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Dissertations / Theses on the topic 'Surrealism'
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Parkinson, Gavin. "Physique du Surrealisme : Surrealism, Modern Physics, and Epistemology." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249524.
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Stent, Sabina Daniela. "Women Surrealists : sexuality, fetish, femininity and female Surrealism." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3718/.
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The objective of this thesis is to challenge the patriarchal traditions of Surrealism by examining the topic from the perspective of its women practitioners. Unlike past research, which often focuses on the biographical details of women artists, this thesis provides a case study of a select group of women Surrealists – chosen for the variety of their artistic practice and creativity – based on the close textual analysis of selected works. Specifically, this study will deal with names that are familiar (Lee Miller, Meret Oppenheim, Frida Kahlo), marginal (Elsa Schiaparelli) or simply ignored or dismissed within existing critical analyses (Alice Rahon). The focus of individual chapters will range from photography and sculpture to fashion, alchemy and folklore. By exploring subjects neglected in much orthodox male Surrealist practice, it will become evident that the women artists discussed here created their own form of Surrealism, one that was respectful and loyal to the movement’s founding principles even while it playfully and provocatively transformed them.
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Morrison, John J. "Pop surrealism." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265089.
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The objective of this creative project was to see if Pop Surrealism appeals to a larger cross-section of culture and could be integrated into the fine arts. This study involved creating a series of drawings utilizing a wide range of optical and thematic devices to expand my visual vocabulary. The evidence suggests that the visual knowledge of our culture has expanded through mass media. In the 1800's, Stendhal Syndrome affected a cross-section of America. The illness was incurred by overexposure of visual stimuli resulting with the victim vomiting and passing out. The people's adaptation has lessened the syndrome to almost nonexistence. Pop Surrealism is the amalgamation of Pop Art, Surrealism, and cartoons. The drawings were an exploration of visual and technical applications. The study also included a search for the history and acceptance of techniques and media.Department of Art
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Donadio, Glenda Verônica. "Elementos poéticos e surrealistas em L'Écume des jours (1947), de Boris Vian /." Araraquara, 2019. http://hdl.handle.net/11449/182350.
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Orientador: Andressa Cristina de OliveiraBanca: Adalberto Luís Vicente
Banca: Norma Wimmer
Resumo: Esta dissertação tem como objetivo o estudo da obra de Boris Vian, intitulada L'Écume des jours (1947), por meio da análise de seu caráter poético e do trabalho com a linguagem realizado pelo autor. Busca também demonstrar a herança surrealista presente na narrativa e visa apontar como esta ainda se filia ao surrealismo, mesmo tendo sido produzida anos após o auge do movimento. O embasamento teórico da pesquisa abrange uma contextualização teórica e histórica do período - pós-guerra, 1945 - no qual a obra foi escrita. Na sequência, são apresentados os principais elementos, características e ideais do movimento surrealista, segundo as obras, sobretudo, de Lima (1995) e Chénieux-Gendron (1992). Estes aspectos são apontados e analisados de acordo com trechos da obra, buscando verificar como esta se filia ao surrealismo. Por fim, são apresentados os conceitos que elucidam o gênero híbrido da narrativa poética, consoante às ideias de Tadié (1994), e outros textos referentes à poesia, os quais permitem o reconhecimento dos recursos poéticos empregados ao longo da narrativa. Estes apontamentos são demonstrados posteriormente na obra em questão, uma vez que o uso de figuras de linguagem, ritmo e musicalidade ao longo da narrativa é essencial para Vian.
Abstract: This dissertation aims the study of the Boris Vian work entitled L'Écume des jours (1947) through the analysis of its poetic character and of the work with the language done by the author. It also seeks to demonstrate the surrealistic heritage present in the narrative and aims to point out how this one is still affiliated with surrealism, despite having been produced after the boom of the movement. The theoretical basis of the research spans a historical and theoretical contextualization of the period - post-war, 1945 - when the work was written. The main elements, characteristics and ideals of the surrealist movement, mainly according to the works of Lima (1995) and Chénieux-Gendron (1992) are presented in the sequence. These aspects are pointed out and analized accordingly with extracts of the work seeking to verify how this one affiliates itself with surrealism. Finally, the concepts which elucidate the hybrid genre of the poetic narrative, consonant with Tadié (1994) ideas, and other texts regarding poetry, which permit the recognition of the poetic resources employed along the narrative. These notes are demonstrated later in the work in question, once the use of figures of speech, rhythm and musicality throughout the narrative is essential for Vian.
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Papalas, Mary Laura. "Greek surrealism : from its roots in French surrealism to the poetry of Calas, Engonopoulos, and Embeirikos /." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1135196688.
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Spittle, David Graham Parnel. "John Ashbery and surrealism." Thesis, University of Newcastle upon Tyne, 2016. http://hdl.handle.net/10443/3264.
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This thesis will demonstrate that an engagement with Surrealism alongside John Ashbery’s poetry can provide a mutually beneficial discussion through which to further understand both. Through its phenomenological attention, Ashbery’s poetry configures the everyday experience of his reality in a way that responds to, and invites, a surrealist perspective. The first chapter explores Joseph Cornell, collecting and the ‘found object’, with an emphasis on Ashbery’s first collection, Some Trees (1956). The second Chapter examines dreams and dreaming throughout Ashbery’s first four collections, ending with an analysis of Three Poems (1972). Merleau-Ponty is used to demonstrate the oneiric implications of Ashbery’s poetics of phenomenology as a basis for Surrealism, whereby a perception of reality becomes comparable to a dream. My third chapter presents Ashbery’s book-length poem Flow Chart (1991) alongside the Canadian filmmaker, Guy Maddin. The concept of noise, alongside the pioneering presence of Surrealism in early radio, is used to understand treatments of memory that connect Maddin’s films to Ashbery’s interruptive poetics and lead both to be understood through Georges Bataille’s notion of ‘The Labyrinth’. The fourth chapter discusses the relationship between visual perspective and a surrealist imagining of childhood. This chapter returns to the enduring importance of ‘The Skaters’ in order to understand the poem’s relation to collage, ‘play’ and metaphor as key examples of how Ashbery’s poetry comes to realise Breton’s surrealist dictum: ‘always for the first time’.
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Stone-Richards, M. "The conception of embodiment in French Surrealist art : with reference also to Czech Surrealism 1919-1939." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361395.
