Relevant bibliographies by topics / Primitivité

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Primitivité'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Primitivité"

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Hattiangadi, Anandi. "Non-Reductive Realism, Primitivism, and the Reduction Argument: Commentary on Bart Streumer, Unbelievable Errors." Journal of Moral Philosophy 16, no. 6 (December 4, 2019): 697–706. http://dx.doi.org/10.1163/17455243-20182951.

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In Unbelievable Errors, Bart Streumer defends the error theory by rejecting all competitors to it. My aim here is to defend one brand of realism from Streumer’s objections: primitivim. The primitivist holds that there exist sui generis normative properties that do not supervene on any descriptive properties. It is argued that Streumer’s objections to primitivism can be met.
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Deligny, Hugues, and Paul Jolissaint. "Relations de récurrence linéaires, primitivité et loi de Benford." Elemente der Mathematik 68, no. 1 (2013): 9–21. http://dx.doi.org/10.4171/em/213.

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Berman, Nancy. "From Le sacre to Les noces: Primitivism and the Changing Face of Modernity." Canadian University Music Review 20, no. 1 (May 16, 2013): 9–21. http://dx.doi.org/10.7202/1015645ar.

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The function of the primitivist aesthetic in modern French culture shifted dramatically from the pre- to the post-war period. Whereas the primitivism of the Ballets russes's Le sacre du printemps was understood by its contemporaries to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les noces was perceived to some extent as a manifestation of both the classicist "call to order" and the mechanistic aesthetic of the post-war period. Indeed, Les noces was one of many cultural products by means of which post-war modernists extolled the virtues of the machine age.
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Chung, Iksoon. "The Primitivism of Literature and History on the Primitivity." Criticism and Theory Society of Korea 22, no. 3 (September 30, 2017): 103–22. http://dx.doi.org/10.19116/theory.2017.22.3.103.

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Britton, Celia. "How to be Primitive: Tropiques, Surrealism and Ethnography." Paragraph 32, no. 2 (July 2009): 168–81. http://dx.doi.org/10.3366/e0264833409000510.

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The review Tropiques, founded in Martinique by Aimé Césaire and colleagues in 1941, was heavily influenced by French surrealism, both for its emphasis on political liberation and its investment in primitivism and the revalorization of non-European cultures. But Tropiques's attitude to primitivism was far more ambivalent and contradictory than is usually assumed. While the editors and contributors sometimes do indeed claim to have, as Martinican intellectuals, a close identificatory connection to primitivist sensibility (and are encouraged in this by French surrealists), elsewhere their attitude to such supposed examples of primitivism as African-American poetry and Caribbean folklore is extremely distanced and rather patronizing. Moreover, their claims to an ‘authentic’ relation to primitive culture, especially where this is defined as African, are complicated by the fact that they have to rely on European ethnographic sources in order to make these claims; and the writing in Tropiques shows them grappling with this contradiction.
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Jeihouni, Mojtaba, and Nasser Maleki. "Far from the madding civilization: Anarcho-primitivism and revolt against disintegration in Eugene O’Neill’s The Hairy Ape." International Journal of English Studies 16, no. 2 (December 12, 2016): 61. http://dx.doi.org/10.6018/ijes/2016/2/238911.

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<p>Anarcho-primitivism contends that modern civilization deprives people of their happiness, which is why it seeks to reconstruct civilization on a primitive basis, one that holds concrete promises of happiness. It argues that a harmonious relation with human nature and external nature needs to be established by translating technological societies into societies that are free of hierarchy, domination, class relationships, and, simply put, of modern structures. Anarcho-primitivists intend to reinstate a primitive outlook in the modern era and recover the authenticity and wholeness lost to the tyranny of civilization. The radical nature of Yank’s anti authoritarianism in Eugene O’Neill’s The Hairy Ape (1921) demonstrates that he is totally at a loss about the positive functions of industrialism. We argue that Yank expresses a deep resentment toward civilization that is barely hidden in the play. This leads us to suggest that Yank’s objective is not dissimilar from that of anarcho primitivists: he values his individuality and tries to subvert the social forces that are arrayed against it. Like anarcho-primitivists, he is determined to bring down the pillars of the material culture in favor of a primitive life, where free subjectivity or individuation becomes the integral gift of society.</p>
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Alonso Recarte, Claudia. "Myths of Primitiveness: A Barthean Interpretation of Rhetorical Devices in Early Jazz Criticism." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 195. http://dx.doi.org/10.14198/raei.2013.26.14.

