DOCSLIB.ORG

Estudos Performativos-1.Indd 1 01-02-2013 15:23:21

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Estudos Performativos-1.Indd 1 01-02-2013 15:23:21 PretoPantoneRed032 XI COLÓQUIO DE OUTONO ORGANIZAÇÃO Ana Gabriela Macedo Carlos Mendes de Sousa Vítor Moura XI COLÓQUIO DE OUTONO XI COLÓQUIO CENTRO DE ESTUDOS HUMANÍSTICOS DA UNIVERSIDADE DO MINHO Estudos Performativos Global Performance . Political Performance Political Performance Political . Global Performance Global Performance Estudos Performativos Estudos Performativos EEstudosstudos PPerformativos-1.indderformativos-1.indd 2 225-10-20105-10-2010 223:20:143:20:14 XI COLÓQUIO DE OUTONO Estudos Performativos Global Performance ˙ Political Performance EEstudosstudos PPerformativos-1.indderformativos-1.indd 3 225-10-20105-10-2010 223:20:143:20:14 XI Colóquio de Outono ESTUDOS PERFORMATIVOS GLOBAL PERFORMANCE/POLITICAL PERFORMANCE Organização: Ana Gabriela Macedo; Carlos Mendes de Sousa e Vítor Moura Capa: Luis Cristóvam Edição do Centro de Estudos Humanísticos da Universidade do Minho © EDIÇÕES HÚMUS, 2010 End. Postal: Apartado 7097 – 4764-908 Ribeirão – V.N. Famalicão Tel. 252 301 382 / Fax 252 317 555 E -mail: [email protected] Impressão: Papelmunde, SMG, Lda. – V. N. Famalicão 1.ª edição: Novembro 2010 Depósito legal: 318616/10 ISBN 978 -989 -8139 -58 -0 EEstudosstudos PPerformativos-1.indderformativos-1.indd 4 225-10-20105-10-2010 223:20:143:20:14 XI COLÓQUIO DE OUTONO Estudos Performativos Global Performance ˙ Political Performance ORGANIZAÇÃO Ana Gabriela Macedo Carlos Mendes de Sousa Vítor Moura (Revisão de textos de Bernarda Esteves) EEstudosstudos PPerformativos-1.indderformativos-1.indd 5 225-10-20105-10-2010 223:20:143:20:14 EEstudosstudos PPerformativos-1.indderformativos-1.indd 6 225-10-20105-10-2010 223:20:143:20:14 Este volume é dedicado à memória viva de Paulo Eduardo Carvalho “There would have been a time for such a word” Macbeth, Act V, v 18 EEstudosstudos PPerformativos-1.indderformativos-1.indd 7 225-10-20105-10-2010 223:20:143:20:14 EEstudosstudos PPerformativos-1.indderformativos-1.indd 8 225-10-20105-10-2010 223:20:143:20:14 Índice Introdução ANA GABRIELA MACEDO, CARLOS MENDES DE SOUSA E VÍTOR MOURA 11 Foreword ANA GABRIELA MACEDO 21 What’s wrong with “dirty” feelings? The case for pornography 23 RUWEN OGIEN “Doing Things with Words” Feminist Performative Translators 37 ELEONORA FEDERICI Performing Gender behind the Camera: Women Directors in Commercial Cinema 49 MARGARIDA ESTEVES PEREIRA Fluid Performances: women travel writers and their changing political roles 63 REBECCA KIRSTEIN HARWOOD A ‘escrita -corpo’ de Ana Hatherly: 75 MÁRCIA OLIVEIRA Eunice de Souza’s poetry: creating a public persona as feminist performance 85 JOANA PASSOS Reescrever diferenças, desconstruir hegemonias. 97 ELENA BRUGIONI Veracity and Mendacity 111 LAURIE BETH CLARK Options for Contemporary Dance Criticism 117 NOËL CARROLL Force Multiplier: what can performance do for and against torture? 137 MICHAEL PETERSON Ascensão e queda Muros, labirintos e as asas do desejo 153 ALFRED OPITZ Work of Mourning in Good bye, Lenin!, The Lives of Others and Sonnenallee 163 SVEN GRAMPP Perestroika: géneses, vivencias e leitura intramuros 179 NADEJDA IVANOVNA NAGOVITSINA MACHADO The Dead Weight of the Text: Narratives of The Merchant of Venice in performance 193 FRANCESCA RAYNER EEstudosstudos PPerformativos-1.indderformativos-1.indd 9 225-10-20105-10-2010 223:20:143:20:14 Shakespeare on fi lm: popularising the bard through a musical 205 BERNARDA ESTEVES The Performative Female Body in Helen Chadwick and Claude Cahun 213 MARIA LUÍSA COELHO Female stereotypes -based «personae» in women’s video art 223 TERESA FURTADO Satiric Language, Political Defi ance, and Cultural Change 235 MARIA GEORGINA RIBEIRO PINTO DE ABREU Defender a ópera contra os seus entusiastas: Musiktheater, de Walter Felsenstein a Peter Konwitschny 257 MÁRIO VIEIRA DE CARVALHO