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Wu, Jiahua. "Landscape morphology : a comparative study of landscape aesthetics." Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/1851/.
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This research is about landscape aesthetics. Aesthetics is not purely Platonic but a result of human communication with nature which relates to landscape experience and, in turn, reflects and guides the way people appreciate, paint and design. This is an issue of art philosophy and design methodology. To link theory with practice, the relationship between landscape - both painted and designed - and aesthetic thinking is the most important topic discussed throughout the writing. To achieve a relatively complete understanding of landscape aesthetics, the discussion develops with reference to the historical, cultural, philosophical and technical contexts of both the East and the West. Some key issues such as Romanticism of the English School and Tao in Chinese landscape have been chosen as the central objects of attention in the study. The manner of discussion, reason and analysis is one of comparison. Taking into account the roles of philosophy in art and environmental design, 'Landscape Morphology', a systematic study of the language system of landscape art, design and education, is of high value in the area of environmental development, which substantially links the theory with environmental art and design, and foreshadows the future of landscape aesthetic research.
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Long, Geoffrey A. "Transmedia storytelling : business, aesthetics and production at the Jim Henson Company." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39152.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2007.Includes bibliographical references (p. 177-181) and index.
Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson's Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results. By paying close attention to staying in canon, building an open world, maintaining a consistent tone across extensions, carefully deciding when to begin building a transmedia franchise, addressing open questions while posing new ones, and looking for ways to help audiences keep track of how each extension relates to each other, transmedia storytellers can weave complex narratives that will prove rewarding to audiences, academics and producers alike.
by Geoffrey A. Long.
S.M.
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Vitali, Valentina. "The aesthetics of cultural modernisation : Hindi cinema in the 1950s." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268856.
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Tanchio, Paul Albert. "Transcultural aesthetics and contemporary art." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10225.
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‘Transcultural aesthetics’, in Proceedings of the Pacific Rim Conference in Transcultural Aesthetics (1998), is a generic term used by comparative philosophers and aestheticians to denote a theoretical assessment of distinctive applied aesthetic concepts and experience of cultures. This thesis is concerned with transcultural art and transcultural aesthetics, and it uses the argument put forward by comparative philosopher and aesthetician Eliot Deutsch, in his On Truth: An Ontological Theory (1979), that its practitioners’ distinctive art forms, especially Anselm Kiefer, Imants Tillers, John Young, Gao Xingjian, Helmut Federle and Lee Ufan, all bear a consistent singular presentation of intentionality – crossing boundaries that are philosophical, material and aesthetic – one that draws its relationship of unity-in-diversity (an expression of unity without uniformity and diversity without fragmentation) to pure human experience. I will analyse these art forms creation with reference to key transcultural concepts such as ‘catharsis’ (cleansing), ‘kenosis’ (emptying) and ‘homeostasis’ (harmonising into equilibrium), as drawn from the Chinese, Indian and European aesthetics traditions (commonly known as unity traditions by Philosopher Karl Jaspers) and argue that transcultural aesthetics calls for critical theoretical reflexion on the hermeneutics of discourse and action, as well as on the ‘selves-as-agents’ hermeneutic: a cultivation of insight into one’s own approach to the one regulative ideal of inter-dialogue among multiple cultures. These three key concepts of transcultural aesthetics allow practitioners to regard a form of transcultural unity as the site of their final purpose and meaning in their art and practices. Finally, the actions of practitioners in their practices are not performed in a moment of impulse, but rather they stemmed from a concerted, unified motivation.
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Evans, Robert A. "An Aesthetic Attitude: An East - West Comparison of Bullough and Nishida." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1274279326.
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Carlin, Gerald. "Art and authority : a comparative study of the modernist aesthetics of Ezra Pound." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/4164/.
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Due to the pressure to define a contemporary literature, 'High' modernism in English is often presented as a univocal canon of authors and works whose ideals have been identified and surpassed. This study attempts to re-emphasise the diversity of this writing by showing how crises in inherited authority were 'staged' by its aesthetics. The manner of this staging is examined in the writings and programmes of a selected group of authors while a focus is provided by the aesthetics of Ezra Pound. Pound's work is taken to be of especial interest because of the scope of his influence in establishing a 'modern' movement, the extremism of his writing's antagonism to authority, and the ambiguity of critical responses that the politics of his project continue to elicit. Chapter 1 examines the ways in which Pound promotes an 'aesthetics' of history and politics as the key to contemporary revolutionary change, and views his writing through a body of thinking which considers that the artwork, and not authority, might 'found' a modem culture. Chapter 2 treats Pound's metaphysics, showing how 'de-authorised' conceptions of religion, sexuality and language underpin this project. Chapter 3 deals with the writing of T. S. Eliot, and with the particular anti-aesthetics that inhabit his criticism and the draft of The Waste Land. Eliots project is shown to oppose Pound's by defining a desired authority against the power of art, an opposition that Pound's editing of The Waste Land effectively masks. Chapter 4 discusses the 'mass' aesthetics of James Joyce's Ulysses, and shows that the processes of self-interrogation that feature in this work realign the antipathy between art and authority in ways that militate against the ideals of a Poundian art of 'power'. Chapter 5 treats the work of D. H. Lawrence as a site where an empowered art and culture is both overtly promoted and intrinsically challenged. The proximity of Lawrence's programmatic modernism to Pound's is stressed, while an inbuilt antagonism to its own ideals is shown to sharply distinguish the dynamic trajectory of Lawrencean aesthetics from a Poundian art of self-authorisation. While establishing the antagonism between art and authority as a common focus for modernism, this study underlines differences and antipathies that emerge between the projects and texts under discussion, charting the diversity of responses to a commonly felt crisis. The study concludes with a discussion of Pound's post-war poetry, examining the fate of a writer who failed to extend into his own aesthetics the insights that modem crises in authority delivered.
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Elliott, Maren Nelson. "Border aesthetics: the photograph as fictionalized document in Norma Cantu's Canicula, Art Spiegelman's Maus, and Rea Tajiri's History and Memory." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406719850.
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Jakubowski, Philip. "Masters thesis /." Online version of thesis, 1992. http://hdl.handle.net/1850/11152.
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Hyslop, Rachel Ann. "The concept of typology in Schiller, Nietzsche and Jung an historical and comparative study /." Connect to e-thesis, 2007. http://theses.gla.ac.uk/285/.
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Thesis (MPhil(R)) - University of Glasgow, 2007.MPhil(R) thesis submitted to the Department of German, Faculty of Arts, University of Glasgow, 2007. Includes bibliographical references. Print version also available.
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Clopton, Kay Krystal. "Now Hear This: Onomatopoeia, Emanata, Gitaigo, Giongo – Sound Effects in North American Comics and Japanese Manga and How They Impact the Reading Experience." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1525744652209227.
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LI, HAO. "A COMPARATIVE STUDY OF EIGHTEENTH CENTURY ENGLISH AND ANCIENT CHINESE GARDEN DESIGN." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin975339478.
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Clancy, Brian Thomas. "From Time to Totality| The Aesthetic Temporality of Objecthood." Thesis, University of California, Berkeley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10687332.
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This dissertation constructs a philosophy of perception that creates what I call a “perceptive ontology of objects.” This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel’s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call “the mimesis of sensation.” This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. “The moment,” a temporality distinct from the present, the modernist works of authors like Mallarmé, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative.
These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. A totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity—Baudelaire, Bergson, Benjamin, and Deleuze, and others—who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20th-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known.
Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality—available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarmé, Woolf, Joyce, and Kafka reveal relationships between what I call modernism’s “moments” and the receding totality of the object.
Chapter 1 of the dissertation argues that a relationship exists between Mallarmé’s reception of impressionism and the poet’s linguistic theory. Here I examine Mallarmé’s writings on the impressionist plein air technique in his essay, “The Impressionists and Édouard Manet” (1876). Plein air means more for Mallarmé than just painting outdoors. Air, in Mallarmé’s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism’s more conventional referential representation. I argue that Woolf creates another type of realism through her experiments with time. Importantly, I break from the work of 20th-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf’s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call “the mimesis of sensation.” (Abstract shortened by ProQuest.)
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Blinder, Caroline Anne. "Henry Miller's sexual aesthetics: a comparative analysis of selected twentieth century influences on Henry Miller's writing." Thesis, King's College London (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577494.
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Yanick, Anthony Joseph. "Prolegomena to a Theory of Cinematic Bodies: What Can an Image Do?" Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1386619321.
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Trehearne, Brian 1957. "Aestheticism and the Canadian modernists : aspects of a poetic influence." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72831.
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Olenina, Ana. "Psychomotor Aesthetics: Conceptions of Gesture and Affect in Russian and American Modernity, 1910's-1920's." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10244.
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My dissertation focuses on the notion of “gesture” as a somatic manifestation of psychological experience. This view of movement was elaborated by late 19th-century psychologists, who gave up the metaphysical notion of the soul in favor of neuro-physiological approaches to behavior. My study shows how the new scientific discourse penetrated into a broader cultural sphere, generating wide interest in the question how the body participates in and reflects affective and cognitive processes. I examine the modes of recording, representing and interpreting body movement as “expressive.” Based on archival materials and periodicals, I chart out avenues by which the ideas and methods of physiological psychology reached artists and writers – a task, which involves evaluating institutional practices and cultural-political trends that promoted interdisciplinary engagements. Ultimately, my study demonstrates how scientific discourse transformed techniques of film acting, prompted film industries’ inquiries into spectators’ physical reactions, and spurred literary scholars’ investigations of poets’ intonation and body movement. Yet, rather than positing the direct influence of science, I attend to a variety of ways in which writers and artists reinterpreted, defamiliarized and resisted the positivist outlook brought forward by physiological psychology. In Chapter 1, I show how Viktor Shklovskii drew on William James’s theory of the corporeal experience of emotion and Wilhelm Wundt’s ideas on the gestural origin of language to discuss Russian Futurist poetry as a “ballet for the organs of speech.” Chapter 2 analyzes Boris Eikhenbaum’s essays on poetic declamation by placing them in the context of the Petrograd Institute of the Living Word. In this organization, Russian Formalists worked alongside speech therapists and psychologists, using parlograph records of poetry performances. I compare their methods of registering poetic intonations to similar endeavors by American phoneticians Edward Scripture and R.H. Stetson. Chapter 3 traces the origins of Lev Kuleshov’s system of film actors’ training, arguing that his ideas emerged at the juncture of avant-garde theater, Pavlovian reflexology, and labor efficiency movement. Chapter 4 considers psycho-physiological approaches to film spectatorship, focusing on American and Soviet efforts to assess the emotional responses of filmgoers by photographing their facial reactions and registering changes in their vital signs.
