Teses / dissertações sobre o tema "Didi-Huberman"

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This work objective is to investigate the temporality matter as well as its relation to the expographic presentation mode of the images so-called Atlas Mnemosyne, brought to pass by the philosopher George Didi-Huberman, in accordance to the project initiated by the historian Aby Warburg. There are, in the realm of art, elements that enable us to assert that Didi-Huberman comprehends the images as the exposition basis, which, as a matter of fact, are the timing and also the anachronism in its constituent mode. As for the author’s understanding, the phenomenological dimension world be the basis that should be taken into account when it comes to the images relation, thought of as elements of the unconsciousness dimension and its expression, and in its waken the anachronism in the fundaments. We have as an aim, in this work, to analyze how the relation mode would be translated by means of some discourse which could fit the dialectic movement that would come about due to the temporality-subject-image-art relation. To reach this goal, the investigation pathway has as basis the method called kaleidoscopic, where the these concepts relation analysis are possible with the Merleau-Ponty’s thoughts as well as others modern thinkers, from and of which the author utilizes to delineate his thought construction, as an example, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin and others. Thus, we have sought to point out how Mnemosyne Atlas can be considered a paradigm to those that look on the epigraphic images as a fundamental resource, propitiating the review of the production, exposition and curadory
O presente trabalho tem o objetivo de investigar a questão da temporalidade e sua relação com o modo de apresentação expográfico das imagens intitulado Atlas Mnemosyne, preconizado pelo filósofo George Didi-Huberman, em fidelidade ao projeto iniciado pelo historiador da Arte Aby Warburg. Se existem, no âmbito da Arte, elementos que nos permitem enunciar o que Didi-Huberman compreende como base de exposição das imagens, esses se constituem, de fato, na temporalidade e no modo anacrônico que a constituiria. Na compreensão do autor, a dimensão fenomenológica seria a base a ser considerada na relação com as imagens, tidas como elementos da dimensão do inconsciente e de sua expressão e, por isso, fundamentadas de modo anacrônico. Visamos ainda, com este trabalho, a analisar como o modo de relação poderia ser traduzido por algum discurso que procura acomodar o movimento dialético que se daria na relação entre sujeito-temporalidade-imagem-Arte. Para atingir esse intento, o percurso da investigação tomou como base o método denominado caleidoscópico, em que as análises das relações desses conceitos se tornaram possíveis com as contribuições do pensamento de Merleau-Ponty e outros interlocutores do pensamento moderno e contemporâneo que esse autor utiliza para delinear a construção de seu pensamento, como, por exemplo, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin, entre outros. Por derradeiro, procuramos fundamentar como o Atlas Mnemosyne pode ser considerado um paradigma para aqueles que têm, na expografia das imagens, um recurso fundamental, permitindo revisar as experiências de produção, exposição e curadoria

