Do picadeiro ao c��u : o riso no teatro de Ariano Suassuna

The analysis of this work seeks to investigate the meaning of the laughter in the paraibano writer Ariano Suassuna s armorial theater. The study departs, firstly, from an argumentation which centers its content in the theory of the many theoreticians of the question: Henri Bergson, Vladimir Propp, Jolles, Freud, Bakhtin. The essence of the laughter in Suassuna and its esthetic relations are commented, because those elements are responsible for the strength of the literary text. On the condition of scholar about Esthetic and Art History, Suassuna always puts the methods of the estheticism in favor of the loud laughter bearing in mind that it is a source of improvisation, i.e., it may have many senses depending on what it is pretended to transmit to the reader/viewer. The laughter is a mask which is changed to each new situation, representing that way own human condition. Because the theater is an art subjected to recreation, the laughter also is. And because it is a great party where other arts (the dance, the music, mamulengo e the bumba-meu-boi) are present, united to compose a confluent and hybrid language, the meaning of hilarity during the popular celebrations is studied mainly those that happened in Medieval Europe. Thus, in the second part, the basis of the research is the Russian Mikhail Bakhtin s theory that helps to link Suassuna s laughter to the popular party, showing the language used in them and the jokes that give life to the joy of the folk. Soon after, the importance of Suassuna s laughter to the Brazilian Culture, is examined making a reflection about its function at the sociocultural context of the country

Evolution of representation of the hands in plastic arts

A intera����o entre arte e ci��ncia foi intensa durante o Renascimento, sofrendo decl��nio nos anos posteriores com retomada significativa no s��culo XX, principalmente com o uso de t��cnicas de identifica����o, data����o de obras de arte e o desenvolvimento de novos materiais. O relacionamento entre artes pl��sticas e Cirurgia da M��o mant��m-se intenso , sendo freq��ente o uso de reprodu����es art��sticas da m��o nas ilustra����es de textos cient��ficos. Objetivando compreender o papel da m��o nas artes pl��sticas, reprodu����es de obras de artes (esculturas e pinturas) representativas de v��rios estilos ou per��odos da hist��ria da arte foram analisadas com enfoque no estudo das m��os. Detalhes anat��micos, relacionamento com outras estruturas do corpo humano, papel na composi����o e aspectos simb��licos das m��os foram estudados no contexto hist��rico e art��stico de obras de arte do per��odo paleol��tico (pr��-hist��ria) at�� o s��culo XX. A representa����o da m��o nas artes pl��sticas est�� diretamente relacionada ao estilo ou per��odo da obra e �� capacidade individual de interpreta����o e execu����o do artista.

Frei Agostinho de Jesus e as tradi����es da imagin��ria colonial brasileira: s��culos XVI-XVII

P��s-gradua����o em Artes - IA

Expressando-se: uma interface do ensino de artes visuais com a musicalidade

P��s-gradua����o em Artes - IA

Pintura Na��ve: caracter��sticas e an��lises - quatro exemplos em S��o Paulo

P��s-gradua����o em Artes - IA

Os movimentos da sensibilidade: o di��logo entre M��rio Pedrosa e Alexander Calder no projeto construtivo brasileiro

Funda����o de Amparo �� Pesquisa do Estado de S��o Paulo (FAPESP)

Ci��ncia da carne: a linguagem gr��fica da anatomia humana

This monograph seeks to provide an exposition and theoretical examination of Ci��ncia da Carne (���Science of the Flesh���), a series of artworks in woodcut printing executed after research into the artistic aspects of Human Anatomy, done throughout the Graduate Course in Visual Arts at UNESP���s Art Institute. Traditional procedures of naturalistic representation of the human figure often adopt the scientific basis of Anatomy as a means of interpreting the surface contours of the body from its inside out. The historical connection between Anatomy and Art, however, is not merely accidental, for it is integral to the development of both disciplines, which find themselves deeply related in the human impulse for self-discovery and reinvention of its own likeness. The series of artworks collected in Ci��ncia da Carne explores, through the particular graphical language provided by woodcut printing, abstract arrangements of isolated anatomical elements, at once removed from the context of traditional figurative representation and from the didactic goals of medical illustration.

A redescoberta da arte de Alfredo Oliani: Sacra e Tumular

Coordena����o de Aperfei��oamento de Pessoal de N��vel Superior (CAPES)

ARTGEO: ensino interdisciplinar

The ARTGEO Project aimed at integrating science, art, and technology, emphasizing geometric elements which must be explored within the teaching process. Geometry, present in the most primitive civilizations, assists man in settling relationships and organizing his space. It has been clearly identified in human constructions, consisting of an important instrument of knowledge and domain of nature. The art, in its turn, can mediate the elaboration of knowledge, whether it is scientific, technical, or philosophical. Science and art are products that express the imaginary representations from distinct cultures. The Brazilian Concretism, for its relations with the geometry, is the period in art history chosen as reference. Technology was represented by the computational environments, as a didactic support and an instrument for the accomplishment of practical activities. Microsoft Word is one of the basic softwares for this proposal because of its easy access in most public schools.

