A visual and contextual comparative study of the work of Picasso and Chanel towards an understanding of the overlaps between Modern Art and Fashion.

From the beginning of the twentieth century, ``Modernism`` impacted and transformed art and clothing. Pablo Picasso and Gabrielle ``Coco`` Chanel were two of the most central characters in Modernism working simultaneously in their disciplines. Picasso`s innovations, particularly in abstract art and Chanel`s fashion designs, that dramatically departed from the previous corseted and highly deco-rative styles, were so significant that they have left an influence on contemporary art and fashion. This study will compare their visual works and documented evidence of their motivations, within the context of their cultural backgrounds, to reveal meaning in the occurrences of overlaps. This approach has ex-amined the historical, cultural background of the artist and designer`s environment from different per-spectives, adding to previous research in this area. Through this research, outcomes of the analysis have shown similarities and divergences in the wider genres of art and fashion and the practice of the artist and fashion designer. The reference list to this text, used in the survey, gives a comprehensive overview of pertinent publications disseminating Picasso and Chanel`s visual works, oral perspectives and cultural impact.

Centros históricos e desenvolvimento urbano: um estudo comparativo entre os programas Monumenta no Brasil e Polis em Portugal

Both the end of the twentieth century and the beginning of the twenty-first century have been characterized as a period of major political, economic, social and cultural transformations. Two of the major consequences of the political-economical crisis of the end of last century are the restructuring of capitalist production, and the consolidation of neoliberalism as a worldwide phenomenon. This new world political-economical scenario has influenced, in a dialectic way, the contemporary urban development. In that sense, "new" spatial processes and new paradigms in both urban management and urban planning have gained shape. In this context of urban transformations, the central areas of western cities, also known as historic centers, are being increasingly (re)valued. Since the Second World War, the historic centers urban areas which have great infrastructure and symbolic relevance had been undergoing a process of evasion of population and activities, undeniably linked to the neglect of government authorities. However, in recent decades, the question of historic centers rehabilitation has acquired a growing interest, academically and in political agendas. The object of this dissertation is to focus on how the government of each Brazil and Portugal has dealt with the issue of historic center rehabilitation through programs of urban rehabilitation

Michel Maffesoli y la razón sensible: una argumentación postmoderna

Se establecen algunas coordenadas de análisis para inscribir la obra de Michel Maffesoli, reconocido sociólogo francés, en el contexto de la reflexión postmoderna. Maffesoli, desde sus primeras obras, se ha interesado por construir una perspectiva en las ciencias sociales que vaya más allá del modernismo cartesiano y positivista. Su propuesta metodológica incorpora temáticas afines al pensamiento postmoderno, en particular, lo correspondiente a un nuevo concepto de razón y de conocimiento. Abstract There are some guidelines for inscribe the Michels Maffesioli writings in the postmodern context ; since his first works he has shown a great interest for build a theoretical perspective for social sciences that go beyond from the modernism and positivism cartesian thought. His method proposal incorporates close thematic areas with the posmodern thought, especially the themes related with a new concept of reason and knowledge.

Przemoc w popkulturze - Pop-przemoc? O dyskursie przemocy i ciała w popkulturze na przykładzie niemieckojęzycznej literatury pop lat dziewięćdziesiątych XX i pierwszej dekady XXI wieku

Wydział Neofilologii: Instytut Filologii Germańskiej

Retrato do Brasil, uma leitura historiográfica do ensaio sobre a tristeza brasileira

Este artigo objetiva analisar as características da obra Retrato do Brasil, de Paulo Prado, escrita em 1928, a partir de uma crítica historiográfica. Traçamos as condições de escrita da mesma, situando-a na conjuntura de transformações socioeconômicas do final da Primeira República, descrevendo também suas particularidades enquanto interpretação possível da nação e da formação do sentimento de identidade nacional.

Our own language: Scots verse translation and the second-generation Scottish renaissance

