which we see the assembling and disassembling of distant realities through the use of humor that reveals their thin divide Questa tesi si propone di analizzare i molteplici punti di vista di Magritte alla luce della sua interdisciplinarità. Il primo capitolo si basa sul côté filosofico e linguistico rintracciabile nella sua opera, per esplorarne nel dettaglio l’aspetto figurativo e semiotico. L’utilizzo delle forme retoriche in Magritte mostra con evidenza l’importanza del carattere grafemico della parola, sovrastato dal segno mimetico. L’incontro, o meglio la coincidenza, tra i due contrari (semiosis e mimesis) lascia apparire lo spazio che li separa: il non luogo a cui abbiamo cercato di dare una definizione. Da un punto di vista comparatista questo scarto mostra vari legami letterari (soprattutto con Baudelaire e Mallarmé) insiti nei titoli e nelle rappresentazioni delle produzioni magrittiane. Le parole diventano immagini e il ruolo della memoria e del sogno trova un raccordo con il pensiero di R. Caillois. L’artista costruisce una rete con il passato, il presente e il futuro, che fa pensare a un parallelo con l’Atlas warburghiano. In questo mosaico il gesto di scrivere si mescola a quello di dipingere, cosicché in Magritte la distinzione tra le due azioni si annulla nella libera associazione risimbolizzata del visibile. Il pittore distrugge e costruisce al contempo, sovrapponendo le apparenze, in modo da annullare la mimesis stessa, nel senso di descrizione fedele della realtà. La negazione e lo scarto sorgono dalla loro fusione in un unico contenitore, che da una parte esalta la differenza ma che dall’altra vi costruisce sopra la propria appartenenza. È ciò che certe creazioni magrittiane rivelano in ambito illustrativo o filmico, dove assistiamo alla decomposizione e poi alla ricomposizione delle realtà distanti attraverso l’humour, che lascia intravedere lo spessore sottile di separazione

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Linardi, Ana Beatriz. "Lautreamont / Magritte : poesia e artes plasticas nos cantos de Maldoror." [s.n.], 2001. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251276.

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Orientador : Joaquim Brasil Fontes Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Made available in DSpace on 2018-07-28T00:21:01Z (GMT). No. of bitstreams: 1 Linardi_AnaBeatriz_M.pdf: 39958102 bytes, checksum: 2bd51290db8cec4da6c1012120be4514 (MD5) Previous issue date: 2001 Mestrado

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Rodrigues, Ana Paula Dias [UNESP]. "Lygia Fagundes Telles e René Magritte: diálogos entre textos e telas." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/99116.

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Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-26Bitstream added on 2014-06-13T20:20:12Z : No. of bitstreams: 1 rodrigues_apd_me_sjrp.pdf: 957510 bytes, checksum: 55e3937d74fcb290d6d51e27de575279 (MD5) Considerando a evolução nos campos da produção artística e do próprio exercício crítico, o presente trabalho consiste em uma análise comparativa entre três contos da escritora brasileira Lygia Fagundes Telles e três telas do pintor belga René Magritte. Essa análise demonstra, a partir do conceito de homologia estrutural desenvolvido por Aguinaldo José Gonçalves, as correspondências estruturais e procedimentais entre Pintura e Literatura e, também, suas especificidades enquanto obras de códigos diferentes. O modo como cada obra, texto ou tela, trabalha a relação entre arte e realidade foi o fio condutor do processo analítico que também procurou demonstrar como a questão da representação é central na composição tanto dos contos como das pinturas. Assim, o trabalho não apenas reflete sobre as especificidades de cada sistema artístico mas também revela as correspondências e as similaridades no modo de produção da obra e nas concepções de arte, de representação, de linguagem, de signo presentes nos contos e nas telas desses artistas. Considering the evolution in the fields of artist production and of critics exercises, this presents a comparative analysis among three short stories by the Brazilian writer Lygia Fagundes Telles and three paintings by the Belgian painter René Magritte. This analysis shows, from the concept of structural homology developed by Aguinaldo José Gonçalves, the structural and procedural correspondences between Literature and Painting and its specificities as works of different artistic systems. The way how each work, text or painting, deals with the relation between art and reality was the rail that led the analysis, that also intent shows that the question of representation is central in the composition as much the short stories as the paintings. In this way, this analysis not just reflects about each artistic systems specificities but also reveals the correspondences and similarities in the way of production of the art object and in the conception of art, representation, language, sign in the short stories and paintings by these artists.

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Rodrigues, Ana Paula Dias. "Lygia Fagundes Telles e René Magritte : diálogos entre textos e telas /." São José do Rio Preto : [s.n.], 2010. http://hdl.handle.net/11449/99116.

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Orientador: Sérgio Vicente Motta Banca: Maria de Lourdes Ortiz Gandini Bladan Banca: Aguinaldo José Gonçalves Resumo: Considerando a evolução nos campos da produção artística e do próprio exercício crítico, o presente trabalho consiste em uma análise comparativa entre três contos da escritora brasileira Lygia Fagundes Telles e três telas do pintor belga René Magritte. Essa análise demonstra, a partir do conceito de homologia estrutural desenvolvido por Aguinaldo José Gonçalves, as correspondências estruturais e procedimentais entre Pintura e Literatura e, também, suas especificidades enquanto obras de códigos diferentes. O modo como cada obra, texto ou tela, trabalha a relação entre arte e realidade foi o fio condutor do processo analítico que também procurou demonstrar como a questão da representação é central na composição tanto dos contos como das pinturas. Assim, o trabalho não apenas reflete sobre as especificidades de cada sistema artístico mas também revela as correspondências e as similaridades no modo de produção da obra e nas concepções de arte, de representação, de linguagem, de signo presentes nos contos e nas telas desses artistas. Abstract: Considering the evolution in the fields of artist production and of critics exercises, this presents a comparative analysis among three short stories by the Brazilian writer Lygia Fagundes Telles and three paintings by the Belgian painter René Magritte. This analysis shows, from the concept of structural homology developed by Aguinaldo José Gonçalves, the structural and procedural correspondences between Literature and Painting and its specificities as works of different artistic systems. The way how each work, text or painting, deals with the relation between art and reality was the rail that led the analysis, that also intent shows that the question of representation is central in the composition as much the short stories as the paintings. In this way, this analysis not just reflects about each artistic systems specificities but also reveals the correspondences and similarities in the way of production of the art object and in the conception of art, representation, language, sign in the short stories and paintings by these artists. Mestre

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Greeley, Robin Adèle. "Image, text and the female body : René Magritte and the surrealist publications." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/74338.

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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988. Includes bibliographical references (leaves 66-73). In 1935, Andre Breton published his speech Qu'est-ce que le Surrealisme? with Rene Magritte's drawing, "Le Viol" (The Rape) on its cover. The image, a view of a woman's head in which her facial features have been replaced by her torso, was meant to shock the viewer out of complacent acceptance of present reality into "surreality," that liberated state of being which would foster revolutionary social change. Because "Le Viol" is such a violently charged image and because of the claims made for it by Magritte for its revolutionary potential, the drawing has been the subject of many arguments, both for and against its effectiveness. The feminist community has had a particular interest in this image (and in Magritte's work as a whole) not only because of the controversial treatment of the female subject in "Le Viol," but also because of the ways in which our culture has been so easily able to strip surrealist images of their political content and subsume them back into mainstream culture for use in those very categories of social practice which Surrealism wanted to eradicate. The reincorporation of surrealist works has been especially noticeable and damaging in the case of images of women, as feminists like Susan Gubar and Mary Ann Caws have pointed out Against those claims made against "Le Viol" as an image which affirms phallocentric language and discourse rather than disrupting them, I argue in this paper that the drawing in fact exposes the mechanisms by which female sexuality is formed and controlled within phallocentric language. In exposing these constructions, "Le Viol" forces the viewer to realize them as ideological positions which maintain women as Other, as unable to gain access to coherent meaning within that language. In performing this function, Magritte's picture undermines that process through which women are deprived of a coherent self-image and of the material power which comes with that image in the social realm. To substantiate my arguments, I trace the relationship between several of Magritte's images and the surrealist texts in which they were published, in order to provide a complex understanding of the interrelationships between word and image to which the artist directed much of his work. My use of the theoretical positions of deconstruction, feminism and psychoanalysis allows me to take the observations made onto the terrain of sexuality. These positions provide an understanding of how language and representation operate with respect to each other, and how the human subject (particularly the female) is formed through language. by Robin Adèle Greeley. M.S.