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Baker, Simon Richard. "Surrealism and the French Revolution." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252062.
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Santos, Mateus de Araujo. "Quantum realism and quantum surrealism." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/BUOS-8XVM55.
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In this thesis we explore the question: whats strange about quantum mechanics? This exploration is divided in two parts: in the first, we prove that there is in fact something strange about quantum mechanics, by showing that it is not possible to conciliate quantum theory with various different definitions of what should be a normal theory, that is, a theory that respects our classical intuition. In the second part, our objective is to describe precisely which parts of quantum mechanics are non-classical. For that, we define a classical theory as a noncontextual ontological theory, and the non-classical parts of quantum mechanics as being the probability distributions that a ontological noncontextual theory cannot reproduce. Exploring this formalism, we find a
new family of inequalities that characterize non-classicality.Nessa dissertação exploramos a questão: o que há de estranho em mecânica quântica? Essa exploração se divide em duas partes: na primeira, provamos que de fato há algo estranho em mecânica quântica, mostrando que não é possível conciliar o formalismo quântico com várias definições diferentes do que seria uma teoria normal, isto é, que respeite nossa intuição clássica sobre o mundo. Na segunda parte, nosso objetivo é descrever precisamente quais partes da mecânica quântica são não-clássicas. Para isso, definimos uma teoria clássica como uma teoria ontológica não-contextual, e as partes nãoclássicas da mecânica quântica como sendo as distribuições de probabilidade que uma teoria ontológica não-contextual não consegue reproduzir. Explorando esse formalismo, encontramos uma nova família de desigualdades que caracterizam essa não-classicalidade.
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Signori, Lisa F. "The feminization of surrealism : the road to surrealism silence in selected works of Marguerite Duras /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901282.
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Dudley, Jennifer Ann. "Traversing the boundaries? : art and film in Indonesia with particular reference to Perbatasan/Boundaries : Lucia Hatini, paintings from a life /." Murdoch University Digital Theses Program, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20090716.145044.
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Cohen, Rachel Mary Winefride. "What is 'Surreal' about Surrealism? An investigation of Surrealism as seen through the looking-glass of Jan Svankmajer." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/13684.
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Includes bibliograpical references.This dissertation investigates the filmic representation of surrealism in the films of Jan Švankmajer between 1964 and 2010. These films were analysed in light of two key areas expressed in recent literature regarding the representation of surrealism in film. The first key area is the complicated relationship between surrealism, film, and fantasy film, which has resulted in misconceptions about surrealism and its relationship with reality. This was examined with regard to the misconception of surrealism equating to fantasy and escapism. The second key area is how the filmic representation of surreality by the surrealist filmmaker Švankmajer supports the relationship of the movement with reality. This is analysed in terms of Švankmajer’s filmic engagement with the socio-political context at the time of production and his beliefs regarding a civilisation in crisis. Contingent to Švankmajer’s filmic representation of surreality is an examination of his style, aesthetics and techniques used to convey surreality or the notions of surrealism in his films to depict the affinity of the movement with reality. The main issue addressed in relation to all his films is the narrative on repression. This dissertation examines his narrative on repression, its dimensions and its role in reaffirming the affinity of surrealism with reality. The examination in this study of the subject matter included a diverse field of relevant sources, which was necessitated by the status of the surrealist movement as a belief rather than a formal theoretical framework. This includes, but is not limited to, surrealism and its main considerations and the relationship between surrealism and film compared to fantasy and film with regard to their relationship with reality. This was extended to include significant theoretical considerations with regard to Švankmajer’s filmic representation of surreality, including the representation of loss, the significance of childhood, the presence of objects and the role of tactility. The study entailed an analysis of his films within the ideas expressed in Švankmajer’s filmic representation of surreality. The films were then analysed within the context of the socio-political atmosphere at the time of their production, specifically during the former Czechoslovak communist oppression, followed by the emersion of the Czech Republic into the global consumerist market. The findings of the study indicate that the filmic representation of surreality in Švankmajer’s films portrays a heightened awareness of the socio-political reality of the former Czechoslovakia as well as the current Czech Republic, while resonating universal truths on civilisation. The films challenge the misconceptions on surrealism and its filmic representation as equating to fantasy and escapism. The findings further revealed that Švankmajer’s filmic representation of surreality counters such misconceptions, with the films reflecting Švankmajer’s experiences in Czechoslovakia as well his intimate account of the destructive nature of civilisation.
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Murta, Maria Luísa da Costa Falcão. "El Libro de Cartago: diario de una tristeza irrazonable : polivalência simbólica da imagem na poesia de Juan Eduardo Cirlot." Master's thesis, Universidade de Évora, 2008. http://hdl.handle.net/10174/18284.
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O presente trabalho tem como objectivo o estudo das imagens simbólicas e da sua polivalência na obra El Libro de Cartago de Juan-Eduardo Cirlot. Tomando como pontos de partida as concepções estéticas do autor no que diz respeito ao ritmo comum, pontes verticais e simbologia da imagem tentaremos analisar e demonstrar de que forma estas se articulam com o texto, tentando criar uma linha que conduza à Cartago imaginada por Cirlot bem como à sua simbologia. O nosso propósito é o de reflectir através da profunda afinidade com o surrealismo onírico, sobre a obsessão por imagens simbólicas recorrentes: a cidade de Cartago e a donzela omnipresente, como núcleos originais da poesia Cirlotiana, como verdadeiros motores de um ciclo sobre o tema do que se destrói e deveria renascer. – ABSTRACT; The purpose of this thesis is to study the symbolic images and their polyvalence in the work El Libro de Cartago by Juan Eduardo Cirlot. Starting with the author's esthetical concepts regarding common rhythm, vertical bridges and image symbolism we will try to analyze and demonstrate these relations with the text, aiming to create a line that leads to Cirlot’s imagined Carthage and its symbolism. Our purpose is to understand through the profound affinity with oneiric surrealism, about the recurrent symbolic image obsession: the city of Carthage and the omnipresent lady, as original nuclei of Cirlot’s poetry, as real motors of a cycle about the subject of what is destroyed and should be reborn.
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Middleton, F. "Romanticism with teeth : surrealism in British film." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/14243/.
