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Günter Brus. A walk through totality

Identifikátory výsledku

  • Kód výsledku v IS VaVaI

    <a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378068%3A_____%2F22%3A00567852" target="_blank" >RIV/68378068:_____/22:00567852 - isvavai.cz</a>

  • Výsledek na webu

    <a href="https://digilib.phil.muni.cz/en/handle/11222.digilib/digilib.77245" target="_blank" >https://digilib.phil.muni.cz/en/handle/11222.digilib/digilib.77245</a>

  • DOI - Digital Object Identifier

    <a href="http://dx.doi.org/10.5817/TY2022-2-2" target="_blank" >10.5817/TY2022-2-2</a>

Alternativní jazyky

  • Jazyk výsledku

    angličtina

  • Název v původním jazyce

    Günter Brus. A walk through totality

  • Popis výsledku v původním jazyce

    This study focuses on examining a specific artwork of a member of the Austrian action group of Viennese Actionism, Günter Brus through the prism of Trauma Studies. The research question of how the trauma of World War II expressed itself in the art of Günter Brus encompasses a focus on three sub-areas based on the nature and definition of trauma and following neurosis/psychosis: individual trauma (e.g., childhood trauma), societal trauma (a consequence of WWII), and the return of trauma if it has not been consistently processed. The experience of WWII left traumas in the generation of artists such as Brus (e.g., his experience of bombing at an early age) that were individual, society-wide (the complicity of the whole Austrian society in the Nazi crimes and the Shoa), and/or the traumas caused by some recurring trauma. According to British theatrologist Patrick Duggan, trauma on the individual level is doubled upon recurrence, which is similar to the conclusion at which German researcher Gerald Schröder arrives when he writes about the Wiederholungstrauma of a society on the whole. When the level of social traumatisation reaches a borderline level, it manifests itself through various valves, including artistic ones. Günter Brus became such a materialisation of the repetition of trauma, a living reminder, literally walking through the streets of Vienna during his event Vienna Walk. The study introduces and describes the nature of such trauma in the artwork of the Austrian post-war artist through the framework of Duggan's methodology coupled with trauma-related symptomatology.

  • Název v anglickém jazyce

    Günter Brus. A walk through totality

  • Popis výsledku anglicky

    This study focuses on examining a specific artwork of a member of the Austrian action group of Viennese Actionism, Günter Brus through the prism of Trauma Studies. The research question of how the trauma of World War II expressed itself in the art of Günter Brus encompasses a focus on three sub-areas based on the nature and definition of trauma and following neurosis/psychosis: individual trauma (e.g., childhood trauma), societal trauma (a consequence of WWII), and the return of trauma if it has not been consistently processed. The experience of WWII left traumas in the generation of artists such as Brus (e.g., his experience of bombing at an early age) that were individual, society-wide (the complicity of the whole Austrian society in the Nazi crimes and the Shoa), and/or the traumas caused by some recurring trauma. According to British theatrologist Patrick Duggan, trauma on the individual level is doubled upon recurrence, which is similar to the conclusion at which German researcher Gerald Schröder arrives when he writes about the Wiederholungstrauma of a society on the whole. When the level of social traumatisation reaches a borderline level, it manifests itself through various valves, including artistic ones. Günter Brus became such a materialisation of the repetition of trauma, a living reminder, literally walking through the streets of Vienna during his event Vienna Walk. The study introduces and describes the nature of such trauma in the artwork of the Austrian post-war artist through the framework of Duggan's methodology coupled with trauma-related symptomatology.

Klasifikace

  • Druh

    J<sub>SC</sub> - Článek v periodiku v databázi SCOPUS

  • CEP obor

  • OECD FORD obor

    60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Návaznosti výsledku

  • Projekt

  • Návaznosti

    I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Ostatní

  • Rok uplatnění

    2022

  • Kód důvěrnosti údajů

    S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Údaje specifické pro druh výsledku

  • Název periodika

    Theatralia : revue současného myšlení o divadelní kultuře

  • ISSN

    1803-845X

  • e-ISSN

  • Svazek periodika

    25

  • Číslo periodika v rámci svazku

    2

  • Stát vydavatele periodika

    CZ - Česká republika

  • Počet stran výsledku

    26

  • Strana od-do

    15-40

  • Kód UT WoS článku

  • EID výsledku v databázi Scopus

    2-s2.0-85151506887