Utilize este identificador para referenciar este registo: http://hdl.handle.net/10451/1979
Título: O espaço pictural em Heidegger
Autor: Soares, Stela Maria dos Santos, 1970-
Maia, Tomás
Palavras-chave: Pintura
Criação artística
Heidegger, Martin, 1889-1976
Brunelleschi, Filippo, 1377-1446
Velazquez, Diego, 1599-1660
Friedrich, Caspar David, 1774-1840
Manet, Edouard, 1832-1883
Cézanne, Paul, 1839-1906
Soulages, Pierre, 1919-
Rothko, Mark, 1903-1970
Sousa, Ângelo de, 1938-
Michaux, Henri, 1899-1984
Twombly, Cy, 1928-
Tarkovsky, Andrei, 1932-1986
Data de Defesa: 2009
Resumo: The present essay tries to put forward a pictorial space perception in Heidegger’s thinking, taking as an object of study several of the author’s texts. In a first stage, we approach Heidegger’s thought on creation, where the conception of truth appears as original opening and disclosure, to then discover that it is through the artwork that its “thingness” manifests itself and where the essence of the creative act comes together in let-be the Being and in the making as to let-be the work of art. We also look into the existence of parallels between Heidegger’s and Buddhist thought. In the following chapter, before exploring Heidegger’s concept of pictorial space, we try to put forward how the concept has been looked at throughout time within the discipline of art history, referring to a select few examples that we consider to be fundamental in arguing our case. It is our conviction that the history of painting is a history of discontinuity, where each change is a radical rupture, a spacing that’s a new beginning. To know if we might speak and how we would speak of Heidegger’s pictorial space, in third Chapter we traced a path through Dasein and thing spaciality, so as to then grasp the meaning of concepts like space, time, place and emptiness. In the final chapter, we go back to the works of art, choosing those artists whose ways of doing echo our shared understanding of Heidegger’s thoughts, and therefore converging the analysis done all across the thesis. Overall, we try, through this investigation, to articulate Heidegger’s reasoning with an oriented analysis within art history, through a movement of approximation and removal, deepening the two-fold meaning of space in these two blocks – historical and conceptual – that make up that analysis. In conclusion, we establish our insight into the concept of pictorial space in the language of the thinker here being discussed and within the historical context, followed by a discourse on artists and works of art by us considered more suitable.
Descrição: Tese de Mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2009
URI: http://hdl.handle.net/10451/1979
Aparece nas colecções:FBA - Dissertações de Mestrado

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