Dissertations / Theses on the topic 'Mirk, John'

Nous avons analysé le tableau "La Sieste" de Joan Miré à partir de la sémiologie visuelle proposée par Fernande Saint-Martin. Cette analyse est divisée en deux parties: l'une correspond à l'analyse colorématique et l'autre à l'analyse syntaxique. Pour la première étape, nous avons élaboré une grille de 20 cases appliquée à l'œuvre, qui nous a servi à réaliser les différentes études sur les rélations qui s'établissent entre les colorâmes. En ce qui concerne la deuxième étape, nous avons segmenté l'œuvre en dix régions et ajouté des sous-régions selon le besoin de l'analyse. Celles-ci ont été étudiées par rapport à la couleur, la dimension, la texture, la vectorialité, l'implantation dans le plan et les frontières. Ce sont les notions sur les rapports topologiques, les lois gestaltiennes, les lois des interactions des couleurs et les différentes modalités perspectivistes qui nous ont aidé à étudier l'œuvre.<br>Montréal Trigonix inc. 2018

This thesis represents an original contribution to art historical scholarship in its investigation of the overlaps between the art of the Catalan artist Joan Miró and the writings of French philosopher Georges Bataille in the period 1930–1939. I examine three series of intimate, private works undertaken by Miró in 1930, 1935-1936, and 1938-1939 through the lens of contemporary Bataillean texts in order to identify corresponding themes, imagery, and operations. I argue that not only does Bataillean thought represent a direct source of influence on Miró’s work of this time, but also that the artist deliberately turns to this more violent, un-idealised aesthetic in order to visually confront his own professional crisis, the rise of fascism in his homeland, and the Spanish Civil War and start of the Second World War. My research has uncovered that Miró and Bataille share an interest in the anti-retinal. Miró demonstrates this interest through his ‘assassination of painting’ and attacks on bodily representation, and Bataille in his obsession with blindness—which Miró references in 1930 in his use of imagery from Bataille’s Story of the Eye and through his employment of the informe. Bataille and Miró both use parody in advancing their aesthetic and political missions. Bataille parodies the transpositional nature of Surrealist image-making, while Miró mocks his own earlier artistic output. To this end, both employ ‘parodic landscapes’ that use the image of the volcano as a metaphor for political upheaval and to celebrate ‘real,’ non-transpositional base matter. I argue that the work of both figures exhibit qualities of the carnivalesque, in their interest in parody, ‘sacred’ (liberating) laughter, and excremental imagery. A further, significant, consideration in this thesis is the transgressing of taboos in Bataillean eroticism (and the overlaps between eroticism and war), of which I have identified parallels in Miró’s work. By considering Miró’s use of Bataillean themes in tandem with the artist’s passionate Catalan nationalism, I argue that the influence of Bataille’s parody, eroticism, and violence provided Miró with the tools to personally respond to the Civil War. This thesis opens a new line of inquiry into Miró in the 1930s, and invites future considerations on Bataille’s influence on Miró’s oeuvre.

L’interès d’aquesta investigació s’ha centrat en dos aspectes complementaris de l’obra de Joan Miró, del període de 1939 a 1945. Un és la producció artística i l’altre és el procés auto reflexiu. El període de la trajectòria vital i professional objecte d’anàlisi, el de major tensió emocional per a l’artista i la seva família, està marcat per inflexions significatives, però també per continuïtats. Miró fou capaç de superar l’opressió d’un ambient hostil gràcies a una severa auto disciplina en el treball, una recapitulació sobre el propi llenguatge artístic i un inèdit procés d’auto reflexió escrit. Pel que fa a la producció, hem destacat amb una especial significació dues sèries: Constellations (1940-41) i la Sèrie Barcelona (1941-1944). L’obra realitzada en aquest període és un dels exemples més interessants de com les característiques evasives, de l’absurd o tocades pel seu particular humour grotesc, suposen un contrapès al carregat ambient que l’envolta<br>El interés de nuestra investigación se ha centrado en dos aspectos complementarios de la obra de Joan Miró, comprendida entre el período 1939 y 1945. Uno es la producción artística y el otro es el proceso autoreflexivo. El período de la trayectoria vital y profesional objeto de análisis, el de mayor tensión emocional para el artista y su familia, está marcado por inflexiones significativas, pero también por continuidades. Miró fue capaz de superar la opresión de un ambiente hostil gracias a una severa autodisciplina en el trabajo, una recapitulación sobre el propio lenguaje artístico y un inédito proceso de auto reflexión escrito. Por lo que se refiere a la producción, hemos destacado con una especial significación dos series: Constellations (1940-41) y la Sèrie Barcelona (1941-1944). La obra realizada en este período es uno de los ejemplos más interesantes de como las características evasivas, del absurdo o tocadas por su particular humour grotesco, suponen un contrapeso al cargado ambiente que le rodea<br>The interest of our research is located in two complain aspects of Joan Miró’s work, between 1939 and 1945. One aspect is the artistic production and the other one is the self reflexive process. This vital and professional period is the most emotional tension for the artist and his family, and it is distinguished by important changes but also by continuities. Miró was into the most strict anonymous. He was able to overcome the oppression of a hostile atmosphere because he impose himself a hard auto discipline of work, a recapitulation about his artistic language, and an unpublished process of written reflection. In concerning the artistic production, we have studied two series because its special signification: Constellations (1940-41) and the Sèrie Barcelona (1941-44). The works made in this period of time are one of the most interesting examples of evasive trends, absurd or with a particular and grotesque humour. This attributes were the counter balance to the loaded climate