This thesis examines the role of Scots language verse translation in the second-generation or post-war Scottish Renaissance. The translation of European poetry into Scots was of central importance to the first-generation Scottish Renaissance of the nineteen twenties and thirties. As Margery Palmer McCulloch has shown, the wider cultural climate of Anglo-American modernism was key to MacDiarmid’s conception of the interwar Scottish Renaissance. What was the effect on second-generation poet-translators as the modernist moment passed? Are the many translations undertaken by the younger poets who emerged in the course of the nineteen forties and fifties a faithful reflection of this cultural inheritance? To what extent are they indicative of a new set of priorities and international influences? The five principal translators discussed in this thesis are Douglas Young (1913-1973), Sydney Goodsir Smith (1915-1975), Robert Garioch (1909-1981), Tom Scott (1918-1995) and William J. Tait (1918-1992). Each is the subject of a chapter, in many cases providing the first or most extensive treatment of particular translations. While the pioneering work of John Corbett, Bill Findlay and J. Derrick McClure, among other scholars, has drawn attention to the long history of literary translation into Scots, this thesis is the first extended critical work to take the verse translations of the post-MacDiarmid makars as its subject. The nature and extent of MacDiarmid’s influence is considered throughout, as are the wider discourses around language and translation in twentieth-century Scottish poetry. Critical engagement with a number of key insights from theoretical translation studies helps to situate these writers’ work in its global context. This thesis also explores the ways in which the specific context of Scots translation allows scholars to complicate or expand upon theories of translation developed in other cultural situations (notably Lawrence Venuti’s writing on domestication and foreignisation). The five writers upon whom this thesis concentrates were all highly individual, occasionally idiosyncratic personalities. Young’s polyglot ingenuity finds a foil in Garioch’s sharp, humane wit. Goodsir Smith’s romantic ironising meets its match in Scott’s radical certainty of cause. Tait’s use of the Shetlandic tongue sets him apart. Nonetheless, despite the great variety of style, form and tone shown by each of these translators, this thesis demonstrates that there are meaningful links to be made between them and that they form a unified, coherent group in the wider landscape of twentieth-century Scottish poetry. On the linguistic level, each engaged to some extent in the composition of a ‘synthetic’ or ‘plastic’ language deriving partly from literary sources, partly from the spoken language around them. On a more fundamental level, each was committed to enriching this language through translation, within which a number of key areas of interest emerge. One of the most important of these key areas is Gaelic – especially the poetry of Sorley MacLean, which Young, Garioch and Goodsir Smith all translated into Scots. This is to some extent an act of solidarity on the part of these Scots poets, acknowledging a shared history of marginalisation as well as expressing shared hopes for the future. The same is true of Goodsir Smith’s translations from a number of Eastern European poets (and Edwin Morgan’s own versions, slightly later in the century). The translation of verse drama by poets is another key theme sustained throughout the thesis, with Garioch and Young attempting to fill what they perceived as a gap in the Scots tradition through translation from other languages (another aspect of these writers’ legacy continued by Morgan). Beyond this, all of the writers discussed in this thesis translated extensively from European poetries from Ancient Greece to twentieth-century France. Their reasons for doing so were various, but a certain cosmopolitan idealism figures highly among them. So too does a desire to see Scotland interact with other European nations, thus escaping the potentially narrowing influence of post-war British culture. This thesis addresses the legacy of these writers’ translations, which, it argues, continue to exercise a perceptible influence on the course of poetry in Scotland. This work constitutes a significant contribution to a much-needed wider critical re-assessment of this pivotal period in modern Scottish writing, offering a fresh perspective on the formal and linguistic merits of these poets’ verse translations. Drawing upon frequently obscure book, pamphlet and periodical sources, as well as unpublished manuscripts in the National Library of Scotland and the Shetland Archives, this thesis breaks new ground in its investigation of the role of Scots verse translation in the second-generation Scottish Renaissance.

Adieu New York, bonjour Paris ! : les enjeux esthétiques et culturels des appropriations du jazz dans le monde musical savant français (1900-1930)

Thèse réalisée en cotutelle avec l'Université Paris-Sorbonne et l'Université de Montréal. Composition du jury : M. Laurent Cugny (Université Paris-Sorbonne) ; M. Michel Duchesneau (Université de Montréal) ; M. Philippe Gumplowicz (Université d'Evry-Val d'Essonne) ; Mme Barbara Kelly (Keele University - Royal Northern College of Music) ; M. François de Médicis (Université de Montréal) ; M. Christopher Moore (Université d'Ottawa)

La noción del aparato sonoro en la obra de tres artistas colombianos

En este trabajo se propone realizar un análisis del elemento sonoro en las prácticas de tres artistas contemporáneos colombianos -- Esta búsqueda se realiza desde una mirada filosófica que indaga sobre cómo el sonido conecta el cuerpo opaco interior del ser con el mundo exterior, tratando y se sustenta en la forma en la que los artistas utilizan el sonido en sus obras, teniendo como punto de partida esa pretensión de alcances ontológicos: sonido que define al ser y su relación con el mundo y da lugar al interrogante sobre cuál es la resonancia de ese mundo interior en la creación de la obra artística -- La idea fundamental de esta búsqueda está sustentada en la existencia de los cambios en la sensibilidad implicados en la irrupción del aparato sonoro en la cotidianidad -- El sustento referencial se acerca de manera directa a plantear la existencia de un ser sonoro, permeado desde antes de nacer por la onda vibratoria; un ser producto de fuerzas históricas moldeadas en la resonancia -- Se utiliza el concepto de acusmática para proponer un régimen de lo sonoro, allí donde de manera directa se insertan todos los dispositivos que al aparecer interrogan y jalonan la percepción

