Deslizar nas ruas, entre Mário de Andrade e Max Jacob

This essay intends to point to a possible dialogue between Mário de Andrade and Max Jacob, starting from the books of poems Paulicéia desvairada (1922) and O losango cáqui (1926), Le cornet à dés (1916) and Le laboratoire central (1921). Divided into three parts, it investigates the figuration in the two poets of the harlequin’s image, through which both would operate several displacements. One of them, the resumption of a romantic mythology of the artist, as in Baudelaire, and the conscience of his staging character. Other, through the opposition between reason and madness, legitimating a lyrical state as a way to a different perception of the reality. Lastly, through the proposition of an artistic sincerity, moral of work with deep impact over the literary language.

Questões morais do Le Cabinet noir de Max Jacob

This essay aims at presenting the book Le Cabinet noir of Max Jacob, a book of fictional letters with comments, taking into consideration the moral judgment: right conduct, principles that govern modes of action. This strategy demonstrates the ambiguity of Max Jacob’s project: divided into a certain Catholicism, which he practiced, and avant-garde literature. On the other hand, this study points to the various contradictions such as a certain morality towards the family preservation or friendship, virtues or Christian attitudes and bourgeois conveniences. Finally, it establishes the dimension of desire in face of René Girard’s questionings in the essay Mensonge romantique et vérité romanesque.

The Johann Jacob Wepfer Award 2012 of the European Stroke Conference to Professor Louis R. Caplan

No abstract available.

Jacob van Ruisdaels Buiten-Ansichten

In den Buiten-Ansichten Jacob van Ruisdaels zeigt sich eine einmalige Verbindung von Architektur und Naturkonzept in der niederländischen Malerei des 17. Jahrhunderts. Die Darstellung von luxuriösen Landvillen wird in eine illusionistische Landschaft gesetzt, die in ihrem Wildnischarakter den realen barocken Garten negiert. Ruisdael spielt bewusst mit der assoziativen Wirkung von Buiten- und Garten-Architektur, die durch ihre Übertragung in die Wildnis ihrer Funktion enthoben werden. Gleichzeitig erhält die Landschaft durch ihre Gruppierung um die Architektur eine Aufwertung zum Garten. Die dabei entstehenden Parallelen zur Gartenkunst des 18. Jahrhunderts, machen Ruisdael zu einem visionären Künstler seiner Zeit.