Performance Musical: O Papel do Intérprete na Música Erudita Ocidental 273 LUÍS PIPA História da interpretação como memória de civilização 285 ÂNGELO MARTINGO Christopher Wool: efeito e drible 299 EUNICE RIBEIRO A arte da representação 315 MARTA NUNES DA COSTA ‘I am the Voice of Fire’: Poetry as Political Performance in the Works 329 of Edith Sitwell and Stevie Smith PAULA ALEXANDRA V. R. GUIMARÃES Mesa -redonda “Artes em Diálogo” LUÍS FILIPE ROCHA 349 PAULO EDUARDO CARVALHO 355 Homenagem a Augusto Boal 360 HUGO CRUZ EEstudosstudos PPerformativos-1.indderformativos-1.indd 1100 225-10-20105-10-2010 223:20:143:20:14 XI Colóquio de Outono Estudos Performativos Global Performance ˙ Political Performance (…) a teoria ou a refl exão performativa apresenta -se como uma possibi- lidade de abordagem interdisciplinar eminentemente cultural – em oposição a estritamente estética – de uma vasta gama de fenómenos, desse modo propondo novas modalidades de leitura ou, pelo menos, de legibilidade da cultura. (Paulo Eduardo Carvalho) O XI Colóquio de Outono promovido pelo Centro de Estudos Humanísti- cos da Universidade do Minho, subordinado ao tema “Estudos Performati- vos. Global Performance / Political Performance”, realizou -se entre 10 e 12 de Dezembro de 2009. O tema deste Colóquio cujas comunicações compilamos no volume que agora apresentamos foi, a vários títulos, pertinente e estratégico, tanto a nível pedagógico (articulando -se com a criação de um novo curso em prepa- ração no ILCH), como no âmbito da investigação, dada a sua natureza inter e transdisciplinar. O programa organizado foi vasto e muito diversifi cado, contemplando as várias áreas de investigação no CEHUM, incluindo mesmo as recém -criadas áreas no âmbito das Artes, nomeadamente a Música, assim como os mais recentes debates a nível internacional que os diversos espe- cialistas convidados nos trouxeram. O Colóquio incluiu, na sua globalidade, uma vasta gama de temas no âmbito da Estética e da Ética; painéis incidindo sobre distintas áreas no âmbito dos Estudos Performativos (teatro, música, cinema, dança, video -arte), e outras sessões temáticas, nomeadamente EEstudosstudos PPerformativos-1.indderformativos-1.indd 1111 225-10-20105-10-2010 223:20:143:20:14 12 Global Performance | Political Performance sobre Estudos de Género e Performance, bem como uma sessão em torno da “Queda do Muro de Berlim”. Integrando este Colóquio sobre Estudos Performativos como uma parte crucial da análise e debate sobre o “estado da arte” nesta matéria, tiveram lugar duas mesas -redondas, a primeira intitulada “Artes em Diálogo”, mode- rada por Ana Gabriela Macedo, Vítor Moura e Sérgio Sousa, com intervenções de Joana Domingues, José Capela, Amélia Muge, Fernando Matos Oliveira, Luís Filipe Rocha e Paulo Eduardo Carvalho. Os textos dos dois últimos inter- venientes integram esta publicação. Uma segunda mesa -redonda, intitulada “Teatro e Contemporaneidade”, teve como intervenientes Nuno Cardoso, Jacinto Lucas Pires, João Manuel Oliveira e Filomena Louro, e foi moderada por Francesca Rayner. Em articu- lação com este painel, o actor e encenador Hugo Cruz fez uma intervenção de homenagem a Augusto Boal, cujo testemunho incluímos neste volume. Afi gura -se -nos pertinente recordar hoje, tal como afi rmou Roselee Gol- dberg na Introdução ao seu pioneiro estudo sobre performance, intitulado Performance Art from Futurism to the Present (1979; 1988), que, pela sua natureza intrínseca, a performance desafi a defi nições precisas ou simplistas, para além da simples declaração de que se trata de “arte viva” feita por artis- tas. Qualquer defi nição mais restrita negaria de imediato a viabilidade da própria performance, visto que ela se fundamenta numa variedade de disci- plinas e de media – a poesia, a narrativa, a música, a dança, a arquitectura, a pintura, assim como o vídeo, o cinema, os slides – articulando -as numa imensa possibilidade combinatória. Na realidade, nenhuma