Miroslav Tichý: um lírico no auge da regressão dos sentidos: um estudo sobre o drama do indivíduo moderno

• Autor(a) principal: Braga, Ive
• Data de Publicação: 2017
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/20306
• topic: Tichý, Miroslav [1926-2011]; Arte; Estética; Art; Senses regression; Aesthetics; CNPQ::CIENCIAS HUMANAS::EDUCACAO::TOPICOS ESPECIFICOS DE EDUCACAO

This research takes art as an empirical source to analyze the individual's experience in modernity. The sedimentation of historical and social content objectified in the form of artistic objects is, therefore, the material adopted to explore philosophically the specters of the individual's perception, which manifest themselves in reason, emotion, senses, memory and consciousness. In order to examine these propositions, this research focuses on the prospect of Miroslav Tichý (1926 - 2011), plastic artist and photographer from the Czech Republic. Miroslav Tichý wandered around the streets of the small town where he lived, collecting some discarded objects to manufacture his rudimentary cameras that allowed him to capture a peculiar perspective of a modernity facet. The research elements were presented in four dimensions: material, immaterial, aesthetic and dramatic. This formal organization, which contemplates the theoretical concepts, the method and the analysis of the object of study, had the objective of reproducing the logic of the antagonistic spheres of society, which interact at the same time as they collide. The theoretical reference adopted for this study is the Critical theory of society, considering mainly the concepts of experience and its impoverishment, the individual and pseudo-individuation, developed by Walter Benjamin, Theodor W. Adorno, Max Horkheimer and Herbert Marcuse. The information extracted from the photographs of Miroslav Tichý were organized in four categories of analysis: city, people, bodies and objects. In association with the theoretical perspective presented, the data obtained allowed to explore the experience of the individual in the urban environment, the exaltation and depreciation of the woman, the decrepitude of corporeal matter and the new and more effective forms of repression, indicative elements of the hazy character of the individual in modernity. The themes developed focused on the movement of antagonistic social forces that, while promoting art for emancipation, reinforce the ideological prisms of domination proper of capitalism in the process of transforming culture into merchandise. The reflections raised allowed to criticize the way the social structure expresses itself in the objects of culture and determines the relationship between subject and object