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Santos, Carolina Junqueira dos. "A ordem secreta das coisas: René Magritte e o jogo do visível." Universidade Federal de Minas Gerais, 2006. http://hdl.handle.net/1843/VPQZ-6X4PYA.

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Loeuvre de René Magritte, loin des projecteurs du Surréalisme, est une oeuvre silencieuse. Une peinture tournée vers la pensée, vers lanalyse des images, du langage et de la représentation. Magritte a dédié la plupart de sa vie à cette recherche infatigable et, tout le temps, à deux questions: quelle est la place de limage? Quelle est la place du mot? Dans ce texte, jadopte la stratégie de mapprocher de son oeuvre par une voie tortueuse et incertaine. Ainsi, je fais reculer à un temps mythique la question sous-jacente à sa production, en me présentant comme la détentrice des souvenirs dune genèse perdue dans le temps et dans la mémoire. Jécris par des souvenirs. Les autres voix surgissent avec les fils de lécriture. Pendant que jécris, jentends ces voix, je peux même dialoguer avec elles. Je peux tisser le texte à la mesure de mon désir. Je me souviens des mots distants, des images trouvées dans des livres. Je me souviens de la littérature. Lordre qui sétablit entre le choses, lordre silencieux dont aura parlé Foucault, cest le biais par où marche le texte vers loeuvre de Magritte. Parfois, certains écrivains, certains artistes sont, dans le texte, appelés au dialogue. Cest la tentative de situer ce point où se donne le vertige de limage, du mot, le vertige de la logique et de lordre des choses. Je participe au jeu de regards et miroirs qui se met en place chez Magritte et mon rôle dans cette écriture est incertain, alternant. Soit il mantient lécart propice à lexplicite de ses règles, soit il se laisse précipiter dans labîme où mènent les images et les mots. Ainsi, les approches critiques sont les approximations et les fuites possibles autour du piège que nous tend Magritte. A obra de René Magritte, longe dos holofotes do Surrealismo, é uma obra silenciosa. Uma pintura voltada para o pensamento, para a análise das imagens, da linguagem e da representação. Magritte dedicou a maior parte de sua vida a essa pesquisa incansável e, o tempo inteiro, a duas perguntas: qual o lugar da imagem? Qual o lugar da palavra? Neste texto, adoto a estratégia de me aproximar de sua obra por uma via tortuosa e incerta. Assim, faço recuar a um tempo mítico, a questão que subjaz à sua produção, colocando-me em cena como a portadora das lembranças de uma gênese perdida no tempo e na memória. Escrevo através de lembranças. As outras vozes surgem com os fios da escrita. Enquanto escrevo, ouço essas vozes, posso mesmo dialogar com elas. Posso tecer o texto à medida do meu desejo. Lembro-me de palavras distantes, das imagens encontradas em livros. Lembro-me da literatura. A ordem que se estabelece entre as coisas, a ordem silenciosa de que falaria Foucault, é o viés por onde o texto caminha em direção à obra de Magritte. Por vezes, alguns escritores, alguns artistas, são chamados ao texto para um diálogo. Para tentar localizar esse ponto em que acontece a vertigem da imagem, da palavra, a vertigem da lógica e da ordem das coisas. Como participante do jogo de olhares e espelhos que se instaura na obra de Magritte, meu lugar nesta escrita é incerto. Alterna-se. Ora mantém um distanciamento propício à explicitação de suas regras, ora se deixa precipitar no abismo a que imagens e palavras conduzem. Por isso, as abordagens críticas são as aproximações e as possíveis fugas à beira da armadilha que Magritte monta para nós.

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Pettersson, Emma. "Människosonens beständighet : Bildanalys av två surrealistiska konstverk." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24846.

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Syftet med detta arbete är utifrån litteraturuppgifter samt analys beskriva Salvador Dalis och René Magrittes konstnärliga arbetsmetod, och utifrån detta göra en egen visuell gestaltning. Metoden jag har använt mig utav är litteratur, bildandalys och konstnärliga gestaltningar.Salvador Dalis metod i Minnets beständighet bygger på gränslöshet och fantasi, med tydliga semiotiska inslag. Du som betraktare avgör vad som ses, vill du se målningarna enkelt och bara uppleva det som är målat, eller vill betraktaren sjunka in i en värld av nyskapande, suddiga gränser och bortom alla regler. René Magrittes metod bygger i Människosonen på naturliga och trovärdiga drag, hans målning framstå som verklig fast med en touch av fantasi, med sparsamma drag av semiotik. The purpose of this work is based on literature data and analysis describing the Salvador Dali and René Magritte's artistic working method, and accordingly make its own visual interpretation. The method I used is out literature, bildandalys and artistic depictions.Salvador Dali's method of memory resistance based on the boundlessness and fantasy, with distinct semiotic elements. You as a viewer decides what is seen, you want to see the paintings simple and just experience what is painted, or want the viewer to sink into a world of innovative, blurred boundaries and beyond all rules. René Magritte's method is based in the Son of man on natural and credible move, his painting appear to be real solid with a touch of fantasy, with sparse features of semiotics.

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Moraes, Walmira Sodré Austríaco [UNESP]. "Sob o domínio da metáfora: transposição de imagens poéticas (em) entre Edgar Allan Poe e René Magritte." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/137917.

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Submitted by WALMIRA SODRÉ AUSTRÍACO MORAES null (walmira.sodre@hotmail.com) on 2016-04-12T00:03:48Z No. of bitstreams: 1 TESE MORAES, Walmira Sodré Austríaco .pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-13T13:50:30Z (GMT) No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Made available in DSpace on 2016-04-13T13:50:30Z (GMT). No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Previous issue date: 2016-03-01 Não recebi financiamento O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora – pensada em sua historicidade dinâmica – considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais que mantêm entre si. The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor’s Cottage. A pendant to “The Domain of Arnheim” first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables a more effective link between literature (Poe) and painting (Magritte) with emphasis, especially, on the relationship among their structural similarities. El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la pintura (Magritte) con énfasis, especialmente en las relaciones de similitud estructural que mantiene entre ellos.

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Tyson, Janet Stiles Way Jennifer Ellen. "Two annunciations examples of interpellation or offers of reception? A comparative analysis of pictures by Roger Van Der Weyden and René Magritte /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3912.

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Tyson, Janet Stiles. "Two Annunciations: Examples of interpellation or offers of reception? a comparative analysis of pictures by Roger van der Weyden and René Magritte." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3912/.

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This thesis uses reception theory, as formulated by the late Wolfgang Iser, as well as ideas about interpellation or hailing, to compare and analyze two paintings: The Annunciation (c. 1435) by Roger van der Weyden and Personal Values (1952) by René Magritte. It demonstrates that interpellation and reception are part of the same process, and that reception theory is especially suited to this comparison and analysis-because it allows consideration of ways in which the comparable pictorial structures of both paintings facilitate their intentions. It argues that those intentions are to engage viewers in a dialogue that ultimately is beneficial to both pictures and viewers. Furthermore, based on this shared intent, and on visible structural similarities, it argues that each of the two paintings identifies and receives the other as a picture of the same image-that is, of the Annunciation.

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Mensa, Torras Marta. "L'altra cara de René Magritte, el publicista. Una anàlisi de contingut dels anuncis del dominical d'El País (1995-2005)." Doctoral thesis, Universitat Autònoma de Barcelona, 2007. http://hdl.handle.net/10803/4130.

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La tesi investiga la relació entre l'art de René Magritte i la publicitat actual. Es vol esbrinar si durant un determinat període de temps es detecta una permanència de l'art magrittià en peces gràfiques actuals i per tant es pot determinar l'existència de "publicitat magrittiana". Per tal d'acotar aquest objectiu s'empra la metodologia de l'anàlisi de contingut amb una mostra de 6.360 anuncis editats en la publicitat impresa del dominical espanyol d'"El País Semanal" (El País). A la vegada, es realitza un recorregut comparatiu entre les etapes pictòriques i publicitàries de l'artista belga, fent una especial menció a les etapes i els objectes recurrents que formen part de l'anomenat abecedari magrittià. This thesis makes a research on the relationship between René Magritte's art and the nowadays advertising. The main aim is to discover whether, during a certain period of time, some magrittian art influences can be detected in ads and, therefore, it can be said that the existence of the "magrittian advertising" as specific technique. To confirm this claim, the content analysis method is used with a sample of 6.360 advertisings published in the Spanish Sunday magazine "El País Semanal" (newspaper, El País). At the same time, a comparative research of the different pictorial and advertising stages of the Belgian artist has been carried out.