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Bornlöf, Julia. "Bloody Penny Picture Pose : A comparative study on the representation of sexuality and violence within the aesthetics of Victorian Gothic horror." Thesis, Stockholms universitet, Modevetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-175535.
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There is an ongoing fascination with the Victorian era as well as the genre of horror, and the characters originating from the first 18th century Gothic tales still appear in our Western popular culture today. The Victorian Gothic novels contain elements of romanticism and violence which often results in strong undertones of heated sexuality. I argue that it is one of the reasons for the genre’s wide popularity. This thesis examines the representation of femininity and female sexuality within a Victorian horror context by a comparative analyse of illustrations from British 19th century Penny Blood publications with contemporary fashion photographs. The images are analysed by applying Erwin Panofsky’s method of Iconography and with the theoretical framework of feminist visual culture, and historical theories on sexuality, biology and violence. The thesis shows how Gothic visualisations are interpreted and appropriated photographically today, where the latter is darker and more exaggerated than the former. Symbols of sexuality, female agency, dominance and submission are equally found in the Victorian and the contemporary material. However, the Victorian aesthetic has become a platform where a nude, sexual female body in a S&M situation can offer a spectrum of meanings and even symbols of feminism. It is a visual culture where women can fight back, taking revenge on their oppressor and looking fierce when doing so.
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Lubitz, Joseph B. "Anxious Seas: Reading Affect in Dazai and Murdoch." Oberlin College Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1451406893.
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Gilbert, Matthew. "Fir-Flower Petals on a Wet Black Bough: Constructing New Poetry through Asian Aesthetics in Early Modernist Poets." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3588.
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Critics often credit Ezra Pound and his Imagist movement for the development of American poetics. Pound’s interest in international arts and minimalist aesthetics of cross-cultural poetry gained the attention of prominent writers throughout Modernist and Post-Modern periods. From writers like Wallace Stevens and Gertrude Stein to later poets like Jack Kerouac and Gary Snyder, image and precise language has shaped American literature. Few critics have praised Eastern cultures or the Imagist poets who adopted an East-Western form of poetics: Amy Lowell and William Carlos Williams. Studying traditional Eastern painting and short-form poetry and interactions with personal connections to the East, Lowell and Williams adapt then progress aesthetic fusions Pound began and abandoned through his interpretation of Eastern art. Like Pound, Lowell and Williams illustrate a mix of form, free-verse language, and modernized poetics to not only imitate Eastern art but to create poetics of international discourse which shape American Modernism.
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Hearn, Emily K. "Overhearing : Hindu & Christian perspectives on artistry." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6500.
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This thesis is concerned with the hypothesis that an intellectual conversation between Christian and Hindu traditions on questions of aesthetic concern may not only prove mutually illuminating as such but also touch obliquely upon matters of religious and theological concern without exciting the defensive response often posed by more familiar strategies of inter-faith ‘dialogue'. It seeks to establish the existence of sufficient conditions for such a conversation within the respective traditions. The Introduction considers the relevant model of ‘conversation' distinguishing it from other forms of encounter between religious traditions. It proceeds by identifying three shared concerns: freedom and constraint, aesthetic experience and religious encounters, and the relationship between the material artwork and its significance. The first three chapters address them by examining various elements in Hindu traditions, including a detailed treatment of the Śilpaśāstras, a comprehensive consideration of the concept of rasa and its relation to religious experience, and an exploration of the role of the senses in scriptural traditions, the importance of Form and the value of the art object as a devotional aid. Finally it outlines the notion darśan, of seeing and being seen by a deity through a material image. The last three chapters address them by examining the work of Christian theologians including Dorothy Sayers on Art as Idea, exploring bequeathed traditions in iconography and the music of John Tavener, and expounding Tolkien's category of ‘sub-creation'. It considers the work of David Brown, Richard Viladesau, John Ruskin, Frank Burch Brown and Abraham Kuyper who span a putative spectrum of equating aesthetic and religious experience at one end and strictly demarcating between them at the other end. It explores the relationship of the physical art object with its spiritual significance in the work of Dorothy Sayers, John Carey, Rowan Williams, David Brown and Trevor Hart.
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Mdaka, Sibizwa Solomzi. "A comparative study of ideology and aesthetics in the novels of selected South African isiXhosa-language writers and Kenyan African authors in English." Doctoral thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/11033.
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Includes bibliography.Although scholars such as Gerard (1981) and Perera (1991) have long been advocating the creation and adoption of a comparative methodology for the study of African literature, little scholarly effort has thus far been exerted to establish such a methodology. This study aims to make a small contribution in this direction by elaborating an appropriate comparative method and demonstrating its efficacy by applying it in the comparative assessment of ideology and aesthetics in South African isiXhosa-language novels and Kenyan African novels in English. The authors chosen for this purpose are Ngugi wa Thiong'o and Meja Mwangi from Kenya, and A.C. Jordan, P.T. Mtuze and R Siyongwana from South Africa. The methodology is grounded in the materialist ideological analysis of the Marxist theorist Frederic Jameson. It incorporates a strong emphasis on characterisation and rhetoric, drawing on Classical European and African oral tradition. In eschewing altogether the modernist and postmodernist European literary paradigms, it seeks to synthesize a critical approach consonant with certain core principles of African culture, including a respect for the heroic idiom and a firm belief in the ethical and socially instructive value of art.
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Nilsson, Skans Kersti. "Det förlorade paradiset : en studie i Göran Tunströms Sunneromaner." Doctoral thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-3507.
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The writings of Göran Tunström (1937 – 2000) are closely linked with his birthplace, Sunne in Värmland. His four ’Sunne Novels’, De heliga geograferna (1973; ’The Holy Geographers’), Guddöttrarna (1976; ’The Goddaughters’), Juloratoriet (1983; The Christmas Oratorio, 1995) and Tjuven (1986; ’The Thief’) form the subject of this thesis. The focus is on the novels as an entity, an 'epic universe', a micro-/macrocosmos, examined from five different aspects: space, time, literary models, poetics and ethics. The first part of the thesis concentrates on Sunne, and both the inward and outward significance of place. Topographical descriptions and place-names use physical surroundings as their starting point, but here the analysis is structured phenomenologically, on what Gaston Bachelard calls ’topoanalysis’: i.e. Sunne is seen both subjectively and objectively. In the second part the significance of the time dimension in its epic configuration is examined. The hypothesis is that there is a typological structure in the Sunne novels corresponding to the Genesis and Apocalypse of the Bible. The third part looks at the significance of the work of two writers, Selma Lagerlöf and Lars Ahlin, whose production can be seen as literary models. The fourth part considers the poetics of the Sunne novels. The main issue is narratological and discusses the kind of prose used, the various literary patterns, genres, motifs and rhetorical figures that appear, and the sorts of meaning created thereby. An expression often used throughout the Sunne novels is 'turning round': a trope implying transgression, recognition, identification and perception, awareness, and knowledge. In these novels different literary and mythical traditions are interwoven using various narratological devices. The relation to tradition may be described as parody. The fifth and last part of the thesis looks at the narrator and the ethical discourse in the Sunne novels. It considers both the relation between the narrator and his creativity in terms of self-examination and identity, and the ethical question as to how one ought to live. Elements of the philosophy of existence can characteristically be related to the work of Lars Ahlin and Søren Kierkegaard. The ethical analysis is based, as with Martha Nussbaum, on the fundamental question as to how one becomes, and remains, a true and living person. By investigating the relation between subject and object in creative, artistic practice, contact with reality is obtained as well as truth and individuality. The confessional element in the narrative context points towards this and also contributes to the therapeutic character of the novels. The relation between imagination and reality resolves itself into an acceptance of 'both - and'. 'Humour' as an attitude to life means the ability to accommodate a 'both-and' stance without losing perception and consciousness and also leads to self-fulfilment and fellowship.Akademisk avhandling för avläggande av filosofie doktorsexamen fredagen den 21 november år 2003 kl. 13.15 i Lilla hörsalen, Humanisten, Göteborgs universitet, Renströmsgatan 6, Göteborg.
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Kim, Joanne S. "Romanticism and the Poetics of Orientation." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523659373305353.
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Neto, Flavio Quintale. "Idéias estéticas e filosóficas nos romances O Ateneu, de Raul Pompéia, e Die Verwirrungen des Zöglings Törless, de Robert Musil." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-09102007-140707/.
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Trata-se de um estudo comparativista entre as obras O Ateneu (1888) de Raul Pompéia e Die Verwirrungen des Zöglings Törless (As Tribulações do Pupilo Törless) (1906) de Robert Musil. Sugere-se que esses romances filiam-se ao chamado Romance do Artista (Künstlerroman). Abordam-se também as concepções estéticas desenvolvidas pelos protagonistas dessas duas obras, além de ser uma tentativa de mostrar como ambos os romances se fundamentam numa visão estética da vida.This is a comparative study about Raul Pompeia´s novel O Ateneu (1888) and Robert Musil´s Die Verwirrungen des Zöglings Törless (The Young Törless) (1906). I suggest these novels could be classified as Künstlerroman (Artist\'s Novel). I work with the aesthetical conceptions developed by each of one of the main characters in these two novels and try to show that both works are based on an idea of life as an aesthetical way of living.