Joan Mirô a consacré une part importante de ses forces à l'illustration de la poésie, en créant une relation nouvelle entre texte et image, la poésie lui étant un moteur de renouvellement de son art pictural, et celui de ses nombreuses collaborations avec les poètes. La créativité foisonnante de ses divers ouvrages, échappant à toute catégorisation du livre illustré, prouve la singularité de son art d'illustrer la poésie, qui relève plus de l'interprétation du moment de sa lecture du texte poétique, que de la transposition visuelle du contenu textuel. Son illustration refusant ainsi toute analyse de l'image fondée sur un modèle linguistique lié à l'idéologie de la mimesis, nous proposons un mode de lecture fondé sur la pensée visuelle de l'Extrême-Orient, dont l'approche se justifie aussi par l'affinité de Mirô avec cette esthétique qui se manifeste par sa volonté d'être un artiste total (peintre, poète, calligraphe), son goût du signe idéogrammatique, et jusqu'à son principe créateur. Nous éclairons ses ouvrages par les concepts concernent : le processus créateur commun à la peinture et à la poésie, qui relève notamment de la subjectivité et de la spontanéité, à partir de la règle Qiyun Shengdong , la résonance des souffles qui donne vie et mouvement) : l'art du détour singulier qui se manifeste dans la pratique de peindre à partir du poème-sujet, hwaje-shi ; le principe shuhua tongyuan qui accorde une même source à l'écriture calligraphique et à la peinture. Cette étude révèle Miró, « illustrateur » des poètes, qui propose une interprétation visuelle de son vécu de la lecture et nous invite à ressentir l'union de son esprit avec celui de la poésie<br>Joan Mirô dedicated an important part of his energy to creating illustrated books, unveiling a new relationship between text and image. For him, the poetry appears as the motor of renewal for his pictorial art and as that of his many collaborations with poets. The abounding creativity of his various books, which escape from any categorization for an illustrated book, allows us to sense the singularity of his art to illustrate the poetry. It comes more from the interpretation of the moment of his reading of the poetic text, than from the visual transposition of the textual content. His illustrations thus being far away from the literal representation of the poems, it is necessary to avoid ail analysis of the image based on a linguistic model, linked to the ideology of the mimesis. That is why we propose here a model of reading into this matter that is based on the Far-Eastern ideas of the visual, which is justified also by the affinity of Mirô with this aesthetics that manifests itself through his will to be a total artist (painter, poet and calligrapher) and his taste for ideogrammatical signs, as well as through even his creative principles. The concepts, proposed as a framework of reading include: the common creative principle shared among painting, calligraphic writing and poetry (Qiyun Shengdong)', the art of singular detour in the practices of painting from a poem-subject (hwaje-shi ); visual harmony between painting and poetic writing (shuhua tongyuari). The analysis reveals Miró as the illustrator of the poets, who proposes a visual interpretation of his reading experience and invites us to feel the union of his mind with the spirit of the poetry

La presente tesis expone los resultados de investigación sobre el contenido y simbolismo místicos de la obra mironiana a partir de la detección y la interpretación de los símbolos y códigos de símbolos de rasgo metafísico, religioso, espiritual y mítico del periodo comprendido entre 1922 y 1942. Este periodo cronológico, que toma como punto de partida las interpretaciones del primer cuadro con contenido místico, La masía, involucra las fases de constitución, desarrollo y consolidación de los símbolos y los códigos de símbolos seleccionados, cerrando un ciclo evolutivo cuyo patrones establecidos se instauran definitivamente en la obra mironiana en las décadas posteriores con reiteraciones simbólicas que no manifiestan ulteriores evoluciones desde el punto de vista iconográfico y semiótico. El origen de la tesis se encuentra en la relevancia de algunos resultados de investigación previos, propuestos en la tesis de licenciatura Los dibujos surrealistas de Joan Miró de los años veinte, y en la tesis de Máster La interpretación del simbolismo místico de la obra surrealista de Joan Miró derivados de la oportunidad de efectuar una prolongada investigación en el archivo de la Fundación Joan Miró de Barcelona. Los primeros enfoques en la contextualización y la relación entre las obras mironianas y sus símbolos, han puesto en relieve la naturaleza mística y espiritual de los contenidos y elementos analizados brindando la posibilidad de un análisis interpretativo de la obra de Miró en varios niveles y abriendo camino hacia la indagación del tema místico, en el que hasta ahora se había parcialmente ahondado gracias a las intuiciones de los especialistas a los que se hace referencia en el trabajo. La primera parte de la tesis presenta la reinterpretación del lienzo Paisaje catalán, en el cual, tras la aplicación de un método nombrado de “dislocación de elementos”, se ha detectado un sistema de signos que revela el rasgo espiritual del cuadro y fundamenta nuevas relaciones con los lienzos a este directamente vinculados: La masía y Tierra labrada. El simbolismo místico mironiano expresa conceptos abstractos elaborados plásticamente por Miró, como la condición de libertad del ser, los vínculos entre la realidad tangible e intangible, los movimientos de transición entre estas dos realidades y elevación espiritual experimentados por los seres de la obra y perseguidos por el mismo artista. La interpretación de determinados símbolos, códigos y contenidos místicos y el estudio de sus evoluciones semánticas y formales, determinadas por los procesos de síntesis, asociación, fusión, integración y mutación aplicados por el pintor, están en todo momento respaldados por los hallazgos derivados de la investigación de archivo, los datos de las fuentes secundarias, las declaraciones del artista y sus fuentes de inspiración místico-religiosas, tanto intelectuales como iconográficas y literarias. Vista su relevancia y la cantidad de resultados de investigación inéditos, a las fuentes de inspiración del artista de ámbito literario se ha dedicado el último capítulo. En él se certifica como la vertiente mística indagada no solo concierne al simbolismo y a la obra de Miró sino a la intencionalidad expresiva y al proceso artístico del pintor catalán, comparados, hasta por sus propios contemporáneos, a los de un asceta y un místico.<br>The present dissertation expounds the research results on the mystic contents and symbolism in Miró's work, based on the detection and interpretation of the symbols and symbol codes of metaphysical, religious, spiritual and mythical traits in the period between 1922 and 1942. This chronological period, which takes as a starting-point the interpretations of the first painting with mystic content, La Masía, involves the phases of constitution, development and consolidation of the selected symbols and symbol codes, completing an evolutionary cycle, whose established models are definitely installed in Miró's work of the later decades, reiterating symbols that do not manifest any further evolution from the iconographic or semiotic point of view.This dissertation started from the relevance of certain results in previous investigation, that were exposed in the licenciate thesis entitled: I disegni surrealisti di Joan Miró degli anni venti (Miro’s Surrealistic Drawings of the 1920s), and in the Master thesis La interpretación del simbolismo místico de la obra surrealista de Joan Miró (The Interpretation of Mystic Symbolism in Joan Miro’s Surrealistic Work). Both are the result of the opportunity to carry out an exhaustive investigation in the archives of the Fundación Joan Miró in Barcelona. Initial focusing on the contextualization and the relation between Miró's work and its symbols have clearly highlighted the mystical and spiritual nature of the contents and elements analyzed, thus offering the possibility of an interpretation of Miró's work on various levels, and thereby leading to research into the topic of mysticism, which up to now has partly been dealt with thanks to the insights of specialists which are referred in this dissertation.The first part of this thesis exposes a reinterpretation of Paisaje catalán canvas, in which, after the application of a method named “dislocation of the elements”, a system of signs that has been detected and that reveals the spiritual features of the painting and substantiates new connections with paintings that are directly linked to it: La masía and Tierra labrada.Miró's mystical symbolism expresses abstract concepts that he elaborated plastically, such as the condition of freedom of any being, the links between the tangible and intangible reality, the movements of transition between these two realities and the spiritual elevation experienced by the beings portrayed in the work and pursued by the author himself. The interpretation of determined mystical symbols, codes and contents and the study of their semantic and formal evolution, determined by the processes of synthesis, association, fusion, integration and mutation applied by the painter, are at any moment backed by findings derived from the archival research, secondary sources data, the artist's statements and his sources of mystical-religious inspiration, intellectual and iconographic as well as literary.Considering the relevance and the amount of unpublished research results, the final chapter has been dedicated to the sources of the artist's inspiration in the context of literature. In this chapter is testified how the mystical aspect not only concerns symbolism and Miró's work, but also the Catalan painter's purposes of expression and his artistic process, which have been compared, even by his contemporaries, to those of an ascetic and mystical character.