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Chao, Shun-liang. ""Aegri somnia" : the grotesque in the works of Richard Crashaw, Charles Baudelaire, and René Magritte." Thesis, University College London (University of London), 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.758580.

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Assis, Frederico Souza de Queiroz. "Para além do cachimbo de Magritte: messianismo e utopia na construção da figura do Subcomandante Marcos." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-30012014-103003/.

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O trabalho tem o objetivo central de identificar como se construiu historicamente a figura do Subcomandante Marcos, na esteira do processo de formação do movimento zapatista em Chiapas. Marcos, cuja identidade era ocultada por si mesmo (embora o governo mexicano tenha declarado publicamente, em 1995, que ele era o professor Rafael Sebastián Guillén Vicente), é o principal porta-voz do Exército Zapatista de Libertação Nacional (EZLN) e destaca-se como figura-símbolo do referido movimento. Diante disso, busca-se apresentar a importância chave do indivíduo para o movimento zapatista (no plano intelectual e político), bem como compreender como se deu a dissolução de sua própria individualidade no plano simbólico na medida em que Marcos pareceu encarnar o ideário revolucionário zapatista. A ênfase analítica, para tanto, recairá sobre os aspectos de messianismo inseridos nesse processo, assim como sobre os elementos que sinalizem em Marcos a representação da própria experiência utópica, para que então se compreenda as razões pela quais sua liderança pareceu ter uma dimensão sui generis. Tal análise, feita a partir do levantamento de fontes primárias e da revisão da literatura secundária, mostra-se necessária frente à constatação de que o zapatismo constituiu-se como um dos movimentos políticos mais relevantes da contemporaneidade. Assim, realizando um estudo sistemático desse conjunto de aspectos, busca-se articular os temas de modo pertinente, para que se compreenda, então, o significado histórico deste ator político contemporâneo. This work aims to identify the historical construction of Subcomandante Marcos image, in the wake of the process of the construction of the Zapatista movement in Chiapas, Mexico. Marcos, whose real identity is hidden by himself (though the Mexican government publicly declared in 1995 that he is Professor Rafael Sebastián Guillén Vicente), is the main spokesperson of the Zapatista Army of National Liberation (EZLN) and stands as a symbol-image of the movement. Therefore, the dissertation seeks to present this individuals key importance to the movement (in the intellectual and political spheres), as well as understanding the dissolution of his own individuality (in the symbolic sphere) as Marcos seems to incarnate the revolutionary ideas of Zapatismo itself. The analytical emphasis, therefore, is on the messianist aspects inserted in this process, as well as on the elements that demonstrate representations of his own utopian existence, in order to understand the reasons why his leadership seems to have a sui generis dimension. This analysis, based on a thorough survey of primary and secondary sources, is relevant because the Zapatistas have established themselves as one of the most relevant contemporary political and social movements. Thus, conducting a systematic study of these aspects, it seeks to understand the historical importance of Subcomandante Marcos within the context of the rise of the Zapatistas.

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Moraes, Walmira Sodré Austríaco. "Sob o domínio da metáfora : transposição de imagens poéticas (em) entre Edgar Allan Poe e René Magritte /." São José do Rio Preto, 2016. http://hdl.handle.net/11449/137917.

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Orientador: Norma Wimmer Banca: Manuel Fernando Medina Banca: Paulo Sérgio Nolasco dos Santos Banca: Giséle Manganelli Fernandes Banca: Nelson Luís Ramos Resumo: O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor's Cottage. A pendant to "The Domain of Arnheim", publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora - pensada em sua historicidade dinâmica - considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais... Abstract: The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor's Cottage. A pendant to "The Domain of Arnheim" first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables ... Resumen: El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor's Cottage. A pendant to "The Domain of Arnheim", publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la ... Doutor

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Bigeli, Alan Ricardo Floriano. "Contribuições de uma poética magritteana para a psicanálise : diálogos entre processos de subjetivação e obra de arte /." Assis, 2019. http://hdl.handle.net/11449/191230.

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Orientador: Gustavo Henrique Dionisio Resumo: O pintor belga René Magritte provoca nossa subjetividade com uma série de inquietações amparadas na realidade cotidiana. Ele se dedica a encontrar sua resolução pictórica para problemáticas das relações aparentemente banais, mas que apresentam aspectos estranhamente misteriosos. Aqui propomos aproximações entre a obra de Magritte e a Psicanálise, compreendendo as singularidades poéticas e subjetivas do pintor, introduzidas pelo termo emoção estética. Primeiramente, mostramos as diferentes perspectivas do Surrealismo na França e na Bélgica, fazendo uma incursão na vida e obra de Magritte. A seguir, estruturamos uma discussão metodológica para delimitar nosso campo de trabalho. Propomos, desse modo, análises críticas entre as obras de Magritte e as temáticas do Olhar, do Estranhamento e da Representação, adensadas pelo campo da psicanálise em consonância com as reflexões estéticas, com toque da fenomenologia. Por fim, concluímos com uma convergência entre primazia afetiva, na teoria psicanalítica, com as emoções estéticas, propostas por Magritte, constituindo aberturas sensíveis para além do estado de suspensão provocado entre a Arte e os processos de subjetivação. Mestre

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Pinto, Nilma de Almeida. "Relaçao entre texto e imagem na obra em busca do tesouro de Magritte, de Ricardo da Cunha Lima." reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/24547.

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Oki, M. "The threshold – a place of the hunchback : violence and transformation in works by Géricault, Dix, Salomon, Magritte, and Kafka." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1433396/.

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This thesis examines the violence of normative power in contemporary biopolitics, and its expressions in the art and literature of Géricault, Dix, Salomon, Magritte and Kafka. This violence may be invisible. In Foucault’s thought modern power functions as a normalising system that goes beyond the state. In Agamben violence is ubiquitous, realised in a dispersed mode of sovereign power as a state of exception from the law. In addition to those thinkers my investigation is nurtured by Benjamin, Adorno and Butler. Butler and Agamben rearticulate Foucault’s biopolitics through Benjamin’s idea of ‘bare life’ in which the law is manifested as violence by its very nature. I argue that Magritte’s paintings illuminate the ubiquitous violence of the state of exception as proposed by Benjamin, and developed by Agamben. Discussing the simulacrum I argue that Magritte problematises Agamben’s idea of threshold as a device for inclusion by way of exclusion. I conceptualise the hunched figures in Géricault, Dix and Salomon as a dark presence generated by the normative power that produces the human subject. I move on to the hunchback in Kafka discussed by Benjamin and Agamben. The Muselmann in Auschwitz as described by Agamben is the hunchback’s re-appearance in contemporary biopolitics, an ‘uncanny’ double of the normalised upright human figure. The ideas of threshold and hunchback are held together by Kafka’s hunched object-creature Odradek who resides on the threshold of the household. Odradek, a figure made of various distortions, conceptualises the threshold as a place of subjectification that makes visible the inhuman within the human itself. In the light of Adorno’s conception of aesthetic experience, Odradek is an allegorical expression of what makes social criticism possible. Odradek represents my central question: how to make symbolic violence intelligible aesthetically when violence itself deploys aesthetic qualities?

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Morais, Rogério Cavalcante de. "A POÉTICA DO CONTO E A QUESTÃO DO OLHAR NA LITERATURA." Pontifícia Universidade Católica de Goiás, 2016. http://localhost:8080/tede/handle/tede/3250.