outra forma de expressão artística se traduz num manifesto tão desterritorializado, tão sem fronteiras, já que cada performer inscreve a sua defi nição no próprio pro- cesso de execução da arte que cria. “A vida é o próprio tema fulcral da perfor- mance”, tal como afi rma Goldberg. Passamos agora a uma breve sinopse dos textos contidos neste volume. O artigo de Ruwen Ogien desafi a os fundamentos das várias tentativas de classifi car aquilo a que normalmente se chama “pornografi a”, fazendo -o a partir de um ponto de vista fi losófi co próximo do Utilitarismo. O autor começa por tentar evidenciar que não é possível apresentar um conjunto de condições necessárias e conjuntamente sufi cientes para caracterizar com rigor, em compreensão e em extensão, o domínio dos objectos pornográfi - cos. Em particular, Ruwen Ogien analisa a fronteira dúbia entre “pornogra- fi a” e “erotismo”, duvidando da pertinência da categoria do “artístico”, que, EEstudosstudos PPerformativos-1.indderformativos-1.indd 1122 225-10-20105-10-2010 223:20:143:20:14 XI Colóquio de Outono | Estudos Performativos 13 segundo muitos, serviria para distinguir esses dois géneros de representação sexual, desconfi ando da capacidade dos “juízes” para avaliar da qualidade do valor artístico dos objectos, e levantando sérios obstáculos à ideia segundo a qual existiria uma diferença “moral” entre erotismo e pornografi a. Numa segunda etapa, Ogien utiliza o célebre Princípio do Dano de John Stuart Mill como alicerce daquilo a que chama uma ética minimalista, por oposição às éticas perfeccionistas, paternalistas e coercitivas. É à luz dessa ética minimal que Ogien tenta ilibar a pornografi a das acusações que lhe são normalmente dirigidas (designadamente, a partir dos sectores feministas e conservado- res), com um enfoque especial sobre o argumento que defende que a porno-
Load more

Recommended publications
  • Word for Word Parola Per Parola Mot Pour Mot
    wort für wort palabra por palabra word for word parola per parola mot pour mot 1 word for word wort für wort palabra por palabra mot pour mot parola per parola 2015/2016 2 table of contents foreword word for word / wort für wort Columbia University School of the Arts & Deutsches Literaturinstitut Leipzig 6 word for word / palabra por palabra Columbia University School of the Arts & New York University MFA in Creative Writing in Spanish 83 word for word / parola per parola Columbia University School of the Arts & Scuola Holden 154 word for word / mot pour mot Columbia University School of the Arts & Université Paris 8 169 participating institutions 320 acknowledgements 4 foreword Word for Word is an exchange program that was conceived in 2011 by Professor Binnie Kirshenbaum, Chair of the Writing Program of Columbia University’s School of the Arts, in the belief that that when writers engage in the art of literary transla- tion and collaborate on translations of each other’s work, the experience will broad- en and enrich their linguistic imaginations. Since 2011, the Writing Program conducted travel-based exchanges in partnership with the Deutsches Literaturinstitut Leipzig in Leipzig, Germany; the Scuola Holden in Turin, Italy; the Institut Ramon Llull and Universitat Pompeu Fabra–IDEC in Barcelona, Catalonia (Spain); the Columbia Global Center | Middle East in Amman, Jordan; Gallaudet University in Washington, D.C.; and the University of the Arts Helsinki in Helsinki, Finland. Starting in 2016, the Word for Word program expanded to include a collaborative translation workshop running parallel to the exchanges, in which Writing Program students, over the course of one semester, translate work by their partners at some of these same institutions – the Deutsches Literaturinstitut Leipzig and Scuola Holden–as well as some new ones: Université Paris 8 in Paris, France; New York University’s Creative Writing in Spanish MFA Program; and the Instituto Vera Cruz in São Paulo, Brazil.