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Yim, Annie. "A comparative and contextual study of Schumann's piano trio in D minor, Op. 63 and Brahms' piano trio in B major, Op. 8 (1854 version) : from musical aesthetics to modern performances." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15123/.
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This thesis explores Robert Schumann's influence on the two very different versions of Johannes Brahms' Piano Trio in B major, Op. 8 – the first version of 1854 and the revised version of 1889 (or Op. 8a and Op. 8b, respectively) – by establishing a biographical and compositional relationship with Schumann's Piano Trio in D minor, Op. 63 (1847), with particular reference to his writings. This comparative study firstly examines Schumann's important contribution to the piano trio genre and the musical aesthetics inherent in his work. His impact on the genesis of Brahms' Op. 8a beyond the biographical is considered in depth here for the first time in a scholarly study. By identifying Schumann's compositional methods from his middle-late period and his musical aesthetics as manifested in relevant compositions, my hypothesis argues that the young Brahms modeled his Op. 8a on Schumann's Op. 63; it also suggests a parallel performing tradition between the two works. In contrast to the continuing musicological enquiries concerning the two versions of Op. 8, performers have paid little attention to Op. 8a owing to a number of misconceptions. The reconstruction of a performing tradition of the first version did not get under way until the 1980s, when the first recording appeared. Although it would seem reasonable to seek clues as to its interpretation from the performing tradition of Brahms' Op. 8b, the more widely known version, my hypothesis instead seeks to align Brahms' Op. 8a with Schumann's seminal work in the same genre, while also reframing Op. 8b in this context. The notion of the 'Schumannesque' with respect to the composer's middle-late period will be examined, alongside a set of musical aesthetics based on Schumann's early Davidsbündler ideology. The ways in which these issues relate to Brahms' Op. 8a are reflected in my proposed performance guidelines for the work, which are substantiated through methods of practice-based research.
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Bernaudat-Hanin, Clémentine Pierrette Claudine. "< ELLE PARTIT, S'ENFONCANT DANS LA PLUIE FINE COMME UN VOILE > : ESTHETIQUE DE LA PROSTITUTION FEMININE DANS LA LITTERATURE DU XIXEME SIECLE." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469966028.
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Fugmann, Nicole Elisabeth. "The poetics of critical space and postmodernity : critique, aesthetics, and cultural memory: a comparative study of critique and the sublime across literary theory, continental philosophy, literature and the Avant-Garde in the visual arts." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367446.
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Gallo, Renata Altenfelder Garcia 1983. ""A teoria do romance" e "O romance como epopeia burguesa" = um estudo comparado da concepção de Romance em Georg Lukács = "The Theory of the Novel" and "The Novel as the bourgeois epic" : a comparative study of the concept of novel in Georg Lukacs." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269839.
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Orientador: Carlos Eduardo Ornelas BerrielDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem.
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Resumo: Durante todo o seu percurso intelectual, Georg Lukács ocupou-se dos debates sobre a literatura. Viria o gênero romanesco ocupar um dos temas centrais de suas reflexões estéticas. Partindo dessa consideração, esta pesquisa busca delinear o conceito de romance em dois períodos distintos da trajetória intelectual do autor, comparando-os. Para tanto, foram selecionadas duas obras de Lukács: "A Teoria do Romance" e "O Romance como epopeia burguesa". Ambos os estudos afirmam que o gênero romanesco ocupa na sociedade burguesa o lugar que a epopeia ocupou no mundo antigo. Entre outras questões, Lukács ainda trata nestes escritos do surgimento do romance, bem como teoriza acerca dos aspectos formais e conteudísticos do gênero. Entrementes, os referenciais teóricos utilizados pelo autor nas duas obras estudadas são distintos. Em "A teoria do romance", publicada entre 1914 e 1915, seu pensamento se caracterizava pela transição do pensamento idealista subjetivo para o objetivo - em outras palavras, de Kant para Hegel. Em "O Romance como epopéia burguesa", ensaio publicado em 1935, o pensamento de Lukács é marcado pela transição Hegel - Karl Marx
Abstract: Throughout his intellectual journey, Georg Lukács dealt with many discussions about literature becoming the novel one of the central themes of his aesthetic ideas. Based on this point, this research seeks to describe and to compare the concept of novel in two distinct periods of the intellectual life of Lukács. To this end, we selected two works of Lukács, "Theory of the Novel" and "The novel as the bourgeois epic". Both studies argue that the novel genre in bourgeois society occupies the place that the epic genre occupied in the ancient world. Among other issues, Lukács still studies in both writings how and when the novel rised as well as he theorizes about the formal and material aspects of the genre. Meanwhile, the Lukács' theoretical references used in both essays are different. In "Theory of the Novel," published between 1914-1915, the author's thought was characterized by the transition from Kant to Hegel. In "The novel as the bourgeois epic," published in 1935, Lukacs's thought was marked by the transition Hegel - Karl Marx
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e Critica Literaria
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Godfroy, Alice. "Ecrire, danser : prendre corps et langue : étude pour une 'dansité' de l'écriture poétique." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC012.
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Cette étude s’affronte à des poètes qui ne parlent plus spécifiquement de la danse. Elle parcourt les œuvres d’Henri Michaux, de Paul Celan, d’André du Bouchet et de Bernard Noël pour entendre sous le silence thématique de la danse la quête d’une forme de convergence plus élémentaire. D’un pli en deçà des mots qui s’opère à la genèse des gestes expressifs et convie danseurs et poètes à une même expérience du corps interne, de ses sentis infra-motiles et de ses inchoations de mouvement. De là naît un nouvel horizon comparatiste qui rend possible une autre façon de lire la poésie. Car un poème certes ne danse pas, mais il est porté par une certaine dansité qui renvoie au mouvement corporel qui le sous-tend et qui mobilise la motricité du lecteur. Cette trajectoire de l’infra nous déporte aux racines de tout acte créateur et nous permet d’envisager une poétique des arts à partir de l’expérience chorégraphique. Une réévaluation esthétique qui s’ente sur le savoir-sentir du corps dansant et fonde le concept de dansité en lui construisant un abécédaire (ressources motrices communes aux actes de danser et d’écrire) et une grammaire (principaux rythmes qui ressourcent le mouvement)This study meets poets who don’t properly write about dance. Immersing ourselves in the works of Henri Michaux, Paul Celan, André du Bouchet and Bernard Noël, we try to perceive beneath the thematic silence of dance, the quest for a more elementary form of convergence. This quest is also a confluence out of which expressive gestures are born, before words are formulated; soulful movements which invite dancers and poets to enjoy a common experience of the inner body, its infra-motile stirrings, its inchoate motion. This gives rise to a new comparatist horizon, paving the way for a different experience of reading poetry. For a poem indeed does not dance, but is supported by a certain « dansité » -dancity-, which alludes to the corporeal movement underlying the poem and which appeals to the reader's own motricity. Following this trajectory at the limbo and origin before movement happens, transports us to the root origin of every act of creation, and enables us to envision a poetics for the arts, one which would have the choreographic experience at its core
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Chataigné, Ismaël. "Littérature et musique dans l’œuvre de José Manuel Caballero Bonald." Thesis, Université Grenoble Alpes (ComUE), 2017. http://www.theses.fr/2017GREAL040/document.