L'articulisme assagístic és una de les facetes que ha acompanyat la polièdrica trajectòria intel·lectual de l'escriptor valencià Joan F. Mira. Una part significativa dels seus articles publicats originàriament en la premsa s'han recollit posteriorment en llibres que aporten unitat a aquests textos, tot configurant el seu assaig seriat. A partir de les eines epistemològiques que ens ofereix la pragmaestilística, aquesta tesi analitza els recursos expressius que caracteritzen l'estil assagístic de l'autor i, específicament, la incidència persuasiva que hi vehiculen. La tesi també explora les possibilitats d'aquests articles com materials útils en l'educació discursiva dels alumnes de secundària i batxillerat, per tal de potenciar la competència dels estudiants tant pel que respecta a millorar-ne les destreses interpretatives i productives com pel que significa estimular-ne l'esperit reflexiu i crític.<br>Opinion column is one of the facets that has accompanied the polyhedric intellectual career of the Valencian writer Joan F. Mira. A significant part of his articles originally published in the press have been subsequently gathered in a series of books that provide unity to these texts, configuring his arranged in series essays. Based on the epistemological tools offered by pragmaestilistics, this thesis analyses the expressive resources that characterize the author's essay style and, specifically, the persuasive effect that is involved in it. In addition to this, the thesis explores the possibilities of these articles as useful materials for the discursive education of pupils of compulsory secondary education and grammar school in order to strengthen the students' competence regarding both the improvement of their interpretative and productive skills and the encouragement of their reflexive and critic spirit.

El títol que hem seleccionat com a sinopsi d'aquesta investigació és: "Anàlisi del Sistema idiolectal de la Sèrie Barcelona de Joan Miró (Morfogènia i composició)". Amb ell volem sintetitzar els conceptes més importants del treball que hem desenvolupat en els diferents capítols. Anàlisi perquè hem examinat totes les parts constituents, separadament i globalment del sistema, entenent-lo aquest com un conjunt de parts· o tot orgànic, organitzades segons unes lleis, regles o un mètode. El nostre treball s'ha centrat en ANALITZAR, CLASSIFICAR I EXPLICAR les estratègies compositives del sistema gràfic de Joan Miró. El concepte idiolecte implica un caràcter o una manera pròpia de dir o expressar les coses o les idees. Umberto Eco el defineix com: "el codi privat i individual del qui parla" En aquesta investigació el subjecte que parla és en Joan Miró, i el suport objecte de la investigació on desenvolupa el codi, és la Sèrie Barcelona, nom que pren el conjunt de les cinquanta litografies en blanc i negre, realitzades a l'any 1939. La morfogènia es refereix a l'estudi de l'oríigen de les formes i el seu desenvolupament estructural, així com també, la producció i l'evolució dels caràcters morfològics. I amb la composició ressaltem cadascun dels factors que contribueixen a la coordinació i disposició de les diverses parts que abracen la totalitat, segons una idea directriu, obtenint-se uns resultats estètics i com a conseqüència uns efectes comunicatius.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>A Pintura e a Literatura, apesar de consistirem em atividades distintas, interagem entre si e se comunicam dentro de um campo abrangente, denominado Arte. O presente estudo pretende uma aproximaÃÃo, um diÃlogo, estabelecido entre poesia e pintura. Propomos uma abordagem comparativa entre algumas peÃas da obra do pintor catalÃo Joan Mirà (1893-1983), e os poemas presentes no livro A pedra do sono (1942) do poeta pernambucano JoÃo Cabral de Melo Neto (1920-1999), tendo como pano de fundo a estÃtica surrealista, postulada por Andrà Breton, em 1924, na FranÃa. Teremos como base teÃrica fundamental o pensamento de JoÃo Cabral de Melo Neto, exposto em um ensaio crÃtico, no ano de 1949, intitulado âJoan MirÃâ. O conhecido âpoeta engenheiroâ possuÃa forte afinidade com a Teoria LiterÃria, escrevendo alguns textos de crÃtica de arte e literatura. Neles discorre acerca do processo de composiÃÃo artÃstica, correntes estÃticas, movimentos literÃrios, personalidades brasileiras e estrangeiras. Para viabilizar a anÃlise, recorremos aos teÃricos de Literatura Comparada, como: TÃnia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; bem como, aos crÃticos de Arte: Fayga Ostrower, Omar Calabrese, Paul ValÃry, dentre outros, que possibilitaram uma compreensÃo acerca de movimentos artÃsticos, correntes estÃticas e tÃcnicas peculiares de criaÃÃo e composiÃÃo. Iniciamos com uma reflexÃo acerca da Arte e do fazer artÃstico; em seguida, foi enfocado o perfil artÃstico de JoÃo Cabral de Melo Neto e sua face teÃrico-crÃtica, tendo por base o estudo relativo à obra de Joan MirÃ. A Ãltima etapa contempla uma anÃlise do ensaio de JoÃo Cabral acerca da pintura de MirÃ, concernente à construÃÃo de sua obra. O diÃlogo à viabilizado no tocante à evidÃncia de temas recorrentes, bem como pelo processo de composiÃÃo com vÃrios pontos de aproximaÃÃo entre os dois artistas.<br>Painting and Literature, although they consist of different activities, interact and communicate to each other into a large field, denominated Art. This study aims to approximate, like a dialogue, between Poetry and Painting. We propose a comparative approach between some parts of the Spanish painter Joan MirÃâs (1893-1983) work and some poems of A pedra do sono (1942), by JoÃo Cabral de Melo Neto (1920-1999), a Brazilian poet from Pernambuco. This study will have as a backdrop the Surrealist aesthetic, postulated by Andrà Breton, in 1924, in France. We will have as a fundamental theoretical basis JoÃo Cabral de Melo Netoâs thought, exhibited in a critical essay, in 1949, entitled âJoan MirÃâ. The famous âengineer poetâ had a strong relation with the Literary Theory, and he wrote some critic texts of Art and Literature, in which the author discusses about the artistic composition process, kinds of aesthetic, literary movements, Brazilian and foreign personalities. To enable this analyses, we used the Comparative Literature Theoretical, like: TÃnia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; and the Art critics: Fayga Ostrower, Omar Calabrese, Paul ValÃry, among other, who have allowed a comprehension about artistic movements, kinds of aesthetic and creationâs and compositionâs peculiar techniques. We will begin thinking about Art and artistic making; then, JoÃo Cabral de Melo Netoâs artistic profile will be focused, as his theoretical/critical face, based on his Joan Mirà study. The last step includes an analysis of the JoÃo Cabralâs essay about MirÃâs paintings, concerned to his own work. The dialogue is made possible with regard to the evidence of recurrent themes, as well as the composition process with a lot of approximated points between those artists.