É ensinando que se aprende: um estudo sobre o ensino de projeto no Curso de Arquitetura e Urbanismo da Universidade Federal do Rio Grande do Norte (CAU UFRN)

You cannot teach architectonic design, but only learn it. This sentence was, during some decades, especially during the modernism, the starting point, adopted by several architectonic design professors, when they had to approach their subject. An attitude that, some years ago, was reviewed and fighted by area s experts. This paper join this criticism, and try to add something to the pre-existing discussion, analyzing with the case-study method all the subjects related with architectonic design of the Architecture and Urbanism degree, at Universidade Federal do Rio Grande do Norte CAU/UFRN . The aim is to identify and analyze the teaching methodologies used by the professors and their effects related to the students. To reach this purpose four different methods were used: i) Professors interviews; ii) Different forms submitted to students and professors; iii) Daily practice s observation, developed during classes; iv) Documents analysis about the degree (historical development and subjects) and about the subjects themselves (summaries, table of contents and planning). Studying the results, it was possible to underline that, in spite of the efforts of some of the professors to find a way to teach with more appropriate educational and pedagogic bases, some of the teaching methodologies, criticized in articles dealing with the matter, were still used. With regard to these, the research pointed out some suggestions that could help to improve the teaching and learning process, joining professors and students that are the most important subjects of the teaching activity. Developing the idea living in the paper s title Teaching and learning , it s now clear that only the practice, through the improvement of the pedagogic techniques, together with critical analysis can help the professors to reach a relationship level, regarding the teaching and learning process, as that described in the epigraph s text, into which teaching and learning, can t be done only by one of the process subject, but must be lived by both of them: professors and students

Centros históricos e desenvolvimento urbano: um estudo comparativo entre os programas Monumenta no Brasil e Polis em Portugal

Both the end of the twentieth century and the beginning of the twenty-first century have been characterized as a period of major political, economic, social and cultural transformations. Two of the major consequences of the political-economical crisis of the end of last century are the restructuring of capitalist production, and the consolidation of neoliberalism as a worldwide phenomenon. This new world political-economical scenario has influenced, in a dialectic way, the contemporary urban development. In that sense, "new" spatial processes and new paradigms in both urban management and urban planning have gained shape. In this context of urban transformations, the central areas of western cities, also known as historic centers, are being increasingly (re)valued. Since the Second World War, the historic centers urban areas which have great infrastructure and symbolic relevance had been undergoing a process of evasion of population and activities, undeniably linked to the neglect of government authorities. However, in recent decades, the question of historic centers rehabilitation has acquired a growing interest, academically and in political agendas. The object of this dissertation is to focus on how the government of each Brazil and Portugal has dealt with the issue of historic center rehabilitation through programs of urban rehabilitation