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José Manuel Caballero Bonald est aujourd’hui une véritable référence dans le monde littéraire hispanique du XXe siècle. Ayant excellé tout au long de son parcours dans des genres aussi variés que la poésie, l’essai, le roman et l’article de presse, il a obtenu les plus grandes distinctions, notamment le Prix Cervantès (2012).Cette étude s’articule autour de trois parties. Dans la première, « Le dialogue entre les arts », nous proposons une approche de la problématique de la multidisciplinarité de l’art à partir de l’analyse de l’œuvre critique et littéraire de notre auteur. Nous observons d’abord le contexte historique et sociologique des différents domaines de l’art qui le concernent, pour ensuite présenter une vision holiste de sa pensée esthétique et philosophique en relation avec le phénomène artistique. Cette démarche nous permet de nous interroger précisément sur la question des limites structurelles et sémantiques qui rapprochent et séparent la littérature de la musique.Nous nous penchons dans une deuxième partie, « Poétique musicale », sur la définition des aspects musicaux de sa poétique en relation avec le concept de la musicalité de la parole. L’aspect sonore de son œuvre, qu’il soigne d’une façon minutieuse, se construit en harmonie avec ses sources primaires et avec les mouvements littéraires qui traversent son écriture. Dans la pensée de Caballero Bonald, la construction musicale du texte est en intime relation avec son expérience vitale, avec sa mémoire, ainsi qu’avec toutes les résonances qui traversent son esprit. L’image de l’écoute intérieure qui précède l’écriture rapproche son acte créatif du processus de création musicale. C’est à travers l’ensemble de ces notions que nous rassemblons et que nous étudions des fragments choisis de son œuvre : extraits et poèmes où la suggestion, l’évocation, et d’autres procès issus de l’esthétique sonore, les rapprochent indéniablement du langage musical. D’autre part nous abordons, à partir de l’étude de la sonorité de son œuvre, la problématique des genres et d’autres débats convergents issus de la théorie de la littérature, qui opposent des concepts comme tradition/expérimentation, oralité/écriture ou poésie/prose.Enfin notre dernière partie, « La musique dans son œuvre », est consacrée à l’étude de la présence de la musique dans ses écrits, en particulier ceux s’intéressant au flamenco, d’un point de vue thématique et symbolique. La musique est présente, sans exception, dans tous ses romans et dans tous ses livres de poésie. Parmi toutes ces musiques, l’art flamenco occupe une place privilégiée dans son œuvre. À partir de la relation féconde entre littérature et flamenco, que l’on découvre tout au long de ses romans et poèmes, nous proposons une révision de la poétique de « lo jondo », et des relations entre la poésie savante et cette forme authentique de poésie de tradition orale. Parallèlement à sa sensibilité musicale, nous étudions la présence du silence et des paysages sonores dans son œuvre en tant que symbole et comme outil rhétorique. L’ensemble des symboles musicaux qui traversent son œuvre nous dévoilent quelques questions essentielles pour les études musico-littéraires, que nous abordons à travers sa pensée poétique et philosophique : vers et musique se mêlent-ils ? Comment définir l’amplitude sonore de la musique ?En dernier lieu, et pour apporter une réponse à ces questions, nous nous rapprochons du caractère mélomane de José Manuel Caballero Bonald, marqué par sa trajectoire professionnelle en tant que producteur musical, parolier, anthologiste du chant flamenco et folkloriste. Si l’influence de la musique dans son œuvre littéraire justifie en grande partie sa conception holiste de l’art, sa poétique musicale et ses incursions dans le milieu professionnel de la musique nous renvoient vers un échange ambivalent qui justifie la nature comparatiste et multidisciplinaire de notre étudeJosé Manuel Caballero Bonald is one of the greatest Spanish writers of the 20th and the 21st centuries. His works have been awarded the most important prizes of Hispanic literature. He is also one of the last members of the Generation of ‘50, also known as "The kids of the war".This study is divided into three chapters. The first, "The Dialogue Between the Arts", offers a general approach to the multidisciplinary of the arts, in connection with Caballero Bonald’s critical articles and pieces of literature in which he emphasises this point. The chapter examines the historical and sociological context of the concept of intersemiotics to understand the way artistic domains figure in his writings. It also explains his holistic vision of the arts, his aesthetic thinking and his philosophy. From the perspective of intersemiotics, this enables the analysis of the structural and semantic limits that join and divide literature and music.The second chapter, "Musical Poetics", studies the musical aspects of his poetics, specifically in relation to the idea of musicality of the word. The musical side of his work, which is always meticulously composed, is built in harmony with his primary sources and with the literary movements that can be perceived in his writings. In Caballero Bonald’s thinking, the musical construction of the literary text is intimately related with his life experience, his memory, and all the resonances crossing his mind. The image of the inner ear as the source of the poetic word, which harks back to the mystical poetry of the Spanish Golden Age, brings his act of creation closer to the nature of music, which is built on a similar principle. On this basis, the chapter offers a close reading of several extracts from his works: fragments and poems in which suggestion, evocation, and other proceedings derived from the aesthetic of sound get him genuinely closer to the musical language. In this way, without leaving the borders of literature and music, the chapter examines, starting from the study of the musicality of his writings, the problematic of gender and other issues concerning literary theory, such as the opposition of tradition and experimentation, orality and writing, or poetry and prose.The last chapter, "The Music in his Works", is devoted to the study of the presence of music in his writings from a thematic and symbolic perspective. Music is mentioned in every single novel and book of poems he has published. Among the different music genres he mentions, flamenco undoubtedly plays the leading role in his writings, modernising the relation with scholarly literature that started around the 15th century. In this way, the chapter examines his "Poética de lo jondo", and reconsiders the relationship between scholarly literature and this original form of oral tradition. Given his musical sensitivity, the chapter also studies the presence of silence and the soundscapes in his works. The large number of musical symbols in his writings invites us to think about some of the main questions referred to by the emergent fields in the intersections between literary and musical scholarship. The chapter answers some questions through his poetic and philosophical thinking: Can verse and melody become the same thing? How could we define the sounding range of music?Finally, having answered the above-mentioned questions, this PhD thesis explores the evidence attesting to José Manuel Caballero Bonald as a cultivated person within musical culture. This evidence is mainly embedded in his professional work as music producer, songwriter and folklorist. It is the influence of music on his writings that has been studied in detail in this thesis and, in fact, justifies his holistic conception of art. His musical poetics and his incursions into the professional environment of music reveal an ambivalent exchange between them that justifies the comparative and multidisciplinary nature of this study
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Giannecchini, Hélène. "Alix Cléo Roubaud, photographe et écrivain : l'élaboration de l'oeuvre." Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20031/document.
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Alix Cléo Roubaud (1952-1983) était une photographe et écrivain d’origine canadienne. D’abord connue comme l’épouse du poète et mathématicien Jacques Roubaud, ou l’amie du réalisateur Jean Eustache, Alix Cléo Roubaud a longtempsété découverte par d’autres oeuvres que la sienne. Jusqu’en 2009, seul son Journal publié aux éditions du Seuil en 1984, permettait de découvrir ses textes et ses images. Cet ouvrage qui a permis à l’oeuvre de ne pas sombrer dans l’oubli aégalement, en l’assimilant entièrement au registre de l’intime, durablement influé sur sa réception.Cette thèse, fondée sur un corpus essentiellement inédit de plus de six cents photographies, de centaines de lettres et de textes théoriques de l’artiste, propose une nouvelle lecture de l’oeuvre. Faisant fond sur la dimension inachevée de saproduction, ce travail de recherche s’attache à l’étude de l’élaboration des textes comme des photographies, mettant au coeur de son propos les notions d’intention et de production qui découvrent le faire de l’oeuvre plutôt que l’oeuvre fait.Dans une perspective photolittéraire, cette thèse propose une analyse des différentes écritures de soi développées par l’artiste, de la dimension photographique de son oeuvre, à savoir la production de photographies et la construction d’une théorie originale de l’image et, enfin, des différents moments de la réception de l’oeuvre qui ont contribué à sa compréhension, comme à sa qualificationAlix Cléo Roubaud (1953-1983) was a Canadian photographer and writer known as the wife of the poet and mathematician Jacques Roubaud or as the friend of the movie director Jean Eustache. Alix Cléo Roubaud has been for a long time known by other works than her own. Until 2009, her diary, which was published in 1984 by the French publishing house le Seuil, was the only way of discovering her photographs and texts. This book has allowed her work not to be forgotten and has also influenced for a long time the way it has been welcome, that is to say as a private record.This doctoral thesis, based on an unpublished body of more than six hundred photographs, hundreds of letters and theorical essays, proposes to see Alix Cléo Roubaud's work in a new way. Relying on an unfinished production, itstudies the making of the texts as of the photographs and focuses on two main elements, the purpose and the manner of the artist which reveal more the process than the product.In an approach both photographic and literay this thesis proposes to analyse the several forms the artist uses to write about herself, the photographic dimension of her work , not only the photographs she made but also the building of an original picture theory, and finally how the different ways it has been received have contributed to make it understood as well as defined
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Rumsey, Adrienne Lynn. "Aesthetic Self-Reliance: Emersonian Influence on American Art." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2426.
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This essay is an examination of the influence of Ralph Waldo Emerson on the development of American art through his essays, specifically his writings on nature and self-reliance. Through emphasizing individual potential, Emerson also influenced the visual arts. Instead of following the required formula in Europe of attending certain ateliers and seeking prestigious patronage, American artists, namely the Luminists and the Ashcan School, sought to address the issues of their day and portray life as it existed around them. Each of these groups formed during periods of time when American society was shifting and the American identity was evolving. Through addressing the issues at hand, artists formed an American aesthetic separate from the traditional methodologies in Europe, in turn, contributing to a national identity. After the Civil War, the United States underwent considerable change as different areas of the nation redefined themselves in conjunction to new laws and shifts in social structure. For the Luminists, the writings of Emerson concerning nature were especially applicable during this time since most people in the United States lived in rural circumstances and still struggled to define a national art separate from European tradition. Emerson focused on nature's ability to uplift and inspire mankind, bringing them closer to the Divine and America's unique and untamed nature was one aspect that separated it from Europe. The Luminists focused on their surrounding natural environment, portraying the connection between man and nature. During the Progressive Age, Robert Henri followed Emerson's instruction to illustrate life as it existed for him in the early twentieth century. By this time, most people had moved to the cities in search of employment and everyone was crammed into small tenements. Henri taught his art students to value and illustrate life in all of its gritty reality. In this way, he followed Emerson to communicate beauty through an honest interpretation of life. Although diverse in their techniques, the Luminists and Robert Henri both utilized the ideas of Emerson to help define an American aesthetic.
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Wallbaum, Christopher. "RED – A supposedly universal quality as the core of music education." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34616.
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The Chapter consists in two sections complementing Analytical Short Films. The first is about a supposedly universal atmosphere called RED in the Bavaria-Lesson, the second about different cultures in voice and posture coming together in the Beijing-Lesson. Both are related to theory as well as German philosophies of music education.
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Kamoun, Sami. "Autoconstructions médinale tunisoise actuelle et déconstructivime architectural : quelles ressemblances esthétiques ?" Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0322/document.
