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Dissertations / Theses on the topic 'Aesthetics, Renaissance'
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Taylor, Chloë. "The aesthetics of sadism and masochism in Italian renaissance painting /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79810.
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This thesis analyses selected paintings and aspects of life of the Italian Renaissance in terms of the aesthetic properties of sadistic and masochistic symptomatologies and creative production, as these have been explored by philosophers such as Michel Foucault, Roland Barthes, Marcel Henaff, and Gilles Deleuze. One question which arises from this analysis, and is considered in this thesis, is of the relation between sexual perversion and history, and in particular between experiences of violence, (dis)pleasure and desire, and historically specific forms of discourse and power, such as legislation on rape; myths and practices concerning marriage alliance; the depiction of such myths and practices in art; religion; and family structures. A second question which this thesis explores is the manners in which sadistic and masochistic artistic production function politically, to bolster pre-existing gender ideologies or to subvert them. Finally, this thesis considers the relation between sadism and masochism and visuality, both by bringing literary models of perversion to an interpretation of paintings, and by exploring the amenability of different genres of visual art to sadism and masochism respectively.
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Day, H. J. M. "The aesthetics of the sublime in Latin literature of the Neronian renaissance." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598430.
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This thesis examines the concept of the sublime as represented by three Latin authors of the Neronian period: Lucan, Seneca and Petronius. Through analysis of these texts I explore, first, the relationship between Pseudo-Longinus’ Peri Hupsous and post-Classical theorisations of the sublime; and, second, the complex relationship between the sublime and politico-ethical discourses of freedom and oppression. In doing so, I argue in particular for Lucan’s epic Bellum Civile as a vital and hitherto overlooked text of the sublime and, more broadly, for the Neronian period as an important phase in the concept’s artistic history.
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Barton, William Michael. "The aesthetics of the mountain : Latin as a progressive force in the late-Renaissance and Early Modern period." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/the-aesthetics-of-the-mountain(3fc30b0b-2294-42f4-834f-fa2b8c9208c2).html.
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Neo-Latin was a progressive force in Renaissance and Early Modern Europe. As such, its literature played a significant role in shaping the ideas of the modern world. This study will attempt to corroborate these assertions by taking the example of the aesthetic attitude change towards the mountain that took place in the Renaissance and Early Modern Period. This attitude shift saw the mountain change from a fearful, ugly or simply aesthetically uninteresting place, to one of beauty and splendor over the course of around 300 years. Previous studies have argued that this change took place in the vernacular literature of the early and mid 18th century. This thesis will contend that it took place earlier and in Latin. The aesthetic attitude shift towards the mountain can be shown to have had its catalysts in two broad spheres: firstly the development of an idea of 'landscape', and secondly in its increasing scientific and theological investigation. These two broad spheres can then be divided into a further two topics each: the 'landscape idea' emerged on the one hand from growing geographical—particularly chorographical—interest in Germanic countries at the beginning of the 16th century, and on the other hand out of the growing trend for specialisation and secularisation in art theory during the same period. The scientific interest in the mountain was driven by the numerous debates that sprang out of attempts to explain natural phenomena with reference to scripture. The effect of the changes in both scientific and theological thought on the aesthetic perception of the mountain reached its peak in the late seventeenth and early eighteenth centuries. The new Latin evidence for the change in aesthetic attitude towards the mountain unearthed in the course of this study brings new material to the current debate on the aesthetics of nature. This study's concluding chapter shows that looking more closely into the processes that produced the Late Renaissance and Early Modern shift in aesthetic attitude towards the mountain can reveal important information for modern positions on the aesthetic appreciation of nature.
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Potter, Lawrence T. "Harlem's forgotten genius : the life and works of Wallace Henry Thurman /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946287.
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Jeffrey, Anthony Cole. "The Aesthetics of Sin: Beauty and Depravity in Early Modern English Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062818/.
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This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy.
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Robin, Diane. "Paradoxes de la mimésis : Conceptions et représentations du laid dans les textes et les images français et italiens au seuil de la modernité." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040218.