COSTA, Alyni Ferreira. Artes em diálogo. Poesia e Pintura: João Cabral de Melo Neto e Joan Miró. 2012. 142f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012.<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T12:20:53Z No. of bitstreams: 1 2012_dis_afcosta.pdf: 2656119 bytes, checksum: 77c4e716a8e8407426106f38584c0081 (MD5)<br>Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-19T14:05:03Z (GMT) No. of bitstreams: 1 2012_dis_afcosta.pdf: 2656119 bytes, checksum: 77c4e716a8e8407426106f38584c0081 (MD5)<br>Made available in DSpace on 2014-05-19T14:05:03Z (GMT). No. of bitstreams: 1 2012_dis_afcosta.pdf: 2656119 bytes, checksum: 77c4e716a8e8407426106f38584c0081 (MD5) Previous issue date: 2012<br>Painting and Literature, although they consist of different activities, interact and communicate to each other into a large field, denominated Art. This study aims to approximate, like a dialogue, between Poetry and Painting. We propose a comparative approach between some parts of the Spanish painter Joan Miró’s (1893-1983) work and some poems of A pedra do sono (1942), by João Cabral de Melo Neto (1920-1999), a Brazilian poet from Pernambuco. This study will have as a backdrop the Surrealist aesthetic, postulated by André Breton, in 1924, in France. We will have as a fundamental theoretical basis João Cabral de Melo Neto’s thought, exhibited in a critical essay, in 1949, entitled “Joan Miró”. The famous “engineer poet” had a strong relation with the Literary Theory, and he wrote some critic texts of Art and Literature, in which the author discusses about the artistic composition process, kinds of aesthetic, literary movements, Brazilian and foreign personalities. To enable this analyses, we used the Comparative Literature Theoretical, like: Tânia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; and the Art critics: Fayga Ostrower, Omar Calabrese, Paul Valéry, among other, who have allowed a comprehension about artistic movements, kinds of aesthetic and creation’s and composition’s peculiar techniques. We will begin thinking about Art and artistic making; then, João Cabral de Melo Neto’s artistic profile will be focused, as his theoretical/critical face, based on his Joan Miró study. The last step includes an analysis of the João Cabral’s essay about Miró’s paintings, concerned to his own work. The dialogue is made possible with regard to the evidence of recurrent themes, as well as the composition process with a lot of approximated points between those artists.<br>A Pintura e a Literatura, apesar de consistirem em atividades distintas, interagem entre si e se comunicam dentro de um campo abrangente, denominado Arte. O presente estudo pretende uma aproximação, um diálogo, estabelecido entre poesia e pintura. Propomos uma abordagem comparativa entre algumas peças da obra do pintor catalão Joan Miró (1893-1983), e os poemas presentes no livro A pedra do sono (1942) do poeta pernambucano João Cabral de Melo Neto (1920-1999), tendo como pano de fundo a estética surrealista, postulada por André Breton, em 1924, na França. Teremos como base teórica fundamental o pensamento de João Cabral de Melo Neto, exposto em um ensaio crítico, no ano de 1949, intitulado “Joan Miró”. O conhecido “poeta engenheiro” possuía forte afinidade com a Teoria Literária, escrevendo alguns textos de crítica de arte e literatura. Neles discorre acerca do processo de composição artística, correntes estéticas, movimentos literários, personalidades brasileiras e estrangeiras. Para viabilizar a análise, recorremos aos teóricos de Literatura Comparada, como: Tânia Carvalhal, Sandra Nitrini, Julia Kristeva e Mikhail Bakhtin; bem como, aos críticos de Arte: Fayga Ostrower, Omar Calabrese, Paul Valéry, dentre outros, que possibilitaram uma compreensão acerca de movimentos artísticos, correntes estéticas e técnicas peculiares de criação e composição. Iniciamos com uma reflexão acerca da Arte e do fazer artístico; em seguida, foi enfocado o perfil artístico de João Cabral de Melo Neto e sua face teórico-crítica, tendo por base o estudo relativo à obra de Joan Miró. A última etapa contempla uma análise do ensaio de João Cabral acerca da pintura de Miró, concernente à construção de sua obra. O diálogo é viabilizado no tocante à evidência de temas recorrentes, bem como pelo processo de composição com vários pontos de aproximação entre os dois artistas.