Esta investigación vindica que las obras de arte forman parte de un sistema de producción que las reconoce como objeto (material) y como sujeto (social). La disposición de estas imágenes tangibles permite considerarlas cuasi-sujetos o cuasi- objetos que constituyen cuerpos sintomáticos, susceptibles de ser analizados a partir de las posibilidades diagnósticas del síntoma psicoanalítico. La materialidad de los objetos artísticos ofrece un dispositivo de conocimiento que entrecruza la historia del arte y la arqueología proponiendo un lugar oportuno para investigar nuevos modos de conocimiento centrados en las imágenes. En esa dirección, se defiende aquí el papel central de la percepción, la emoción y el sentido que desplaza el foco de atención desde el lenguaje y la conciencia hasta la materialidad concreta del cuerpo. Por ello, este trabajo implica igualmente una teoría de las imágenes, al formular una reflexión sobre su estatuto epistemológico y ontológico. Imágenes, síntoma y cuerpo son los tres ejes que me han permitido articular una propuesta metodológica del síntoma aplicada a los objetos artísticos, un dispositivo de investigación que explora la dimensión social y política del Imaginario y su centralidad en lo humano. He utilizado la obra de Didi-Huberman y su concepción de las imágenes en tanto “síntomas de la historia”, como espacio referencial desde donde definir los puntos de partida de esta tesis. El énfasis de la investigación histórico-artística en la capacidad simbólica humana ha relegado la imaginación (el Imaginario) a un lugar subsidiario de reconocimiento, más que de conocimiento. Esta investigación considera, en cambio, que los cuerpos de las imágenes producidas tienen un papel relevante en los procesos de construcción social de sentido y en la configuración de sujetos. Para generar puntos de fuga sostenidos, fuertes y contra-hegemónicos en el ámbito de las ciencias sociales, he abogado por la utilización de teorías y prácticas feministas, más allá de los estudios de género. Gran parte de los archivos museísticos, colecciones y relatos, manifiestan todavía que la apropiación del proceso de subjetivación femenina ha sido la más importante Obra de Arte producida por el régimen político patriarcal. En él, las imágenes de mujer son cuerpos expuestos que constituyen una categoría social unívoca que, no obstante, no cesa de manifestar su capacidad de resistencia. Resistencia persistente que se expresa, malgré tout, y que fue detectada, por vez primera, en forma de síntoma (histérico) por el psicoanálisis hasta constituir el umbral desde donde se planteó la existencia del inconsciente. Las imágenes de mujer y sus síntomas constituyen también, para este trabajo, el lugar de partida desde donde explorar la potencia y los itinerarios de las imágenes, tal y como se comprueba a partir de la aplicación práctica de esta metodología en el apartado final de esta tesis. La elección, como objeto de estudio, de la figura de mujer más antigua producida hasta el momento (la venus prehistórica de Hohle Fels), me ha ayudado también a entender que los itinerarios de las imágenes inauguran un camino que se irá socavando o reconstruyendo mediante los símbolos e ideologías que nos caracterizan. Apelar a la prehistoria no solo ha sido un guiño de los primeros balbuceos de las imágenes, sino que me ha ayudado también a emplazar el sustrato desde el que las imágenes comenzaron su andadura.
This research maintains that works of art are part of a system of production which recognises them as (material) objects and (social) subjects. The outlook of these tangible images allows us to consider them quasi-subjects or quasi-objects that make up symptomatic bodies and can be analysed by means of the diagnostic possibilities afforded by the psychoanalytic symptom. The material nature of artistic objects provides an apparatus for knowledge that intertwines art history with archaeology, putting forward an appropriate setting for the investigation of new ways of knowing focused on images. To that aim, here I defend the pivotal role of perception, emotion, and sense which shifts the focus from language and conscience to the concrete materiality of the body. Thus, this work also entails a theory of images, as it formulates a reflection on their epistemological and ontological status. Images, symptom, and body are the three axes that enabled me to articulate a proposal for a methodology of the symptom applied to artistic objects, and an apparatus of research which explores the social and political dimension of the Imaginary and its crucial importance for humans. I have used the work of Didi- Huberman and his idea of images as “symptoms of history” as the space of reference for establishing the points of departure of this thesis. The emphasis of the historical-artistical enquiries on the symbolic capacity of humans have relegated imagination (the Imaginary) to a lesser situation, which is one of acknowledgement rather than knowledge. Conversely, the present research assumes that the bodies of produced images have a key role in the processes of social construction of meaning and in the configuration of subjects. To generate vanishing points that are steady, solid, and counter-hegemonic in the realm of social sciences, I have opted for the use of feminist theories and practices, beyond gender studies. Many museum archives, collections and accounts still show that the appropriation of the process of female subjectivation has been the most important work of artproduced by the patriarchal political system. In it, images of women are exposed bodies that make up a univocal social category, which, nevertheless, does not cease to show its ability to resist. It is a persistent resistance which, malgré tout, expresses itself and was detected by psychoanalysis, at first in the form of (hysterical) symptom, until it became the starting point for posing the existence of the unconscious. In the present work, depictions of women and their symptoms also provide the point of departure for exploring the power and paths of images, as shown through the practical application of this methodology in the last part of the thesis. The choice of the—so far—oldest figuration of a woman ever produced (the prehistoric Venus of Hohle Fels) has helped me to understand that the trajectories of images paved a way which has been undermined or reconstructed by means of the symbols and ideologies that characterise us. Resorting to Prehistory was not just a nod to the first “babbles” of images; rather, it helped me to trace the substrate from which images began their journey.

Orientador: Maria Betânia Amoroso
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O centro desse trabalho é um percurso crítico através de algumas das obras de Pier Paolo Pasolini, em especial, as compreendidas entre a segunda metade da década de 1960 e a primeira metade da de 1970. Foram lidos atentamente: a sequência da flor de papel, quatro poemas que integram a coletânea Trasumanar e Organizzar, o roteiro não filmado Porno-Teo-Kolossal, os escritos intitulados Divina mimesis, alguns artigos da coluna mantida no periódico Tempo, intitulada Il caos, assim como vários dos ensaios de Scritti Corsari, o romance Petrolio e os filmes Medea e Salò o le 120 giorni di Sodoma. Dialogando com a percepção de Georges Didi-Huberman em Survivance des lucioles, de que há certa relação de continuidade entre a obra de Pier Paolo Pasolini e a de Giorgio Agamben, procuro também dar corpo ao meu entendimento de que há uma confluência entre o pensamento de ambos, através do cruzamento das leituras dos escritos de Pasolini com algumas das obras de Agamben, em especial La comunità che viene e Altissima povertà e Signatura rerum. As linhas principais que norteiam esse percurso ¿ que ocorre em diálogo com algumas das leituras de Georges Didi-Huberman sobre o cinema e os escritos de Pasolini ¿ são certa percepção não linear do tempo, presente tanto no pensamento de Pasolini quanto no de Agamben e certo "caráter apocalíptico" do pensamento de ambos, apontado por Didi-Huberman. Estabelece-se como importante elemento nessa pesquisa o diálogo entre Elsa Morante e Pasolini, ao redor de Il mondo salvato dai ragazzini, livro de poemas de Morante considerado pelo escritor como um "manifesto político". Esse diálogo nos oferece elementos singulares para essa iniciativa interpretativa
Abstract: This work is based on a critical effort of understanding, it was done through some Pier Paolo Pasolini`s peace of artistic work, especially that one comprehended between the second decade of 1960 and the first decade of the 70¿s. I have not had the pretense of doing an exhaustive analysis of none of them, however they were read carefully: La sequenza del fiore di carta, four poems, which composes a collectanea Trasumanar e Organizzar, the non-filmed script of Porno-Teo-Kolossal, the writings entitled Divina mimesis, some articles of Il Caos column, that was maintained in the periodical Tempo, some of Scritti Corsari, the romance Petrolio and also the movies Medea and Salò, 120 giorni di Sodoma. In dialog with the perception of continuity between Pier Paolo Pasolini¿s work and Giorgio Agamben¿s work, which was sustained by Georgs Didi Huberman in Survivance des lucioles, I look for supporting my comprehension, that there is a confluence between them both work. It was done by crossing my readings with the writings of Pasolini and Agamben, particularly in La comunità che viene, Altissima povertà and Signatura rerum. The line that guide me ¿ which occurs in dialogue with some headings of Didi Huberman about cinema and Pasolini's writings ¿ are the non linear perception of time, that characterizes Agamben's "apocalyptic character" and can be found in the thoughts of both, as Didi Huberman has pointed. An element that has established its importance for this research is the dialog between Elsa Morante and Pasolini, it was considered by him as the "political manifest" of the writer in Il mondo salvato dai ragazzini, that offered us singular elements for this interpretative initiative
Doutorado
Teoria e Critica Literaria
Doutora em Teoria e História Literária