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This thesis explores the idea of Surrealism in relation to British films. Films often classified as Realism, Gothic, Satire or Artists’ Film and Video are revealed to contain substantial collective themes and techniques when looked at through the lens of Surrealism, while films that have not previously been associated with Surrealism are found to be significant. Detailed case studies of Neil Jordan’s The Company of Wolves (1984) and Mona Lisa (1986) reveal that these two films embody these themes and techniques and straddle the perceived polarity of realism and fantasy in British film. Central to the discussion is Viktor Schlovsky’s idea of de-familiarization whereby that which is so familiar as to go unquestioned is made shockingly unfamiliar or strange. The thesis challenges the idea of mutually exclusive genres in British cinema, particularly Realism and its perceived opposites, ideas that have long-defined British Cinema studies. Conversely, Surrealism’s ultimate aim is the convergence of reality and fantasy or the imagination, and this thesis demonstrates that convergence within British Cinema. The thesis also builds bridges between British Cinema studies and disciplines such as Literature and Art History, as well as other European Cinemas. A major finding is that Surrealism’s roots in Romanticism are often played out in British films, and subversive narrational techniques are traced from eighteenth and nineteenth century Gothic novels to Lewis Carroll and the films of Luis Buñuel and British Cinema. There is however an important difference between Romanticism and Surrealism: the first is characterised by self-expression, which can often be controversial, without concern for consequences. Surrealism on the other hand is very much concerned with consequences, as in its hands self-expression becomes a means of protest, aimed squarely at shattering oppressive socio-political circumstances.
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Ronayne, Anne. "Close encounters : surrealism, women and anti-fascism." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414911.
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Matheson, Neil. "The traumatised male : Dada, surrealism and masculinity." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246594.
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Lomas, David Colin. "The haunted self : Surrealism, psychoanalysis, and subjectivity." Thesis, Courtauld Institute of Art (University of London), 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361054.
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Coombs, Neil. "The communicating village : Humphrey Jennings and surrealism." Thesis, Liverpool John Moores University, 2014. http://researchonline.ljmu.ac.uk/4326/.
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This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943). These explorations allow an examination of the way that Jennings’s films articulate the relationship between surrealism and the everyday, the sublime and the uncanny. The thesis asserts that there is a specifically British form of surrealism that has developed from the historical situation of Britain in the period from 1936 to 1946, one that draws from the national identity of Britain. The symbolic domain of British surrealism and its praxis can read in the films of Jennings and the auratic traces of Jennings’s films thread through the work of subsequent filmmakers. This thesis describes these traces as the communicating village. The thesis’s consideration of Jennings’s films in relation to surrealism offers a means by which to examine the work of subsequent filmmakers and to assess the importance of surrealism to British cinema.
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Pawlik, Joanna. "Negotiating Surrealism : postwar American avant-gardes after Breton." Thesis, University of Sussex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505900.
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Miller, Giulia Flavia. "The emergence of surrealism in Modern Hebrew literature." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611951.
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Donakey, Elizabeth Helen. "Surrealism and Postmodernism in Gregory Abbott's Remlack Too." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/7407.
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This thesis explores Gregory Abbott's Remlack Too, particularly in its fusion of surrealism and postmodernism. It addresses the ways in which Remlack Too highlights the artist's experience with sleep apnea, but acknowledges that this is only one level of understanding the painting. Other layers are realized through a study of surrealism and postmodernism. This research analyzes the ways in which surrealism and postmodernism work together, including through their lack of style, fluidity in definition, incorporation of semiotics, distrust in science, reliance on psychoanalysis, and especially through postmodernism's appropriating of earlier artistic movements. This thesis reviews the previously overlooked elements of postmodernism in Abbott's oeuvre. By exploring some of the binary pairs found in Remlack Too, such as life and death, sleep and wake, and logic and irrational, Abbott reveals his hopes for a more open-minded and accepting society.
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Steer, Linda Marie. "Found, borrowed and stolen the use of photographs in French surrealist reviews, 1924-1939 /." Diss., Online access via UMI:, 2006.
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Reiner, Nery Nice Biancalana. "A poética de Manoel de Barros e a relação homem-vegetal." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-02102007-151624/.
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O presente trabalho é uma escolha, entre muitos caminhos, de uma pesquisa iniciada no Curso de Mestrado. A dissertação, defendida em 2000, na FFLCH, USP, sob a orientação da Profa. Dra. Maria Lúcia Pimentel de Sampaio Góes, recebeu o título de O REINO VEGETAL E O IMAGINÁRIO: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia, (ênfase a Portugal e Brasil). O caminho escolhido, agora, é detectar a influência dos vegetais na criação poética de Manoel de Barros. Voltados para o mundo das plantas, recortando poemas fitomórficos, relacionados aos vegetais do referido autor, comparando-os com textos visuais e verbais, observaremos possíveis semelhanças e ou diferenças Autores de Portugal, Brasil e África estarão presentes, com textos poéticos. O trabalho está estruturado em dois grupos de comparações: 1 autores brasileiros, portugueses e africanos de língua portuguesa. Escolhemos criações de autores como Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo e outros. 2 textos visuais de Arcimboldo, pintor italiano, Van Gogh, holandês, René Magritte, belga e Frida Khalo, mexicana. Seguindo a Dissertação defendida em 2000, nosso trabalho está apoiado em três centros de interesse, seguindo as principais tendências observadas por Mircea Eliade1, em seus estudos sobre os mitos relacionados aos vegetais de diversos povos: a) A identificação da árvore com o cosmos b) A identificação da árvore com o homem c) A nostalgia do paraíso Esses centros de interesse aparecem entrelaçados de modo plural. Além disso, estarão mesclados em nossa pesquisa, os elementos: Terra, Ar, Fogo e Água, envolvendo os três níveis cósmicos: Mundo Subterrâneo, Mundo Terrestre e Mundo Celeste.The current thesis is a choice, among many roads, of a research initiated during the Master´s course. The M.A.´s dissertation, defended in 2000, is the Faculty of Philosophy, Letters and Human Sciences, at the Universidade de São Paulo, under the supervision of Professor Dr. Maria Lúcia Pimentel de Sampaio Góes, was entitled O Reino Vegetal e o Imaginário: comparação entre mitos do Leste do Mediterrâneo, narrativas indígenas brasileiras e textos literários da Cultura Ocidental Européia (ênfase em Portugal e Brasil). The chosen path this time has been the detection of the influence of vegetals in Manoel de Barros´s poetic creation. Through the observation of the world of plants, the depiction of Manoel de Barros´s phitomorphic poems, related to vegetals and the comparasion to visual and verbal texts, we shall focus on possible similarities and or differences. This work is structured in two comparative groups: 1 Brazilian, Portuguese and African of the Portuguese language authors. We have chosen works by authors such as Cecília Meireles, Murilo Mendes, Lúcia Pimentel Góes, Caetano Veloso, Fernando Pessoa, Herberto Hélder, Ruy Cinatti, Rui Knopfli, João Melo and others. 2 Visual texts by Arcimboldo, Italian painter, Van Gogh, Dutch, René Magritte, Belgian and Frida Khalo, Mexican. According to the 2000 Master´s dissertation, this work has its basis upon three centers of interest, which follow the main tendencies that appear in Mircea Eliade´s studies on myths related to diverse peoples ´ vegetals: a) The identification of trees to the cosmos. b) The identification of trees to men. c) Paradise´s nostalgia. These centres of interest are plurally intertwined. Moreover, they are here mixed with such elements as Earth, Air, Fire and Water, involving the three cosmic levels: the Subterranean, Terrestrial and Celestial worlds.