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La thèse analyse les conceptions pré-modernes du laid en confrontant les traités philosophiques, rhétoriques, poétiques et artistiques italiens et français de la Renaissance à la première moitié du dix-septième siècle. En tant que difformité physique, le laid est considéré comme une transgression des normes du corps : il met en question la conception de la mimésis comme imitation idéalisante et permet de repenser la nature de la représentation. Le laid est en outre conçu comme le signe du vice : l’étude cherche à reconstituer le paradigme physiognomonique qui sous-tend cette interprétation traditionnelle du corps et s’interroge sur ses limites en examinant le paradoxe de la laideur de Socrate. Les interprétations morales de la difformité mettent en jeu différentes fonctions sémiotiques de la représentation. Dans la topique héritée de la scolastique, la mimésis du laid vise à stigmatiser les défauts moraux, comme le montrent les allégories des vices et les satires ; de son côté, la difformité paradoxale donne lieu à une herméneutique du texte et de l’image. Enfin, le laid tient à son effet sur le destinataire. Si le laid est traditionnellement appréhendé comme un objet repoussant, sa représentation vise à susciter l’effet inverse, selon les poétiques et les traités d’art inspirés d’Aristote. L’analyse de ce plaisir paradoxal met en lumière les qualités cognitives et esthétiques de la mimésis. Au seuil de la modernité, la question du laid est à la croisée des problématiques morales héritées de l’Antiquité, et des réflexions esthétiques qui se développeront pleinement du dix-huitième siècle à nos jours, notamment dans les théories de la fictionThrough cross-analysis of French and Italian philosophical, rhetorical, poetic, and artistic treatises from the Renaissance to the first half of the seventeenth century, this study seeks to understand what the early modern period conceived of the ugly. In terms of physical deformity, the ugly is considered as a transgression of the norms of the body: it questions the concept of mimesis as an idealised imitation and allows a reconsideration of the nature of representation. Furthermore, the ugly is seen as the sign of vice: this study looks to reconstruct the physiognomical paradigm which underlies this traditional interpretation of the body and to question its limits through examining Socrates’ paradoxical ugliness. Moral interpretations of deformity bring different semiotic functions of representation into play. In the topic inherited from scholasticism, mimesis of the ugly aims to stigmatise moral defects, as they are represented in allegories about vice and satire. Paradoxical deformity, for its part, gives rise to hermeneutics of text and image. Finally, the ugly is concerned with its effect on its recipient. If the ugly is traditionally understood as a repellent object, its representation aims to arouse the inverse effect, according to the poetics and treatises on art inspired by Aristotle. Analysis of this paradoxical pleasure highlights the aesthetic and cognitive qualities of mimesis. At the brink of modernity, the question of the ugly is at the crossroads of moral issues that stem from the Antiquity, and of aesthetic reflections which develop more fully from the eighteenth century to the present day, notably in theories on fiction
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Gress, Thibaut. "Le sens du sensible. Essai de théorisation d’une philosophie de l’art à partir de la peinture renaissante." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040240.
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Il s’agit dans cette thèse de penser les conditions de possibilité d’une philosophie de l’art à partir d’un examen précis et rigoureux de la production artistique picturale de la Renaissance italienne. Cherchant d’abord à définir une méthode, nous étudions en détail les présupposés de l’iconologie afin d’établir ce qui nous en semble être les limites. Puis, forts de cette analyse, nous en déduisons la nécessité d’une philosophie de l’art qui, loin de se contenter d’une analyse érudite de l’icône, cherche à extraire la signification de l’œuvre à partir de sa forme sensible. Si les pensées de Platon, Hume et Kant nous semblent échouer à proposer pareille démarche, les leçons de Hegel consacrées à l’Esthétique nous offrent un schéma analytique opérant, grâce auquel l’espace, le dessin et le coloris fournissent le lieu même à partir duquel peut surgir le sens. C’est ainsi que les œuvres de Fra Angelico, Botticelli, Léonard de Vinci et Michel-Ange constituent le matériau artistique grâce auquel nous mettons à l’épreuve la pertinence du triptyque espace-dessin-coloris, tel qu’il fut élaboré par Hegel. En outre, ce sont les pensées philosophiques consacrées au lieu, à la lumière ou encore à la couleur que nous convoquons – tant chez Thomas d’Aquin que chez Marsile Ficin, chez Albert le Grand que chez Plotin, chez Aristote que chez Nicolas de Cues – afin de proposer un sens philosophique des œuvres picturales, que ne nous semblent paradoxalement pas pouvoir délivrer les théories de l’art que proposent ces derniers. Chercher le sens philosophique des œuvres à même leur sensibilité et non dans une théorie de l’image, tel est donc le projet essentiel de cette thèseThis thesis discusses the conditions of possibility for a philosophy of art based on a precise and rigorous analysis of the pictorial artistic production of the Italian Renaissance. After attempting at defining a method, the presuppositions of iconology are studied in detail with a view to establishing what appear to be their limits. On the basis of this analysis, the author deduces the need for a philosophy of art which, rather than just carrying out an erudite analysis of the icon, endeavours to extract the meaning of a work of art on the basis of its sensitive shape. While Plato, Hume and Kant’s thoughts seem to fail in proposing such an approach, Hegel’s teachings dedicated to aesthetics offer an operational analytical framework, thanks to which space, drawing and colour provide the very place out of which sense can come into being.Hence the works of Fra Angelico, Botticelli, Leonardo da Vinci and Michelangelo constitute the artistic material out of which the relevance of the space-drawing-colour triptych, as developed by Hegel, is put to the test. Furthermore, reference is made to the philosophical thoughts on space, light and colour – as expressed by authors like Thomas Aquinas, Marsilio Ficino, Albert the Great, Plotinus, Aristotle and Nicholas of Kues – with a view to proposing a philosophical sense of pictorial works of art, which paradoxically the theories of art provided by these authors do not seem able to deliver. It is the fundamental aim of this thesis to look for the philosophical sense of works of art through their own sensitiveness and not through a theory of the image
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Wexler, Thomas. "Collective Expressions: The Barnes Foundation and Philadelphia." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383558977.