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Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ROGERIO CAVALCANTE DE MORAIS.pdf: 2888343 bytes, checksum: 703c15350891bd366f004d12d08a2c12 (MD5) Previous issue date: 2016-02-19 This thesis aims to establish relationships between different artistic systems involving intertextualities and relations between text and image. We analyze homological procedures between them. Selected texts from different periods, styles and language system. These texts are listed in order to provide readings that can mobilize fruitful way of the senses. The corpus is made up of the stories; "The telltale heart," Edgar Allan Poe, "Love", by Clarice Lispector, and screens; "Luncheon on the Grass" by Édouard Manet, and "Lovers" by René Magritte. We analyze the existing dialogue in the look between the two languages, verbal and plastic-visual. The work is theoretical basis authors dealing with intertextuality as well as analog and homological procedures addressing different systems. We demonstrate how the game looks permeates and immobilizes the form of artistic training. Esta dissertação se propõe a estabelecer relações entre sistemas artísticos distintos envolvendo intertextualidades e relações entre texto e imagem. Analisaremos procedimentos homológicos entre eles. Para isso, selecionamos textos de diferentes épocas, estilos e sistema de linguagem. Esses textos serão relacionados de modo a propiciar leituras que possam mobilizar de maneira profícua os sentidos. O corpus é constituído pelos contos; O coração denunciador , de Edgar Allan Poe, Amor , de Clarice Lispector, e as telas; Almoço na Relva , de Édouard Manet, e Os amantes , de René Magritte. Analisaremos o diálogo existente no olhar entre as duas linguagens, verbal e plástico-visual. O trabalho tem como embasamento teórico, autores que tratam da intertextualidade bem como dos procedimentos analógicos e homológicos abordando sistemas diferentes. Demonstraremos como o jogo de olhares permeia e imobiliza a forma de capacitação artística.

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Asplund, Emily Patricia. "Les pas perdus : images of feet and shoes in surrealist art /." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2335.pdf.

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Godet, Marie. "Le poids du réel. Les surréalistes bruxellois et l'objet dans les années 1940." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/241978.

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Cette thèse se propose d’étudier le surréalisme bruxellois durant les années 1940, à travers le prisme de l’objet. Les termes d’héritage, de poncif, de génération, d’avant-garde et de scandale en façonnent le cadre. Le poids des événements historiques s’y fait continuellement ressentir. Particulièrement peu unifiées sur le plan politique et artistique, les années 1940 sont synonymes d’intenses turbulences pour le surréalisme, officiellement lancé en 1924. Les jeunes poètes qui entament leur parcours à cette époque sont pratiquement nés au même moment que le mouvement dans lequel ils s’insèrent. La rencontre entre ces surréalistes débutants et un mouvement ayant ses principaux coups d’éclat derrière lui crée une dynamique à laquelle l’énergie de ces années difficiles est en grande partie redevable. Divers phénomènes sont observés : la constitution d’une « deuxième génération » surréaliste, une interrogation sur la pertinence et les moyens d’action du mouvement, des modifications dans les relations avec les surréalistes parisiens. Enfin, l’instabilité politique force chaque membre du mouvement à repenser ses rapports au réel. L’utilisation de l’objet par les surréalistes est intimement liée à ces soubresauts continuels. Suivant un déroulement chronologique, la thèse aborde quatre épisodes de l’histoire du groupe surréaliste bruxellois durant cette décennie, en suivant plus particulièrement le parcours de Marcel Mariën, Christian Dotremont et René Magritte. Elle s’ouvre à la veille de la Seconde Guerre mondiale ; la deuxième partie est consacrée à l’Occupation. La troisième partie étudie l’année 1945 et en particulier une exposition organisée par René Magritte en décembre 1945 et janvier 1946, dans laquelle les objets sont présents en nombre. La quatrième partie se consacre aux dernières années de la décennie. Christian Dotremont quitte le surréalisme via la création du surréalisme-révolutionnaire et de Cobra avant de réaliser une exposition d’objets en été 1949. L'étude de cette décennie dans sa globalité permet plus largement de donner un éclairage inédit sur cette partie de l'histoire du surréalisme. Doctorat en Histoire, histoire de l'art et archéologie info:eu-repo/semantics/nonPublished

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Müller, Axel. "Im Rahmen des Möglichen : Studien zur Bild- und Raumkonzeption der Malerei des 19. und 20. Jahrhunderts /." Hildesheim : G. Olms, 1990. http://catalogue.bnf.fr/ark:/12148/cb35707754t.

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Laterza, Lucia. "The Presence of Words in Visual Art from Surrealism to Conceptualism." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7377/.

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Without a doubt, one of the biggest changes that affected XXth century art is the introduction of words into paintings and, in more recent years, in installations. For centuries, if words were part of a visual composition, they functioned as reference; strictly speaking, they were used as a guideline for a better perception of the subject represented. With the developments of the XXth century, words became a very important part of the visual composition, and sometimes embodied the composition itself. About this topic, American art critic and collector Russell Bowman wrote an interesting article called Words and images: A persistent paradox, in which he examines the American and the European art of the XXth century in almost its entirety, dividing it up in six “categories of intention”. The aforementioned categories are not based on the art history timeline, but on the role that language played for specific artists or movements. Taking inspiration from Bowman's article, this paper is structured in three chapters, respectively: words in juxtaposition and free association, words as means of exploration of language structures, and words as means for political and personal messages. The purpose of this paper is therefore to reflect on the role of language in contemporary art and on the way it has changed from artist to artist.

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Singstad, Andrea. "An-Magritt i spennet mellom gjenkjennelse og utfordring : En litteraturdidaktisk vurdering av hvordan Johan Falkbergets An-Magritt kan brukes i den videregående skolen i dag." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for nordistikk og litteraturvitenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-21578.

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Allmer, Patricia M. "Correspondences : ReneÌ Magritte's dialogue with art and tradition." Thesis, Loughborough University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416688.

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De, Wet Anna-Magrieta. "Kultuureie-onderwys : 'n onderwysregtelike perspektief / Anna-Magrieta de Wet." Thesis, Potchefstroom University for Christian Higher Education, 2002. http://hdl.handle.net/10394/8588.

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This study focused on finding a balance between equality and diversity as seemingly opposites, in order to ensure realisation of cultural, linguistic and religious rights in education. In order to reach this goal, it was imperative to illustrate the meaning of the concepts equality, discrimination, culture and diversity in education. Unfolding the meaning of these concepts, as well as determining the scope of the learner's right to culture-specific education, the finding was that equality does not mean identical treatment of all, but rather it implies that a person has the right to be culturally distinguished. The objective of the empirical research was to determine to which extent the learner's cultural, linguistic and religious rights are catered for in schools, also to determine what the educational leaders' attitude is with regard to the subject. The population existed of school principals of public schools in the N3 district in Gauteng of which a sample of 80 principals was randomly chosen. The research was conducted by means of a questionnaire. In conclusion, some of the findings of this study are as follows: The attitude of the principals is in favour of culture specific education, but they do not favour an opinion that such education should lead to seperation of groups. The principals are in favour of mother tongue education and feel that such education will be more effective than education in a foreign language, though they see the implementation of a majority policy as a practicable solution. Principals agree that religion should play a prominent role in education. Cultural differences are being catered for by school cultural activities. Language and religious needs of minority groups are however not accommodated because of the implementation of a majority principle. Educational leaders should be equipped with knowledge and skills to effectively accommodate the cultural, linguistic and religious rights of learners. Respect for cultural identity should be cultivated by means of informing leaders, parents and teachers of mutual fundamental rights and duties. The practicability of education in the previously disadvantaged languages should be researched. This should be done concerning the different training methods and the need for training with regard to knowledge and skills that will enable educational leaders to effectively accommodate the cultural, linguistic and religious rights of the learners. Thesis (M.Ed.)--Potchefstroom University for Christian Higher Education, 2002

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Heyns, Martha Magrieta. "'n Bestuursperspektief op die rol van vertroue in 'n militêre organisasie / Martha Magrieta Heyns." Thesis, North-West University, 2010. http://hdl.handle.net/10394/8305.

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The ability to establish and maintain trust is regarded as a critical modern leadership skill. However, different conceptualisations of trust saw to it that the empirical and theoretical sides of research did not merge. As a result, trust has been studied in a variety of different ways and resulted in a varied and fragmented knowledge base, which this study attempts to address. The objectives of this study were to investigate conceptualizations of trust as perceived by middle- and senior level managers in a military medical basis in order to provide recommendations to management on how to build trust. Research was conducted in two phases of investigation. In phase 1 a literature review of the concept was conducted by analyzing and categorizing definitions and frameworks currently in use. In the second phase an empirical investigation was conducted by means of a descriptive and explorative qualitative research design and the use of a non-probability purposive sampling technique. The results showed that three proposed factors of trustworthiness (ability, benevolence and integrity), effective communication as well as perceived justice and fairness are fundamental to the establishment of trust. It is evident that management should draft a strategic plan to ensure that trust is established and maintained on a sustainable basis. The findings will contribute to a better understanding of the essential nature of trust and assist management in an effective approach to master trust as an essential leadership skill in order to successfully enhance business reputation and outcomes. Thesis (MBA)--North-West University, Potchefstroom Campus, 2011

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Swanepoel, Magritha Christiana. "Die estetiese konkretisering van herinneringe in die konseptuele installasiekuns van Willem Boshoff / Magritha Christiana Swanepoel." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8391.