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Depuis la nuit des temps, les autoconstructions médinales tunisoises ont été, souvent brutalement, rasées par les autorités. L’avènement de la révolution de 2011 a revivifié leurs réapparitions. Les dynamiter une nouvelle fois aggraverait l’hémorragie de leurs renouvellements. Les « valoriser », les regarder autrement au lieu de s’en débarrasser, pourrait ouvrir de nouveaux horizons. Les considérer dans un comparatisme avec le Déconstructivisme nous conduirait certainement vers de fructueuses voies. Comparer ainsi la complexité, le chaos, la bizarrerie formelle et géométrique déployée par la déconstruction architecturale et les caractères formels des autoconstructions de la médina, constitue l’hypothèse de travail qui nous a guidé. La problématique développée dans la thèse consiste à porter un autre regard sur les autoconstructions de la médina de Tunis, en convoquant l’esthétique du Déconstructivisme afin de le discuter, voire de l’enrichir, d’une part, et, d’autre part, de promouvoir une autre approche de l’habitat spontané dans la ville de Tunis qui serait susceptible de fournir une autre lecture du phénomène de son émergence. L’une des ressemblances de l’autoconstruction au regard de la déconstruction architecturale tient à sa non-réglementation. Il en découle des espaces totalement bizarres, des plans déformés, des angles insolites, des lignes brisées, des asymétries télescopées... L’« idée » de déréglementation des autoconstructions transgresse nos habitudes de voir l’architecture. Elles nous semblent plutôt « vides de règles » que « déréglementées » et apparaissent complètement non académiques, non architecturales et pratiquement sans architectes qualifiés. Une autre ressemblance entre les (auto-) et (dé-)constructions réside dans l’ « idée » de ruine. Témoins de déshérence générale, de précarité et de souffrances, les autoconstructions incarnent le lieu d’une défragmentation chaotique de l’architecture. Planchers abandonnés, poteaux inachevés, façades hasardeusement superposées, revêtements anarchiquement combinés, constructions complètement ou partiellement ruinées... ; tous ces fréquents aspects esthétiques entretiennent de curieuses résonnances avec beaucoup de réalisations déconstructivistes. Une troisième ressemblance réside dans l’aspect d’incomplétude. En parcourant les ruelles de la médina, nous rencontrons des talus de sables, des sacs de ciments, des graviers, des briques, des pierres, des tôles ondulées, des déchets de bois, etc. Les autoconstructions médinale tunisoise sont-elles en « voie de déconstruction » ? Pourraient-elles inspirer les architectes déconstructivistes ? Pourrions-nous proposer que le Déconstructivisme constitue le meilleur appui théorique pouvant valoriser les aspects esthétiques des autoconstructions tunisoises ?Since the beginning of time, Tunisian autoconstructions of the medina had been brutally razed by the governement. The advent of the 2011 revolution revived the desire for their reappearances. The dynamiting them again aggravates the hemorrhage of their renewals. "Speculating", "valuing" them and looking at them differently instead of getting rid of them will open up new opportunities. In the present work, the comparative method between autoconstruction and Deconstructivism would certainly lead us to fruitful paths. The complexity, the chaos, the formal and bizarre geometry deployed by the architectural deconstruction and, from the outset, by the autoconstruction of the medina seem to us the first hypotheses. In these brief lines, we shall be content to develop other aspects. The problematic developed in the thesis is to take another look at the autoconstruction of the medina of Tunis, summoning the aesthetics of Deconstructivism to discuss it, even to enrich it, on the one hand, and on the other hand , to promote another approach to spontaneous housing in the city of Tunis that would be likely to provide another reading of the phenomenon of its emergence. One of the resemblances that combines autoconstruction with deconstruction is its ability to be deregulated. The result is totally bizarre spaces, distorted planes, unusual angles, broken lines, telescoped asymmetries, etc. The "idea" of deregulation of autoconstructions transgresses our habits of seeing architecture. More than deregulation, they seem "empty of rules" and remain completely non-academic, non-architectural and practically without qualified architects. Another resemblance between the (auto-) and (de-)construction lies in the "idea" of ruin. Witnesses general desertion, precariousness and suffering, autoconstructions embody the place of a chaotic defragmentation of architecture. Abandoned floors, unfinished posts, randomly overlapping facades, anarchically combined facades, completely or partly ruined buildings, etc ; all these frequent and current aesthetic aspects have strange resemblances to many deconstructivist achievements. A third resemblance resides in its incomplete appearance. Just by walking through the narrow streets of the medina, we come across sandy slopes, bags of cement, gravel, bricks, stones, corrugated sheets, wood waste, etc. The result is interminably open chantier. It also results in excessive use of precarious, urgent, essential building materials. Are the Tunisian autoconstructions of the medina in a "way of deconstruction"? Could they inspire deconstructivist architects ? Could we propose that Deconstructivism constitutes the best theoretical support that can enhance the aesthetic aspects of Tunisian autoconstructions ?
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Théol, Bruno. "HYPERREALISME, éloge du monde matériel : le Nouveau Roman français, le Photoréalisme américain, la musique minimaliste : expressions artistiques du monde matériel d’un quart de siècle 1950 - 1975." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100102.
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Les mutations du monde occidental au troisième quart du 20ème siècle sont spectaculaires. Les trente glorieuses connaissent une modernisation effrénée : industrialisation, progrès scientifique et technique, prolifération de nouveaux objets. Le monde de l’art, lui-même en effervescence, explore de nouvelles formes et de nouvelles techniques. La présente thèse établit le lien entre ces réalités concrètes et le renouvellement perceptible dans le Nouveau Roman français, le Photoréalisme américain et la musique minimaliste. Ces trois expressions artistiques sont puissamment marquées par l’émergence des biens matériels et par les techniques qui les produisent. Aussi ne s’agit-il pas d’un formalisme abstrait ni désincarné, comme on le soutient souvent, mais d’un formalisme matériel, ou matérialiste, lequel façonne une nouvelle perception du monde dont les caractères communs définissent, au-delà des distinctions liées à la nature différente des trois pratiques artistiques que sont la littérature, la peinture et la musique, le style hyperréaliste. Le peintre, le romancier et le compositeur, pratiquent la même approche, recherchent une unité réduite du champ d’investigation, exercent la sélection, la fragmentation et la focalisation, ferment l’espace de l’expression, préfèrent le dénuement, créent un espace autonome pictural, littéraire ou musical, évoluent dans la fugitivité, usent de l’écriture analytique et abusent de l’obsession, jouent avec la variabilité et expriment de préférence leur univers par le grossissement et la répétition. Le matériau est le plus souvent morcelé et hyper-développé, décentré, détaillé, fragmenté, marginalisé, focalisé, comme la terrasse de La jalousie de Robbe-Grillet, le compartiment de La Modification de Michel Butor, A Rainbow In Curved Air de Terry Riley, Etudes Chorégraphiques de Maurice Ohana, les Panties de John Kacere, 46 Chevy de Robert Bechtle, Toyota Showroom Window de Don Eddy, Flatiron Building Reflected In A Car With Figures In Bus de Richard Estes, titres de quelques-unes des œuvres hyperréalistesThe mutations of the western world during the third quarter of the twentieth century were spectacular. The years known as the "Glorious Thirty” saw rampant modernisation: industrialisation, progress in science and technology, and the proliferation of new objects. The art world, itself in turmoil, explored new forms as well as new techniques. The present thesis establishes the link between those concrete realities and perceptible renewal in the Nouveau Roman in France, in American photorealism, and in minimal music. Those three artistic expressions were intensely marked by the emergence of consumer goods and the techniques that produced them. It is therefore not a matter of abstract or disembodied formalism, as has often been upheld, but rather one of material or materialistic formalism, which shaped a new perception of the world whose common characters define—beyond any distinction related to the different natures of the three artistic practices, literature, painting and music—the hyperrealist style. The painter, the novelist and the composer have the same approach; they reduce their field of investigation to the minimum, fragmenting and selecting in order to focalise on a single unit; they prefer a bare environment, and create an autonomous space, whether pictorial, literary or musical; they move in a fugitive world; they use language that is analytical, and use obsession to excess; they play with variability, and prefer to express their world by enlarging and repeating it. Their material is most often split apart and hyper-developed, off-centred, detailed, fragmented, marginalised, focalised, like the terrace in Jealousy by Robbe-Grillet, the compartment in La Modification (Michel Butor), and also A Rainbow In Curved Air (Terry Riley), Etudes Chorégraphiques (Maurice Ohana), Panties (John Kacere), 46 Chevy (Robert Bechtle), Toyota Showroom Window (Don Eddy), or Bus with Reflection of the Flatiron Building (Richard Estes), the titles of some of the works referred to as hyperrealist
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Siqueira, de Freitas Alexandre. "Résonances, reflets et confluences : trois façons de concevoir les ressemblances entre le sonore et le visuel dans des œuvres du XXe siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040103/document.