La lectura realizada por el teórico de la imagen Georges Didi-Huberman de la obra de Aby Warburg (1866-1929), así de como de su terminología (Nachleben y Pathosformel), resultan hoy en día fundamentales para la comprensión de los textos del historiador del arte alemán. Sin embargo, el centro de la recuperación de la obra y del pensamiento de Aby Warburg por parte de Didi-Huberman se encuentra en el atlas Mnemosyne. El atlas -una disposición sinóptica de fotografías expuestas en diversos paneles que permitía pensar con imágenes- supondrá la base a partir de la cual Didi-Huberman desarrollará su propia teoría del montaje. Su original planteamiento es que el montaje se trata de una técnica que no solo ayuda a descubrir vínculos ocultos entre cosas dispares, sino que permitiría comprender el funcionamiento de la memoria de las imágenes y visibilizar sus distintas temporalidades. La intención de esta tesis será, por tanto, realizar un recorrido por la obra Didi-Huberman para comprender cómo ha leído a Aby Warburg, y de qué modo ha desarrollado su propia teoría del montaje de imágenes, entendido como una forma innovadora y productora de saberes que se caracteriza por su naturaleza transversal e interdisciplinaria.
Georges Didi-Huberman´s reading of Aby Warburg´s work, as well as of its terminology (Nachleben and Pathosformel), is fundamental to the understanding of the texts of the German art historian. Moreover, at the centre of Didi-Huberman's recovery of Aby Warburg's work and thought the Mnemosyne atlas is to be found. The atlas -a synoptic arrangement of photographs displayed on various panels that allowed him to think in images- will form the starting point from which Didi-Huberman will develop his own theory of montage. Thus, the originality of this approach resides in the understanding of montage as a technique that does not only unravel hidden links between elements, but makes possible to understand how the memory and different temporalities of images work. Therefore, the thesis aims to revisit Didi-Huberman’s work in order to understand how he has read Aby Warburg, and how he has developed his genuine theory of image montage, understood as an innovative and knowledge-producing form that is characterised by its transversal and interdisciplinary nature.

En la tesis se hace una introducción a las nociones de tiempo y síntoma en la teoría de la imagen de Didi-Huberman. La hipótesis que se va confirmando es que según el autor es posible llegar a un conocimiento crítico de la realidad a través del estudio de la imagen.
En la tesis se hace una introducción a las nociones de tiempo y síntoma en la teoría de la imagen de Didi-Huberman. La hipótesis que se va confirmando es que según el autor es posible llegar a un conocimiento crítico de la realidad a través del estudio de la imagen.

Depuis les années 1990, le flou a envahi les écrans, touchant toutes les productions audiovisuelles, qu’ils s’agissent des films d’auteur, des blockbusters, des séries, ou encore des publicités. S’il est le plus souvent devenu un composant narratif, voire purement « cosmétique », des longs-métrages, certains réalisateurs tentent de se dégager de cet usage normé afin de jouer avec son potentiel menaçant, que nous savons qualifié de symptomal. Le terme de « symptôme », qui se réfère à l’usage qu’en fait Georges Didi-Huberman, renvoie à un contre-régime de l’image qui vient soulever le régime figuratif. En privilégiant une approche esthétique, phénoménologique et sémiologique, notre thèse met au jour la puissance symptomale du flou, à savoir son potentiel figural, haptique ou encore informe. Selon la théorie développée par Georges Didi-Huberman à partir des écrits de Sigmund Freud, le terme de « symptôme »fait également écho au mouvement du temps, c’est-à-dire au travail qu’opèrent les hantises, les survivances au sein des images afin d’ébranler, de faire vaciller le régime figuratif. Le flou-symptôme est donc aussi envisagé à partir de l’angle du temps, d’un temps qui malmène la représentation, la narration. Notre attention se porte sur différents types de flou, qu’il enveloppe totalement ou partiellement l’image(faible profondeur de champ), s’immisce progressivement dans l’image (mouvement de mise au point), ou encore résulte d’un travail sur le montage rapide (flicker) et la matière (définition de l’image, flou atmosphérique). Dans ce travail, nous analysons toutes ces différentes formes de flou afin de révéler que si certains réalisateurs s’emploient à défaire la fiction première, c’est pour mieux esquisser de nouvelles lignes de fuite narratives, des vies nouvelles
Since the 90s, blur has invaded screens through all audiovisual productions. This phenomenon can be found not only in arthouse movies but also in blockbusters, TV series, or commercials. Its recurrent appearance as a narrative component, or even “cosmetic”, led some directors to grow away from this standardized use and to fully develop its threatening potential, that we call here symptomal. Symptom,according to Georges Didi-Huberman's works, refers to a counter-regime in which the image upraises the figurative regime. By favoring an aesthetic, phenomenological, and semiologistic approach, this thesisreveals the symptomal power of the blur, namely its figural, haptic, and formless potential. According to the theory that Georges Didi-Huberman elaborated from Sigmund Freud's work, the term “symptom”resonates with the flow of time, id est the labor operated by hauntings and survivances within images in order to undermine and shake the figurative regime. Thus the blur-symptom is also envisioned through the scope of time, a time which destabilizes representation and narration. Our focus is on the different types of blur : an image completely or partially blurred (shallow depth of field), blurring through a motion in the focus (focus-through), or through flickers and even a processing of the matter (image definition andatmospheric blur). In this study, we analyze these different forms of blur to reveal that some directors strive to dismantle the original fiction. Doing so, they eventually sketch new narrative lines of flight, newlives