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Ever since jazz began to make an impact in white aesthetic culture in the late 1910s and 1920s, critics, regardless of whether they celebrated or condemned the music, enmeshed their discourse with images of exoticism, noble savageness, and racial brutishness. As Jazz Studies emerged as an academic discipline, scholars have shown increasing interest in exposing these images in order to illustrate the pervading racist sentiment inscribed within white perception of the jazz idiom and also to establish the connections between jazz and the modernist obsession with primitivism. The aim of this paper is to contribute further study to the intricacies of primitivism through a close examination of the rhetorical devices enabling the subsistence and efficiency of the white supremacy’s mystification of jazz. In this way, we may better comprehend how the primitivist construct is not a matter of an ideology’s conglomeration of superficial images, nor of mere associations between the music and rituals. These features are certainly operative, but by approaching the metaliguistic techniques implicit in what Roland Barthes calls the bourgeois myth, jazz primitiveness can be conceived as an act of colonization that begins and is self-nurtured by patterns of speech.
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Perchard, Tom. "Tradition, modernity and the supernatural swing: re-reading ‘primitivism’ in Hugues Panassié's writing on jazz." Popular Music 30, no. 1 (January 2011): 25–45. http://dx.doi.org/10.1017/s0261143010000644.

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AbstractBefore WWII, Hugues Panassié (1912–1974) was Europe's leading critical authority on jazz, and by the time of his death he had published a dozen books on jazz music and been President of the Hot-club de France for over 40 years. Yet despite this life's worth of efforts made in jazz's name, Panassié's reputation is no longer a good one: pointing to the fantasies of black exceptionalism and Noble Savagery present in his work, historians have tended to dismiss the critic as a racist primitivist, one in thrall to that contemporarynegrophiliemost familiar today from early-century Parisian visual art. Indeed Panassié used the term ‘primitive’ himself, and positively. But this article traces the ultra-conservative writer's intellectual and religious formation to show that, rather than contemporarynegrophilie, it was a religious and cultural heritage quite distant from the modern European encounter with blackness that first informed Panassié's primitivism. Although this re-reading does not aim to ‘rehabilitate’ someone who remains a troublesome and reactionary figure, the article nevertheless goes on to explore how, in his primitivist rejection of European modernism, Panassié sometimes pre-empts important arguments made by the postmodern jazz scholarship that would seem to marginalise the critic's historical contributions.
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Perry, Seth. "Scripture, Time, and Authority among Early Disciples of Christ." Church History 85, no. 4 (December 2016): 762–83. http://dx.doi.org/10.1017/s0009640716000780.

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This article explores the relationship between the idealization of the Bible and the material characteristics of printed bibles among the Disciples of Christ in the early nineteenth century. The Disciples were founded on the principles of biblical primitivism: they revered the “pure” Bible as the sole source for proper faith and practice. The tenacity with which Disciples emphasized their allegiance to an idealized, timeless Bible has obscured their attention to its physical manifestations and use as printed scripture. The timeless authority of the Bible was entangled with the historical contingencies of mere bibles, and the ways in which they dealt with these tensions offer important perspective on nineteenth-century bible culture. Scholars have treated primitivism as an ahistorical impulse—the idealization of the New Testament church as a mythical sacred era outside of time that could be perpetually inhabited. By contrast, through an examination of the New Testaments edited and published by Disciples leader Alexander Campbell and the heavily-annotated preaching bible of Thomas Allen, an early Disciples preacher, I argue that in seeking to recover the New Testament era through historicized understandings of scripture, primitivists like Campbell and Allen situated the early church itself firmly within historical, not primordial, time.
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Manouelian, Edward. "Invented Traditions: Primitivist Narrative and Design in the Polish Fin de Siècle." Slavic Review 59, no. 2 (2000): 391–405. http://dx.doi.org/10.2307/2697058.

