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Matter and Decay: a Study of the Formlessness in George Bataille's Work
Rocha Tenorio, Laís ; Goddard, Jean-Christophe (advisor) ; Wolfe, Charles T. (referee)
MATTER AND DECAY: A STUDY OF THE FORMLESSNESS IN GEORGES BATAILLE'S WORK Abstract: The present work proposes a reflection on the entry «Formlessness» presented by Georges Bataille in the magazine Documents, to which the writer and thinker was part of from 1929 to 1930. The interest in this entry emerged because of the «Formlessness» have a certain similarity with a specific process in nature, namely, the rot. The «Formlessness», at first, appears as an entry in Bataille's critical dictionary, revealing itself more as a «tool» than an adjective. Whereas Bataille weaves a critique of modern anthropomorphism with it, we see that this entry later becomes a notion. Therefore, in order to understand it as a notion and a tool in this analysis, it will be necessary to go through the rot and through the texts that the author will dedicate to materialism. Thus, this proposal will show that the Bataillian conception of the matter, our hypothesis, has contributed for the reflection of the «Formlessness» and of its function. Keywords: Formlessness; Materialism; Decay; Georges Bataille
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Eva Kmentová and the Body Imprint in the Sixties and Seventies Art
Hrušková, Tereza ; Klimešová, Marie (advisor) ; Wittlich, Petr (referee)
The bachelor thesis deals with the physical imprint in the sixties and seventies Art. The time limitation is mainly based on the selected works of sculptor Eva Kmentová (1928-1980), in which the phenomenon of body imprint is present. The issue of body imprint is gripped in a broader theoretical context and is based on two decisive foreign works. Primarily the book of George Didi - Huberman Le Ressemblance par contace, and secondly the theoretical thesis of Rosalind Krauss and Yve-Alain Bois in their catalogue Formless : A User's Guide to the exhibition L'informe. The bachelor thesis shows a possible view on the body imprint as a dialectic phenomenon generated by meeting of formlessness - shapeless mass and of the form - represented by imprinted object. For deeper understanding of Eva Kmentová's background, the chapter summarizing the changes in Czechoslovakian informel art in the late fifties and early sixties is included. Within the context of imprint's indexical value the bachelor thesis turns to Roland Barthes and his theory of photography. It is noted that both the photography and the physical three-dimensional imprint share the barthesian values. Selected works of Eva Kmentová from the late sixties and early seventies are subjected to deeper analysis from the defined perspective of the...
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