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This study focuses on the way in which Willem Boshoff aesthetically con-cretized the historical memories of Afrikaners and their influence on their notion of power and identity formation. For this purpose a selection was made of Boshoff’s language-based conceptual installations. During the colonial and apartheid eras South Africa had a long history, which was characterized by people in power who encountered other population groups from a vantage point of superiority implying subjection. This implied that the particular in-terests of the people in power were generalized across the whole of society and imposed on all population groups as generalized interests. Where the in-dividual interests did not correspond to the general interests of society in its totality, the interests of the individual were negated and ignored. It can there-fore be stated that the utopia of those in power became the proverbial hell of the other. The study emanates from Ricoeur’s plea for a critical and imaginative en-counter with history so that other perspectives on traumatic events can be developed. Such an approach creates the possibility of opening up the unreal-ized promises of the past for the present and leading to the future. It further proceeds from the assumption that if we are faithful to the past, we will also be faithful to “the more” of the past or that which transcends the past. My ap-proach is in line with that of Verbeeck, who – tying in with Ricoeur – ad-vocated an anachronistic encounter with and interpretation of history. What is meant by aesthetic concretization in this study is that Willem Boshoff conceptually expresses his artistic interpretation and visual manifestation of philosophical ideas on Afrikaners’ memories of power and identity. He makes real (real-ises) and gives shape to these philosophical ideas. For this purpose three dates in the historical narratives of Afrikaners were selected, which had an important impact on Afrikaners’ notions of power and identity formation: 31 May 1902 –The end of the Anglo-Boer War and the demise of the Boer Republics and the freedom of Afrikaners; 31 May 1961 – The formation of the Republic of South Africa under the leadership of the National Party, and 27 April 1994 – The first democratic elections in South Africa, and the Afrikaners’ total loss of power. The reading and interpretation of Boshoff’s installations were undertaken with-in the framework of Adorno’s dialectical distinction in his aesthetic theory be-tween the Inhalt and the Gehalt of works of art. Adorno regards everything that appears in the work of art, viz. everything that the artist gives form to, as Inhalt [content]. Gehalt, on the other hand, refers to the truth content of works of art, which according to him resides in the specific negation [German: bestimmte Negation] of the untruth of an inhuman society. For Adorno bestimmte Negation signifies a break both with that which exists [in other words a negation of the predominance of a false reality] and with the continuity between the present and the future [the salvation of the moment or element which holds promise of something, which goes beyond that which exists, and refers to something better]. In Adorno’s view works of art are tho-roughly historically determined. According to Adorno the history of society is sedimented in the material, the constellations and the form elements of works of art. What is meant by this is that the artistic material which an artist [in this study Boshoff] utilizes, is not only words, pigments, or rock, but is everything that is pre-formed by history that the artist uses. Because history sediments in the material and because the material of a work of art is taken from reality, but in a fragmented fashion, the work of art becomes a monad – that is auto-nomous and windowless, because the work of art, apparantly, has no links to or relationships with recognizable reality or with other works of art. I argue that the exposé of the memories of Afrikaners of cultural and political domination, with historical narratives as a source, and the influence of these on their visions of power and identity, offers a framework for the reading and interpretation of selected installations. In these selected installations, Boshoff offers immanent criticism of the above unequal power relations and con-comitant views of identity. Through striving for the harmonious and the good as ethical and aesthetic principles in his installations focused on social inter-action, he makes a contribution to the creation of a more humanitarian society. Thesis (PhD (Art History))--North-West University, Potchefstroom Campus, 2012

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Pieterse, Magrieta Elisabeth. "Kreatiwiteit by volwassenes as verwerking van ouerverwerping in die kinderjare: 'n pastorale verkenning / Magrieta Elisabeth Pieterse." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4391.

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The purpose of this study was to show the effect of creativity on adults as a means of coming to terms with parental rejection experienced in childhood. The study was done according to a practical theological interpretation of the three-phase hermeneutical model of Ricoeur, namely: ? understanding according to Scriptural perspectives (basis-theoretical), as well as on a metatheoretical level by means of a literature study; ? interpreting by means of an empirical research in the form of interviews with respondents; ? change by means of practical theoretical guidelines for the creative adult who processed parental rejection experienced in childhood by the pursuing of person-directed creativity. Understanding on the basis-theoretical level showed the following: With the fall in paradise, man rejected God and tried to fulfil his / her own needs independently. The arts were also contaminated and artists moved away from God, the Creator and Source of their creativity, to pursue their art in a self-centred and arrogant way. Creativity is being used with wrong motives as a method of selfhealing to process unresolved pain from the past. The honour which God deserves is lost and without Him mankind, as well as art, deteriorates. Art does show therapeutic value if it is directed towards God, but otherwise the success is temporary and superficial. The literature study of ten well known creative individuals showed that the therapeutic effect of the pursuit of creativity to process parental rejection in childhood, failed sadly and ended in disillusionment for all of them. Their lives were a continuous search for healing and wholeness, as well as peace, meaning and happiness, whereas their personal relationships were destructive and / or broken and unhappy. The empirical research with creative adults who experienced parental rejection in childhood, and used their creativity as a means of processing it, provided an explanation for the effect of this on these creative adults. Their creativity was directed at the self instead of at God and failed to process the hurt of childhood, as well as bringing about inner peace for a healthy relationship with God, the self and others, especially loved ones.. To effect change, practical theoretical guidelines were established to guide the creative man or woman, who experienced parental rejection in childhood, by the use of their creative medium, to embark on the road to recovery and healing with God?s help. The main goal of the practical guidelines is bringing redemption to the creative person through Jesus Christ so that he / she will use his or her creativity in future to honour and praise God, as well as to serve the fellowman. Thesis (Ph.D. (Pastoral))--North-West University, Potchefstroom Campus, 2011.

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Wiggill, Magrita Nicolene. "Francois Bloemhof se Slinger-slinger : 'n leserkundige evaluering met verwysing na Afrikaanslesende tieners / Magrita Nicolene Wiggill." Thesis, Potchefstroom University for Christian Higher Education, 2001. http://hdl.handle.net/10394/3691.

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In 1996 Francois Bloemhof's teenage fiction, Slinger-slinger, was a prize-winner in the beginners' category of the Sanlam competition for fiction for youth. The book was acclaimed because of the open manner in which the author wrote about sensitive themes such as hetero- and homosexuality, promiscuity, divorce, incest, tense family relationships, and drug and alcohol abuse. The main theme of Slinger-slinger is teenage sexual aspects, such as the sexual awakening and identity of teenagers. In 1998 a sensation was caused in the media as upset parents, teachers and other adults protested against the inclusion of Slinger-slinger in the ATKV's Children's Book Award, category 13-15 years of age. Two conflicting opinions about Slingerslinger could be distinguished: one group was of the opinion that the sexual theme and strong language were not suited for teenage fiction, while the other group was of the opinion that teenagers needed to read about realistic themes to prepare them for the real world. No comments were published about the opinions of the supposed readers, namely teenagers. Steenberg (1988:168-172), Van der Westhuizen (1989:5-7) and Van Zyl (1990:17) wrote that teenagers read to fulfil their needs. Teenagers' reading needs are directly connected to their emotional, cognitive and physical developmental stages. The aim of the study The aim of this study is firstly to evaluate Slinger-slinger according to the elements of the reader study model to determine whether it addresses the reading needs and interests of teenage readers; and secondly to ascertain whether teenagers liked Slinger-slinger. Research procedures and methodology A study of the literature was done in order to determine the reading needs and developmental tasks of teenagers, and the role that teenage fiction can play in their development to adulthood. Together with this background study, an evaluation model, containing story elements viewed from a reader study perspective, as well as criteria for the evaluation of the handling of sexual aspects in teenage fiction, was developed to determine whether Slinger-slinger is successful teenage fiction. In the empirical study the above-mentioned evaluation model for teenage fiction were applied to Slinger-slinger. In the second part of the empirical study a questionnaire was compiled to obtain the opinions of teenage readers about the success of Slinger-slinger as a whole, as well as the success of the handling of the sexual aspects. The questionnaire also served to obtain information about the reading needs of teenage readers in regard to realistic teenage fiction and teenage fiction with a sexual theme. Conclusion It is concluded that Francois Bloemhof's Slinger-slinger succeeds as realistic teenage fiction because it answers to the reading needs of teenage readers. Bloemhof succeeded in his handling of the sexual aspects in Slinger-slinger an in doing so fulfils teenager's reading and information needs, and thus assists them on their way to maturity. The questionnaire ascertained that the teenage readers who participated in the study were of the opinion that Slinger-slinger is a successful and interesting teenage book, and that they would like to read more realistic Afrikaans teenage fiction such as Slinger-slinger. Thesis (M.Bibl.)--Potchefstroom University for Christian Higher Education, 2002.