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Cette thèse a pour objectif de suggérer des lignes directrices pour observer les rencontres entre des arts, des matières et des techniques artistiques distincts et caractériser les passages possibles entre le sonore et le visuel. Dans un premier temps, nous étudierons les différences entre les arts et les manières de les organiser dans des systèmes classificatoires. Ensuite, nous nous tournerons vers l’étude de la notion de ressemblance entre les arts et de l’esthétique comparée et nous présenterons quelques liens et interactions entre les phénomènes musicaux et visuels. Les ressemblances seront exposées plus loin à travers leurs traits spécifiques, que nous appellerons « similitudes ». À partir de ces dernières, présentées sous les noms de sympathie, d’émulation, d’analogie et de convenientia, nous proposerons des façons d’observer des rencontres entre le sonore et le visuel. De la sympathie provient la notion de résonance, qui se fonde dans la liberté du récepteur d’établir des correspondances entre des paires d’œuvres d’art distinctes. Les reflets trouvent leur fondement dans les similitudes émulation et analogie, et s’adressent à des œuvres dont les créateurs ont tenté d’appliquer dans leur propre art des éléments provenant d’un autre art. Dans le troisième, consacré aux confluences, nous inclurons des œuvres qui contiennent dans leur structure propre des matières sonores et visuelles. À l’origine des confluences se trouve la convenientia, similitude qui traite de la coexistence des éléments hétérogènes. Picasso, Stravinsky, Ligeti, Rothko, Dutilleux et Klee sont parmi les artistes qui illustrent les résonances, reflets et confluences de cette rechercheThe main objective of this thesis is to suggest guidelines in observing meetings between arts, materials and separate art techniques and to characterize some of the possible passages and interactions between the sonorous and visual. First we talk about the differences between the arts and the ways to organize them into classification systems. Then we turn to the study of the concept of resemblance between the art forms, introduced in Comparative Aesthetics and present some links and intersections between the musical and visual phenomena. Their similarities will be exposed, later, through specific traits, which we call “similitudes”. From these latter, presented by the names: sympathy, emulation, analogy and convenientia, we propose ways of observing encounters between the sonorous and visual. From sympathy comes the notion of resonance, which is based on the liberty of the receiver to establish correspondences between pairs of distinct art works. The reflections address the art works whose artists sought to apply in their own art, elements coming from another art and find their bases in the similitudes of emulation and analogy. Finally, the confluences. In this third group are included the art works that contain, in their own structure, sonorous and visual materials. At the origin of the confluences is the convenientia, similitude that deals with the coexistence between heterogeneous elements. Picasso, Stravinsky, Ligeti, Rothko, Dutilleux and Klee are the artists whose works illustrate the resonances, reflections e confluences of our research
Esta tese tem como principal objetivo sugerir diretrizes para se observar encontrosentre artes, matérias e técnicas artísticas distintas e caracterizar algumas das passagenspossíveis e interações entre o sonoro e o visual. Primeiramente, discorremos sobre asdiferenças entre as artes e as maneiras de organiza-las em sistemas classificatórios. Emseguida, nos voltamos ao estudo da noção de semelhança das mesmas, à Estética Comparadae apresentamos algumas elos e interseções entre os fenômenos musicais e visuais. Assemelhanças são expostas, mais à frente, através de traços específicos, aos quais chamamos de“similitudes”, de acordo com o entendimento de Michel Foucault. A partir dessas últimas,apresentadas pelos nomes de simpatia, emulação, analogia e convenientia, propomosmaneiras de se observar encontros entre o sonoro e o visual. Da simpatia provém a noçãoressonância, que se baseia na liberdade do receptor de estabelecer correspondências entrepares de obras de arte distintas e fertilizar mutuamente seus entendimentos. Os reflexos seendereçam às obras cujos artistas procuraram aplicar em sua própria arte elementos provindosde uma outra arte e encontram suas bases nas similitudes de emulação e analogia. Finalmente,as confluências. Neste terceiro grupo incluem-se obras que contém em sua própria estruturamatérias sonoras e visuais. Na origem das confluências está a convenientia, similitude quetrata da coexistência entre elementos heterogêneos. Pablo Picasso, Igor Stravinsky, GyörgyLigeti, Mark Rothko, Henri Dutilleux, Paul Klee, Alban Berg e Serguei Eisenstein são osartistas cujas obras ilustraram as ressonâncias, reflexos e confluências de nossa pesquisa
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Corneliusson, Ida, and Ellen Arvidsson. "Estetiska lärprocesser i ett målbaserat utbildningssystem." Thesis, Malmö universitet, Malmö högskola, Institutionen för kultur, språk och medier (KSM), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-40905.
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Denna kunskapsöversikt har till syfte att systematiskt sammanställa kunskap om villkoren för estetiska lärprocesser i bildämnet i relation till en målrationell skola. Forskningen i denna kunskapsöversikt presenteras i förhållande till frågeställningen: Hur möjliggörs och begränsas lärande med estetiska lärprocesser genom kursplanen för bild i årskurs 7-9? Systematiska sökningar i databaser för forskning inom pedagogik och utbildningsvetenskap genererade ett brett underlag och valda studier kategoriseras i resultatet där frågeställningen behandlas i en diskussion utifrån tre prominenta teman: En målrationell skola och styrdokument, Lärarens roll och bildlärarprofession samt Förhållningssätt till estetiska lärprocesser. Denna kategorisering synliggör icke statliga organisationers inverkan på utbildningspolitiken och det målrationella utbildningssystemets påverkan på estetiska lärprocesser.
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Gelmi, Giulia <1992>. "Re-framing the Aesthetic Experience - Un'analisi comparativa fra estetica, psicologia, marketing ed etica." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10062.
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La tesi analizza il concetto di esperienza estetica e della sua dimensione operativa.
Partendo dall’ipotesi che le recenti trasformazioni economico-sociali a cui è ancora sottoposto il suo ambito di riferimento, mettono nella condizione di porre in questione che cosa ne sia dell’esperienza estetica nel contemporaneo, si può ancora parlare di esperienza estetica e, in caso affermativo, la si può analizzare nell’ottica del ruolo formativo che essa può svolgere per l’individuo?
Dopo una preliminare analisi terminologica e semantica dell’esperienza, dell’estetica e dell’esperienza estetica, l’obiettivo perseguito dall’elaborato verte sul capire in ambito museale tanto quale sia la percezione del ruolo che l’esperienza estetica ha, quanto quale tipo di quest’ultima sia fruibile, sottolineando la necessaria collaborazione tra gli ambiti che trattano le differenti concezioni dell’esperienziale, dell’estetico e dell’esperienza estetica per salvaguardare la persistenza della stessa.
Una prima trattazione analitica verte sulla definizione di esperienza, intesa come fonte di conoscenza e struttura mentale profonda che consente all’uomo di orientarsi nella realtà in cui è immerso. L’estetico assume sfumature di senso diverse a seconda della collocazione storica del concetto. La difficoltà nel definire l’esperienza estetica sottolinea l’ampiezza semantica e concettuale dei termini coinvolti e le sfumature di significato che questi hanno assunto nel corso del tempo, si propone quindi una rilettura della stessa in termini comparativi.
La ricerca si struttura su tre ambiti diversi, ma tra loro correlati quali: l’individuazione di tale esperienza in sé e delle sue specificità entro il dibattito filosofico classico; l’esperienza estetica nella psicologia cognitiva, che consente una lettura più chiara dei processi mentali coinvolti nell’individuazione e definizione delle componenti della stessa; il terzo ambito analizza l’estetico secondo la prospettiva del marketing esperienziale. In conclusione, il quarto capitolo indaga il ruolo formativo ed etico dell’esperienza estetica in ambito museale.
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Ghosal, Torsa. "Books with Bodies: Experientiality in post-1980s Multimodal Print Literature." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1495399434096337.
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Fernández, Cardona Sergio. "Modelos estéticos y narrativos en la obra de Ignacio Aldecoa." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/671455.
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La presente investigación ofrece un primer acercamiento al estudio de la obra de Ignacio Aldecoa desde un enfoque comparativo con el que se pretende demostrar la relación de la narrativa aldecoana con los que consideramos algunos de sus principales modelos: Ramón del Valle-Inclán y Pío Baroja. De cada uno de ellos, y siempre utilizando su propio punto de vista personal y artístico, Ignacio Aldecoa toma aquellos elementos que le permiten, como testigo veraz y auténtico de un tiempo y un lugar durante algunos de los años más difíciles de la historia de España, plasmar en su literatura una serie de vidas humildes, injustas y vacías. En Valle-Inclán aprendió cuestiones de estilo y de técnica narrativa, además de, en algunos momentos de su obra, modelos estéticos; en Baroja, que los espacios más bajos de la sociedad podían ser los absolutos protagonistas de cualquier obra literaria, y que podía poblarse un cuento o una novela con los tipos o personajes más humildes y marginales.The present research offers a first approach to the studies of Ignacio Aldecoa’s works from a comparative perspective in which we pretend to demonstrate the connection between the Aldecoan narrative with those whom we consider to be his main models: Ramón del Valle-Inclán and Pío Baroja. From every one of them, and always using his own personal and artistic point of view, Ignacio Aldecoa takes those elements that allow him, as a truthful and genuine witness of a time and a place during some of the most difficult times of Spain’s history, to portray in his literature a series of poor, unfair and empty lives. In Valle-Inclán he learnt style and narrative technique issues, in addition to, in some moments of his works, aesthetic models; in Baroja, that the lowest places of society could become the absolute protagonists of any literary work, and that any tale or novel could be populated with the poorest and most disadvantaged types and characters.
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Pacheco, Rui Manuel de Gouveia. "Caracterização da intervenção do treinador na reunião de preparação da equipa para a competição no Futebol : Estudo comparativo de treinadores da 1ª Liga e da 2ª Divisão-B no Escalão de Seniores Masculinos." Master's thesis, Instituições portuguesas -- UP-Universidade do Porto -- -Faculdade de Ciências do Desporto e de Educação Física, 2002. http://dited.bn.pt:80/30121.
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Dissertação de Mestrado em Ciências do Desporto, área de especialização em Treino de Alto Rendimento Desportivo, apresentada à Faculdade de Ciências do Desporto e de Educação Física da Universidade do PortoPretendemos neste estudo caracterizar os conteúdos que são transmitidos pelos treinadores aos jogadores, na reunião de preparação da equipa para a competição no futebol, no escalão de seniores masculinos. Realizamos um estudo comparativo partindo de uma amostra constituida por seis treinadores pertencentes a equipas classificadas no terço superior do campeonato nacional de futebol da 1ª liga e seis treinadores pertencentes a equipas que disputam os lugares cimeiros do campeonato nacional de futebol da 2ª divisão-B. Procedemos à realização de uma entrevista com cada um dos treinadores, antes da realização da reunião de preparação da equipa para a competição com os jogadores, tendo posteriormente procedido à gravação audio do conteúdo das referidas comunicações. Através da técnica de análise de conteúdo, procuramos verificar se existem diferenças significativas nos conteúdos dominantes, transmitidos aos jogadores entre os dois grupos de treinadores, bem como verificar se há congruência entre as ideias pré-interactivas e as ideias interactivas dos treinadores. Os resultados alcançados, permitem concluir que: O conteúdo das informações transmitidas pelos treinadores nas reuniões de preparação para a competição incidem fundamentalmente na dominante estratégico-táctica (60.2%), seguidas das outras dominante do rendimento desportivo(20.1%) e da dominante psicológica (16.8%). A estrutura da instrução transmitida pelos treinadores assenta dominantemente na vairável prescritiva (56.4.%) e é dirigida para toda a equipa (61.8%). Quando comparados os conteúdos das instruções transmitidas entre os treinadores das duas divisões, verifica-se que há uma grande similaridade entre si (60%) na importância atribuída à dominante estratégico-táctica. No entanto, os treinadores da 2ª Divisão B atribuem uma importância maior à dominante psicológica, enquanto que os treinadores da 1ª Liga atribuem um maior relevo à dominante técnica e às outras dominantes do rendimento desportivo, ...