Arte & j��ia: uma an��lise entre as j��ias como objeto de arte e a arte contempor��nea

More than seven thousand years of jewelry and track social progress, cultural and religious history of man, which always sought to produce objects to decorate and entice; satisfying their desires, building an art and meanings within their time. It experiencing these possible adornments that jewelry was being developed, each with its own characteristics and peculiarities. Currently, with the technology, trade and the need to search for new creations and concepts in the field jewelry, was prepared and developed those what we call art jewelry. This article specifies the time that they were the jewels of the author and tender and makes an analysis between jewelry as art and contemporary art.

V��rus mutante na paisagem de Bauru

This paper presents the work of the MutantVirus. A group which belongs to a subject extension called Public Art Projects in Bauru City from FaacUnesp. It exposes its designs, structures, approaches, procedures, results and reflections, as well as it discusses the point of a Public Art group being associated to the Public University.

De Anita �� acad��mia: para repensar a hist��ria da arte no Brasil

A partir de uma cita����o do romance Mocidade morta, de Gonzaga-Duque, e da an��lise de algumas pinturas brasileiras, produzidas entre a segunda metade do s��culo XIX e a primeira do s��culo XX, este texto problematiza alguns paradigmas da hist��ria da arte no Brasil. Enfatiza a necessidade de rever a periodiza����o da arte brasileira, uma vez que as diferen��as entre produ����es "acad��micas" e outras "modernistas" parecem apenas t��picas

La filosofia di Hans-Georg Gadamer e il problema del disagio della modernit��. Ermeneutica, estetica, etica e politica