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Kneen, Bonnie. "Granpa and the polyphonic teddy bear in Mr Magritte's gorilla park complexity and sophistication in children's picture books /." Diss., [Pretoria : s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-01122004-122527/.

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Pieterse, Magrieta Elisabeth. "Die verband tussen disfunksionele sosiale verhoudings by volwassenes en verwerping deur hulle ouers in hul kinderjare : 'n verkenning met die oog op pastorale bediening / Magrieta Elisabeth Pieterse." Thesis, North-West University, 2006. http://hdl.handle.net/10394/1546.

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Smolderen, Alison. "Cinquante nuances de noir. Problèmes de diagnostic en archéologie du feu: études de cas du Bassin Mosan belge au MIS 3." Doctoral thesis, Universite Libre de Bruxelles, 2016. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/223857.

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L’objectif de ce travail est de contribuer à la réflexion méthodologique autour du problème de l’identification des traces de feu contrôlé sur les sites paléolithiques. L’étude se focalise plus particulièrement sur la question des gisements « mal documentés », c’est-à-dire les gisements pour lesquels les données de terrain, et en particulier les données contextuelles (données spatiales, contexte géologique et archéologique), sont imprécises, partielles ou totalement absentes. Une approche méthodologique adaptée aux spécificités des gisements « mal documentés » est d’abord définie à partir d’un état de l’art des méthodes analytiques et des modèles interprétatifs utilisés pour l’identification et la caractérisation des témoins de combustion. Deux cas représentatifs sont ensuite traités :la collection Dupont du Trou Magrite (Pont-à-Lesse, Province de Namur) qui constitue un exemple représentatif de gisements fouillés à la fin du 19e ou au début du 20e siècle et le Tiène des Maulins (Rochefort, Province de Namur) qui permet d’aborder les problèmes spécifiques liés à la révision de données issues de fouilles récentes. Pour le Trou Magrite, l’analyse s’appuie sur un référentiel des différents types de traces caractéristiques de l’altération thermique du silex et de l’os établi à partir d’une synthèse bibliographique et de l’examen de corpus expérimentaux (collection d’ossements brûlés du CEPAM, collection de silex brûlés de M. Horevoets et collection d’os brûlés issus d’expérimentations effectuées dans le cadre de cette thèse) et archéologiques (issus de plusieurs gisements :Scladina, Trou Magrite, Trou du Diable et Trou de l’Abîme). Même si le degré de résolution visé par l’analyse a dû être adapté en fonction de la documentation disponible, cette étude montre qu’il est possible de déterminer l’existence de feu anthropogénique dans un site anciennement fouillé pour lequel presque aucune donnée stratigraphique fiable n’a été enregistrée. L’analyse critique des données de terrains et des résultats des analyses physiques et géochimiques (thermoluminescence, diffraction et fluorescence des rayons X, analyses thermiques simultanées, MEB + EDS, lames minces) réalisées sur les structures de combustion supposées du Tiène des Maulins met quant à elle en lumière deux problèmes importants :la difficulté de déterminer l’origine anthropique d’une structure dans le cadre d’une démarche de révision, d’une part, et la complexité de l’interprétation des données de laboratoire, d’autre part. Si ces deux études de cas illustrent bien les difficultés posées par les lacunes dans les données contextuelles, elles démontrent également qu’une révision critique des données peut permettre de proposer une nouvelle interprétation des traces de feu avec un degré de confiance relativement élevé. Doctorat en Histoire, histoire de l'art et archéologie info:eu-repo/semantics/nonPublished

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Jimenez, Elodie-Laure. "Modalités d'occupation du territoire et relations humains-grands Carnivores durant le Pléistocène supérieur :Approche archéozoologique, taphonomique et paléoécologique du Bassin mosan dans son contexte nord-ouest européen." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/261395.

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Au sein des territoires du nord-ouest européen, la Belgique et son Bassin mosan ont livré ces 150 dernières années une somme prodigieuse de témoins des populations humaines et animales paléolithiques. Alors que ces vestiges laissent supposer le caractère attractif de la région lors de la dernière glaciation du Pléistocène (115-10 ka BP), ces communautés d’ongulés et leurs prédateurs— humains et grands Carnivores — ont dû toutefois s’adapter à de nombreuses variations environnementales tant millénaires que saisonnières. Cependant, en raison de l’ancienneté de nombreuses fouilles en Vallée mosane et de la complexité des remplissages en grotte, les relations entretenues entre les sociétés humaines et leur écosystème demeurent encore peu connues.Cette étude propose, grâce à une approche archéozoologique, taphonomique et cémentochronologique inédite pour la région, d’explorer le potentiel de ces riches collections pour tenter de cerner dans quel cadre écologique se sont déroulées les implantations humaines sur ce territoire pourtant très prisé par de nombreux autres grands prédateurs, en particulier l’Hyène des cavernes (Crocuta crocuta spelaea). En identifiant les relations entretenues entre les sociétés humaines et les populations fauniques (proies, autres Carnivores), l’objectif est de comprendre dans quelles mesures les comportements de chaque guilde ont pu s’influencer dans leurs stratégies respectives de gestion de l’espace et des ressources, et de considérer ces données à la lumière des grands changements biologiques (remplacement des Néandertaliens par les Hommes Anatomiquement Modernes (HAM)), culturels (passage du Paléolithique moyen au Paléolithique supérieur) et écologiques (disparition de nombreux grands mammifères) qui ont eu lieu à la fin du Pléistocène supérieur. A n de poursuivre cet objectif, les trois assemblages mixtes anthropique/carnivore du Tiène des Maulins (Belgique), du Trou Magrite (Belgique) et d’Hénin-sur-Cojeul (France), ainsi qu’un exceptionnel repaire natal d’hyènes à la Caverne Marie-Jeanne (Belgique) ont été étudiés. Au total, plus de 75 000 pièces ont fait l’objet d’une analyse et leurs données ont été confrontées à celles d’une sélection d’autres sites régionaux majeurs issus de la littérature. Les di érentes pistes explorées nous renseignent à plusieurs niveaux. Tout d’abord, les études archéozoologiques et taphonomiques ont mené à une meilleure caractérisation de la niche écologique des humains et celle de leurs principaux compétiteurs au sein de cette région, et ont livré les indices de relations variées existant entre les deux communautés. Ensuite, l’accent mis sur les données saisonnières, notamment grâce à des analyses cémentochronologiques, a permis de proposer l’existence d’un partitionnement saisonnier de leurs territoires de chasse :alors que l’Hyène montre un fort investissement au sud du territoire tout au long de l’année malgré des pressions écologiques saisonnières importantes, les groupes humains semblent quant à eux avoir e ectué la plupart de leurs incursions dans les vallées karstiques du Sud de la Belgique durant les saisons froides, probablement en vue de récupérer des peaux de bonne qualité et réaliser des stocks de graisse et de viande. Ce fort degré de planification spatiotemporelle semble être va- lable tant pour les populations néandertaliennes que les premiers HAM, suggérant la pérennité des réponses comportementales au sein de cet environnement contraignant. Enfin, un essai statistique mené sur les datations disponibles suggère que les populations de grands Carnivores et d’humains augmentent de concert autour de la transition Paléolithique moyen-Paléolithique supérieur autour du Bassin mosan. Cependant, notre étude ne permet pas de vérifier l’hypothèse d’une augmentation des pressions écologiques entre compétiteurs à cette période, qui connaît pourtant le remplacement des Néandertaliens par les premiers HAM.Ces données offrent un nouveau regard sur les conditions de vie et les comportements des Paléolithiques autour de la Vallée mosane belge, et ouvrent la voie à une meilleure connaissance des adaptations et des dynamiques spatiotemporelles des communautés humaines et animales du Pléistocène supérieur au sein de l’Europe du Nord-Ouest. Doctorat en Histoire, histoire de l'art et archéologie info:eu-repo/semantics/nonPublished

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Chang, Ya-Lin, and 張雅琳. "The Study of Magritte Style Applies to Graphic Advertisement." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/06930215403674189039.