    [Show full text]
  • Jahresbericht Der Stiftung Berliner Mauer 2012 Seite 2 Von 89
    Jahresbericht der Stiftung Berliner Mauer 2012 INHALTSVERZEICHNIS 111 DIE STIFTUNG BERLINER MAUER 555 1.1 Stiftungsauftrag und Standorte 6 1.2 Gremien 6 1.3 Finanzierung und Verwaltung 10 1.4 Mitarbeiterinnen und Mitarbeiter 11 222 DIE ERWEITERUNG DER GEDENKSTÄTTE BERLINER MAUER 141414 2.1 Die Erweiterung der Außenausstellung 15 2.2 Umbau des Dokumentationszentrums, Bernauer Straße 111 19 2.3 Ausblick 19 333 DIE ARBEITSBEREICHE DER STIFTUNG BERLINER MAUER 202020 3.1 Forschung und Dokumentation 21 3.2 Zeitzeugenarbeit und Biografieforschung 32 3.3 Historisch-politische Bildungsarbeit 40 3.4 Presse- und Öffentlichkeitsarbeit 49 444 VERANSTALTUNGEN UND KOOPERATIONSPARTNER DER STIFTUNG BERLINER MAUER 2012 565656 4.1 Veranstaltungen 57 4.2 Kooperationspartner 81 555 VORTRÄGE VON MITARBEITERINNEN UND MITARBEITERN 838383 666 PUBLIKATIONEN 878787 Jahresbericht der Stiftung Berliner Mauer 2012 Seite 2 von 89 VORWORT 2012 war für die Stiftung Berliner Mauer ein Jahr ohne große historische Jahrestage. So könnte man meinen: Keine besonderen Vorkommnisse, ein Jahr des normalen Gedenkstättenbetriebes, in dem die alltäglichen Aufgaben einer Gedenkstätte mit etwas mehr Ruhe erledigt werden können. Die Mitarbeiterinnen und Mitarbeiter der Stiftung schreiben das Jahr aber durchaus anders, denn tatsächlich begleiten immer wieder neue Herausforderungen den Arbeitsalltag. Noch nie kamen so viele Besucher in die Gedenkstätte Berliner Mauer wie im Jahr 2012: Insgesamt kamen mehr als 700.000 Menschen in die beiden Häuser der Stiftung Berliner Mauer in der Bernauer Straße und nach Marienfelde. Die Gedenkstätte Berliner Mauer gehört damit heute zu den meistbesuchten touristischen Orten in Berlin. Und auch immer mehr Berlinerinnen und Berliner nutzen das vielfältige Angebot von Führungen und Veranstaltungen.
    [Show full text]
  • Freidenberg, Winfried Letzter
    Freudenberg, Winfried – letztes Maueropfer geboren am 29. August 1956 tödlich verunglückt am 8. März 1989 beim Absturz mit einem Bal- lon in Berlin-Zehlendorf nach einem Flug über die Sekto- rengrenze zwischen Berlin-Pankow und Berlin-Reinickendorf Winfried Freudenberg, geboren am 29. August 1956 in Osterwieck im Harz, wächst in der sächsisch-anhal- tinischen Gemeinde Lüttgenrode in unmittelbarer Nähe zur innerdeut- schen Grenze auf. Nach einer Elek- trikerlehre holt er in Abendkursen an der Kreis-Volkshochschule Halber- stadt sein Abitur nach, studiert Infor- mationstechnik in Ilmenau und schließt sein Studium als Diplom- Elektronikingenieur ab.[1] Während seiner Studienzeit lernt er die spätere Diplomchemikerin Sabine W. in ei- nem Studentenklub kennen. Im Herbst 1988 heiratet das junge Paar, doch sie sehen für sich keine berufli- chen Perspektiven in der DDR. Sie wollen nicht länger hinnehmen, dass ihnen vom Staat "Reisen, Tagungen, Forschungsmöglichkeiten und Kon- takte zu Menschen in westlichen Ländern" vorenthalten werden, wie Sabine Freudenberg später erzählt. Im Grenzgebiet wohnend, direkt am Stacheldraht, "ein paar hundert Meter von einem Land entfernt, das er nie betreten durfte", habe sich der Freiheitsdrang ihres Mannes besonders ausgeprägt.[2] Bei einem Verwandtenbesuch in der Bundesrepublik, zwei Wochen vor seiner Hochzeit, zeigt Win- fried Freudenberg sich entschlossen, die DDR zu verlassen, jedoch nicht ohne seine Frau.[3] Unmit- telbar nach der Hochzeit planen die beiden ihre Flucht mit einem Gasballon. Um an das nötige Erd- gas zu gelangen, nimmt Winfried Freudenberg eine Arbeitsstelle beim Energiekombinat im Bereich Gasversorgung an und bezieht mit seiner Frau eine Wohnung im Ost-Berliner Stadtteil Prenzlauer Berg. In unauffälligen Kleinmengen kauft das Ehepaar Polyäthylenfolien, wie sie für Frühbeetfens- ter und Zelte Verwendung finden.