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Around 1900, Poland saw the outgrowth of a nativist primitivism, one that consciously redefined the periphery as a site of cultural resistance. Primitivism, as Colin Rhodes points out, “does not designate an organized group of artists, or even an identifiable style arising at a particular historical moment, but rather brings together artists’ various reactions to ideas of the primitive.” Within the subject ethnicities of central Europe at the turn of the century, “ideas of the primitive” that were taking shape in the then stillemerging discipline of anthropology were influencing various constructions of national and regional identity. The nationalist imperative of the new discipline was emphasized by Jan Karlowicz, who, writing in 1906, argued that “a people certain of its own existence may calmly study its own folklore from a purely scientific point of view. Tribes deprived of their independence and living in endless fear of suppression and decay, however, must, while reflecting upon the nature and conditions of folkloric tradition, consider practical questions as part of such inquiries. For whenever reference is made to national peculiarities and attributes, there constantly arises the question: to be or not to be.” Karlowicz's remarks point toward a deeply subjective primitivist discourse whose articulations, in critical writing about the applied arts as well as literary representations of rural popular culture, form part of what Eric Hobsbawm terms the “invention of tradition.”
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Dissertations / Theses on the topic "Primitivité"

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Valcourt-Blouin, Maxime. "Primitivité et subjectivité chez Sören Kierkegaard : étude sur la logique d'un discours philosophique." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27316.

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Le présent travail aborde l'oeuvre de Kierkegaard sous l'angle de deux notions qui y sont présentes, la primitivité et la subjectivité. Pour ce faire, une analyse de l'imagination et de la passion, de leurs diverses fonctions et de leurs rapports mutuels s'avère nécessaire dans la mesure où la primitivité et la subjectivité sont reliées dans le corpus kierkegaardien à ces deux facultés humaines. Prenant pour point d'appui notre analyse de ces deux notions, nous chercherons à rendre compte de leur présence dans trois facettes complémentaires de la création philosophique de Kierkegaard : sa conception des stades de l'existence, sa théorie de la communication et la mise en oeuvre de cette théorie dans ses écrits. Puisque la primitivité et la subjectivité sont « possibilités de l'esprit », qu'elles rendent possible l'existence spirituelle, notre travail se veut donc une analyse du discours kierkegaardien dans sa manière de comprendre l'être humain comme un être à la fois cognitif et affectif, ces deux dimensions de l'être humain étant cruciaux pour comprendre comment celui-ci atteint l'existence humaine et chrétienne authentiques.
The present work addresses Kierkegaard's oeuvre from the angle of two notions present in it, primitivity and subjectivity. To do so, an analysis of imagination and passion, of their various functions and of their mutual relations proves itself necessary to the extent that primitivity and subjectivity are linked in the kierkegaardian corpus to these two human faculties. Taking as fulcrum our analysis of these two notions, we shall seek to give an account of their presence in three complementary facets of Kierkegaard's philosophical creation : his conception of the stages of existence, his theory of communication and the application of this theory in his writings. Since primitivity and subjectivity are "possibilities of spirit", since they make spiritual existence possible, our work seeks to be an analysis of the kierkegaardian discourse in its way of understanding humans as both cognitive and affective, these two dimensions of humans being crucial for understanding how they access authentic human and Christian existence.
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Su, Xiaobei. "L’invention de la Chine par Victor Segalen : une expérience interculturelle." Brest, 2010. http://www.theses.fr/2010BRES1011.

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Victor Segalen n’a pas été seulement le decouvreur, l’inventeur comme dit le langage du droit, des tresors de la chine ancienne. Mais son invention de la Chine nécessite aussi un engagement personnel profond et l’intervention de toute sa personnalité, de son imagination, de sa sensibilité et de ses interrogations. La Chine sous sa plume montre à la fois l’image des dégradations modernes d’un vieil empire et l’image d’une nature préservée; ses paysages naturels, sa civilisation ancienne et son passé culturel qui permettent un mouvement de retour aux origines. Parallèlement, sa découverte de la Chine lui a fourni des expériences intimes et a entretenu chez lui des visions profondes et poétiques qui répondaient à sa quêete de soi. La Chine joue un rôle de révélateur dans l’expérience personnelle, culturelle et littéraire de l’écrivain. L’image que Victor Segalen donne de la Chine est une représentation codée, un portrait de la Chine qui reflète le monde intérieur de l’écrivain
Victor Segalen is a “discoverer” as well as an “inventor” of the treasures of ancient China, with the latter literally meaning the former in French legalist language. He’s “discovery” of China is also an invention because he committed himself to it with all his personality, imagination, sensibility and questions. China, in Segalen’s writing, testifies the degradation of an old empire and the preservation of nature: natural landscapes, ancient civilization and fiistory which enabled possible his tracing the origins. In parallel, China is for Segalen a source of inner experiences and is discovery maintains him in a deep and poetic spirit, corresponding to his request for himself. China is crucial to Segalen’s personal, cultural and literary life and the image of China he created is such an encoded one that reflects the writer’s inner world
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O'Reilly, Séan A. (Séan Anthony). "Guy Davenport's literary primitivism." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23347.