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碩士 臺中技術學院 商業設計系碩士班 97 In Taiwan, most of the research on advertisement study about representation, benefit to the mass media, visual effect of graphic form by surrealism’s viewpoint. No one studies the connection between representation and creation by special style in art. Visual creation is an important part in advertisement. Surprising and charming creation often comes from the special concept and the illogical sight. Magritte, an artist in the West, to think and to suspicion the truth becomes the symbol of eccentric and bizarre images. Thus, this study brings up the viewpoint that Magritte style can promote shocking visual creation. It attempts to prove that the representation is the same as the creative cases of the 1997-2007 Times Advertising Awards. By the way, the images’ text can be found out the different cultures, including pop, consumption, post-modern of social situation. 　　This study of Magritte style applied to graphic advertisement connects between visual representation and inside meaning, including two directions： (1)Content analysis：First, analyzing the creative psychology, the knowledge of society and economy in Magritte’s works. Understanding the information about graphic advertisement and how to transform the concept into visual creation. Second, to prove the advertising copy is the same as Magritte’s word paintings by Roland Barthes’ pseudo-syntaxe and the representations are the same as Magritte’s non-word paintings by analogical reasoning. (2)Text analysis：Expounding Magritte style contributes to the consumer culture, pop culture and post-modern in the present age. 　　According to the content analysis can induce two parts： (1)The positive and impossible aspects regarding the usage of Magritte style in advertising are discussed. (2)The customer’s desire and the social meaning can be compiled by Maslow theory. 　　Text analysis comes from extending the conclusion of content analysis, accounting for three kinds of viewpoints. The results are as follow： (1)In consumer culture, the common feature of Magritte’s concept and customer’s desire can find out multiple significances. (2)In post-modern, Magritte style that possesses the deconstruction emerges from visual symbol, logical perception, and conscious of culture. (3)In pop culture, the graphic advertisements of Magritte style can lead to popular slang and recreational existence. 　　In conclusion, Magritte style’s value connects with the creative strategy in advertisement, providing a reference for designers or planners to make the idea of visual representation or the destination of customer’s requirement.

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Chen, Zhi He, and 陳志和. "The research of teaching materials the design of rene magritte works." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/22685975779390982696.

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Hung, Li-Na, and 洪麗娜. "A Study on René Magritte in relation to Collage 1925-1930." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/65234572965959124233.

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碩士 臺北市立師範學院 視覺藝術研究所 92 The Belgian painter René Magritte, who applied as a rule the style of trompe l’oeil and juxtaposed the different objects in his paintings, had a designation “painter of hand-painted collages”claimed by another surrealist Max Ernst. This is the early commentary about the issue Magritte’s painting with collages, hence the heterogeneity of the objects of his paintings became not only a surface apprehension, but also an expression of surrealist visual image. Particularly, the reconciliation of opposites between the different images represents the accidental meeting of the sewing machine and umbrella of the poet Comte de Lautréamont from which Surrealism borrowed, and stands for the marvelous beauty of the surrealist leader André Betron’s distant images. Consequently, we talk about the machinism of his image sign as we study Magritte’s paintings. Ignoring the possible meaning on the relation between his paintings and collages makes us treat his image machinism like a closed structural text, and also limits us to explain his paintings of surrealist style since 1925. Therefore, the study will begin with Ernst’s designation, and try to explore the connection between collages and Magritte’s images which were developed since 1925 and established during the Paris period（1927-1930）, including the possible the effects of Giorgio de Chirico, Francis Picabia, and Ernst. I expect the multidimentional survey could bring us to the domain where Dada and Surrealism established their ideas of collages, so as to penetrate the multiformity in Magritte’s paintings.

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Yu, Hui-Hsin, and 虞慧欣. "The Study of Surrealist Images on Works of Salvador Dali and Rene Magritte." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/z37q8r.

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碩士 國立臺灣師範大學 美術學系 105 ABSTRACT 　　The main purpose of this research is to study from the origin of surrealis m, the related theory, the growth background of Dali and Magritte and the evolution of painting style to summarize the relevant data. And to analyze the differences of their performance skills, performance themes, and painting theory. 　　Dali and Magritte are both the painters of surrealism. But their performances are different due to their different growth background, personality and life experience. Dali’s keen on the theory of the Freud’s philosophical theory and to practice the theory on the canvas. Magritte thought that he would only describe the things that he saw and did not want to explore the symbol behind. Magritte is always wearing a clean dress like a doctor and do not like the conspicuous dress. He lives a quiet life with his wife and never makes scandal and farce. Comparing to Dali’s exaggerated, weird, attractiveness and voluptuous life, they have very different life and performance works. And since the significantly difference is existed, I’d like to explore whether if they have in common. And I also want to find out if we could use Freud’s theory to explain both men’s painting works. According to the relevant books and papers, we could see they have some similarities: 1. The common technique of expression: double image, dismantling and reorganizing and material change 2. The common theme of performance: Women, Reinterpreted of famous painting. After studying the painting works of both men’s, we could observe that their commonly used icons are related to the daily living things, such as women, fires, pipes, clocks, hats, trumpets, coffins and apples etc. It’s not surprised if we said Dali is the pursuer of Freudian doctrine. But how about Magritte? He also uses lots of Images. And if we analyze them with Freud's “Interpretation of Dreams”, we could say that they are all related to the sexuality and desire. But Magritte said that his Images are no symbol meanings. Is this a challenge to Freud or just kind of humor? The first part of this thesis is literature study of Dali and Magritte. The main issue is to analyze their creative character and the evolution of painting style, so that we could realize the development and theoretical basis of Surrealism. And we could use these research methods such as Psychoanalysis, Gestalt psychology and Dialectics to analyze their painting works. The second part of this thesis is research analysis and conclusion. I classify their works as the same painting themes and expression techniques. I analyze the unique artistic character of each painting works and find out the relevance of artistic development at that time. And then I do the compilation and comparison. Through this research process, we could not only understand their painting style and characteristics but also realize the impact of their works on modern art and how much influences they give to future generations. And we could affirm the performance and values of their arts. 　　Keywords : Interpretation of Dreams, Reinterpreted of famous paintings, Deformed picture,im

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Chien, Jui-pi, and 簡瑞碧. "Michel Foucault''''s Theory of Signs in Relation to the Works of Rene Magritte." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/90035371011191448868.

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Lin, Lee-Kai, and 林俐凱. "The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/86264081138837565332.