    [Show full text]
  • Programação .Pdf
    1 2 BOAS VINDAS É com enorme satisfação que acolhemos os participantes do XIV Simpósio Brasileiro de Automação Inteligente (SBAI) na cidade de Ouro Preto, Minas Gerais. Organizado pela Escola de Minas da Universidade Federal de Ouro Preto (UFOP) e pelo Instituto Tecnológico Vale (ITV), o evento superou as edições anteriores em termos de número de trabalhos submetidos e de inscrições. Foram 791 artigos submetidos, dos quais 427 foram aceitos para apresentação oral e 154 na forma de pôster. Esses números representam um aumento de 12,5% em relação à edição anterior. Também foram submetidas 17 propostas de minicursos, sendo 7 incluídas na programação. O trabalho de revisão envolveu 1381 pareceristas, reunidos em 30 grupos temáticos, coordenados pelo Comitê Técnico. Interessante destacar que esses trabalhos provêm de 162 diferentes instituições nacionais e internacionais, sendo que há trabalhos oriundos de 23 dos 27 estados que compõem a federação brasileira. Esses números grandiosos mostram a consolidação do evento como meio de divulgação das pesquisas da comunidade da área de automação, o que muito nos orgulha, enquanto representantes de instituições que sediam esta edição do SBAI. Além dos trabalhos submetidos, haverá 6 palestras de pesquisadores de grande projeção internacional, os quais tratarão temas de pesquisa que estão na fronteira do conhecimento. Também serão ofertados 7 minicursos em temas bastante atuais e de grande interesse, voltados principalmente para a formação dos estudantes. Duas mesas redondas, uma tratando de inovação na indústria 4.0, e outra sobre parceria entre empresas e universidades nos mestrados profissionais, também foram inseridas na programação. Também foi incluída uma competição, chamada ROSI CHALLENGE.
    [Show full text]
  • 140 Victims at the Berlin Wall, 1961 – 1989
    August 2017 Hans-Hermann Hertle/Maria Nooke 140 Victims at the Berlin Wall, 1961 – 1989 Fugitives who were either shot, suffered a fatal accident or took their own lives at the Berlin Wall between 1961 and 1989; individuals from the East and the West who did not intend to flee but were killed or suffered a fatal accident on the border grounds Name Born Died Circumstances of death 1961 Ida Siekmann 23.08.1902 22.08.1961 Killed in an accident while trying to escape. Günter Litfin 19.01.1937 24.08.1961 Shot dead while trying to escape Roland Hoff 19.03.1934 29.08.1961 Shot dead while trying to escape Rudolf Urban 06.06.1914 17.09.1961 Died as a result of injuries incurred while trying to escape Olga Segler 31.07.1881 26.09.1961 Died as a result of injuries incurred while trying to escape Bernd Lünser 11.03.1939 04.10.1961 Fatally wounded under fire while trying to escape Udo Düllick 03.08.1936 05.10.1961 Drowned under fire while trying to escape Werner Probst 18.06.1936 14.10.1961 Shot dead while trying to escape Lothar Lehmann 28.01.1942 26.11.1961 Drowned while trying to escape Dieter Wohlfahrt 27.05.1941 09.12.1961 Shot as an escape helper while supporting others in their escape attempts Ingo Krüger 31.01.1940 11.12.1961 Drowned while trying to escape Georg Feldhahn 12.08.1941 19.12.1961 Drowned while trying to escape 1962 Dorit Schmiel 25.04.1941 19.02.1962 Shot dead while trying to escape.