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Peliano, Adriana Medeiros. "Através do surrealismo e o que Alice encontrou lá." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-22062012-170422/.
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Essa dissertação apresenta mais uma aventura de Alice atravessando mais de um século de diálogos e figuras (e de que serve um livro sem figuras e nem diálogos, pensou Alice) com foco no surrealismo. A viagem parte do passeio de barco quando a estória de Alice foi contada pela primeira vez, chegando até as viagens da menina pela webland no mundo contemporâneo. As ilustrações de Lewis Carroll e John Tenniel apresentam a menina vitoriana, contrapondo às influências românticas e pré-rafaelitas de Carroll, à caricatura e às intertextualidades que cruzam às ilustrações de John Tenniel. Num Segundo momento a menina salta do livro de estórias infantis para o livro de imagens poéticas, viajando por um labirinto aonde encontra diversas Alices surrealistas. A femme enfant, a colagem, a imagem poética, a metamorfose, o objeto surrealista e o maravilhoso são os caminhos percorridos nessa aventura. Num terceiro momento Alice viaja pelo mundo contemporâneo aonde a ilustração ganha contornos mais complexos e desafiadores. Arte e ilustração se cruzam nas trilhas da menina de muitas faces.This dissertation presents another adventure of Alice through more than a century of pictures and conversations (and what is the use of a book without pictures and conversations?, thought Alice to herself). The travel departs from the boat trip where the story of Alice was first told, arriving to the adventures of the girl in the web-land in contemporary world. The illustrations by John Tenniel and Lewis Carroll present the Victorian Alice, contrasting Carroll\'s influences of romanticism and pre-Raphaelism with the caricatures and intertextual procedures of John Tenniel\' illustrations. In a second moment the girl jumps from the book of children\'s stories to the book of poetic images, traveling through a maze where she will find several surreal Alices. Femme enfants, collages, poetic images, metamorphosis, surreal objects and the marvelous are paths crossed in this adventure. In the third part Alice travels in the contemporary world where illustration gets more complex and challenging contours. Art and illustration are on the trail of the girl of many faces.
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Puentes, Kalid. "Introducing neo-surrealism : the social science of performance art." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/17144.
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This study is concerned with the obscurity surrounding the boundaries of a socio-political context and a metaphysical context, especially as it correlates to Contemporary Performance Art. This dichotomy seemingly results in symbolic conflation and therefore necessitates the inclusion of social science as part of Performance Studies discourse. The intersection of these disciplines aligns with respect to the significance of context: the role of communication when considering the phenomenon of interpreting the perspective of other individuals. In this study, the various layers appropriated to the contextualisation of Performance art are explored: how it pertains to the theatrical framework, audience, art, social order, and the sublime. To this end, the influence of the socio-political construct of reality on the theatrical framework of a performance is examined. The premise is that a socio-political context both precedes and follows a performance and likely affects 5 how a performance is experienced. This investigation relies upon the methodological approach of Grounded Theory that allows the freedom of exploring this phenomenon in conjunction to the development of a communicative model. To delimit the scope of this study, I primarily focus on the symbolic, insofar as it affects the context of a performance. The analysis of this study supports the development of a theorisation that introduces an approach to the theatrical framework, defined as Neo-Surrealism. Drawing upon Immanuel Kant's philosophical work on judgement, a precept is introduced for a theatrical framework: Neo- Surrealism is a platform that constitutes the demarcation of sacred space, where the signification of the aesthetic has symbolic authority over the signification of the socio-political construct. In the present study, the term transgression as situated in a metaphysical context of sacred space, changes its symbolic signification from a complicit act against the socio-political construct to a complicit act against the limitations of perception, positioning this semiotic sign to constitute an aesthetic infinitude. This theorisation serves to support a philosophical dialectic that incorporates performative methods from Ritual Studies. This aspect of the dissertation acts as a counterpart to the documented artwork aimed at reinforcing the specific purposes as outlined through the research. The practical portion of this study consists of three performances that rely upon the platform of Neo-Surrealism. Each performance strategically responds to the influence of the socio-political construct in separate ways. Neo-Surrealism: What is Performance art? (2015) contains a fictitious narrative that is integrated in an academic context. I portray several different archetypes; this theoretically makes my identity impalpable to an audience comprised mostly of students that are unfamiliar with my work. Neo-Surrealism: The Audition (2016) is centred on the site specificity of the performance, challenging the application of the communicative model in an unfamiliar socio-political context, Anchorage, Alaska. Neo-Surrealism: The Rehearsal (2017) is aimed at asserting the relevance of the platform of Neo-Surrealism by expanding the symbolic boundaries of Performance Art.
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Brown, Timothy A. "Secret religion : surrealism in the new era of religion." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available, full text:, 2006. http://wwwlib.umi.com/cr/syr/main.
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Wolfe-Alegria, Eduardo. "Meta/Physicals: Surrealism, spirituality and figuration in contemporary art." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13634.