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This thesis shows how literary primitivism is the pivot around which Davenport's literary designs spin. Thematically as well as technically the material in his first four collections of short stories is all derived from a desire to explore the beginnings, or the primitive wellsprings, of writing and art. The collage-like construction of picture and sentence will be shown to evolve from a knowledge of palaeolithic cave painting, humanity's first writing system, while Davenport's use of cataloguing and paratactic systems will be shown to evolve from ancient Greek. His primitivism also reveals itself in a Rousseau-like concern to highlight the advantages of primitive civilization on a modern industrial one and how the lessons learned from that are invaluable for present-day society.
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McGury, Susan. "Primitivism and cultural conversion." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309516.

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Etherington, Ben Karl. "Literary primitivism : essence, aesthetics, politics." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608758.

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Norton, Steven. "Primitivism and Contemporary Popular Cinema." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19678.

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This dissertation is a postcolonial analysis of four films: The Gods Must Be Crazy (1980), Dances with Wolves (1990), The Last Samurai (2003), and Avatar (2009). While previous scholarship has identified the Eurocentric worldview of early 20th-century ethnographic film, no book-length work has analyzed the time consciousness of turn-of-the-21st century films that feature portrayals of the colonial encounter. By harmonizing film theory with postcolonial theory, this dissertation explores how contemporary films reiterate colonial models of time in ways which validate colonial aggression. This dissertation concludes that the aesthetics of contemporary popular cinema collude with colonial models of time in such a way as to privilege whiteness vis-à-vis constructions of a primitive other. Contemporary primitivism works through the legacy of classical Hollywood style, nostalgia for the western film, the omnipotence of the white male gaze, and a reverence for technology.
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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism." Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.

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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.

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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.
French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Hill, Cecilia Fajardo. "In and out of 'the primitive' : postcolonialism and contemporary art practice : Jimmy Durham and Jose Bedia in context." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272509.

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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.

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Books on the topic "Primitivité"

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Sozzi, Lionello, and Cinzia Di Cuonzo. Primitivi. Torino: Rosenberg & Sellier, 2011.

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Primitivism in modern art. Cambridge, Mass: Belknap Press, 1986.

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Cásares, Mayra Ribadeneira de. Tigua: Arte primitivista ecuatoriano. [Ecuador?]: Centro de Arte Exedra, 1990.

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Primitivism and modern art. New York: Thames and Hudson, 1994.

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Goldwater, Robert. Primitivism in modern art. Cambridge, Mass: Harvard University Press, 1986.

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1909-1994, Jakovits József, and QCC Art Gallery, eds. József Jakovits: Surrealist, primitivist, Kabalist. Bayside: QCC Art Gallery Press, 2014.

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German expressionism: Primitivism and modernity. New Haven, Conn: Yale University Press, 1991.

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Patané, Salvatore. I Sami: Ultimi primitivi d'Europa. Acireale [Italy]: Bonanno, 2004.

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Noi, primitivi: Lo specchio dell'antropologia. Torino: Bollati Boringhieri, 1990.

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Remotti, Francesco. Noi, primitivi: Lo specchio dell'antropologia. Torino: Bollati Boringhieri, 2009.

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Book chapters on the topic "Primitivité"

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Bhattacharjee, Meenaxi, Dugald Macpherson, Rögnvaldur G. Möller, and Peter M. Neumann. "Primitivity." In Lecture Notes in Mathematics, 31–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0092554.

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Bhattacharjee, Meenaxi, Rögnvaldur G. Möller, Dugald Macpherson, and Peter M. Neumann. "Primitivity." In Notes on Infinite Permutation Groups, 31–38. Gurgaon: Hindustan Book Agency, 1997. http://dx.doi.org/10.1007/978-93-80250-91-5_4.

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Adshead, S. A. M. "Primitivity." In Salt and Civilization, 3–26. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-21841-7_1.

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Lie, Sophus. "Transitivity, Invariants, Primitivity." In Theory of Transformation Groups I, 225–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46211-9_13.

