Detalhes bibliográficos
| Ano de defesa: |
2017 |
| Autor(a) principal: |
Millen, João Bosco de Camargo
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| Orientador(a): |
Ferrari, Sônia Campaner Miguel |
| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Estudos Pós-Graduados em Filosofia
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| Departamento: |
Faculdade de Filosofia, Comunicação, Letras e Artes
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://tede2.pucsp.br/handle/handle/20464
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Resumo: |
This work objective is to investigate the temporality matter as well as its relation to the expographic presentation mode of the images so-called Atlas Mnemosyne, brought to pass by the philosopher George Didi-Huberman, in accordance to the project initiated by the historian Aby Warburg. There are, in the realm of art, elements that enable us to assert that Didi-Huberman comprehends the images as the exposition basis, which, as a matter of fact, are the timing and also the anachronism in its constituent mode. As for the author’s understanding, the phenomenological dimension world be the basis that should be taken into account when it comes to the images relation, thought of as elements of the unconsciousness dimension and its expression, and in its waken the anachronism in the fundaments. We have as an aim, in this work, to analyze how the relation mode would be translated by means of some discourse which could fit the dialectic movement that would come about due to the temporality-subject-image-art relation. To reach this goal, the investigation pathway has as basis the method called kaleidoscopic, where the these concepts relation analysis are possible with the Merleau-Ponty’s thoughts as well as others modern thinkers, from and of which the author utilizes to delineate his thought construction, as an example, Aby Warburg, Erwin Panofsky, Sigmund Freud, Walter Benjamin and others. Thus, we have sought to point out how Mnemosyne Atlas can be considered a paradigm to those that look on the epigraphic images as a fundamental resource, propitiating the review of the production, exposition and curadory |
