Ensino de literatura: possível humanização do indivíduo no contexto da atual sociedade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Arte e resistência: Vincent Willem Van Gogh

Esta tese apresenta uma proposta interdisciplinar para abordar o objeto artístico, almejando demonstrar como a Psicologia pode enfocar a leitura e a interpretação das produções artísticas visuais. Foram aplicados métodos psicológicos considerados eficazes para entender o fenômeno artístico e, assim, interpretar o trabalho do artista. O instrumental teórico foi o da apreensão fenomenológica e o conhecimento psicanalítoco. Trinta e nove telas de Van Gogh (produzidas em Arles, 1888; no asilo de Saint Rémy, Provence, 1889; e em Auvers Sur Oise, 1890) foram selecionadas para análise. Foram Observados os aspectos da visualidade da obra, segundo a ótica fenomenológica, e as imagens foram investigadas em sua disposição em um espaço simbólico do espaço pessoal do artista, dos elementos configurados que compõem a foma, da iluminação e cor empregadas no trabalho e da dinâmica e expressão dos conteúdos manifestos. A tese constitui-se de quatro capítulos. O primeiro apresenta a história do artista; o segundo, a teoria para abordar a percepção fenomenológica, definindo elementos utilizados para interpretar o objeto artístico; o terceiro analisa as imagens produzidas por Van Gogh no período estudado; o quarto diagnostica, analisa e interpreta a expressão das imagens. Foi também analisada a temática explorada pelo artista, de acordo com sua manifestação simbólica. A trajetória deste trabalho assemelhase ao psicodiagnóstico, que levanta hipóteses e verifica se elas são verdadeiras ou falsas. Assim foi levantada a hipótese de que a arte atuava na existência do artista como um procedimento terapêutico e mantenedor do seu equilibrio. A maior êncase da literatura recai na loucura de Van Gogh como propulsora de sua obra, visão oposta à desta tese... (Resumo completo, clicar acesso eletrônico abaixo)

HQtrônica: atividade programada e curso de extensão

This Final Course Work’s main subject comes from a study made on my previous Final Course Work titled “Artemídia Preferente: Fenômeno ‘Jogar&Ler’ nas Histórias em Quadrinhos Interativas (HQI) com os games do RPG”, and it is fed by the shortage of Electronical Comic publications, classes, courses and activities that could suit for educational purposes and experiences for a capable kind of audience to learn it and do it. Specific issues about Electronic Comic will be presented, based on Célestin Freinet’s Pedagogy, on some books about Methodology and on the Brazilian Curriculum Guidelines required for graduation. After that, a Lesson Plan will be developed for a 14 year-old-or-older kind of audience where they will be capable of making their own Electronic Comic, being it educational-themed or not. This study also cares about the participants’ influences on their lives to be completed. Furthermore, this work is inserted in the line of the research “Artistic Processes and Procedures” of the Department of Fine Arts from the Art Institute of UNESP, whose methodology used was the Freinet Educational Cybernetics, developed in the research group “Media Arts and Videoclip” leaded by the leading advisor for this Final Course Work. The result and discussion of artistic and scientific research were reported in monographs such as this that I present, with the following versions: PDF version for dissemination in the virtual repository of the Institute of Art’s Library; hardcover version for physical collection at the Institute of Art’s Library; the printed version for the board of examiners, and an appropriated template version for submission to the International Scientific Congress in the area of Arts.

Personagens e espaço em romances de Aluísio Azevedo

The characters of O mulato, Casa de pensão and O cortiço, well written books by the writer Aluísio Azevedo, may be considered predominantly flat, for they were built with a single or few features. This kind of character can be even defined by the type, which represents certain dominant features (professional, psychological, cultural, economic, religious, etc.) from the diegetic universe in which the action takes place. This character subcategory is present in certain artistic periods such as Realism and Naturalism, and can be understood as the main character between the individual and the collective, between the concrete and the abstract. Yet, the social space, in the novels of the above mentioned literary movements configures itself, especially in terms of the presence and types of extras: it is about describing environments that illustrate, almost always, in a historical period context of critical intent, vices and deformations of the society, as we can see depicted in the three novels of the author. In turn, the narrative categories that most decisively influence the space representation are the instance (the narrator) and the narrative perspective (focusing). In the case of O mulato, Casa de pensão and O cortiço, the dominance is in choosing the omniscient narrator, who prefers a panoramic view, limited to an exterior and strictly objective description. The survey was developed through readings, literary cataloging and corpus discussions, with a theoretical basis determined by three dimensions: a) critical essays about the author and his works, such as those by Jean-Yves Mérian, Aluísio Azevedo, vida e obra: (1857-1913) and parts of the literature histories which deal with Naturalism, such as those by Alfredo Bosi, História concisa da literatura brasileira, b) theoretical studies about the novel character, such as those by Antonio Candido, A personagem do romance, and the romantic space ...