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In the following thesis entitled Meta/Physicals: Surrealism, spirituality and figuration in contemporary art, I focus on an interpretation of spirituality ultimately separate to religion, that encompasses notions of a vital force underpinning existence, which acknowledges the innate connectedness of all “things,” and which is open to notions of the paranormal, aiming to discuss this interpretation of spirituality, in relation to contemporary art and in particular to figurative contemporary art. In the first chapter, I address a number of ways in which contemporary art and art discourses relate to the spiritual with emphasis on those of the sublime and Jane Bennett’s New Materialism. In chapter two, I discuss a spiritual interpretation of both Surrealism and Critical Surrealism identifying them as appropriate discourses through which to address contemporary figurative-spiritual artworks when discussed in conjunction with New Materialism and the sublime. In chapter three, I explore the work of a number of contemporary artists whose work can be discussed through this interpretive “triangle”, and in chapter four, I discuss my own work and practice through this framework, relating it to the artists discussed in the previous chapter, asserting that through my practice and research I have identified appropriate discourses through which to discuss spirituality and figurative contemporary art together. The creative work generated in relation to this research is a large scale watercolour and ink painted quadriptych, approximately 430 cm by 240 cm, to be exhibited in the Sydney College of the Arts Post-Graduate Exhibition in December 2014. The painting will be floated off the free-standing wall in section D3 of the SCA galleries. The painting depicts an underwater environment, part ocean part cosmos, in which animals, humans, plants, bones and shells, coalesce and disperse in a kind of murky underwater mélange. In this work, the ocean serves as a metaphorical underpinning with its manifold connotations of creation, destruction and rebirth, setting the stage for a contemporary myth, which at its core celebrates our inert connectedness, cycles of life and death, and the overwhelmingly abundant vitality that flows through us all.
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Stojkovic, Jelena. "Out of sight : surrealism and photography in 1930s Japan." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8z1q4/out-of-sight-surrealism-and-photography-in-1930s-japan.
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"There is not a country in the world where the Surrealist voice found a faster response than Japan. From its origin (1924, date of the first Manifesto), until the war, there was no Surrealist activity in Europe that was not almost immediately reflected upon.", Breton, André ([1959] 2008). En guise de préface à l’anthologie surréaliste de Tokyo. In: Breton, André; Hubert, Étienne-Alain (et al.), Ouvres completes IV: Écrits sur l’art et autres textes. Paris: Gallimard, p. 1155. Regardless of André Breton’s insistence on how there was no Surrealist activity that did not have a response in Japan, the knowledge of Surrealist photography practised in the country during the decade between 1930 and 1940 remains ‘out of sight’ of the existing scholarship until the present day. Therefore, this thesis brings to the fore the significance of this practice, encircled by the multifaceted relations between Surrealism, photography and 1930s Japan, asking how can its historical condition be altered and written into the existing field of knowledge. Emerging and developing at a time of political oppression and military campaigning that led Japan into the Pacific War in 1941, Surrealist photography of this decade is an important case study into how photography can perform a critical role in visualising new and different strands of thought and action. As this photography was practised outside of a single Surrealist group, it played such a role by equally remaining ‘out of sight’ of the state censorship and maintaining a position in the marginalised space of the illustrated press. Such a position outside of a formal Surrealist group and on the margins of Japanese society is affirmed in this thesis through the notion of minor literature, characteristic for its deterritorialised, collective and immanently political character. These three defining characteristics enable construction of a minor historical framework through which Surrealist photography in Japan of the 1930s can be considered as of significant relevance to the discursive fields of Surrealism and History of Japanese Art. To argue for such relevance, this thesis is based on archival research of over a hundred photographs and offers a close reading of the main texts published with regard to Surrealist photography in the decade. It shows how regardless of its unorthodox position, Surrealist photography in 1930s Japan mobilised an extensive number of practitioners around the country, in Tokyo, Osaka, Nagoya, and Fukuoka, and how they acted as a subversive force to the homogenised visual culture from within all the major categories of photographic practice developing in the decade.
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Krtolica, Marija. "The Embodiment of the Unconscious, Hysteria, Surrealism, and Tanztheater." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516449.
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DancePh.D.
The primary subject of this dissertation is mental illness and performance of the hysterical symptom as they were investigated by the Swedish choreographer Mats Ek (Giselle, 1982), Tanztheater (from 1975-1979), and Second Wave Feminism. Historically, the examination begins in the nineteenth century, with the staging of madness in the romantic ballet Giselle (1841), and medical showings at Salpêtrière (1870s). The historical sites point to the interweaving of medical and dance cultures, and to a tendency towards pathologization of idiosyncratic movement expression within nineteenth century discourses on heredity, degeneration, and female health. To historically probe the ways in which twentieth century concert dance commented on pathologization of femininity, female performative labor, and expressive movement, the examination extends to: the fin-de-siècle café-concert scene; psychoanalytic sessions of 1890s, in which dancing played a role in both diagnosis and treatment; Nijinsky’s dance modernism as seen in Le Sacre du Printemps (1913); the anti-psychiatry within the post-1st World War Surrealism, and the post-2nd World War psychologically inflected choreographies by Antony Tudor, Martha Graham, Donya Feuer and Paul Sanasardo. The performance sites are investigated in relationship to the concepts of the unconscious, trauma, hysteria, hystericization, symptom, and expression. The dissertation proposes that late nineteenth century hysteria gained emancipatory meanings in the theoretical work of twentieth century dance scholarship, feminism, cultural criticism, and Freudian-Lacanian psychoanalysis. On the side of practice, Tanztheater participated in reclaiming hysteria. The Rite of Spring (1975), Bluebeard (1977), Café Müller (1978), and Arien (1979) explored traumatic memory, and male/female relationships in context of the post-2nd World War consumerist culture. I examine Pina Bausch’s and Mats Ek’s choreographies in dialogue with the contemporary theory to show that dance spectatorship can bring about an understanding of how the residues of political and personal past shape the experiences of the present.
Temple University--Theses
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.
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O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Bogoni, Roberta. "Joan Miró 1922-1942. Interpretación del simbolismo místico de la obra mironiana surrealista." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/398392.
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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.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.
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Mackenzie, Verity Amelia. "Nature, primitivism and food : Eileen Agar's engagement with Surrealism, 1921-1940." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648736.
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Simões, Adriana Rodrigues. "O lúdico e seus desdobramentos na poesia de Jacques Prévert e Mario Quintana /." Araraquara : [s.n.], 2012. http://hdl.handle.net/11449/94007.