A tese focaliza alguns dos principais poemas de João Cabral de Melo Neto desenvolvidos como crítica poética. O mote da investigação é a construção de uma lírica crítico-discursiva, uma produção artística que avalia a arte com os termos, os instrumentos da própria arte. Esta perspectiva analítica é deflagrada pelos primeiros românticos (Schlegel e Novalis) e expande-se em duas direções: tanto o poema escrito a partir de uma reflexão sobre a arte ou a natureza (crítico em sua gênese), quanto a crítica, transmutada em poesia. A abordagem comparativa de estâncias do poeta com obras picturais nelas referenciadas evidencia o constante diálogo do poeta com as poéticas da visualidade e com as concepções estéticas da modernidade, mormente com a poética de Joan Miró. Através da abordagem comparativa, materializam-se dois caminhos privilegiados de experimentação estética: o percurso do poético ao plástico, em João Cabral; o caminho inverso, na obra do pintor catalão do plástico ao poético. Para ambos os artistas, os processos de exploração das linguagens artísticas ocasionam, como consequência extrema, a dissolução do plástico e do poético, rumo ao inefável na pintura e na poesia. Para Miró, os signos plásticos são poéticos, porque guardam em si um universo de possibilidades significativas que transcendem a ordem da própria coisa em si. E o alcance das transformações que a sua poética empreende afetará a poesia de modo análogo: os signos poéticos mostram-se plenamente poéticos, ao transcenderem a forma e o sentido, no âmbito da plasticidade da palavra. Se a palavra pode se tornar matéria (passar da abstração para a concreção), a matéria pintada pode ser poesia. Integram a constelação teórica desta investigação os principais filósofos que discutem o caráter crítico da poesia, desde os filósofos do primeiro romantismo (Schlegel e Novalis), até aqueles cujo pensamento está relacionado à modernidade ou à pós-modernidade (Benjamin, Adorno, Lyotard, Blumenberg e Agamben)<br>This thesis focuses on some major poems João Cabral de Melo Neto developed as poetic criticism. The theme of this research is the construction of a critical-discursive lyric, an artistic production that evaluates art with the terms, the very instruments of art. This analytical perspective is triggered by the early Romantics (Schlegel and Novalis) and expands itself torwards two directions: the poem written from a reflection on art or nature (critical in its genesis), as far as the criticism, transmuted into poetry. The comparative approach of the poets stanzas with pictorial works referenced therein demonstrates the poet's constant dialogue with the visuality poetics and the aesthetic conceptions of modernity, particularly with Joan Mirós poetics. Through comparative approach, two paths full of experimental aesthetics materialize: the route of the poetic to the plastic in João Cabral, and the opposite way, the work of the Catalan painter from the plastic to the poetic. For both artists, the artistic languages exploration processes cause as extreme consequence, the plastic and poetic dissolving, toward the ineffable in painting and poetry. For Miró, plastic signs are poetic because they keep into themselves a universe of possible meanings that transcend the order of the thing itself. And the scope of the changes that his poetic reaches endeavor the poetry analogously: poetic signs show up fully poetic by transcending the form and the meaning within the plasticity of the word. If the word may become matter (moving from abstraction to concreteness), the matter painted can be poetry. Integrate the theoretical of this research the main philosophers who discuss the critical nature of poetry, from the romanticism of the first philosophers (Schlegel and Novalis), even those whose thinking is related to modernity or postmodernity (Benjamin, Adorno, Lyotard, Blumenberg and Agamben)

Visionner l'epoque surrealiste conduit au centre de la creation artistique ou le mouvement, les pratiques, les pensees liberatrices font partie d'une ideologie existentielle a la recherche du vrai desir. A paris, mira aura un "choc" en decouvrant avec emerveillement ce monde de l'art dont il pratiquera les methodes. Eternel revolte, toujours en lutte entre principe de plaisir et principe de realite, le peintre vit d'illusion dans la folie des grandeurs, et travaille sans cesse pour ne pas s'ecrouler. L'oeuvre a pour enjeu le phallus : eviter a tout prix l'angoisse de castration ou la rencontre avec la chose, revelatrice du manque d'objet. Du deni de la castration, miro recherche d'une facon obsedante la purete de "la forme-mere", tout au long de son oeuvre, qu'il consacre a "la femme" comme enigme du feminin, et qui pose la question : qu'est ce qu'une femme? la toile finie, par une injonction, miro appelle l'autre : "vois!" devant les veux qu'il captive, le regard est fascine. L'inquietante etrangete rencontree dans l'oeuvre ou se presentifie "l'oeil" semble se substituer a la chose maternelle, jusqu'a mettre le regard en souffrance comme dans l'experience faite avec des etudiants. Selon l'appartenance sexuelle, les reactions different devant l'oeuvre, support de la scene primitive. Comment se deroule la dynamique du regard a partir de l'experience du miroir ou deux personnes l'artiste et le spectateur ont pour enjeu l'objet a, le langage de la phenomenologie du visible et de l'invisible? quelle serait l'articulation du desir entre l'objet deja perdu et l'objet a, dans sa fonction de "piege a regard" lacanien? comment le regard pervers impose-t-il la jouissance esthetique de cet exces de reel? enfin, comment l'homme et la femme sont-ils determines par la fonction phallique et la loi de la castration, a la question du feminin?<br>Viewing the surrealist period leads to the centre of the artistic creation where changes, customs and liberating thought are part of an existential ideology in search of the real desire. In paris, miro is truly amazed discovering this world of art which methods he will practice. Everlasting rebel, he is always in struggle between two principles : pleasure and reality ; the artist lives on illusion in delusion of grandeur and constantly works in order not to collapse. Phallus is the stake of his works : avoiding at any price the castration's fear and the meeting with the thing which is revealing of the lack of object. By refusing castration, miro is obsessed by the search for + mother form ; purity. In his whole works, which is dedicated to + woman ;, regarded as an enigma, he asks the following question: + what's a woman? ;. Once his painting achieved, miro orders the other to see. This one is fascinated. The disturbing strangeness, met in miro's works where the eye is omnipresent, seems to replace the maternal thing and it goes so far as to put the glance in suffering, as it was already proved in an experiment made with students. Reactions to the works - support of fantasy- are different, depending on sex identity. How does the eyes react to the mirror experiment when two persons, respectively the artist and the spectator, have as a stake the a object which is the language of the so called phenomenology of visible and invisible? what would be the desire connection between the lost object and the a object, when it acts as a + glance trap ; (the principle elaborated by lacan, a french psycho analyst)? how does the vicious look impose the aesthetic pleasure of that over reality? at least, how are men and women determined by both phallic function and castration law to the question of feminine?