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Pacheco, Rui Manuel de Gouveia. "Caracterização da intervenção do treinador na reunião de preparação da equipa para a competição no Futebol : Estudo comparativo de treinadores da 1ª Liga e da 2ª Divisão-B no Escalão de Seniores Masculinos." Master's thesis, Universidade do Porto. Reitoria, 2002. http://hdl.handle.net/10216/9551.
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Dissertação de Mestrado em Ciências do Desporto, área de especialização em Treino de Alto Rendimento Desportivo, apresentada à Faculdade de Ciências do Desporto e de Educação Física da Universidade do PortoPretendemos neste estudo caracterizar os conteúdos que são transmitidos pelos treinadores aos jogadores, na reunião de preparação da equipa para a competição no futebol, no escalão de seniores masculinos. Realizamos um estudo comparativo partindo de uma amostra constituida por seis treinadores pertencentes a equipas classificadas no terço superior do campeonato nacional de futebol da 1ª liga e seis treinadores pertencentes a equipas que disputam os lugares cimeiros do campeonato nacional de futebol da 2ª divisão-B. Procedemos à realização de uma entrevista com cada um dos treinadores, antes da realização da reunião de preparação da equipa para a competição com os jogadores, tendo posteriormente procedido à gravação audio do conteúdo das referidas comunicações. Através da técnica de análise de conteúdo, procuramos verificar se existem diferenças significativas nos conteúdos dominantes, transmitidos aos jogadores entre os dois grupos de treinadores, bem como verificar se há congruência entre as ideias pré-interactivas e as ideias interactivas dos treinadores. Os resultados alcançados, permitem concluir que: O conteúdo das informações transmitidas pelos treinadores nas reuniões de preparação para a competição incidem fundamentalmente na dominante estratégico-táctica (60.2%), seguidas das outras dominante do rendimento desportivo(20.1%) e da dominante psicológica (16.8%). A estrutura da instrução transmitida pelos treinadores assenta dominantemente na vairável prescritiva (56.4.%) e é dirigida para toda a equipa (61.8%). Quando comparados os conteúdos das instruções transmitidas entre os treinadores das duas divisões, verifica-se que há uma grande similaridade entre si (60%) na importância atribuída à dominante estratégico-táctica. No entanto, os treinadores da 2ª Divisão B atribuem uma importância maior à dominante psicológica, enquanto que os treinadores da 1ª Liga atribuem um maior relevo à dominante técnica e às outras dominantes do rendimento desportivo, ...
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Sarasola, Santamaria Beñat. "El Segundo Modernismo. La dialéctica de la modernidad y la posmodernidad estética desde la Escuela de Frankfurt hasta la actualidad." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/131272.
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La discusión en torno a la modernidad y la posmodernidad estética se dio especialmente en los años 70 y 80 del siglo XX. Aquel fue lo que se conoció como el fin de la modernidad y el inicio de la posmodernidad. Sin embargo, en los primeros años del siglo XXI se ha dado un renovado interés en la modernidad y el modernismo estético. En esta tesis se analiza en profundidad la dialéctica entre la modernidad y la posmodernidad estética desde la teoría estética de la Escuela de Frankfurt hasta las últimas teorías estéticas, y se defiende que actualmente se vive en un nuevo modernismo, un segundo modernismo, que critica a la vez que continúa el legado modernista clásico de principios del siglo XX.
La tesis está dividida en tres partes. La primera caracteriza la modernidad estética, basada en la Escuela de Frankfurt y su mayor contribución a la cuestión, la Teoría Estética de Adorno. Además de Adorno, también se examinan las teorías de Marcuse y Benjamin. La modernidad estética aquí elaborada contempla un arte que sea capaz de socavar lo que Adorno llama "mundo administrado" y la lógica instrumental. El arte, desde su autonomía, debe poner en evidencia la miseria de la sociedad capitalista y ser resistente frente a su capacidad de asimilar toda fuerza opositora. En esta parte se analizan también tres debates fundamentales que se desarrollaron en el contexto moderno pero que ofrecen claves importantes para entender la relación con la posmodernidad: el debate sobre el expresionismo, el kitsch, y la vanguardia. En la segunda parte se estudian las estéticas de la cooptación. Dichas estéticas se originaron en la misma modernidad y la crítica de Adorno a la industria cultural, pero fueron desarrolladas a lo largo de la teoría situacionista -especialmente Debord- hasta las estéticas posmodernas, las cuales son la culminación de la teoría de la cooptación. Esta teoría argumenta que en las sociedades postindustriales, con el triunfo del capitalismo y la industria cultural, ninguna forma artística puede ser realmente crítica y resistente ya. El arte se convierte así, a lo sumo, en un pasatiempo, y es incapaz de incidir de manera alguna en la sociedad. Dentro de esta problemática general se estudia asimismo el problema del fin del arte, problema muy presente en las estéticas posmodernas y esencial para entender el desafío que suponen estas estéticas a la modernidad. La tercera parte examina las aportaciones más recientes al tema, las teorías de principios del siglo XXI; en particular, las ideas de Hal Foster, Andreas Huyssen y Nicolas Bourriaud. Todos ellos matizan tanto la idea tradicional de principios del siglo XX de modernidad estética como las derivas más afirmativas de la posmodernidad, y proclaman, cada uno a su manera, un cierto retorno al modernismo.
La concepción del arte defendida en la tesis, la idea de un segundo modernismo, está fundamentada, por tanto, en una idea de arte crítico, en un arte resistente. Sin embargo, critica la idea euro y anglo-centrista de arte moderno, investigando y persiguiendo la modernidad en espacios poscoloniales y en las periferias. Así, esta nueva forma de modernidad estética solicita nuevas narrativas que den cuenta tanto del arte contemporáneo como su relación con el mundo actual. Más que elaborar estas narrativas, que sería un trabajo de los historiadores y críticos del arte y la literatura, la presente tesis articula el humus teórico-crítico que puede ser el sostén de estas nuevas narrativas, ofreciendo unas herramientas teóricas y un espacio crítico a todas ellas.The debate about aesthetics modernism and postmodernism was developed specially in the 70's and the 80's of the XXth century. This was the era of the supposed end of the modernism and the beginning of the so-called postmodernism. Nevertheless, in the very first years of the XXIth century, a renewed interest on the aesthetic modernity and the modernism has appeared. In this dissertation is analyzed the dialectics of the aesthetic modernism and postmodernism in depth, from the aesthetic theory of the Frankfurt's School to the latter contemporary aesthetic theories. The dissertation defends that these days we can find a second modernism, that criticizes and follows at the same time the legacy of the classic modernism of the beginning of the XXth century. The dissertation is divided into three parts. In the first part explains the aesthetic modernity, based on the Frankfurt School and his major contribution on the topic, Adorno's Aesthetic Theory. Besides Adorno, Marcuse and Benjamin's theories are examined as well. In this part are considered too three fundamental debates within the modern art: the debate about the expressionism, the kitsch, and the avant-garde. ln the second part are analyzed the aesthetics of the cooption. These aesthetics are originated in a sense in the modernity and Adorno's critique of the culture industry, but are developed through the situationist theory (specially Debord) to the postmodern aesthetics, which are the culmination of the co-option theory. In the third part are examined the most recent theories about the issue, particularly, the ideas of Hal Foster, Andreas Huyssen and Nicolas Bourriaud. The conception of art defended in the dissertation, the idea of the second modernism, is based on a critical idea of art, on an art embodied on resistance. Nonetheless, it criticizes the euro and anglo-centrist modern idea of art, and seeks the modernity in postcolonial spaces and the periphery. Hence, this new form of aesthetic modernity urges new narratives that explain contemporary art and its links with the contemporary world.
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Ghimire, Bishnu. "Imagining India from the Margins: Liberalism and Hybridity in Late Colonial India." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1334344362.
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Chabikwa, Rodney Tawanda Chabikwa. "Gestures from the Deathzone: Creative Practice, Embodied Ontologies, and Cosmocentric Approaches to Africana Identities." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1543531419849315.
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Eubank, Katelyn. "A COMPARATIVE STUDY OF AESTHETIC AND PERFORMANCE PROPERTIES OF WOMENS T-SHIRTS MADE OF LYOCELL, ORGANIC COTTON, AND VISCOSE FROM BAMBOO." UKnowledge, 2018. https://uknowledge.uky.edu/mat_etds/16.
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The purpose of this research was to evaluate and compare the performance, aesthetic and material properties of women’s t-shirts composed of three different sustainable fibers (lyocell, organic cotton, and viscose from bamboo) before and after repeated home laundering. A convenience sample was comprised of thirty-nine t-shirts. Thirteen black t-shirts from each fiber content were used for testing according to ASTM and AATCC standards. The evaluations and measurements were performed initially and after wash intervals one, five, ten, and twenty. The t-shirts were tested for fabric weight, fabric count, color fastness, smoothness appearance, pilling, dimensional stability and skewness.
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Gentil, Flávio Henrique Umeda. "Estudo clínico comparativo entre diferentes sistemas de clareamento de uso em consultório." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/23/23140/tde-25022016-163718/.