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Orientador: Guacira Marcondes Machado LeiteBanca: Paulo Cesar Andrade da Silva
Banca: Silvana Vieira da Silva
Resumo: O objetivo deste trabalho é comparar a poesia de Jacques Prévert e de Mario Quintana à luz dos elementos lúdicos que ambos, em nosso entender, apresentam. Levando em consideração principalmente a teoria de Johan Huizinga sobre o jogo e a poesia, analisamos poemas de Prévert e de Quintana tentando apontar as diferenças e as semelhanças do processo lúdico em ambos. Consideramos ainda a influência que o movimento surrealista exerce sobre os dois poetas estudados e a ligação deste movimento com o jogo. Iniciamos esta pesquisa utilizando o livro Homo ludens de Huizinga e, posteriormente, intentamos fazer um percurso sobre a teoria do jogo. Consideramos, inicialmente, a Crítica da faculdade do juízo de Kant e A educação estética do homem de Schiller e a contribuição de ambos para o início de uma efetiva teorização sobre o jogo. Levamos em conta ainda, as considerações de Umberto Eco e de Roger Caillois, no que estes podiam acrescentar à teoria de Huizinga, além das aproximações entre poesia e mito apontadas por Ernst Cassirer. Desse modo, embasados nessas proposições teóricas, pensamos ter encontrado uma intersecção entre poesia e jogo e tê-la utilizado como principal elemento de comparação entre os dois poetas acima mencionados
Abstract: It is this work's goal to compare the poetry of Jacques Prévert and Mario Quintana based on the ludic elements which, for us, both of them present. Considering especially Johan Huizinga's theory about the play and the poetry, we analyzed poems of Prévert and Quintana, in which we pointed the differences and similarities of the ludic process in both poets. We also considered the fact that both poets were influenced by the surrealistic movement and the connection between this movement and the concept of play. In the start of this research we used Huizinga's Homo ludens, and then we analyzed the trajectory of the theory of play - through Kant's Crítica da faculdade do juízo and Schiller's A educação estética do homem, books which have a great contribution to an effective theorization of play. We also studied the commentaries of Umberto Eco and Roger Caillois, considering what they can add on Huizinga's theory. At last we analyzed the approximations between poetry and myth pointed by Ernst Cassirer. So, through this theoretical propositions, we can conclude that there is an intersection between poetry and play - and it was our objective to compare Prévert's and Quintana's poetry considering this intersection
Mestre
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Frank, Alison. "Surrealism in cinema : the hybrid object and its subversive effect." Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519770.
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James, Klemens E. "Non-repressive sublimation and the recuperation of desire in surrealism." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.516558.
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Tungården, Louise. "Flytande barriärer : Surrealism, automatism, fri association i en möbelgestaltade designprocess." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2022. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7874.
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Under åren då jag utbildat mig till möbelformgivare och inredningsarkitekt på Konstfack har jag återkommande gånger känt mig tveksamt till min yrkesroll av anledningen - behövs det verkligen produceras fler möbler? Utifrån denna fråga väcktes idéen till vad mitt examensprojekt kommer att handla om. I mitt examensarbete Flytande barriärer vill jag utmana dagens tankar om design och arkitektur, där möbler och rum ofta fastnat i en repetition av hur de historiskt sätt sett ut och använts. Jag vill genom att utveckla metoder som utgår från surrealismens tankar om ett befriande från tankens kontroll undersöka vad som händer om design får influeras av fantasi, intuition och drömmar. Detta genom metoder som jag erhållit genom utbildningen. Jag kommer att använda metoderna att laserskära, modellera i datorprogrammen Rhino och Keyshot, illustrera i Photoshop och Illustrator, sy, snickra. Jag kommer även formpressa, spraylacka, måla, jobba i modell i skala 1:1 och 1:10, göra kollage och skissa för hand med penna och papper. Jag kommer applicera nämnda metoder på två nya metoder jag utvecklat, Automatism och Fri associering. Metoderna ledde mig till designförslaget, ett objekt skulpterat i trä som bär en glasskiva. Tillsammans med mina metoder jag har utvecklat och designförslaget, vill jag illustrera mina syften, att använda surrealism, automatism, fri association i en möbelgestaltade designprocess.
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Reese, Samuel Vivian Hansen. "Paul Bowles’ Aesthetics of Containment: Surrealism, Music, the Short Story." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/11513.
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This thesis aims to reposition the critical understanding of Paul Bowles, away from the traditional North African focus that has guided interpretations of his work, and place him instead within an interdisciplinary framework that is particularly attentive to his mid-century American context. Focussing on Bowles’ initial collection of short stories, The Delicate Prey, it investigates its reception by contemporary critics, and its place within the wider cultural and political climate of postwar America, with specific attention to ideas of freedom and containment. Turning to his involvement in the surrealist movement during the 1930s in Europe, it then suggests ways in which Bowles’ fiction reworked aspects of surrealism within a new aesthetic framework. This framework was also indebted to Bowles’ earlier career as a classical composer, and the third chapter of this thesis focuses on the influence of his musical career on the form and content of his short fiction. Finally, the thesis considers Bowles’ conceptualisation of the short story as a genre, and the ways in which his writing used form to disrupt his readers’ wider ideas about fiction and society. Throughout, this thesis positions Bowles within an alternative literary tradition, arguing that Bowles deliberately drew on practice from visual arts and music in order to develop a distinctive literary idiom. It considers why Bowles’ short fiction failed to find the same support from critics that it found with other writers, and offers a model for understanding this reaction and, ultimately, why the initial critical response has continued to guide the interpretation of his work.
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Conrod, Heidi Jill. "Magical Thinking." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35202.
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In Magical Thinking, Heidi Conrod explores through the act of painting, the depiction of mental states through the cautious release and withholding of visual, conceptual, and autobiographical cues. Reflecting on the nature of memory and time and the fluid ways in which these seemingly immaterial phenomena interact, the paintings represent multiple visions within one viewing experience; commenting not only on the surface of things, but also on what may lie hidden beneath. The works are best understood through introspection rather than a forced rationale.
These paintings are intended to read like a stream, or perhaps a pool of consciousness, where the unconscious is expressed through swirls of imagery with surrealist undertones alluding to the seemingly contradictory conditions of dream and reality. Here fact, fiction, memory and imagination, are intertwined in a non-linear style through a multitude of painterly applications.
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Scowcroft, Ronald. "Hidden codes and honest fictions : art, image and perspectivism in the works of J.G. Ballard." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337358.
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Scott, Roger Lindsey. "David Gascoyne : from darkness into light; a study of his poetry 1932-1950." Thesis, Northumbria University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246599.