    [Show full text]
  • Mattingly Final(Numbered)
    Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Shannon Jackson, Chair Professor Abigail De Kosnik Professor Anton Kaes Professor SanSan Kwan Spring 2017 Copyright © Kate Mattingly All Rights Reserved Abstract Set in Motion: Dance Criticism and the Choreographic Apparatus By Kate Mattingly Doctor of Philosophy in Performance Studies Designated Emphasis in New Media University of California, Berkeley Professor Shannon Jackson, Chair This dissertation examines the multiple functions of dance criticism in the 20th and 21st centuries in the United States. I foreground institutional interdependencies that shape critics’ practices, as well as criticism’s role in approaches to dance-making, and the necessary and fraught relations between dance criticism and higher education. To challenge the pervasive image of the critic as evaluator and of criticism as definitive, Set in Motion focuses on conditions that produce and endorse certain forms of criticism, and in turn how this writing has gained traction. I employ the concept of a choreographic apparatus to show shifting relations amongst writers, artists, publications, readers, institutions, and audiences. Their interactions generate frameworks that influence dance’s history, canon, and disciplinary formations. I propose a way of situating criticism as a form of writing that intersects with, informs, and influences both history and theory. Set in Motion expands discourse on writing by examining the continuities and discontinuities in practices over the course of a century.
    [Show full text]
  • Freedom from Violence and Lies Essays on Russian Poetry and Music by Simon Karlinsky
    Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky simon Karlinsky, early 1970s Photograph by Joseph Zimbrolt Ars Rossica Series Editor — David M. Bethea (University of Wisconsin-Madison) Freedom From Violence and lies essays on russian Poetry and music by simon Karlinsky edited by robert P. Hughes, Thomas a. Koster, richard Taruskin Boston 2013 Library of Congress Cataloging-in-Publication Data: A catalog record for this book as available from the Library of Congress. Copyright © 2013 Academic Studies Press All rights reserved ISBN 978-1-61811-158-6 On the cover: Heinrich Campendonk (1889–1957), Bayerische Landschaft mit Fuhrwerk (ca. 1918). Oil on panel. In Simon Karlinsky’s collection, 1946–2009. © 2012 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Published by Academic Studies Press in 2013. 28 Montfern Avenue Brighton, MA 02135, USA [email protected] www.academicstudiespress.com Effective December 12th, 2017, this book will be subject to a CC-BY-NC license. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc/4.0/. Other than as provided by these licenses, no part of this book may be reproduced, transmitted, or displayed by any electronic or mechanical means without permission from the publisher or as permitted by law. The open access publication of this volume is made possible by: This open access publication is part of a project supported by The Andrew W. Mellon Foundation Humanities Open Book initiative, which includes the open access release of several Academic Studies Press volumes. To view more titles available as free ebooks and to learn more about this project, please visit borderlinesfoundation.org/open.
    [Show full text]
  • Women and Arts : 75 Quotes
    WOMEN AND ARTS : 75 QUOTES Compiled by Antoni Gelonch-Viladegut For the Gelonch Viladegut Collection website Paris, March 2011 1 SOMMARY A GLOBAL INTRODUCTION 3 A SHORT HISTORY OF WOMEN’S ARTISTS 5 1. The Ancient and Classic periods 5 2. The Medieval Era 6 3. The Renaissance era 7 4. The Baroque era 9 5. The 18th Century 10 6. The 19th Century 12 7. The 20th Century 14 8. Contemporary artists 17 A GENERAL BIBLIOGRAPHY 19 75 QUOTES: WOMEN AND THE ART 21 ( chronological order) THE QUOTES ORDERED BY TOPICS 30 Art’s Definition 31 The Artist and the artist’s work 34 The work of art and the creation process 35 Function and art’s understanding 37 Art and life 39 Adjectives’ art 41 2 A GLOBAL INTRODUCTION In the professional world we often speak about the "glass ceiling" to indicate a situation of not-representation or under-representation of women regarding the general standards presence in posts or roles of responsibility in the profession. This situation is even more marked in the world of the art generally and in the world of the artists in particular. In the art history women’s are not almost present and in the world of the art’s historians no more. With this panorama, the historian of the art Linda Nochlin, in 1971 published an article, in the magazine “Artnews”, releasing the question: "Why are not there great women artists?" Nochlin throws rejects first of all the presupposition of an absence or a quasi-absence of the women in the art history because of a defect of " artistic genius ", but is not either partisan of the feminist position of an invisibility of the women in the works of art history provoked by a sexist way of the discipline.