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In Monsters and ghosts: Relations between grotesque body image in theater and image survival in Georges Didi-Huberman, I propose to investigate and identify in what way the systematization of techniques derived from the elements used in the grotesque theater applied to the scene can offer concrete and specific ways for the construction and survival of body images in the theater and their relations with dramaturgy. These reflections are based on the concepts of image survival, critical image and dialectical image coined by Walter Benjamin (1892-1940) and Georges Didi-Huberman (1953-), related to Didi-Huberman‘s reflections on Aby Warburg‘s writings (1866-1929). I also make use of concepts such as anachronism, aura, dialectics, montage, survival, trace, double, repression, dissimilarity, and theories of image of thinkers such as Michel Foucault (1926-1984) and theoretical theater practitioners as Vsevolod Meyerhold (1874-1940) and Antonin Artaud (1896-1948). With the reflections made through bibliographical research and experience reports, I intend to point out the elements that, in the communication established between textual and body dramaturgy in grotesque theater, may represent innovations with respect to the work of the actor (independently of the style or language) and to the survival of the image in the theater.
Em De monstros e fantasmas: Relações entre a imagem do corpo grotesco no teatro e a sobrevivência da imagem em Georges Didi-Huberman, proponho-me a investigar e a identificar de que maneira a sistematização de técnicas provenientes dos elementos utilizados no teatro de cunho grotesco, aplicados à cena, pode oferecer caminhos concretos e específicos para a construção e sobrevivência das imagens corporais no teatro e de suas relações com as dramaturgias do espetáculo. Tais reflexões são baseadas nos conceitos de sobrevivência da imagem, imagem crítica e imagem dialética, cunhados por Walter Benjamin (1892- 1940) e Georges Didi-Huberman (1953-), e relacionados às reflexões deste, sobre os escritos de Aby Warburg (1866-1929). Valho-me também de conceitos como anacronismo, aura, dialética, montagem, sobrevivências, rastro, duplo, recalque, dessemelhança, e das teorias de pensadores da imagem como Michel Foucault (1926-1984) e de teórico-práticos do teatro como Vsevolod Meyerhold (1874-1940) e Antonin Artaud (1896-1948). Com as reflexões realizadas por meio da pesquisa bibliográfica e de relatos de experiência, pretendo apontar os elementos que ? na comunicação estabelecida entre dramaturgia textual e dramaturgia corporal no teatro de cunho grotesco ? podem representar inovações no que diz respeito ao trabalho do ator (independentemente de estilo ou linguagem) e no que respeita à sobrevivência da imagem grotesca no teatro.

The aim of this paper is to examine a translation of philosophical text from French into Swedish, with main focus on what is presented as inherent problems when translating philosophical terms. The philosophical terminology is often innovative and reflexive: the specific language usage, the frequent creation of new terms and the nuances of discourse when interpreting meaning are all elements susceptibly problematic when confronted by a translator.   The analysis draws upon our own translation of the article “L’image est le mouvant” by philosopher and art historian Georges Didi-Huberman, in which the author analyses central concepts from the philosophy of Henri Bergson in the light of the evolving art of cinema and related visual inventions at the turn of the century. The analysis is structured according to the interpretive model proposed by translator Jean Delisle, which together with theories on the philosophical terminology allow us to distinguish “discursive presuppositions” in the text. These presuppositions are crucial to the initial recognition of terms, and permit us to discern different types of translational problems in our material. By passing through the successive stages of the analysis model, different aspects of the translation and its problems are discussed in relation to the previous parts.   The analysis emphasizes and illustrates mainly the importance of interpreting discourse when translating philosophy: the unique language usage of the philosopher and the presuppositions of the text are both crucial to the understanding of terms. Due to the provisional definitions of terms and their uncertain delimitations, the translation of philosophical language constitutes a singular act of rewriting in which the translator plays a highly significant role.

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013.
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A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT
The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.