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碩士 臺南藝術學院 藝術史與藝術評論研究所 89 Abstract This thesis, The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte, is based on the broad sense of perspective as “ways of seeing,” taking Chirico and Magritte’s paintings as examples, for investigating of “counter-point” and “counterpoint” as collage’s aesthetic texture. Today “collage” is so deeply involved in our daily life that it goes far beyond its original meaning of glue-attached-collage. By juxtaposing contradictions, the magic of collage enlightens almost all kinds of media. “The discontinuity of logic” and “metonymic representation” are its main characters. The poetic juxtaposition of things-not-in-the-same-context in Chirico’s pictures inspires many artists, and Magritte is one of them. Max Ernst even took Magritte’s pictures as “hand-painted collage.” In order to investigate the poetic function of those collages, we take Roman Jakobson’s famous poetics as our methodology. Jakobson inherits Ferdinand de Saussure’s linguistic theory of “two axis of signification,” claiming that “The poetic function projects the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence.” Inspired by Jakobsonian theory, Ernst Gombrich once mentioned the equivalence between mock portraiture and the real person; however, he did not go further. Therefore, here we take Chirico’s and Magritte’s pictures as examples to see more aspects of equivalent relations in collage. “Equivalence” actually contains parallels and contrasts in all aspects of art works. Sergei Eisenstein claims that “montage is conflict” to be achieved through the “counterpoint of sound and image.” Yet, the “counterpoint” which Eisenstein defines here is not what it means in musicology; rather, it focuses on its literal meaning. Therefore, here we rename it “counter-point.” The term “counterpoint” we use here presents plural aspects of things, just as it combines several lines of melody in the same piece of music. Moreover, this repetition and variation could go beyond the frame, intertext and dialogue with other works of art, either works by the same artist or those of the art history. Or it could even be so self-conscious as to be like “meta-painting.” We use some graphs to illustrate how the statements evolve. Finally, we demonstrate a 3-dimensional-and-3-colored co-ordinate system to make a visual interpretation of the principle of equivalence─in this model the primary color stands as the three axes, and the unique value of different position in this system represents as the unique proportion of color mixture, which reflects the degree to which each axis involves itself.

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Brown, Ainsley Robyn. ""Poète d'images" et "peintre de mots" : Paul Éluard, René Magritte et les rapports interartistiques entre la poésie et la peinture." Thèse, 2005. http://hdl.handle.net/1866/17245.

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Chi-szu, Chen, and 陳吉斯. "Locations of Identity In-between the Labyrinth of Cultural Difference:An Intertwining Reading of Kafka & Escher, Borges & Bosch, Calvino & Magritte." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/67766129746208041302.

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博士 淡江大學 西洋語文研究所 89 The present thesis takes "location of identity" and "location of cultural difference" as two major subjects. The Cretan legend of Theseus and the labyrinth is a profound archetype in representing the complicated process of identity construction and the difficult experiences of encountering others. I have elaborated two semiotic squares from the significance of the Classical legend about labyrinth--"the quartet of being" which shows the Classical conception of inter-personal relations, and "the quartet of Being" which shows the Classical conception of order. I apply these two models to certain contemporary "labyrinthine" literature and arts to illuminate the visibility and invisibility of "identity construction" in three respects: first, how does one "figure out" a labyrinth or labyrinthine experience; second, how the construction of "the monstrous" of the labyrinth (the monster, the monstrous conflicting, the monstrosity of totalizing) is related to the construction of identity; third, the possibilities and limitations of "reflection" as a way to walk "across" the labyrinth. In chapter one, "Figuring the Labyrinth: Totality and Infinity In-between Franz Kafka's The Trial and M. C. Escher's Prints," I tackle the problem of the visibility and invisibility of "Totality" and of "Infinity" as revealed in the graphic works of M. C. Escher and in Franz Kafka's The Trial and some related short writings. The problem of "figure and ground" is explored both in visual texts and verbal texts, especially with reference to "figuring out" the other beings. Visibility of the infinity and totality of the other with be studied through exploring the relation between figure and ground, look of the self and gaze of the other. Through the examples of Escher's prints, I opt for a "principle of field" to replace the "principle of exclusion or inclusion" as a better mode of thinking in perceiving the others and in constructing identity. In chapter two, "Unfolding the Labyrinth: Persecution and Monstrosity In-between Jorge Luis Borges's Stories and Hieronymus Bosch's Triptych," I will focus on the problem of violence and persecution. The pathos of perceiving the distortion and transformation of Nature and humanity, and the ethos of constructing oculocentric and phallogocentic architecture will be investigated in terms of "monstrosity" in this chapter. The psychology of creating a labyrinth, the ramification and variety of labyrinth will be traced in Bosch's triptych, The Garden of Earthly Delights and in Borges's short stories. In chapter three, "Crossing the Labyrinth: Reflexivity and Difference In-between Italo Calvino's Mr. Palomar and Rene Magritte's Paintings," I develop from the observations of the four spheres of the other in previous chapter and investigate a "chiasmatic" confluence--the possibilities and limitations of using "reflection" and the principle of "resemblance" in dealing with different spheres of the other. I focus on the "crossing" of boundaries between human and non-human, the native and the foreign, Civilization and Nature. The Christian conception of walking through a labyrinth as a discipline of self-reflection will be exemplified in Calvino's Mr. Palomar and in the meta-painterly works of Magritte. Throughout the present studies, I find that for the consolidation of identity, the four-fold structure is more bountiful than the bi-polar model of "master and slave" dialectics and trinary model of "mimetic desire." What the four-fold structure suggests is a "field" that encompasses the relations of contrarieties, contradictions, and implications. In terms of individual identification, such a model affords more space of choices. In terms of ethical relation in a growing community, especially in the present globalization atmosphere, such a model affords space for dialogue, negotiation, and translation. We will find that in the four-fold structure, "tradition" will not be understood as a static entity nor as a totalizing hegemony, but as a node of the confluence of relations, be it implication, contrariety, or contradiction. And the other being in such a way of thinking will not be deprived of its alterity, for it is not understood as an abstract category or an invested meaning but as a relation. Such a model can not be used to "monsterize" the other to intensity conflict and persecution, for anyone has a share with the resource of a field and the problem of monstrosity. In such a model, we may think of identity not as a sight or category but as a field. The relation between a subject and multitudes of traditions will be understood as "body-in-Body," which is one in many and many in one.

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Parsuram, Sirola. "The mirror as device : a study of the mirror motif in select examples of South African and western artworks." Thesis, 2010. http://hdl.handle.net/10413/3494.

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Chen, Huang Hao, and 黃皓岑. "To discuss Magritte's painting." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/22809152734807747145.

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碩士 中國文化大學 美術學系 99 ABSTRACT Surrealist works for the researchers, there has been a picture of my mind, it is a deeply moving and unforgettable moments, not only the growth of inner self-expression, it is an expression of emotion hidden in the release. It is a creative medium and it’s also an energy aggregate. The researcher uses René François Ghislain Magritte (1898-1967) as the thesis topic. Magritte is a surrealist artist, his writing style mostly comes from his "reality" sort of understanding and thinking, and his series of works are also vicariously his perspective for real life. So the researchers use " To discuss Magritte’s painting " as the theme of this paper. Though the Magritte’s painting style, take a comparison about researcher’s series of works, researcher try to use the view which based on the temporal variations of technological development, It dissected the logic of Magritte of his philosophical-like paintings, and the researcher use the "real" and "inner expectations" framework, to create the external environment in line with contemporary human interaction surreal level. In this paper, the researcher takes the section discussion of the growth series of Magritte’s works, use philosophy and his view of reality as the inlays the knot of the media, to form Magritte’s aesthetic point of view. Magritte magnanimous attitude toward the performance of the outside world, it is their strict requirements to him and show of the skill about the solid foundation for a solid revealed. To showing in himself, he knows how to describe the line about the outside world. In his work, maintaining tradition and innovation, it’s exposing the real world of mystery and poetry. And his self-confidence of life with the realistic hope, with make the works humor and satire. And it also let the viewers can associate multiple and interpretation. Keyswords: René François Ghislain Magritte、surrealism

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Ramos, Joana Sofia Lopes. "Força e fraqueza da Imagem - A versão platónica de La Trahison des Images." Master's thesis, 2018. http://hdl.handle.net/10362/50988.

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Este estudo procura ganhar alguma compreensão das teses de Platão sobre as imagens – e em especial sobre a força e a fraqueza da imagem. A ideia fundamental é que as teses de Platão sobre esta matéria diferem tanto a) da maior parte das teses defendidas por outros (em relação à natureza – e à força e fraqueza – das imagens) quanto b) da própria leitura convencional de Platão. Tentamos construir uma parte do puzzle dos enunciados platónicos sobre as imagens e reconstituir o essencial das teses de Platão como um instrumento vivo e poderoso para compreender as imagens enquanto tais. The present study tries to gain some insight into Plato’s view of images – and in particular into his doctrine on the strength and weakness of images. The point is that Plato’s claims about images differ both a) from most other views about their nature (viz. their strength and weakness) and b) from the conventional reading of Plato’s views. We try to piece together part of the jigsaw puzzle of Plato’s remarks about images and to reconstruct some main aspects of his views as a very insightful tool for understanding what images are all about.

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Dissertations / Theses on the topic 'Magritte'

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