Rostros y rastros del Nobel: Gabriel García Márquez veinticinco años después

Gabriel García Márquez asume la oralidad del homo caribbeans como síntoma de diversidad , por oposición a la universalizante estandarización trascendental de la escritura, en palabras del antillano Edouard Glissant, y representa una reacción a la cultura letrada establecida por el sistema imperial occidental, custodiada por los organismos reguladores del orden establecido en el centro. De este modo, la literatura oficia como archivo cultural. A la luz de la concepción de literatura como escritura, es preferible hablar de diseminación, de intertextualidad, de palimpsesto, en vez de recurrir al trajinado concepto de influencias literarias. En tal sentido, Cien años de Soledad se constituye en un canon emergente, un código maestro, un nuevo mapa cultural que permite múltiples lecturas y re-escrituras. El realismo mágico pone en crisis el concepto aristotélico de mimesis del arte verbal y exige una nueva perspectiva de analisis.Según un importante sector de la critica, la obra garciamarquiana en sus diferentes rostros, desde las tempranas producciones del ciclo Macondiano hasta la Summa Amorosa que concluye con Del amor y otros demonios, señala el tránsito de la narrativa colombiana de la modernidad a la posmodernidad . Por cierto, veinte años después del Nobel, su rastro se puede seguir desde el campo novelístico nacional contemporáneo hasta recónditas geografias literarias del globo. El realismo mágico, así como en general la literatura del boom, constituye desde la década del setenta una nueva fórmula de respuesta a la situación posmoderna, dado que reemplaza el antiguo canon colonial hegemónico y sus ecos esencialistas, realistas y nacionalistas posteriores a la independencia, y proporciona una ficción de autorrepresentación de la realidad híbrida del discurso otro latinoamericano, en la que la categoría de lo maravilloso reemplazará a la de lo sublime. Sin duda, Macondo existe, es una región de la memoria. Pero sus límites no son occidentales. Dentro del mapa literario mundial, es vecino de remotos espacios geolingüísticos y geoculturales.AbstractGabriel García Márquez assumes the oral tradition of the homo caribbeans as a symptom of diversity, by an opposition to the universalizing standardization of writing, to use the words of Antillean writer Edouard Glissant, and represents a reaction against the educated culture established by the Western imperial system and kept by the regulating organisms of the established order in the center. Thus, literature represents a cultural file.Following the notion of literature as writing, it is preferable to talk about dissemination, intertextuality, or palimpsest instead of resorting to the overused concept of literary influences. In this sense, One Hundred Years of Solitude becomes an emerging cannon, a master code, a new cultural map that allows multiple readings and re-writings. Magic realism puts into crisis the Aristotelian concept of mimicry of the verbal art and demands a new perspective of analysis. According to an important sector of critique, the Garciamarquian work– in its different phases, from the early productions of the Macondian cycle to the Summa Amorosa that finishes with Love and Other Demons, represents the path of the colombian narrative from the modernism to postmodernism. By the way, twenty years after the Nobel, its path can be followed from the novel national contemporary field to distant literary geographies of the world. Magic realism, as well as in general terms the literature of the boom, makes from the sixties decade a new form of answering to the postmodern situation, because it substitutes the old colonial hegemonic cannon and its essential , realistic and national voices after the independence. It gives a fiction of sel-frepresentation of the hybrid reality of the other Latin American discourse, in which the marvelous category will replaced that of the sublime. With no doubt, Macondo exists, it is a region of the memory. But its borders are not Western, inside the literary world map, it is a neighbor of remote geolinguistics and geocultural spaces.

Un pájaro azul en Costa Rica: la función de la traducción de L’Oiseau bleu en la Costa Rica de 1912

El estudio procura desvelar la función de El pájaro azul (traducción de Roberto Brenes Mesén) dentro del contexto histórico en que surge. Tras describir y analizar las especificidades ideológicas, sociales y literarias de contexto, individuos y textos involucrados, se concluye que la traducción pudo haber funcionado como un instrumento para promover cambios ideológicos, sociales y estéticos dentro de la sociedad costarricense de principios del siglo veinte.This study seeks to describe the role of El pájaro azul (translated by Roberto Brenes Mesén) when it first appeared in Costa Rica in 1912. A description is provided of the ideological, social and literary features present in the context, and of the agents and texts involved in the production of El pájaro azul. The analysis of these features makes it possible to state that the text is likely to have been an instrument used to promote ideological, social and aesthetic changes within the 20th century Costa Rican society.

Del enclave a la metrópolis: algunos problemas de la crítica poscolonial contemporánea

Se analiza la crítica literaria denominada «poscolonialismo» o «estudios poscoloniales». Se traza la evolución de los estudios poscoloniales desde sus inicios hasta el presente, y las limitaciones que esta escuela presenta en cuanto a la formulación de sus enunciados y su aplicación en los contextos políticos, sociales y culturales de las literaturas que intenta abarcar. Asimismo, se ofrece opciones para mejorar la práctica de los estudios poscoloniales, tanto en el campo de la crítica literaria como en el de la enseñanza de la literatura, especialmente en contextos más allá de la academia occidental.An analysis is carried out of the literary criticism labeled as postcolonialism or postcolonial studies. The evolution of postcolonialism is traced from its beginnings until today, including limitations in the formulation of theories and its application in the political, social and cultural contexts of the literatures covered. In addition, suggestions are made to enhance the practice of postcolonial studies, both from the field of literary criticism and the teaching of literature, especially in contexts apart from the Western academic world.

La acción del modernismo

Se analiza el modernismo Latinoamericano desde el punto de vista social, poético y religioso. A su vez, se enfoca el romanticismo y algunas de sus manifestaciones literarias tales como: Facundo, Azul, Martín Fierro, Oda de Roosevelt, Ariel.

Centered Fluidity and the Horizons of Continuity in Djuna Barnes' Nightwood

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.