Nossa pesquisa tem por enfoque o estudo da poética de João Cabral de Melo Neto (1920- 1999) comparativamente a obras dos pintores Piet Mondrian (1872-1944) e Joan Miró (1893- 1983). Tentamos entender, através do perfil criador dos dois pintores e também daquilo que o poeta destacava esteticamente neles, o quanto tais preceitos estéticos são literariamente discutidos na obra cabralina e o quanto (e como) eles caracterizariam ou não a poética desse escritor pernambucano. Para tanto, escolhemos a fase inicial do poeta, dando preferência aos livros Psicologia da Composição e Uma faca só lâmina. Com o estudo dessas obras e daquilo que de forma esparsa está presente também em outros livros, alcançamos, por exemplo e grosso modo, que a poesia de João Cabral, destacadamente arquitetada no amparo do objeto (num perfil de depuração), apresenta ainda com relevo o trabalho com a imagem (num perfil de reconfiguração). No primeiro caso, enxergamos uma proximidade à estética de Mondrian; no segundo, à de Joan Miró. Por fim, verificamos como a poesia de Cabral, aparentemente apenas rígida, é destacada também por certas dinâmicas que lhe rompem a rigidez.<br>Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto in comparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painter Joan Miró. By means of the discussion about both the creative model of the two painters and what João Cabral focuses aesthetically on them, we try to comprehend how these aesthetic principles are literarily debated by the poet and how they would characterize or wouldnt his poetic. For this reason, we have selected the Poets initial phase, mainly the books Psicologia da Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that is nothing but blade]. By the study of these two books, we can observe that João Cabrals poetry is not only architected out of the object (in a model of depuration) but also out of the image (in a model of reconfiguration). In the first case, we see proximity between João Cabrals aesthetics and Mondrians one, and in the second case we see proximity between João Cabrals aesthetics and Mirós one.

Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie<br>Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one

Es la presentación de las pinturas de Zurbarán en torno a San Francisco de Asís y Joan Miró. Se trata de 16 lienzos originales y 10 grabados respectivamente cuya única temática es el santo de Asís en todo su esplendor místico. El itinerario es una mirada profunda al interior espiritual y religioso de la orden franciscana, tanto como práctica religiosa, comunidad social y actitud humana. El proceso de investigación descansa en una triple vía: la primara es una indagación sobre lo bello y lo santo, la segunda es un estudio del nacimiento de la orden franciscana (siglo XII) y su concepción estética de la luz. La tercera es el estudio de la pintura de Zurbarán enmarcada en la época de la Contrarreforma. Finalizando esta trayectoria con la aportación de Joan Miró Concluyendo con la aportación de los grabados de Joan Miró entorno al cántico del sol de San Francisco de Asís.<br>This is the representation of Zurbaran’s paintings centered on Saint Francis of Assis and Joan Miro. It is about 16 original canvasses and 10 engravings respectively whose only main theme is the Saint of Assisi in its full mystic splendor. This essay pretends to be the itinerary in the form of a deep look towards the spiritual and religious interior of the Franciscan Order, seen both as a religious practice and social community and also as a humane attitude. The investigation process is focused on a triple vision: the first, is an investigation around the beautiful and the sacred, the second, is a study on the birth of the Franciscan Order (12th Century) and its aesthetic conception of light. The third line of research lies on where the art begins in the realization of Zurbaran’s work during the Catholic Reformation. Concluding with the contribution of Joan Miro’s engravings within the Canticle of the Sun off Saint Francis of Assis.

Ce travail propose un parcours à travers des œuvres et des textes réunis par leur contexte d'émergence, les années trente principalement en Europe, et un intérêt commun pour les principes de la vie. Cette tendance, baptisée en 1935 "biomorphisme" avec un succès relatif, déploie en peinture et en sculpture un vocabulaire de formes domine par la courbe et les associations organiques ; elle est représentée par des artistes tels que Jean Arp, Joan Miro ou encore Henry Moore ; elle diffuse également dans les domaines de l'architecture, du design, du graphisme et de la photographie, contribuant à leur mutation. En cela elle se révèle symptomatique d'une volonté encore implicite de renouvellement de la logique du développement de l'art. Cette étude entend analyser le fonctionnement historique et la position très particulière du biomorphisme dans le contexte polarise de l'entre-deux-guerres : un entre-deux entre recherche formelle et référence au monde vivant, entre invention et reproduction. Face au caractère diffus de la tendance et à l'imprécision de ses descriptions courantes, ce mémoire présente une analyse des formes employées et de leurs principes de construction, dans une interaction avec les théories morphogénétiques en plein essor à l'époque. Enfin, il analyse le mode de création et de perception de ce type de vocabulaire en termes d'analogie créatrice, mettant en rapport l'art et la vie qu'elle soit biologique ou psychique.

Submitted by Irene Nascimento (irene.kessia@ufpe.br) on 2016-08-24T18:35:15Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_MariaBernadete_BC.pdf: 6018532 bytes, checksum: 2870cc09342166bf128c9503b9e5a06b (MD5)<br>Made available in DSpace on 2016-08-24T18:35:15Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Tese_MariaBernadete_BC.pdf: 6018532 bytes, checksum: 2870cc09342166bf128c9503b9e5a06b (MD5) Previous issue date: 2004-12-21<br>Este estudo em séries – Série de Estudos I, II, III – constitui-se na leitura da obra Tempo Espanhol, de Murilo Mendes, 1959, a fim de se averiguar a densidade dialógica do discurso poético através da intersemiose poesia/pintura. Nesse percurso, delimitamos a Série Pictórica como corpus da pesquisa para apreender o ato performativo do poeta em especular para além da palavra e da imagem na trajetória: do pretexto plástico à verdade plástica, em Tempo Espanhol. A Intersemiose Poesia/Pintura: Murilo Mendes, Os Pintores Antigos da Catalunha (os pintores anônimos), El Greco, Velázquez, Goya, Picasso, Juan Gris e Joan Miró. As Lições de Espanha. A galeria poética que compõe a Série Pictórica expõe como se instaura o processo dialético/dialógico na densidade intersemiótica poesia-pintura e /ou a transtextualidade do discurso estético. A exposição da arte na dialética da criação poética: poesia/pintura.<br>Este estudio em series – Serie de Estudios I, II, III – Analiza el discurso poético en la obra Tiempo Español, de Murilo Mendes, 1959, con el objetivo de conocer la densidad dialógica del discurso poético que se realiza em la intersemiosis poesia / pintura, en ese recorrido, delimitamos la Serie Pictórica como cuerpo de la investigación para comprender el acto “performativo” del Poeta en especular además de la palabra, de la imagen en la trayectória: del pretexto plástico a la verdad plástica, en Tiempo Español. A la intersemiosis Poesia / Pintura: Murilo Mendes, los Pintores Antiguos de Cataluña, (los pintores anônimos) El Greco, Velázquez, Goya, Picasso, Juan Gris, João Miró. Las lecciones de España de la Galeria Poética que compone la série pictórica muestra como se establece el proceso dialéctico / dialógico de la densidad intersemiótica Poesia / Pintura y/o la transtextualidad del discurso estético. La exposición del arte en la dialéctica de la creación poética: Poesia / Pintura