    [Show full text]
  • Feminist Art and the Essentialism Controversy*
    The CENTENNIAL !!@VIEW THE CENTENNIAL REVIEW VOL. XXXIX, NO. 3, FALL 1995 Vol. XXXIX N o. 3 Fall1995 AESTHETICS AND IDEOLOGY Editor Assistant Editor Edited by Judith Stoddart R. K. Meiners RichardT. Peterson CONTENTS Managing Editor Editorial Assistant Cheryllee Finney WendyFalb Acknowledgments Editorial Board 385 Linda Beard, African & Afro-American Literature Frieda S. Brown, Romance & Classical Languages After Ideology? Stephen L. Esquith, Philosophy . Judith Stoddart A. C. Goodson, English & Comparattve Ltterature 387 James Hill, English Karen Klomparens, Botany & Plant Pathology Richard Phillips, Mathematics I. RECITING BAKHTIN Linda Stanford, Art Mark Sullivan, Music Bakhtin at 100: Art, Ethics, and the Architectonic Self Scott Whiteford, Latin American Studies Caryl Emerson 397 Editorial Advisory Board Jean Elshtain, Vanderbilt University A Response to Caryl Emerson: Marvin Fisher, Arizona State University Bakhtin's Aesthetics: From Architectonics Carolyn Forche, George Mason University and Axiology to Sociology and Ideology Gerald Graff, University of Chicago Don H. Bialostosky Alison M. Jaggar, University of Colorado-Boulder 419 Douglas Kellner, University ofTexas-Austin Donald Kuspit, SUNY-Stony Brook Bakhtin and Social Change; Or, Why No John Vandermeer, University of Michigan One's Bakhtln Is Politically Correct Evan Watkins, University of Washington Michael Bemard-Donals Cornel West, Harvard University 429 Sheldon Wolin, Princeton University, Emeritus Bakhtln and Language Theory: Beyond a Unified Field Theory Barry Alford 445 FEMINIST ART AND THE ESSENTIALISM CONTROVERSY* By Mary D. Garrard THE YEAR 1994 marks the twenty-fifth anniversary of the beginning of the modern feminist movement-a time for celebration and reflection. It has not been a simple uphill journey, in fact the road has been quite rocky at times, and many feminists have been discouraged to see more backlash than progress.
    [Show full text]
  • Relação Dos Atletas EQUIPE MANDANTE 1º DE MAIO OURO
    Relação dos Atletas EQUIPE SÉRIE R.G Data Nascimento EQUIPE MANDANTE 1º DE MAIO OURO ALAN DE SOUSA OLIVEIRA 38.792.288-X 21/10/2003 1º DE MAIO OURO ANDRE FARIA DE OLIVEIRA 39.932.478-1 31/5/2004 1º DE MAIO OURO ANTONIO AUGUSTO DA CRUZ ANTUNES 58.368.732-5 18/4/2005 1º DE MAIO OURO ARIEL TEIXEIRA DA SILVA 59.454.556-0 14/3/2003 1º DE MAIO OURO ARTUR NASCIMENTO NERY 57.024.147-9 2/6/2006 1º DE MAIO OURO BRUNO DA SILVA ALMEIDA DELGADO 50.061.835-5 29/3/2005 1º DE MAIO OURO CAIO TIAGO ARENALES SANTIAGO 54.934.530-9 26/12/2005 1º DE MAIO OURO CAIO ZONTA SILVA 50.660.362-3 1/8/2003 1º DE MAIO OURO CAUA ARAUJO DE LIMA 59.416.838-7 11/2/2009 1º DE MAIO OURO CAUA PERES NASCIMENTO 63.707.455-5 15/2/2009 1º DE MAIO OURO CAUAN ZONTA SILVA 52.422.738-X 23/10/2007 1º DE MAIO OURO CAUE FELIPE MORAES DE CARVALHO SILVA 53.997.856-5 26/6/2009 1º DE MAIO OURO DANIEL GABRIEL DE ARAUJO 20561 8/1/2006 1º DE MAIO OURO DANIEL GUSMAO DE ALBUQUERQUE 21746 16/8/2003 1º DE MAIO OURO DANILO MALHONE DOS SANTOS 55.594.495-5 10/2/2007 1º DE MAIO OURO DIOGO MALHONE DOS SANTOS 52.895.887-2 18/9/2003 1º DE MAIO OURO EDUARDO CASTAGNACCI LIMA 57.150.687-2 22/2/2007 1º DE MAIO OURO ENZO GABRIEL ANTUNES DA SILVA 57.041.809-4 3/5/2006 1º DE MAIO OURO FABIO EDUARDO ORTIZ 57.012.526-1 18/12/2006 1º DE MAIO OURO GABRIEL DE OLIVEIRA OSSANDON 57.840.862-4 1/4/2007 1º DE MAIO OURO GABRIEL FERREIRA FRANKLIN 58.958.335-9 12/3/2007 1º DE MAIO OURO GABRIEL GIUSEPPE DA SILVA TRONCHIN 55.221.879-0 26/2/2009 1º DE MAIO OURO GABRIEL GUILHERME MARCONDES 53.213.388-2 19/5/2003 1º DE MAIO OURO
    [Show full text]
  • Jihočeská Univerzita V Českých Budějovicích Filozofická Fakulta Ústav Česko-Německých Areálových Studií a Germanistiky