Partiendo de los conceptos de figura y fondo, procedentes del campo de la teoría del arte, el trabajo investiga en primera instancia su posible aplicación al ámbito de lo cinematográfico, vinculándolos al discurso más amplio sobre la representación geométrica del espacio (perspectiva) entendida como forma simbólica de aprehensión de la realidad. Para ello, el trabajo interroga un género popular en el que se declinan de manera especialmente fructífera los temas de la figura y fondo como es el cine de monstruos gigantes, cuyo primer momento de esplendor gira entorno a los años 50 y 60 del siglo XX, era de apogeo y crisis de los modelos tradicionales de representación. En la segunda parte del trabajo, se plantean algunos interrogantes hermenéuticos alrededor del resurgimiento de la figura del monstruo gigante en la cultura audiovisual contemporánea, su función estética en el contexto digital y su conexión con las nuevas formas de representar la realidad en el género fantástico, así como la paralela –y aparentemente paradójica– conversión del gigante en signo íntimo para la conciencia del espectador.
Taking as a starting point the Figure/Background division as established in art theory, this work tries first to reframe it within the cinematographic studies, and to link it to wider aspects of geometric rendering of space (the Perspective System) as a symbolic form of apprehending reality. In order to do so, this work addresses a popular film genre where the Figure/Background issues are central: the giant monster movies that had their Golden Age in the 50’s and 60’, a time when traditional models of representation came to a crisis with the arrival of modern cinema. In the second part of this work, hermeneutic analysis is put into work to address the comeback of the giant monster in contemporary audiovisual culture, its aesthetic function in our digital era and its connection with new forms of representing reality in science fiction cinema, as well as the apparently paradoxical conversion of the giant monster in a sort of intimate sign for the viewer.

Ce travail de doctorat est consacré au cinéma amateur produit au Brésil entre les années 1920 et 1965. Notre recherche a été développée à partir d'un corpus constitué par des films produits par cinq familles. Dans une première partie, nous revenons sur l'origine et le développent de cette pratique au Brésil en nous basant: l'étude des disputes commerciales qui ont marqué l'arrivée sur le marché des équipements dédiés exclusivement à l'usage amateur; les publications des années 1920 et 1930 consacrées à ce public et sur la récupération du contexte de production des images qui forment notre corpus. Dans cette première partie nous discutons aussi les expressions « film de famille» et «cinéma amateur» en proposant un dialogue avec le théoricien Roger Odin. Dans une deuxième partie, nous suivons l'itinéraire migratoire de ces images jusqu'à leur entrée dans les archives et leur reprise dans les documentaires contemporains. Pour reconstruire ce chemin migratoire nous nous inspirons des méthodes de recherché proposées par l'historienne Sylvie Lindeperg. Cette recherche a pour objectif principal de discuter des procédures de publicisation du cinéma domestique. En suivant le parcours migratoire des images qui forment notre corpus nous affirmons la thèse que les films réalisés dans un contexte familier ne gagne une dimension public et politique que lorsque qu'ils sont soumis à un processus de «montage», un concept que nous travaillerons à partir de la pensée de l'historien de l'art Georges Didi-Huberman
The present doctoral thesis' research object is home movies created in Brazil between years1920 to 1965. This research developped itself into two branches of work and is focused onhome movies produced by five families. In a first branch we explore the origins and laterdevelopment of home-moviemaking since 1920 in Brazil. For such study, we evoke analisyson the commercial dispute that followed the commercial debut of domestic use purposed exclusive equipment, on the propaganda prints from the 1920's and 30's which where destined to amateur film-making public, and also by the understanding of this image production context that constitutes our work's core purpose. In this first part, we also debate expressionssuch as "family film" and "amateur cinema" as an introductive dialogue for the theorist RogerOdin. As a second part of our work, we follow the home movies migratiory path, to theirentry in the cinemathèques and their use in contemporary documental film-making. To retrace this migration course, we inspired on a research method proposed by historian SylvieLindeperg. The present work's main purpose is to discuss the publication procedures ofdomestic films. By understanding the migratory course of the images in our interest, weaffirm the thesis that films made in a family context only gain on a public and political dimention after being submitted to an "montage" process; it is a concept that we develop on the trails of art-historian Didi-Huberman's propositions
O trabalho realizado no âmbito do doutorado tem como objeto de pesquisa filmes domésticosproduzidos no Brasil entre os anos 1920 e 1965. A pesquisa se desenvolveu em duas vertentestendo como foco de estudo um corpus constituído por filmes caseiros produzidos por cincofamílias. Na primeira vertente, nos debruçamos sobre a origem e o desenvolvimento daprática do cinema doméstico a partir dos anos 1920, no Brasil. Para esse estudo nos baseamosna análise das disputas comerciais que marcaram a entrada no mercado dos equipamentosvoltados exclusivamente para uso caseiro; nas publicações dos anos 1920 e 1930 dirigidas aopúblico amador e na recuperação do contexto de produção das imagens que formam nossocorpus. Nessa primeira etapa problematizamos também as expressões “filme de família” e“cinema amador” propondo um diálogo com o teórico Roger Odin, responsável pelainstitucionalização desse campo de estudos na França. Na segunda vertente, acompanhamos opercurso migratório dos filmes domésticos, seu ingresso nas cinematecas e sua retomada emdocumentários contemporâneos. Interrogamos as estratégias empregadas na incorporação deregistros familiares em centros de preservação de documentos audiovisuais e os diferentesgestos de reapropriação e ressignificação por parte de artistas que os retomaram em suasobras. Para rescontruir esse caminho migratório nos inspiramos no método de pesquisapromovidos pela historiadora Sylvie Lindeperg, que nos últimos dez anos vem realizando umestudo em torno a migração das imagens da Segunda Guerra Mundial. O presente trabalhotem como objetivo principal discutir os procedimentos de publicização dos filmes domésticos.Seguindo o caminho migratório das imagens que constituem nosso corpus afirmamos a tesede que os filmes realizados dentro do contexto familiar apenas ganham uma dimensão públicae política quando submetidos a um processo de “montagem”, conceito que trabalhamos apartir das proposições do historiador da arte Georges Didi-Huberman