Ce travail repose sur l'etude d'une oeuvre, celle de michel leiris, dans le cadre d'une problematique plus generale touchant aux rapports entre peinture et ecriture : transferts, confrontations, alliances et refus. Ces rapports mutuels sont soumis a la reconnaissance d'une separation radicale des signes qui fonde pour une part essentielle les jeux de l'ecriture face au visible. Leiris fait passer la confrontation de l'ecriture et de la peinture, du regard et du langage, par la reconnaissance, ludique et theorique, de cet ecart. Le vestige des images autobiographiques, la passion du regard ethnographique, les jeux visuels du poeme et le gout pour certains types de spectacles (tauromachie et opera) y contribuent autant et plus que le discours amical sur le prestige des peintres contemporains : masson, miro, giacometti, picasso, lam, bacon. Un parcours des textes consacres a chacun de ces peintres a permis de mettre a jour vertains elements fondateurs de la poetique leirisienne de la peinture, qui se trouvent etre aussi les enjeux de la poesie, de l'autobiographie, et de l'ethnographie : etude attentive et exaltee d'une langue secrete, jeux systematique sur les signifiants, et singulierement sur les noms propres, reconnaissance de l'alterite et ethique de la subjectivite, fascination de la presence et interrogation incessante des images du corps. On a fait appel a des lectures croisees inspirees par la textanalyse, sans negliger l'histoire des circonstances et des amities<br>This work is meant to make a contribution to investigation on relationship between writing and painting in xxth century. Michel leiris (1901-1990), aside from being one of the most original creators among french surrealists, devoted an important part of his work to painting criticism. Before analyzing on andre masson, joan miro, alberto giacometti, pablo picasso, wifredo lam and francis bacon - the poet, autobiographer, ethnographist and critic having been for a long time their close friend - , our aim has been to show the recurrent presence of a certain number of imaginary structures in his ethnographic, poetical, autobiographical and fiction work, to study how these structures were protected into his appreciation and poetics on painting. Concentration on images of blood and red colour, lingering assertion of a perspective angle of vision, numerous poetic puns around name and surname, references to translation and foreign artists original languages, are here studied as elements of a writing on vision, visual, and visibility

Le contexte artistique californien de la fin des années 60 et du début des années 70 constitue un terrain favorable aux investigations d'une nouvelle génération d'artistes, même s'il ne bénéficie pas de réels soutiens logistiques marchands ou institutionnels. L'art conceptuel promu à la même époque par Seth Siegelaub à New York prépare une alternative à l'art minimal. Ce phénomène a déjà son équivalent en Europe. La dématérialisation de l'oeuvre d'art aura des conséquences décisives en Californie, où elle donnera naissance à un art conceptuel dénué de tout dogmatisme marqué par l'influence de fortes personnalités comme Edward Ruscha et John Baldessari. Des artistes originaires de la côté est comme Douglas Huebler, William Wegman, Robert Cumming, du Midwest comme Ruppersberg trouveront de l'autre côté des États-Unis des conditions de travail plus stimulantes. Des Européens comme Bas Jan Ader ou son complice Ger van Elk suivront le même chemin. Leurs oeuvres ne trouveront pas immédiatement sur place une grande visibilité. Mais après une éclipse d'une quinzaine d'années, voici qu'une nouvelle génération d'artistes européens (citons des artistes comme Claude Closky, en France, ou Jonathan Monk, en Angleterre) se penche sur ces grand frères et les place au premier rang de leurs références. À partir d'exemples sélectionnés d'artistes et d'un corpus de textes constitué depuis le début des années 90, que j'ai écrits pour différents catalogues d'expositions, revues, éditeurs, l'objet de cette thèse est de présenter ce dialogue entre les générations et de mettre en évidence certaines convergences malgré la dissemblance des contextes institutionnels et sociétaux.

SANTOS, Elis Denise Lélis. Uma leitura de mão dupla: leituras e influências na poesia de João Cabral de Melo Neto. 2008. 86f. Dissertação (Mestrado em Letras) – Universidade Federal do Ceará, Departamento de Literatura, Programa de Pós-Graduação em Letras, Fortaleza-CE, 2008.<br>Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2012-06-26T13:06:22Z No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5)<br>Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-07-23T12:27:15Z (GMT) No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5)<br>Made available in DSpace on 2012-07-23T12:27:15Z (GMT). No. of bitstreams: 1 2008_DIS_EDLSANTOS.pdf: 952526 bytes, checksum: 624535c4df82c4d57e23ca5ffd70c857 (MD5) Previous issue date: 2008<br>The goal of our work is to investigate the influences reading from the poet Joao Cabral de Melo Neto and possible overruns through the conquest of a unique style. Contextualizaremos the production of literary and intellectual author, working with the "field", "context" and "paratopia" based on readings of The rules of art (1996), Pierre Bourdieu and The context of literary work (2001), Dominique Maingueneau, respectively. Abordaremos the influences received by the poet in the literature and other fields such as visual arts, architecture, mathematics, philosophy and the different places where resided and the travel he has done. Use the categories "influence" and "overrun", systematized by the American literary critic Harold Bloom works in The anguish of influence (1991) and A map of desleitura (2003). So with the idea of overcoming, we want to examine The work Education by stone (1966) which marks the poetry of John Cabral a more mature by their experiences with the language. First, we will see the context of production in prose and verse of the author. Then mapeamos their influences, and a third time, investigate how the poet surpassed, building an individual and own poetic.<br>O objetivo de nosso trabalho é investigar as influências de leitura do poeta João Cabral de Melo Neto e a possível superação através da conquista de um estilo próprio. Contextualizaremos a produção literária e intelectual do autor, trabalhando com as categorias de “campo”, “contexto” e “paratopia”, com base nas leituras de As regras da arte (1996), de Pierre Bourdieu e O contexto da obra literária (2001), de Dominique Maingueneau, respectivamente. Abordaremos as influências recebidas pelo poeta na literatura e de outros campos como o das artes plásticas, da arquitetura, da matemática, da filosofia e dos diferentes lugares em que residiu e das viagens que realizou. Utilizaremos as categorias “influência” e “superação”, sistematizadas pelo crítico literário americano Harold Bloom nas obras A angústia da influência (1991) e Um mapa da desleitura (2003). Assim, com a idéia de superação, pretendemos analisar a obra A educação pela pedra (1966) que marca a poética de um João Cabral mais amadurecido por suas experiências com a linguagem. Primeiro, veremos o contexto da produção em prosa e verso do autor. Em seguida, mapearemos suas influências e, em um terceiro momento, investigaremos como o poeta as superou , construindo uma poética própria e individual.