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Jahshan, Paul. "Excessive images : Henry Miller and the French surrealists." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313196.
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Malt, Johanna. "Object and fetish in constructions of a surrealist revolutionary aesthetic." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396226.
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Watras, Karolina Antonina. "The relationship between text and image in Czech surrealism, 1934-1969." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609830.
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Marner, Anders. "Burkkänslan : surrealism i Christer Strömholms fotografi : en undersökning med semiotisk metod." Doctoral thesis, Umeå universitet, Institutionen för estetiska ämnen, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-236.
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This dissertation is mainly concerned with the photography of Christer Strömholm. In studying his work semiotics is used as a method in analysing the rhetoric of his photographs and their relations to the photographic world, the artworld and the lifeworld. Especially the phenomenologically based visual and cultural semiotics of Göran Sonesson is adopted. The work of Strömholm is first understood in the context of surrealism; especially in the ”dark” surrealism of Georges Bataille´s. In relation to the I - here and nowposition of the lifeworld the surrealism of Bataille can be seen as a downwardgoing rhetoric on the Great Chain of Being, the hierarchy of the lifeworld, from stone, via object, plant and man, to society or God. Bataille´s highlighting of the material and animal nature of man is an opposition to the upwardgoing spiritualising rhetoric of André Breton´s. The main rhetorical device in Strömholm’s photography is a downwardgoing isolation of the object from the lifeworld, according to Jan-Gunnar Sjölin surrealism’s first maneuvre. However, Bataille´s rhetoric and Strömholm´s photography may also be seen as a modern variant of the ancient grotesque degradation that according to Michail Bakhtin once took place in popular carnivals and marketplaces. The degradation of Bakhtin, George Lakoff and Mark Turner’s notion of conceptual metaphor suggests a rhetoric of the lifeworld itself, which may allow us to understand pictorial rhetoric without the help of the theories of the artworld, such as surrealism’s theories. Strömholm´s work is studied in relation to Roman Jakobsons functions in the process of communication. The dominant function in the photographs is the metasemiotic, since pictures and other signs are depicted and commented on. Also the photographs of transsexuals depict and comment signs, men that are signs of women. His photographs of transsexuals has been interpreted as a social realistic documentary, but is better understood as a surrealist union of two terms as unlike as possible, femininity and masculinity. Another important function in his photographs is the interpersonal function suggesting a conjunction of emotive and conative functions. Along with isolation concealment of the object is used, which makes the object difficult to identify. We are not allowed to complete the act of perception, we see only the point of view. In Strömholm’s photography, the point of view of the invisible ”picture-self” with its unique perspective replaces the customary photographic referential image supposed to show “reality.” The notion of ”picture-self” suggests a differentiation between photographer and ”picture-self”, a ready-prepared position for a subject, that the photographer or viewer can place him/herself in. In being placed in this position an existential particualrization occurs, which is termed ”la condition humaine”. Walter Benjamin´s idea of ”the outmoded” and ”the ruins of the bourgeoisie”, Susan Sontag´s idea of the role of ugliness in modern photography, is seen in relation to Strömholms photography and the downwardgoing surrealist rhetoric. In Benjamin´s ”age of reproduction” there is in the photographic work of Strömholm, a tension between ”centripetality” and ”centrifugality”; of remaining in or departing from the artworld. His work is also discussed in relation to postvisualization as an opposition to the well known photographic notion of previsualization. In order to explain different rhetorical maneuvres semiotically in relation to the spatial lifeworld, the notion of familiarization is used as an opposition to Victor Shklovskys well known notion of estrangement. In the model of “the Great Cross”, with its origo as the familiarity of the I-here-nowposition of the core of the lifeworld, a vertical axis is the Great Chain of Being, ending on both ends with what is considered strange. Also ending with what is strange is a horizontal axis with rhetorical relations on the same level. A similar cross is used to explain rhetorical temporal movements between past and present and present and future with the present I - here and nowsituation of the origo. A conclusion is that visual and cultural semiotics is an enlightening tool for practical analyses even of an œuvre that is as enigmatic as that of Strömholm´s.
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Salles, Vanessa Madrona Moreira. "Cidade - dispositivo de olhar: elementos para uma teoria benjaminiana da percepção." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-30032009-154312/.
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Este trabalho propõe-se à reorganização e releitura de textos benjaminianos que se referem direta ou indiretamente à questão da percepção. Objetiva levar à maturação e sistematização de elementos para uma teoria da percepção benjaminiana que se encontra dispersa em alguns de seus diversos estudos. Aborda o conceito de percepção colocando-o em situação constelacional com outros conceitos como Estética, comentário, critica, percepção ótica, percepção tátil. Discute sobre o conceito de percepção em alguns momentos da tradição filosófica. Reflete sobre os regimes escópicos da modernidade. E discute sobre a compreensão benjaminiana da percepção como leitura. Aborda uma questão fundamental no pensamento benjaminiano sobre os meios audiovisuais que é o conceito de aura. Intenta situar os termos da discussão controversa sobre o declínio da aura e discorre sobre a forma de percepção que predominaria na recepção cinematográfica: a percepção de choque. Avalia a legibilidade da cidade, através de uma reflexão sobre a flânerie e a visão surrealista, entendidas como práticas sociais inspiradoras da original reflexão de Benjamin sobre a percepção.The present thesis aims to show the result of Walter Benjamins theory of perception texts organization edited in several publishing. Thus, the general concept of perception is divided into other concepts such as Aesthetics, Comment, Criticism, optical perception and Philosophical perception, presenting the scopic regimes of modernity. Besides, it highlights Benjamins concept of perception meaning the same as reading. It also covers a fundamental subject in his thoughts on visual arts: the aura concept. In addition to these aspects, this thesis has the intention to spot not only the claim about the decline of aura, but also the way of perception that predominates in the movies reception: the shock perception. Finally, it evaluates the legibility of city through a reflection on flânerie and the surrealistic vision seen as social practices which inspired Benjamin original reflection on perception.
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Tartaro, Thiago Gonçalves. "Alerta contra a violência: narratividade e personagens em Uma semana de Bondade de Max Ernst." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-21072017-125357/.