L���ermeneutica filosofica di Hans-Georg Gadamer ��� indubbiamente uno dei capisaldi del pensiero novecentesco ��� rappresenta una filosofia molto composita, sfaccettata e articolata, per cos�� dire formata da una molteplicit�� di dimensioni diverse che si intrecciano l���una con l���altra. Ci�� risulta evidente gi�� da un semplice sguardo alla composizione interna della sua opera principale, Wahrheit und Methode (1960), nella quale si presenta una teoria del comprendere che prende in esame tre differenti dimensioni dell���esperienza umana ��� arte, storia e linguaggio ��� ovviamente concepite come fondamentalmente correlate tra loro. Ma questo quadro d���insieme si complica notevolmente non appena si prendano in esame perlomeno alcuni dei numerosi contributi che Gadamer ha scritto e pubblicato prima e dopo il suo opus magnum: contributi che testimoniano l���importante presenza nel suo pensiero di altre tematiche. Di tale complessit��, per��, non sempre gli interpreti di Gadamer hanno tenuto pienamente conto, visto che una gran parte dei contributi esegetici sul suo pensiero risultano essenzialmente incentrati sul capolavoro del 1960 (ed in particolare sui problemi della legittimazione delle Geisteswissenschaften), dedicando invece minore attenzione agli altri percorsi che egli ha seguito e, in particolare, alla dimensione propriamente etica e politica della sua filosofia ermeneutica. Inoltre, mi sembra che non sempre si sia prestata la giusta attenzione alla fondamentale unitariet�� ��� da non confondere con una presunta ���sistematicit�����, da Gadamer esplicitamente respinta ��� che a dispetto dell���indubbia molteplicit�� ed eterogeneit�� del pensiero gadameriano comunque vige al suo interno. La mia tesi, dunque, �� che estetica e scienze umane, filosofia del linguaggio e filosofia morale, dialogo con i Greci e confronto critico col pensiero moderno, considerazioni su problematiche antropologiche e riflessioni sulla nostra attualit�� sociopolitica e tecnoscientifica, rappresentino le diverse dimensioni di un solo pensiero, le quali in qualche modo vengono a convergere verso un unico centro. Un centro ���unificante��� che, a mio avviso, va individuato in quello che potremmo chiamare il disagio della modernit��. In altre parole, mi sembra cio�� che tutta la riflessione filosofica di Gadamer, in fondo, scaturisca dalla presa d���atto di una situazione di crisi o disagio nella quale si troverebbero oggi il nostro mondo e la nostra civilt��. Una crisi che, data la sua profondit�� e complessit��, si �� per cos�� dire ���ramificata��� in molteplici direzioni, andando ad investire svariati ambiti dell���esistenza umana. Ambiti che pertanto vengono analizzati e indagati da Gadamer con occhio critico, cercando di far emergere i principali nodi problematici e, alla luce di ci��, di avanzare proposte alternative, rimedi, ���correttivi��� e possibili soluzioni. A partire da una tale comprensione di fondo, la mia ricerca si articola allora in tre grandi sezioni dedicate rispettivamente alla pars destruens dell���ermeneutica gadameriana (prima e seconda sezione) ed alla sua pars costruens (terza sezione). Nella prima sezione ��� intitolata Una fenomenologia della modernit��: i molteplici sintomi della crisi ��� dopo aver evidenziato come buona parte della filosofia del Novecento sia stata dominata dall���idea di una crisi in cui verserebbe attualmente la civilt�� occidentale, e come anche l���ermeneutica di Gadamer possa essere fatta rientrare in questo discorso filosofico di fondo, cerco di illustrare uno per volta quelli che, agli occhi del filosofo di Verit�� e metodo, rappresentano i principali sintomi della crisi attuale. Tali sintomi includono: le patologie socioeconomiche del nostro mondo ���amministrato��� e burocratizzato; l���indiscriminata espansione planetaria dello stile di vita occidentale a danno di altre culture; la crisi dei valori e delle certezze, con la concomitante diffusione di relativismo, scetticismo e nichilismo; la crescente incapacit�� a relazionarsi in maniera adeguata e significativa all���arte, alla poesia e alla cultura, sempre pi�� degradate a mero entertainment; infine, le problematiche legate alla diffusione di armi di distruzione di massa, alla concreta possibilit�� di una catastrofe ecologica ed alle inquietanti prospettive dischiuse da alcune recenti scoperte scientifiche (soprattutto nell���ambito della genetica). Una volta delineato il profilo generale che Gadamer fornisce della nostra epoca, nella seconda sezione ��� intitolata Una diagnosi del disagio della modernit��: il dilagare della razionalit�� strumentale tecnico-scientifica ��� cerco di mostrare come alla base di tutti questi fenomeni egli scorga fondamentalmente un���unica radice, coincidente peraltro a suo giudizio con l���origine stessa della modernit��. Ossia, la nascita della scienza moderna ed il suo intrinseco legame con la tecnica e con una specifica forma di razionalit�� che Gadamer ��� facendo evidentemente riferimento a categorie interpretative elaborate da Max Weber, Martin Heidegger e dalla Scuola di Francoforte ��� definisce anche ��razionalit�� strumentale�� o ��pensiero calcolante��. A partire da una tale visione di fondo, cerco quindi di fornire un���analisi della concezione gadameriana della tecnoscienza, evidenziando al contempo alcuni aspetti, e cio��: primo, come l���ermeneutica filosofica di Gadamer non vada interpretata come una filosofia unilateralmente antiscientifica, bens�� piuttosto come una filosofia antiscientista (il che naturalmente �� qualcosa di ben diverso); secondo, come la sua ricostruzione della crisi della modernit�� non sfoci mai in una critica ���totalizzante��� della ragione, n�� in una filosofia della storia pessimistico-negativa incentrata sull���idea di un corso ineluttabile degli eventi guidato da una razionalit�� ���irrazionale��� e contaminata dalla brama di potere e di dominio; terzo, infine, come la filosofia di Gadamer ��� a dispetto delle inveterate interpretazioni che sono solite scorgervi un pensiero tradizionalista, autoritario e radicalmente anti-illuminista ��� non intenda affatto respingere l���illuminismo scientifico moderno tout court, n�� rinnegarne le pi�� importanti conquiste, ma pi�� semplicemente ���correggerne��� alcune tendenze e recuperare una nozione pi�� ampia e comprensiva di ragione, in grado di render conto anche di quegli aspetti dell���esperienza umana che, agli occhi di una razionalit�� ���limitata��� come quella scientista, non possono che apparire come meri residui di irrazionalit��. Dopo aver cos�� esaminato nelle prime due sezioni quella che possiamo definire la pars destruens della filosofia di Gadamer, nella terza ed ultima sezione ��� intitolata Una terapia per la crisi della modernit��: la riscoperta dell���esperienza e del sapere pratico ��� passo quindi ad esaminare la sua pars costruens, consistente a mio giudizio in un recupero critico di quello che egli chiama ��un altro tipo di sapere��. Ossia, in un tentativo di riabilitazione di tutte quelle forme pre- ed extra-scientifiche di sapere e di esperienza che Gadamer considera costitutive della ��dimensione ermeneutica�� dell���esistenza umana. La mia analisi della concezione gadameriana del Verstehen e dell���Erfahrung ��� in quanto forme di un ��sapere pratico (praktisches Wissen)�� differente in linea di principio da quello teorico e tecnico ��� conduce quindi ad un���interpretazione complessiva dell���ermeneutica filosofica come vera e propria filosofia pratica. Cio��, come uno sforzo di chiarificazione filosofica di quel sapere prescientifico, intersoggettivo e ���di senso comune��� effettivamente vigente nella sfera della nostra Lebenswelt e della nostra esistenza pratica. Ci��, infine, conduce anche inevitabilmente ad un���accentuazione dei risvolti etico-politici dell���ermeneutica di Gadamer. In particolare, cerco di esaminare la concezione gadameriana dell���etica ��� tenendo conto dei suoi rapporti con le dottrine morali di Platone, Aristotele, Kant e Hegel ��� e di delineare alla fine un profilo della sua ermeneutica filosofica come filosofia del dialogo, della solidariet�� e della libert��.

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault���s expression) has now become ��the zero point of the world��. Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography���s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models��� performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "F��minin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in M��nchen together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.