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Rowley, Neville. "Pittura di luce. La manière claire dans la peinture du Quattrocento." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
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La présente thèse a pour point de départ une exposition florentine organisée en 1990 et intitulée « Pittura di luce ». Ses organisateurs entendaient désigner ainsi un courant de la peinture florentine du milieu du XVe siècle fondé sur la lumière et la couleur claire. Comme l’avait bien compris l’exposition, cette « peinture de lumière » est d’abord identifiable dans la « manière colorée » portée par Fra Angelico et Domenico Veneziano, mais elle doit aussi être élargie à une manière plus « blanche », qui va de Masaccio aux premières œuvres d’Andrea del Verrocchio, au début des années 1470. Les implications techniques et symboliques d’un tel style méritent également d’être étudiées car elles renforcent le sens et la cohérence d’un mouvement publiquement soutenu par les Médicis et dont l’ambition majeure fut de « faire surgir » les peintures religieuses de la pénombre des églises (I). L’étude du développement géographique vaste mais discontinu de la pittura di luce approfondit les hypothèses proposées dans le cas florentin : tout autant qu’une façon moderne et proprement « renaissante » de peindre, la « manière claire » est aussi fondée sur une lumière théologique, associée en partie à la religiosité franciscaine. Piero della Francesca est assurément le grand protagoniste de ce double rayonnement, dans les cours et dans les campagnes (II). C’est également Piero qui sera au cœur de la redécouverte d’une peinture que les XIXe et XXe siècles ont réappris à voir grâce aux historiens de l’art et aux artistes, mais également en raison du changement des conditions de vision des œuvres d’art. En ce sens, la pittura di luce constitue un chapitre important de l’histoire du regard, que l’on propose de rapprocher d’autres redécouvertes picturales elles aussi fondées sur la notion d’apparition (III)This thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
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Platevoet, Marion. "Médée en échos dans les arts : La réception d’une figure antique, entre tragique et merveilleux, en France et en Italie (1430-1715)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040166.
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Le mythe de Médée, reçu par la première modernité comme un paradigme complet depuis la Conquête de la Toison d’or jusqu’à son retour sur le trône de Colchide, compose un prisme à multiples facettes : « Médée-tueenfant » (La Péruse), le personnage légué par la tragédie attique et devenu archétype d’une violence contrenature, y croise Médée magicienne, qui bouleverse le lignage et la ligne du temps, mais aussi la princesse orientale éprise d’un héros civilisateur. Pétrie par la culture chrétienne et admise au répertoire des arts officiels, cette figure ambivalente se rend perméable aux recherches esthétiques et aux débats éthiques des Temps modernes, en vue de l’expression de l’horreur, de l’allégorisation de la gloire, comme dans la représentation des passions.Or, la fondation de l’Ordre de chevalerie de la Toison d’or au duché de Bourgogne, en 1430, jusqu’à la fin de la Guerre de succession d’Espagne où se redessine la carte des puissances européennes, fait de la fable un miroir fictionnel privilégié des jeux de pouvoir entre les grandes dynasties européennes, en tant qu’instrument du discours programmatique du Prince. Dans le paysage culturel d’influences communes que forment les Cités-États de l’Italie et le royaume de France, cette étude montre, par la réunion de l’iconographie de Médée, l’analyse de saprésence dans les imprimés et de ses réécritures à la scène d’après l’antique, comment les échanges entre les arts visuels et les arts du texte oeuvrent à l’établissement d’un motif héroïque paradoxal. Ou comment Médée « devient Médée », renouvelant le serment que lui avait fait jurer Sénèque : « Fiam »The exceptional scope provided by the myth of Medea, which spans from the Conquest of the Golden Fleece to her return to the throne of Colchis, was received in its entirety by the Early Modern Arts and offers a multi-faced prism : Medea “tue-enfant” (La Péruse), the character left by the Ancient ancient Greek tragedy that became an archetypal figure of monstrous violence, crosses the path of the oriental lover of a civilizing hero, and also the enchantress who scatters lineages and timelines. Sculpted by the Christian culture and allowed into the official artistic repertory, this ambivalent figure absorbs the aesthetics and ethical debates of modernity. Indeed, Her Medea’s myth can be used for the expression of horror, allegories of glory, as well as expression of the passions.In addition, from