O S M O S I S [efimer-eón] establece la reciprocidad entre lo eterno y lo efímero. La pintura ha sido el vehículo del pensamiento innato del hombre. El trabajo se ha movido en un inicio por parámetros de caracteres duales – razón/emoción- , los que esfumaron el límite de oposición en el encuentro del color. Los cromatismos disparan las atmósferas sugerentes, el espacio y tiempo de acción. El trabajo del color y su gestualidad componen las atmósferas cromáticas cósmicas. Los espacios puramente pictóricos montan y desmontan recíprocamente lo etéreo de la superficie. Ello provocando por la técnica de adición y sustracción alternada, la cual alude texturas visuales. Color-Gesto son los principios de “acto de pintar

5 Abstract This thesis deals with topic concerning photography and its relation to reality in work of French philosopher and art historian Georges Didi-Huberman. The thesis is divided into two main chapters. The first main part includes introduction to Didi- Huberman's approach and familiarization with his terms as well as theoretical analysis of photography through his work. This part also includes comparison with approach of the other authors, for example with Roland Barthes. The goal of this thesis is to identify possible ways thinking about photography, from the perspective of photography as a construct and photography as a testimony. The goal of the second main part is to use Didi-Huberman's approach and apply it on several selected photographies within contemporary context. Key Words Didi-Huberman, photograph, construction, testimony, surviving images

In order to understand how the public approaches and interacts with printmaking and the way it perceives the matrix and the print as the two key elements connected in the activity but also each one by itself, this study aims to explore printmaking’s links, especially in the chalcography traditional process. The analysis of printing and drawing shows that both have the same intuitive and conscious mental process as well as some similar physical movements when creating an image. Considering two moments to achieve a complete work of printmaking, one on the matrix and another on the print, this media can encourage artistic experimentation and develop a creative process, which occur in sharing knowledge (as it is given in the Sociedade Cooperativa Gravura, among other examples). The idea of series and the production of multiple images associated to printmaking do not constitute a contradiction to the idea of “aura” and the “unique value” of the work of art. In a public space, as an installation, printmaking can provide viewers an opportunity to contact and intervene, suggesting a kind of participation in the artistic field, capable of achieving particular reactions at the moment of unveil the print. In that way, this study presents two ideas of the collective approach to printmaking: one regarding the work process in a shared studio and another relating to the public reception, perception and involvement

[O]uvrir fermer / les portes, la première partie de ce mémoire, est un projet de poésie, divisé en cinq sections, qui allie le vers libre et la prose. Le sujet poétique essaie d'animer et de ranimer son "récit", son "histoire", entre autres par le rappel fragmentaire d'événements ou de lieux, la redite de paroles déjà échangées et, par l'adresse et l'apostrophe rétroactives. Derrière une énonciation piétinante, une tendance à la répétition, derrière une rythmique à la fois fuyante et brisée se trouve un questionnement: que dire et comment le dire? Que nommer et comment le nommer? Si le ton du projet est lyrique et intimiste, il veut aussi chercher à se positionner face aux variations existantes du lyrisme. La seconde partie, Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, est un essai qui s'intéresse aux rapports auratiques et mémoriels (G. Didi-Huberman) entre l'écriture et les objets d'art (six sculptures de la série Island de Martha Townsend) qui accompagnent le recueil Le saut de l'ange de la poète québécoise Denise Desautels.
[O]uvrir fermer / les portes, the first part of this M.A. Thesis is a poetic project, divided in five sections, that combine free verse and poetic prose. The poetic subject tries to animate and reanimate fragments of her "story" by recalling memories of events or places, by repeating past conversations or by retroactively addressing thoughts. Behind a repetitive voice and behind a rythm that is at once fast or broken, we can find a reflexion: what and how can we say? What and how can we name? While the project's tone is lyrical and intimist, ouvrir fermer / les portes tries to take position facing the multiple variations of lyrism. The second part, the essay Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, studies "auratic" and memorial (G. Didi-Huberman) connections between writing and the works of art (six sculptures of Island from artist Martha Townsend) that accompany the collection Le saut de l'ange by Quebec poet Denise Desautels.

L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre.
Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates.

Acompanha um CD com a Cota CDA 185, contendo um filme intitulado: A arte do não-retrato, apenas consultável na Biblioteca da FBAUL
The driving force of this practice-based research work has as a first premise the philosophical problematisation uttered by Georges Didi-Huberman relatively to the concept of montage, particularly the one that can be derived from both artistic and literary practices carried by Berthold Brecht. This problematisation is, through the project a arte do não-retrato, transposed to the audiovisual field. Is tested the possibility that the visibility and audibility intrinsic to the (audiovisual) montage processes of epic inclination (in the Brechtian sense of the term) are as capable of providing narrative-dramaturgical meaning to the objects on which they act as the invisibility and silenciosity underlying the (audiovisual) montage processes usually valued by the classic cinema and adjacent to the theatrical practices of dramatic nature. Thus, is rejected the deterministic and absolute correspondence between the concept of narrative and drama; is declined the view that, directly or indirectly, conjectures the montage operation as an inevitable and mere technique; and, simultaneously, it is suggested that this same operation can be epistemologically thought as a creative and discursive tool

In a moment the window is transformed before the observant eye of the spectator. That fleeting moment allows the window to transfigure into something that is not architecture or painting, but something that overcomes the object itself and heightens it’s own duplicity. It becomes an object to see and to be seen. It is in this ambiguity, between framing and being an image per se, that glance is drawn to the object. The study focuses on the window’s moving image in a search to determine how can one perceive the visual metamorphism, through the convergence of two concepts, the photogenie and the aura. Other audiovisual notions are investigated like the enframing, the frame, the movement, the duration and the image desfamiliarization. The window is seen as a character revealed during a specific time by motion and light, throughout mediation