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No ano de 1934, o artista alemão Max Ernst lança em Paris um peculiar conjunto de fascículos intitulado Uma Semana de Bondade ou os Sete Elementos Capitais. Trata-se, segundo o próprio artista, de um romance de colagens. A obra, que fora pensada e produzida por Ernst durante férias na Itália, consiste de 182 colagens feitas a partir da combinação de figuras provenientes de romances folhetinescos do século XIX e de enciclopédias do mesmo período. Em cada uma dessas colagens, há cenas de violência e horror, praticadas por seres estranhos, meio humanos, meio animais. Fora a estranheza já naturalmente causada pelas colagens, é curioso notar o fato de que a obra se apresenta como um romance, tanto na denominação dada pelo autor, quanto pela forma na qual foi lançado, inicialmente por meio de cadernos periódicos, à moda dos folhetins, e posteriormente na forma de um grande volume. Este trabalho procura analisar como duas características caras ao romance se configuram nesta obra de Ernst. São elas a narratividade e os personagens. Para tanto, o trabalho faz uma revisão do movimento surrealista, apresentando a colagem de Max Ernst e a análise da narratividade e dos personagens em Uma Semana de Bondade.In 1934, the German artist Max Ernst launches in Paris a peculiar set of fascicles entitled A Week of Kindness or the Seven Deadly Elements. It is, according to the artist himself, a \"collage-novel\". The work, which was conceived and produced by Ernst during a holiday in Italy, is consisted of 182 collages made from the combination of pictures from nineteenth-century kitsch novels and encyclopedias of the same period. In each of these collages, there are scenes of violence and horror, practiced by strange beings, half human, half animals. Apart from the strangeness already caused by the collages themselves, it is curious to note the fact that the work presents itself as a novel, in the denomination given by the author and also in the form in which it was launched, initially by means of periodical fascicles, in the style of serial novels, and later in the form of a large volume. This work tries to analyze how two characteristics of the novel are configured in this Ernst\'s work: narrativity and characters. In order to do this, the surrealist movement is reviewed, presenting the collage of Max Ernst and the analysis of narrativity and characters in A Week of Kindness.
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Destri, Luisa de Aguiar. "O campo artístico do homem: a mulher e o sujeito lírico na poesia de Murilo Mendes." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-04042017-152851/.
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Este trabalho propõe uma leitura da poesia amorosa de Murilo Mendes, buscando no recorte temático um ponto de vista de onde se podem observar os aspectos mais constitutivos da obra do autor A mulher é o grande campo artístico do homem, afirmou o poeta, propondo ele mesmo essa relação. Parte-se da constatação de que em sua trajetória convivem visões antagônicas do amor e da mulher: a inspiração surrealista propõe uma concepção amorosa que visa à vida pública e à emancipação feminina, enquanto a visão de mundo católica subordina o amor ao desenvolvimento espiritual, muitas vezes reduzindo a mulher a uma categoria. Essa contradição, investigada principalmente em poemas de A poesia em pânico (1936-1937) e As metamorfoses (1938-1941), torna possível discutir uma das mais problemáticas e decisivas questões da obra muriliana a combinação entre surrealismo e catolicismo. Defende-se a hipótese de que as contradições surgidas dessa conciliação de opostos vão sendo superadas à medida que se desenvolve uma nova concepção de história, flagrada em composições de Mundo enigma (1942) e Poesia liberdade (1943-1945) que confrontam de modo novo mundo público e poesia pessoal. De um ponto de vista que se quer ao mesmo tempo diacrônico (porque considera a trajetória) e sincrônico (porque procura delimitar concepções específicas do amor e da mulher), buscam-se as razões para que o lirismo amoroso se concentre em poemas escritos nas décadas de 1930 e 1940, já que Murilo Mendes produziu pelo menos de 1925 a 1974.This thesis presents a reading of the love poetry of Murilo Mendes, searching in the thematic study a point of view from where we notice the aspects most constituent of the authors work Woman is the great artistic field of man, claims the poet, himself proposing this relation. We start by the finding that antagonistic visions of love and woman coexist in his poetry: the surrealist inspiration corresponds to a conception of love aiming at public life and feminine emancipation, while the catholic world vision subordinates love to the spiritual development, many times reducing woman to a category. This contradiction, mainly investigated in poems of A poesia em pânico (1936-1937) and As metamorfoses (1938-1941), makes possible to discuss one of the most problematic and decisive matters of the Murilos work the combination between surrealism and Catholicism. We defend the hypothesis that the contradictions aroused from this opposing conciliation are being surpassed as a new conception of history is developed as we perceive in compositions of Mundo enigma (1942) and Poesia liberdade (1943-1945) in which historical world and lyric poetry have new relation. From a point of view that we want at the same time diachronic (trajectory considered) and synchronic (searching to delimit specific conceptions of love and woman), we chase reasons why amorous lyricism is concentrated in poems written in the decades of 1930 and 1940, since Murilo Mendes produced at least from 1925 to 1974.
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Pires, Alzira. "Do bico de pena à tinta da escrita: O conquistador, de Almeida Faria." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-24092009-114549/.
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O presente trabalho pretende analisar como o diálogo existente entre a ficção de Almeida Faria e os desenhos de Mário Botas, na obra O Conquistador (1990), opera a dinamização do mito sebástico através da reconstrução do homem comum português. A abordagem do tema será realizada através do estudo de alguns conceitos do grotesco que esclarecem o posicionamento ideológico dos artistas com relação às expectativas míticas do povo lusitano, a partir da crise identitária desencadeada pelos ventos revolucionários dos anos setenta. A fundamentação teórica tem como base a teoria de Bakhtin sobre a carnavalização e o realismo grotesco. Far-se-á também uma comparação de elementos surrealistas entre a escrita de Almeida Faria e as ilustrações de Mário Botas.This project intends to demonstrate the reconstruction of the ordinary Portuguese man through the analysis of O Conquistador (1990) by Almeida Faria, a Lusitanian writer and through the drawings of Mario Botas, who is also Lusitanian. The subject will be approached through the study of some concepts of the grotesque. The theoretical justification is based on Bakhtins theory about the carnavalization and the grotesque realism. There will also be a comparison of the surreal elements between the written work of Almeida Faria and the illustrations of Mario Botas.
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Pucci, Alicia Meredith. "Consuming Surrealism in Modern Mexican Advertising: Remedios Varo's Pharmaceutical Illustrations for Casa Bayer, S.A." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516897.
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Art HistoryM.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses
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Bradley, Fiona Janet. "An oxymoronic encounter of Surrealism and Catholicism : Ernst, Dali and Gengenbach." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294790.
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