Artemídia escrevente: a caligrafia entre a arte e o design

The term “writing media art” expresses an artisticscientific process performed in the Art-Science Communication interface presented as Final Paper in Visual Arts baccalaureate modality. The first part gathers, in artistic-scientific research, a historical overview of the relation between image and writing, which its main focus is calligraphy and its different expressions in art and design, including their interrelations. The identification is made from bibliographical and iconographical survey, both printed and virtual materials. This approach involves the selection of authors’ statements and comments in order to offer a deeper historical basis, since it comes to facts and events. The second part relates to the set of works produced during the four-year period of the Visual Arts course, including a reflection about the creation process and all that surrounds it – influences, memories, visions etc. – to finally establish a connection between all these elements in order to make clear this incredible web of creation. This work is inserted in the line of research “Artistic Processes and Procedures” of the Department of Fine Arts of the Art Institute of UNESP and describes: creative process, production and influences. The methodology used was Freinetiana Educational Cybernetics, developed in the research group “Art media and Videoclip”, whose leading advisor is the one from this Final Paper. The result and discussion of the artistic-scientific research were reported in monography in the following versions: PDF File repository for dissemination in the virtual library of the Institute of Arts; hardcover version for physical collection in the Library of the Institute of Arts; paper version for the committee; template version appropriate for submission to International Scientific Congress in the area of Arts

Fragmento d'alma

Fragmento D' Alma is an artistic research that part of a poetic tale through an initial charge of dawn one fantastic universe where words have life and willingly. The work includes sculptural works in order to interpret through the use of allegory situations of the tale in the form of sculptural compositions considering one or more characters in the story. In the sculptural work, I tried figuring the relations tale as my interpretations and poetic, so I sought theoretical studies of allegory after noting my affinity with the theme to contribute to the relationship text and image set in my work. I also sought to understand the relationships that the text played with sculptural work, so the chances that I could address this through dialogue between text and image. The studies collected through surveys pointed allegory by João Adolfo Hansen, as well as in various artistic and visual references present in my repertoire, such as the Baroque sculpture of Bernini, the performances of Berna Reale and literature of Neil Gaiman, contributed in this research to the development of my creative process during the preparation of this research work of art, making the complexity of the relationship between textual production and poetic sculptural three-dimensional, also became a concern and an integral theme of my work and my reflections presented here. Therefore, I conclude based on my own experience in this work, the artistic research inspired allegory might contribute to the development of my creative process during the preparation of this artwork, besides assigning relations between textual production and poetic dimensional sculpture

Walter Bacci: desculpas e deslizes diálogo entre artista plástico e cenógrafo

Pós-graduação em Artes - IA

Artista/Câmara de maravilhas

Pós-graduação em Artes - IA

E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

Do iê-iê-iê ao êê-boi: Sérgio Reis e a modernização da música sertaneja (1967-1982)

Pós-graduação em História - FCHS

Entre o claro e o escuro: uma poética da angústia em Saramago

Pós-graduação em Estudos Literários - FCLAR

Transfigurações do passado em narrativas de Teolinda Gersão e Mia Couto

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.

(En)quadros estéticos (artísticos e clínicos) e seus efeitos sensíveis

Based on the aesthetic investigations of Freud, the work intends to bring joints between possible sensitive effects caused by contact / reception with works of art (having them here as “framed art”) and psychoanalytic clinical setting. The text is also concerned to show that the production of these striking effects, happens by the condition of these items (artistic and clinical) are under a frame and therefore conceptualized as aesthetic in this article arguments.

Flores do abismo, imagens do inconsciente [2012]

Presented in a rehearsal form, this article aims to bring out a historical discussion about the relationship between art-madness in Brazil. Result of a research that had as object the critical fortune written on the first exhibit of the Museum of Images of the Unconscious, this work aims to connect two little closer fields: art criticism and mental health, especially since Mário Pedrosa’s work. It was possible to ascertain, throughout the investigation, that there was a position taken by art critics at that time (the 1940s), that position is basically divided into two, briefly explored here: those who encouraged the exhibits, and thereby attested the artistic value of the work produced in the studio of Pedro II Psychiatric Center (where it was founded the Museum); and those who decried the artistic character of "unconscious images", as would be known the works that were produced there. Thus, we can say that, indeed, the virgin art – so entitled by Pedrosa – functioned as a kind of sting to the renewal of our health practices, but mainly influenced the completion of a cycle of modernism in our country.