DSpace Collection:
http://hdl.handle.net/10174/158
2024-03-28T20:25:17ZPRÉMIO VERGÍLIO FERREIRA Intervenção 1 março 2023
http://hdl.handle.net/10174/35880
Title: PRÉMIO VERGÍLIO FERREIRA Intervenção 1 março 2023
Authors: Pereira, Cláudia Sousa
Abstract: Intervenção na cerimónia de atribuição do Prémio Vergílio Ferreira 2023 ao escritor angolano Onjaki.2023-03-01T00:00:00ZEverything is a story: Lydia Davis's Very Short Fiction
http://hdl.handle.net/10174/24353
Title: Everything is a story: Lydia Davis's Very Short Fiction
Authors: Lima, Maria Antónia
Abstract: For Lydia Davis, writing has always wished to be as concise as possible. Her very short stories have almost no plot, emerging as reiterative pieces of thoughts where the chronology becomes a subject rather than a formal device. One of the most important aspects of her tales is that they are nourished by ordinary people and by the frustrations we find around us. They ingeniously manage to focus on what is important in everyday life, revealing its beauty and rescuing what is valuable in the simple actions of each day, immortalizing them with a very particular style. Davis's narratives may be bizarre, absurd and strange but they keep a secret truth to be discovered. Her short stories are undoubtedly short ways to express the secrecy of many truths that not even a long story could tell. Like good pictures, her very short fiction is really very powerful to capture instant glimpses of deeper dimensions in every common routine or experience of our daily lives, where everything is a story. If her writing was acknowledged as belonging to an American tradition, her fiction also persists in evoking the influence of many other writers such as Beckett, Thomas Bernhard, Kafka, Hemingway, W.G. Sebald or Peter Handke. Like them, Lydia Davis is a radical expert of making a long story very short.2018-05-31T23:00:00ZKiki Smith or Kiki Frankenstein: The Artist as Monster Maker
http://hdl.handle.net/10174/24244
Title: Kiki Smith or Kiki Frankenstein: The Artist as Monster Maker
Authors: Lima, Maria Antónia
Abstract: Very concerned with mortality and interested in the subjects of birth and death, Kiki Smith called herself Kiki Frankenstein. In fact, she seemed to be as seduced by anatomy and natural science as Victor Frankenstein. Following the death of her father in 1980, the themes of mortality and decay were very present in Kiki Smith's work. Her main artistic purpose is concentrated in mending our fractured existence through the careful assembling of dispersed and lost parts of ourselves. Some of her hauntingly anthropomorphic puppets, in which her role as an artist is to metaphorically heal and reanimate the dead, allude to Smith's Frankenstein fantasy. We can feel this artistic purpose reflected in her main topics such as anatomy, self-portraiture, nature, and female iconography. Considering the physical self as the primary means of experiencing the world, Smith depicts the fragmented body, exposing organs and body parts in a shockingly and nonhierarchical way. Her intention strives to show how our body is perverted, mutated or corrupted by the dangerous forces of society, science, technology and medicine. In her work, Frankenstein personifies this primal fear of having our body invaded by unknown forces that can totally subvert and violate our identities creating monsters.2018-03-31T23:00:00ZGothic as the first avant-gard art
http://hdl.handle.net/10174/22119
Title: Gothic as the first avant-gard art
Authors: Lima, Maria Antónia
Abstract: Gothic as the first avant-gard art
Maria Antónia Lima
Universidade de Évora / CEAUL
antonialima@telepac.pt
If vanguard means an anti-conventional passion for change and renewal in every art form, the Gothic can be considered the first avant-garde art in the modern sense of the term. Many modern art movements have much in common with the Gothic: the same interest for the collapse of traditional values of authoritarian systems, the desire to transgress and escape from the conventional processes of representation, a curiosity for the irrational and perverse impulses inherited from the primitive man, etc. By recreating horror and violence, the arts were always able to expose the problems of a civilization deprived of its most solid values. Both gothic and avant-garde artists reflect on the disasters of their age, representing those catastrophes to reactivate emotions and awaken consciousness to new and multiple aspects of reality that were understood in a passive and linear way. Across its history, the Gothic has also been an anti-realistic protest, a rebellion of the imagination, an aesthetic of excess. It has deeply developed an anti-conventional vision of reality and defended many forms of transgression of aesthetic conventions and the inversion of accepted categories, searching for the dionisiac force in the dark underground river beneath the surface of human life. As Lovecraft noticed, “the oldest and strongest emotion of mankind is fear”. Fear and terror were always at the origin of ancient myths. There is a thread of dark imagery or ideas that runs through much contemporary art. Some contemporary artists like Mike Kelley, Damien Hirst, Tracey Emin or Douglas Gordon produce their art works not only as expressions of profound transformations in art practices, but also as manifestations of contemporary fears. Typographic, performative and poetic experimentation can be very original, the dissolution of art object, the primacy of concept, text art and new media can be very creative, but horror still connects us to our primal emotions and desires. Some of the most innovative works of contemporary art are often gothic art.2017-10-25T23:00:00Z