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Objetivos: Estudos clínicos longitudinais que acompanham os pacientes por longos períodos não são muito comuns na literatura, ainda mais quando associados a grandes amostras (veio do fim do resumo). Por isso, o objetivo do trabalho foi determinar a eficiência, estabilidade de cor e sensibilidade dental, trans e pós operatória, dentro de um período de 365 dias, de quatro protocolos de clareamento em consultório. Material e Métodos: Foi realizado um estudo clínico randomizado, cego (para os pacientes), composto por 120 sujeitos (n=30). A amostra foi formada por pacientes adultos, sem distinção de gênero e etnia, e idade superior a 18 anos que foram selecionados por meio de avaliação clínica na qual foi verificada a cor dos dentes, a condição de higiene oral e a presença de restaurações e/ou próteses nas regiões em que os procedimentos seriam realizados. Todos os sujeitos foram submetidos a uma sessão de clareamento de acordo com as instruções do fabricante e obedecendo a aplicação ou não da luz, para os clareadores baseados no sistema Foto-Fenton (havia faltado citar nos métodos do resumo), e qual o seu tipo: Zoom Advanced Power, peróxido de hidrogênio (PH) 25% - Zoom! + luz UVA (Phillips Oral Healthcare); Zoom Whitespeed, PH 25% - Zoom! + luz Whitespeed (Phillips Oral Healthcare); Zoom sem luz, PH 25% - Zoom! (Phillips Oral Healthcare). Boost, PH 38% - Opalescence Xtra Boost (Ultradent). As alterações de cor foram avaliadas utilizando as escalas Vita Classical e Vita Bleachedguide 3D Master e o Espectrofotômetro Vita-Easyshade. As medições foram feitas em incisivos centrais e caninos uperiores antes, imediatamente e 7, 14, 30, 180 e 365 dias após o tratamento. Os dados foram analisados estatisticamente por meio do software Statistica 8.0 (StatSoft - Tulsa, OK) através da análise de variância (ANOVA) para medidas repetidas na avaliação das médias e as comparações foram realizadas através de contrastes (Tukey). Resultados: Para a escala Vita Classical, Zoom AP e WS foram semelhantes entre si porém diferentes de Opalescence e Zoom sem luz, exceto para a avaliação de 30 dias (caninos) e 365 dias (incisivos) onde o Zoom WS demonstrou dados semelhantes ao Opalescence e Zoom sem luz Já para a escala Vita Bleached, Zoom AP e WS foram semelhantes entre si, porém diferentes de Opalescence e Zoom sem luz, exceto para as avaliações de 30 e 180 dias onde o Zoom WS demonstrou dados semelhantes ao Opalescence e Zoom sem luz (caninos). Para dentes incisivos, os achados foram semelhantes, exceto que houve diferença entre o Zoom AP e WS e as semelhanças entre Zoom WS, Opalescence e Zoom sem luz foram encontradas nas avaliações de 180 e 365 dias. Na avalição com o espectrofotômetro Vita Easyshade Zoom AP e WS foram semelhantes entre si e diferentes do Opalescence que, por sua vez, foi diferente do Zoom sem luz, exceto para as avaliações de 7, 14 e 30 dias (caninos). Para incisivos, Zoom AP e WS foram semelhantes entre si e diferentes de Opalescence e Zoom sem luz, exceto para a avaliação de 14 dias onde o Zoom AP foi diferente do Zoom WS. Por fim, a sensibilidade apresentou um aumento nos seus valores na avaliação imediatamente após o clareamento, com uma redução na avalição de 7 dias, para todos os grupos que ainda apresentaram valores de sensibilidade semelhantes em todos os períodos de avaliação. Conclusão: O acompanhamento até 365 dias demonstrou a eficiência dos protocolos de clareamento analisados uma vez que nenhum deles recidivou para os tons iniciais, demonstrando a durabilidade dos procedimentos. Os dois grupos com os clareadores Foto-Fenton obtiveram maior efeito clareador (substituiu desempenho, tinha ficado vago), exceto nas seguintes avaliações: Vita Classical, 30 dias (caninos) e 365 dias (incisivos) e Vita Bleached, 30 e 180 dias (caninos) e 180 e 365 dias (incisivos). Observou-se uma estabilização da cor após sete dias em todos os grupos. A sensibilidade pós operatória foi mais intensa nos primeiros 7 dias e nenhum paciente relatou sensibilidade a partir da avaliação de 14 dias.Objectives: Longitudinal clinical studies that follow patients for long periods are not very common in the literature, especially when associated with large samples. The objective of this study was to determinate the efficacy, color stability and sensitivity within a 365 day period of four in-office bleaching protocols. Methods: A randomized clinical trial, blinded (for patients), composed of 120 subjects (n=30) was conducted. The sample consisted of adult patients, without gender and ethnic distinction, with age superior than 18 years old that were selected through clinical evaluation in which was verified the color of teeth, the condition of oral hygiene and the presence of restorations and/or prostheses in the areas where the procedures would be carried out. All subjects were submitted to a session of bleaching according to the manufacturer\'s instructions: Zoom Advanced Power, 25% hydrogen peroxide (HP) - Zoom! + UVA light (Phillips Oral Healthcare); Zoom Whitespeed, 25% HP - Zoom! + Whitespeed light (Phillips Oral Healthcare); Zoom without light, 25% HP - Zoom! (Phillips Oral Healthcare). Boost, 38% HP - Opalescence Xtra Boost (Ultradent). Color changes were evaluated using Vita Classical and Vita Bleachedguide 3D Master shade guides and Vita-Easyshade spectrophotometer. Measurements were made on the superior central incisive and canines before, immediately and 7, 14, 30, 180 and 365 days after the treatment. Statistical analysis of the data were made with the software Statistica 8.0 (StatSoft - Tulsa, OK) through the analysis of variance (ANOVA) for repeated measures in the mean evaluation and comparisons were made by using contrasts (Tukey). Results: For the Vita Classical shade guide, Zoom AP and WS were similar but different from Opalescence and Zoom without light except for the 30 day (canines) and 365 days evaluations (incisives) where the Zoom WS showed similar data to Opalescence and Zoom without light. As for the Vita Bleached shade guide, Zoom AP and WS were similar, but different from Opalescence and Zoom without light, except for the 30 and 180 days evaluation where Zoom WS showed similar data to Opalescence and Zoom without light (canines). For incisives, the findings were similar, except that there were differences between Zoom AP and WS and the similarities between Zoom WS, Opalescence and Zoom without light were found in the 180 and 365 days evaluations. For the evaluation with Vita Easyshade spectrophotometer, Zoom AP and WS were similar and different from Opalescence which was different from Zoom without light, except for the 7, 14 and 30 days evaluation (canines). For incisives, Zoom AP and WS were similar and different from Opalescence and Zoom without light, except for the 14 days evaluation where Zoom AP was different from Zoom WS. Finally, the sensitivity showed an increase in their values for the immediately after bleaching evaluation, with a reduction in the 7 days evaluation for all groups that still had similar sensitivity values in all evaluation periods. Conclusion: The follow-up to 365 days demonstrated the efficiency of the analyzed bleaching protocols since none relapsed to the initial shades, demonstrating the durability of the procedures. The two groups with the Photo-Fenton bleaching systems performed better, except for the following evaluations: Vita Classical, 30 days (canines) and 365 days (incisives) and Vita Bleached, 30 and 180 days (canines) and 180 and 365 days (incisives). There was a color stabilization after seven days in all groups. Postoperative sensitivity was more intense in the first 7 days and no patient reported sensitivity since the 14 days evaluation.
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Wagenheim, Christopher Paul Ph D. "Male Bodies On-Screen: Spectacle, Affect, and the Most Popular Action Adventure Films in the 1980s." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479480931551239.
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Oring, Stuart A. "A comparative investigation of the similarities and differences in the aesthetic theories of Alfred Stieglitz, Edward Weston, Ansel Adams, and Minor White /." Ann Arbor (Mich.) : University microfilms international, 1993. http://catalogue.bnf.fr/ark:/12148/cb356826702.
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Silva, Rosimeire Gonçalves da. "Categorização estética da pessoa: uma análise comparativa entre as celebridades palhaço Bozo e padre Marcelo Mendonça Rossi." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27152/tde-06092016-113922/.
Full textAbstract:
Esta pesquisa tem como objetos de estudo o palhaço Bozo e o padre Marcelo Mendonça Rossi. Como objetivo, ela propõe investigar as características dessas duas celebridades, com base em suas exposições midiáticas, a fim de discutir as congruências e incongruências que existem entre elas. Foi realizado um breve levantamento histórico com o objetivo de entender a representação dessas personalidades como palhaço e como padre, a se constituírem no espaço-tempo até a atualidade. Com vistas aos papeis sociais desempenhados por eles, trata-se de observar seus potenciais de produção sentido, a partir do uso de suas expressividades pela mídia, baseadas no discurso, carisma e indumentária. Para tanto, a orientação teórico-metodológica que norteou os estudos foram obras que abrangem os campos da estética e da linguística. O estudo de caso foi o método adotado para a realização das comparações entre o palhaço Bozo e o padre Marcelo, balizadas, sobretudo, no dispositivo audiovisual. A nossa premissa é a de que as mutações culturais e a cristalização do sujeito pela mídia colaboram para uma categorização estética do sujeito.This research has a subject of study between Bozo, The Clown and Father Marcelo Mendonca Rossi. As the objective, it proposes to investigate the characteristics of these two celebrities, based on the exposure of media coverage, with the purpose of discussing the similarity and unsimilarity that exists between them. A brief historic background was performed with the purpose of understanding this representation of these two personalities as a clown and as a priest, to constitute themselves in space and time until today. With views of their roles played by them, it is about observing their potential in the production realm, from their use of expressive means by the media based on their speech, charisma and wardrobe. For that matter, the orientation theory-methodology that have started the studies were the work that covers the fields of aesthetic and linguistics. This study/case was the method adopted for the conduct of these comparisons between Bozo, the clown and Father Marcelo, highlighted by audio and visual devices. Our premises is that the cultural mutations and crystalization of the individual(s) by the media co-interact with each other for the aesthetic categorization of the person(s) in question.