És una investigació, anàlisis, i aproximació a l’obra gràfica de l’artista mallorquí, del segle XX, Pere Quetglas, conegut pel pseudònim de “Xam”. La seva activitat s'ha sistematitzat sobre la base la biografia, tècniques treballades i el seu entorn. Xam, es va exercitar en la caricatura, el dibuix, el cartell, el gravat xilogràfic, la pintura, els monotips, la serigrafia i en el gravat calcogràfic. Del conjunt de tota la seva producció l’autor se centra en l'obra gràfica produïda a partir de 1944, quan pot datar-se la seva primera xilografia, i la seva defunció, l’any 2001, en el qual realitza la seva última litografia. El treball s'insereix en un àmbit sense tradició immediata sobre l'obra gràfica a Mallorca, pràcticament desapareguda després de la important impremta Guasp. S'han pogut documentar més de 400 matrius. Alhora, s'han treballat les estampacions d'aquestes, que ascendeixen a 600 estampes calcogràfiques, xilogràfiques, serigràfiques i litogràfiques.<br>Es una investigación, análisis, y aproximación a la obra gráfica del artista mallorquín, del siglo XX, Pedro Quetglas, conocido por el seudónimo de “Xam”. Su actividad se ha sistematizado en base a la biografía, técnicas trabajadas y a su entorno. Xam, se ejercitó en la caricatura, el dibujo, el cartel, el grabado xilográfico, la pintura, los monotipos, la serigrafía y en el grabado calcográfico. Del conjunto de toda su producción se centra en la obra gráfica producida a partir de 1944, cuando puede datarse su primera xilografía, y su fallecimiento, en 2001, en el cual realiza su última litografía. La tarea se inserta en un ámbito sin tradición inmediata sobre la obra gráfica en Mallorca, prácticamente desaparecida tras la importante imprenta Guasp. Se han podido documentar más de 400 matrices. A su vez, se han trabajado las estampaciones de estas, que ascienden a 600 estampas calcográficas, xilográficas, serigráficas y litográficas.<br>The thesis is research, analysis and approach to the graphic work of the Majorcan artist of the 20th century, Pedro Quetglas, known by his pseudonym "Xam". Xam worked in several art fields, such as caricature, drawing, designing and painting posters, woodcut, painting, monotype, serigraphy and calcography engraving. From the sum of his work the thesis is centred in the graphic work produced between 1944, when we can date the first xylography, and his death, 2001, when he finished his last lithography. The task was inserted in a field without immediate tradition on the graphic work in Mallorca, which practically went missing after the important Guasp printing house closed down. It has been possible to document more than 400 blocks and, at the same time, the prints of those which add up to 600 prints on chalcography, xylography, serigraphy and lithography.

碩士<br>華梵大學<br>工業設計學系碩士班<br>104<br>In order to inspire students on every level to develop the sense of aesthetic, teachers are encouraged to develop their own teaching materials in visual art courses in the field of art and social science of Grade 1-9 Curriculum. The students would gain the concept of aesthetic and the systemized art learning with the teaching strategies. This research aims to probe an art course for a class of fifth-graders in the elementary school. With a view to offering some advices for the future teaching, the feasibility would be discussed through reflection, problem-solving during the teaching process. With 25 fifth-graders as subjects, this research, adopting active research, focuses on the art education with Joan Miro and symbolic signs integrated on fifth-grader in the elementary school. With the core "Let's Paint with Miro the Master", four theme courses are designed, including "Masterpiece Experience", "Run with Miro the master", "Decode Miro the Master", "Come on! Let's Paint with the Master". Through the practical teaching, feedbacks from the students, interviews with the students, teaching checklists from the teachers, the reflections of the researcher, and the analysis of the students' works, some conclusions have been made. First of all, the visual art course with the theme "the style of Joan Miro and Symbolic Signs" integrated, students show much more interested and the teaching materials are enriched. Beside, teacher could refine their teaching and expertise through the process. Thirdly, students' aesthetic is elevated and broadened through multi-dimensional learning activities and art creation. Finally, according to the performance and learning analysis of the students, the art education with Joan Miro and symbolic signs integrated show benefits and great value on the senior students in the elementary school. For the future teaching and research, some suggestions on courses have been made.

碩士<br>國立臺北藝術大學<br>美術史研究所<br>99<br>This study employs literature reviews, key document analysis and artwork style and form comparing analysis as its research methods to examine Paul Klee（1879-1940）and Joan Miró''s（1893-1983）childlike non-figuration painting. Mutually comparing within the theory of children''s painting, the development of Paul Klee and Joan Miró''s creative conceptions, and with the children''s drawings, its investigate these issues:1. What are the meaning and feature of the childlike non-figuration paintings? 2. Compare with the artists'' and children''s paintings could find and identify the objective meanings of the "childlike non-representation". During the nineteenth century and the early half of twentieth century, Paul Klee and Joan Miró were living, in while the art movement had a trend trying to find some new express, leading the artists paid attention to primitive art, folk art and children''s art increasingly. Those elements such as: artist living style, painting learning, creative experience, interest in, concern and pursuit with the childlike elements, put those together into the "childish" performances by the refined and pure process. Artists'' "childlike" works possesses same common features as children''s works: 1. The form of simple, concise expression; 2. Intuitive, spontaneous presentation, not adhere to a certain form rigidly; 3. Using vivid vocabulary of lines; 4. to deal the objects scatted on space with the depth of field uniquely; 5. "plane motif" been often used within children''s art form; 6. As stories and narrative to describe the life experience and daily observation. In short, children''s eyes with former logic, primitive, subconscious transform into paintings by the clear lines, bright local color, a simple structure and story, to present "naive" world.

This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as André Breton, Joan Miró, Max Ernst, Wolfgang Paalen, Oscar Domínguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention—one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous.<br>text