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Gert, Joshua. "Primitivist objectivism." In The Routledge handbook of philosophy of colour, 299–310. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series: Routledge handbooks in philosophy: Routledge, 2020. http://dx.doi.org/10.4324/9781351048521-23.

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Laurière, Christine. "Considérations sur la primitivité." In Paul Rivet, 279–82. Publications scientifiques du Muséum, 2008. http://dx.doi.org/10.4000/books.mnhn.2407.

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Beth, Suzanne. "Innovations techniques et primitivité du cinéma." In L’impuissance du cinéma, 101–53. Presses universitaires de Strasbourg, 2018. http://dx.doi.org/10.4000/books.pus.1577.

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Etherington, Ben. "D. H. Lawrence’s Narrative Primitivism." In Literary Primitivism. Stanford University Press, 2017. http://dx.doi.org/10.11126/stanford/9781503602366.003.0006.

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Chapter 6 presents a detailed consideration of the style and narrative structure of D. H. Lawrence’s major primitivist work, Women in Love. It begins with Wyndham Lewis’s attack on Lawrence’s primitivism in Paleface, a book that undertakes an ironic defense of white supremacism, before considering how Women in Love pursues its own kind of “blancitude.” Finding that Lawrence’s prose “techniques of immediacy” are not sufficient in themselves to bring about primitivism’s end, it traces the narrative logic that pushes Lawrence’s characters to seek spaces beyond the perimeter of imperial civilization. The chapter closes with a discussion of Lawrence’s attempt to narrate a primitivist insurrection in his late work The Plumed Serpent.
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"Primitivity." In Fundamental Algorithms for Permutation Groups, 71–77. Berlin, Heidelberg: Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/3-540-54955-2_28.

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"Primitivity." In Volume 15, Tome V: Kierkegaard's Concepts, 153–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315234731-22.

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Conference papers on the topic "Primitivité"

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LISCHKE, GERHARD. "THE PRIMITIVITY DISTANCE OF WORDS." In Proceedings of AFLAS 2008. WORLD SCIENTIFIC, 2010. http://dx.doi.org/10.1142/9789814317610_0010.

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Blondel, Vincent D., Raphael M. Jungers, and Alex Olshevsky. "On primitivity of sets of matrices." In 2013 IEEE 52nd Annual Conference on Decision and Control (CDC). IEEE, 2013. http://dx.doi.org/10.1109/cdc.2013.6760072.

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Pujadas, Anna. "Primitivism & Modern Design." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0005.

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Zhang, Xiaowang. "On the Primitivity of SPARQL 1.1 Operators." In the 26th International Conference. New York, New York, USA: ACM Press, 2017. http://dx.doi.org/10.1145/3041021.3054260.

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Bosc, Patrick. "On the primitivity of the division of fuzzy relations." In the 1997 ACM symposium. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/331697.331739.

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Luo, Meijin. "The Primitivity and Primitive Exponents of a Class of Nonnegative Matrix Pairs." In 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/emim-17.2017.32.

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Surinx, Dimitri, Jan Van den Bussche, and Dirk Van Gucht. "The primitivity of operators in the algebra of binary relations under conjunctions of containments." In 2017 32nd Annual ACM/IEEE Symposium on Logic in Computer Science (LICS). IEEE, 2017. http://dx.doi.org/10.1109/lics.2017.8005122.

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Andriolo, Arley. "A questão da alteridade no “primitivismo artístico”." In Encontro da História da Arte. Universidade Estadual de Campinas, 2006. http://dx.doi.org/10.20396/eha.2.2006.3558.

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Abstract:
Desde 1938, com a publicação do livro de Robert Goldwater, a noção de “primitivismo artístico” evidenciava a visada do artista europeu para as obras plásticas africanas. Em 1984, essa relação foi reforçada com a exposição Primitivism in XXth century art, organizada por William Rubin. Alguns críticos dessa associação mostram que o campo perceptivo daqueles artistas não se dirigia apenas para os habitantes da África, mas para uma série de personagens, dentre os quais, ciganos, prostitutas, loucos e camponeses. Meu objetivo será o de rever essa problemática para propor uma reflexão metodológica que considere a questão da alteridade, particularmente, enfocando a emergência diante do artista de uma multiplicidade de outros a solicitar o seu olhar.
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Liu, Siru. "The Review of Primitivism and Approve of Imagination: Research on the Art Criticism of Roger Fry." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.112.

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