    JIHOČESKÁ UNIVERZITA V ČESKÝCH BUDĚJOVICÍCH FILOZOFICKÁ FAKULTA ÚSTAV ČESKO-NĚMECKÝCH AREÁLOVÝCH STUDIÍ A GERMANISTIKY DIPLOMOVÁ PRÁCE BERLÍNSKÁ ZEĎ Vedoucí práce: doc. PhDr. et PaedDr. Marek Šmíd, Ph.D. Autor práce: Bc. Lenka Váchová Studijní obor: Česko-německá areálová studia Ročník: 2 2019 Prohlášení Prohlašuji, že svoji bakalářskou práci jsem vypracoval/a samostatně, pouze s použitím pramenů a literatury uvedených v seznamu citované literatury. Prohlašuji, že v souladu s § 47b zákona č. 111/1998 Sb. v platném znění souhlasím se zveřejněním své bakalářské práce, a to v nezkrácené podobě elektronickou cestou ve veřejně přístupné části databáze STAG provozované Jihočeskou univerzitou v Českých Budějovicích na jejích internetových stránkách, a to se zachováním autorského práva k odevzdanému textu této kvalifikační práce. Souhlasím dále s tím, aby toutéž elektronickou cestou byly v souladu s uvedeným ustanovením zákona č. 111/1998 Sb. zveřejněny posudky školitele a oponentů práce i záznam o průběhu a výsledky obhajoby kvalifikační práce. Rovněž souhlasím s porovnáním textu mé kvalifikační práce s databází kvalifikačních prací Theses.cz provozovanou Národním registrem vysokoškolských kvalifikačních prací a systémem na odhalování plagiátů. České Budějovice 10. května 2019 ......................................... Bc. Lenka Váchová 2 Poděkování Ráda bych touto cestou poděkovala doc. PhDr. et PaedDr. Marku Šmídovi, Ph.D. za vedení a pomoc při zpracování diplomové práce. Mé poděkování patří také mé rodině, která mi byla po celou dobu studia oporou. V neposlední řadě bych chtěla dále poděkovat paní Svatavě Heroutové, se kterou jsem konzultovala jazykovou stránku práce. 3 Anotace Diplomová práce s názvem „Berlínská zeď“ je zaměřena na zmapování období stavby, existence a pádu Berlínské zdi. V práci jsou obsaženy události předcházející stavbě zdi a její důsledky, které obyvatelům Berlína přinesla, a také okolnosti pádu zdi a jeho následky.
    [Show full text]
  • Our Project Is Not to Add to Art History As
    ‘Our project is not to add to art history as we know it, but to change it.’ The establishment of the Association of Art Historians and the emergence of feminist interventions, 1974-1990 Victoria Horne Introduction In 1974 The Burlington Magazine announced that, ‘at an inaugural meeting in Birmingham in March this year an Association of Art Historians was formed with a regular constitution.’1 The following year the AAH began organising national conferences and in 1978 commenced publication of an affiliated journal titled Art History. This was a formative moment in British art history, during which the professional status of the discipline was strengthened within the context of an expanding higher education system. This article investigates the intersections between professional legitimation and disciplinary critique that marked this period in recent history. In 2017, as the UK Association of Art Historians expansively rebrands itself as the Association for Art History, it is worth looking back and taking stock of this earlier moment of disciplinary self-recognition, institutionalisation and diversification. The coincident emergence of the professional organisation for art history scholars and feminist critique provides a fascinating glimpse of the contradictory forces at play in shaping the contemporary field. Women’s unprecedented academic inclusion and consequent investigations into their predecessors’ historical absence demanded the development of new theories, methodologies and ways of looking at, thinking and writing about art and its history. Feminist intellectual enquiry therefore ascended, entwined with the expanded participation of women in art and academia, but not reducible to it. As Deborah Cherry informed readers of Art History in 1982 this enquiry was not intended to be additive but deeply transformative: ‘Our project is not to add to art history as we know it, but to change it.’2 Thus, feminism’s explicitly political scholarship was fuelled by a profound aspiration to reshape the historical imagination of the late twentieth century.
    [Show full text]