This dissertation searches for new possibilities into the way of operating with screen printing, as well as its importance in the context of the operational methods of the visual arts, based on a personal project of painting. To this end, we resource to the mapping and the linear drawings of city maps as a way to reflect upon its use in contemporary art. Also, we establish a connection between the way these cities organize themselves and the theories of the rhizome by Gilles Deleuze and Felix Guattari; the cartography and the grids of Rosalind Krauss, with the artistic aim to build screen printing matrixes; and also the function in gesture of making ‘printings’ with the conjectures of Didi-Huberman. We investigate also the consequences of a mode of doing by resourcing to screen printing with respect to the construction of visual metaphors in painting

Entre os rios : para um analfabetismo poético propõe-se, seguindo Ahmed Bouanani e José Bergamín, estudar uma constelação de formas analfabetas, nomeadamente poéticas e cinematográficas; tentar entender quais são as ligações intrínsecas entre poesia e analfabetismo, e como se manifestam formalmente; procurar dar a ver e a pensar as relações entre culturas populares e vernaculares, as culturas resistentes e as formas analfabetas, e por fim, reflectir, pela via da análise de sequências e de filmes, sobre o que podia ser um cinema analfabeto e quais seriam as suas problemáticas semânticas e políticas. Encontraremos neste ensaio, o estudo de poetas e cineastas como: Ahmed Bouanani, Paul Celan, Guerasim Luca, Peter Kubelka, Pier Paolo Pasolini, Jean-Luc Godard, John Cassavetes, Chris Marker, e Sergueï Paradjanov; reunidos de modo subjetivo e não-linear de forma a criar um corpus heterogéneo de formas que apelidaremos analfabetas. O que entendemos por formas analfabetas? É esta a questão central, que este ensaio coloca, usando como ponto de partida a ideia, para retomar as palavras de José Bergamín, que “O analfabetismo é a definição poética de todo o estado realmente espiritual”. Talvez se trate de falar dos analfabetismos plurais, múltiplos, que atravessam os nossos tempos e as nossas fronteiras, mais do que tentar encontrar uma definição unilateral. Assim, na primeira parte deste ensaio, estudaremos o conceito de alfabeto e analfabeto, e as diversas problemáticas que lhe são intrínsecas, nomeadamente seguindo o ponto de vista de José Bergamín (Decadência do analfabetismo, 1980) e Ahmed Bouanani (O analfabeto: história, 1967). Estes autores desenvolveram esteconceito em situações muito diferentes: um em Espanha no início dos anos 80, ancorando-se fortemente na cultura andaluz, e o segundo em Marrocos no fim dos anos 60, num país fragmentado linguisticamente depois da colonização. Veremos que, desde o seu nascimento, o conceito de analfabetismo tem problemáticas muito amplas, como: a resistência das culturas vernaculares, a defesa da pluralidade da sabedoria e das suas formas de transmissão, o dever da memória e da passagem desta memória para as gerações futuras. Se a palavra “analfabeto” é para Ahmed Bouanani e José Bergamín muito ligada com a língua oral e escrita, mesmo se a utilizam com uma conotação completamente diferente daquele presente nas definições de dicionário, tentaremos, desde logo, reflectir sobre como esta ideia e esta posição crítica contra um pensamento uniforme e centralizada, se podem deslocar, e como, para outros campos das artes, e nomeadamente o cinema. Antes de discutir sobre possíveis formas analfabéticas no cinema, tentaremos, numa segunda parte intitulada Poesia, desenvolver a nossa abordagem do analfabetismo através do estudo dos poetas. Iremos basear-nos nomeadamente no pensamento de Georges Didi-Huberman, que defende, através de José Bergamín, que “a poesia é, simplesmente, a mais impura: poesia analfabeta”, falando do bailarino de flamenco Israël Galvan. Veremos assim qual pode ser a ligação entre o analfabetismo e as culturas orais tais como: o flamenco em Espanha, ou, a poesia popular e dos contos de Marrocos, e estudaremos um dos poemas do Ahmed Bouanani, que deu luz a este ensaio, um tipo de conto poético contemporâneo, intitulado “O analfabeto: história”. Tentaremos, de seguida, abrir esta reflexão a outras formas escritas analfabetas, tais como os poemas e experimentações poéticas de Gherasim Luca e de Paul Celan, os dois possuindo uma certa estranheza da linguagem, na linguagem poética, muito ligada à matéria mesma da linguagem: através do silêncio, da desconstrução, e do uso do branco, no caso de Paul Celan, pelo uso de uma língua, que não é a sua língua materna, e pela oralidade nomeadamente no caso de Gherasim Luca, que se localiza na “no man’s langue”. Na terceira parte, Cinema, propomo-nos a pensar como o analfabetismo, que estudámos anteriormente nas suas formas escritas e orais, pode ser aplicado como ferramenta de reflexão das formas cinematográficas. Estudaremos nomeadamente Arnulf Rainer (1960), um filme do Peter Kubelka, que experimenta as questões rítmicas que igualmente marcaram o trabalho dos poetas. Através da manipulação de fotogramas pretos e brancos, veremos como o Kubelka desenvolve a ideia que “é entre os fotogramas que o cinema fala”. Para desenvolver esta analogia subjacente entre formas poéticas e formas cinematográficas, iremos basear-nos especificamente sobre o artigo de Pier Paolo Pasolini “Cinema de Poesia” (1965), defendendo um cinema da poesia e reflectindo sobre quais poderiam as características desse cinema, tal como o uso do discurso indireto livre e a presença sensível da câmara (câmara na mão, movimentos ou ritmos não habituais no cinema normativo ou cinema de prosa). Estudaremos também o filme de Pier Paolo Pasolini “La Rabbia” (1963), e o modo como utiliza a voz-off neste filme, recorrendo tanto à “voz da prosa” como à “voz da poesia”. Passaremos a seguir a “Adieu au langage” (2014), o filme de Jean-Luc Godard, para reflectir sobre o modo como utiliza a linguagem, a materialidade das imagens, a ausência de personagens, sobre as quais poderíamos desenvolver uma “projeção” no sentido psicanalítico do termo, e a presença animal, permitindo a Godard desconstruir as normas cinematográficas e dizer “adeus à linguagem” normativa. Por fim, iremos concentrar-nos sobre uma característica que consideramos estar profundamente ligada com o que podemos chamar “cinema da poesia” ou “cinema analfabeto”: o olhar-câmara. Seguindo o exemplo de Chris Marker, que declarava “Francamente, será que inventámos alguma coisa mais estúpida do que dizer às pessoas, como se ensina nas escolas de cinema, para não olhar para a câmara?” na voz-off de “Sans Soleil” (1983); reflectiremos ainda: através do estudo de “Opening Night” (John Cassavetes, 1977) sobre o ecrã de cinema enquanto fronteira poética ou simbólica; sobre a problemática da igualdade do olhar entre a pessoa que filma e a pessoa que é filmada, nomeadamente no documentário, levantando questões políticas e pós-coloniais, ainda partindo do estudo de “Sans Soleil”; através de “À bout de souffle” (Jean-Luc Godard, 1960), sobre o olhar-câmara como ferramenta de conscientização do dispositivo narrativo e técnico para o espectador; por fim, através de “Sayat Nova” (Sergueï Paradjanov, 1969) sobre a penetração na materialidade do mundo (ou imaginário material) que pode propôr o cinema da poesia, neste caso através do olhar dos atores que nos guiam no seu viagem e no seu universo. Desenvolveremos também algumas reflexões em torno da produção prática que acompanha esta pesquisa teórica, que toma forma no filme “entre os rios/bin el ouidane/entre les rivières”, uma viagem poética cruzando os territórios de Marrocos, de Portugal e da França, formando um outro território onde as fronteiras com altos muros em cimento se transformam em caminhos, cursos de água, cantos que atravessam corpos, línguas e memórias. A prática é aqui considerada fundamentalmente indissociável do estudo, do mesmo modo que a experiência é considerada fundamentalmente indissociável da teoria: os analfabetismos pensam-se desde logo a partir de uma viagem (de idas e de voltas) sensível e constante entre o que fazemos e o que já foi feito, e entre o que experimentamos e o que já foi experimentado.

The need to go deeper into the thinking about Painting has led us to the study of works which display features of differentiated cultures and pieces resulting from the career paths of artists in the global world. In a world, which has, for long been the result of contaminations, it is at the beginning of the 20th century that the outcome of travels, of cultures’ intersections, finds a strong materialization through the artistic avant-gardes, with movements like the Cubism or Dadaism. The European Ethnographic Museums, home of an endless source of identity pieces from the peoples of Africa, Oceania and the Americas, will bring about, both in the artistic field and in terms of theoretical conception, a new look at art. Along with an ethnocentric study of works external to European culture, it is with Carl Einstein that emerges an analysis focused on African sculpture and opposed to the evolutionary theory, which highlights the formal and primeval characteristics of the works. This analysis is the foundation of Carl Einstein’s approach to cubism. Considering the identification of non-western peoples with primitive people, we try to present a perspective on this concept, in order to accept primitive as a state of rupture, as a human component. Transposing the artistic avant-gardes and the concept of primitivism to Portugal, we notice that its influence was shown to be closer to art and to popular culture. With the theories of multiculturalism, interculturality and globalization we come to realize that the miscegenation of non-western peoples with European cultures will cause the proliferation of hybrid territories, identified by Homi Bhabha, Néstor García Canclini and Arjun Appadurai. Hybrid territories are fertile in artistic production, the outcome of the activity of artists who travel the global world, in a state of conflict and appeasement between their origins and the cultures that they absorb. The processes of photomontage and montage are expressed by the thought of Georges Didi-Huberman, based on Aby Warburg, for the simultaneous development of thought and knowledge by montage. This knowledge encompasses the study of Dadaist photomontage, the painting of Hannah Höch, the combine of Robert Rauschenberg and the assemblages of Allan Kaprow, within a framework of formal hybridity. With Allan Kaprow and Sigmar Polke impurity is assumed, which characterizes hybrid territories. From formal hybrid we move to conceptual hybridity with Damien Hirst, in a dual reading of his work. Antoni Muntadas, Luís Felipe Noé and Alfredo Jaar, analysed by García Canclini, dig deeper into questions of cultural hybridity, then extended to the works of Shahzia Sikander, Shirin Neshat, Ghada Amer, Shirazeh Houshiary, Arif Özakça and Barry Reigate, in a meeting with inter-spaces, with inter-times, with interstitial spaces and with spaces in between