the establishment of the Order of the Golden Fleece, by the Duke of Burgundy in 1430, to the end of the War of the Spanish Succession (which redefined the entire map of major European powers), Medea’s myth becomes one of the most efficient fictional mirrors of the political disputes between the most influential families of Europe, as an instrument of the publication of the Prince programme. Into the landscape of the cultural influences shared by the States of Early Italy and the French Kingdom, this study intends to show, by analysingthe spread of iconography of Medea, her presence in printed material and her classical performance reception and rewriting, how the exchanges between visual and literary productions work towards the definition of a paradoxical heroic standard. Where Medea “becomes Medea” and renews the oath that Seneca made her take: “Fiam”
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Porter, Carolyn. "DANTE GABRIEL ROSSETTI AND THE ITALIAN RENAISSANCE: ENVISIONING AESTHETIC BEAUTY AND THE PAST THROUGH IMAGES OF WOMEN." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/113.
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This dissertation examines Dante Gabriel Rossetti’s knowledge and interpretation of the Italian Renaissance during the 1860s. I argue that there is a relationship between Rossetti’s Aestheticism and his understanding of the Italian Renaissance and that this relationship is visibly manifested in his images of women from the period. In Victorian England, Aestheticism and the philosophy of beauty for its own sake became increasingly popular throughout the 1860s. I challenge the idea that Aestheticism and an interest in Renaissance art are mutually exclusive aspects of the artist’s work. Rossetti’s images of women expressed both his understanding of Renaissance art and the central place of beauty in painting. Based upon Rossetti’s interpretation of Renaissance art and poetry, his criticism, and the criticism of his peers, this dissertation argues that the beauty of women in Rossetti’s paintings came to stand for the beauty of art. Rossetti’s paintings promoted sensual Aesthetic experience in their conflation of formal and female beauty. Using the historically idealized conventions of female portraiture, Rossetti created images of women that privileged Aesthetic beauty over narrative or moral meaning. His use of vibrant, rich color, a quality he and his peers inexorably associated with Venetian Renaissance painting, revealed the connection between Renaissance art and his Aestheticism. Color helped to define his paintings of women as examples of beautiful, sensuous painting. For Rossetti, the representation of alluring, beautiful women was the most powerful way to express the experience of Aesthetic beauty as intoxicating, sensual, and even morally ambiguous.
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Spooner, Joseph Carson. "W.E.B. Du Bois and the origins of the Black Aesthetic : rivalry, resistance, and renaissance construction, 1905-1926." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/9767.
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My thesis reconsiders Du Bois’ role in creating a black aesthetic, challenging prevailing notions about his opposition to the New Negro Renaissance and broadening the scope of his contributions in developing an indigenous, self-determined aesthetic. Currently, Harlem-centric historiography remains over-reliant on Du Bois’ own interpretations and unconcerned about his motives for misrepresenting the catalysts and the outcomes of the aesthetic and intellectual debates that define the period. By examining aesthetic controversies outside his dominant ‘failure’ interpretation and beyond the narrow geographical perimeters of a romanticized Harlem, the vital contributions Du Bois made to an intellectual dialogue that inspired artists to articulate a black aesthetic can be recognized. While some scholars have acknowledged the history of the renaissance has been unfairly shrouded in failure, none have explored Du Bois’ role as an aesthetic visionary, a position complicated by his categorical denunciation of the New Negro Renaissance. My research repositions Du Bois as a major ideological force at the genesis of the Black Aesthetic, both as an advocate and antagonist of the aesthetic ideals that define the movement. By tracing his intellectual evolution throughout the first quarter of the twentieth century, my thesis identifies how ideological conflicts within the NAACP and intellectual rivalries with Marcus Garvey, Charles S. Johnson, and Alain Locke impact Du Bois’ vacillating beliefs, and how his writings about art and his leadership as editor of The Crisis define the intellectual foundation and embody the racial dilemmas through which New Negroes create a revolutionary aesthetic. Du Bois’ insistence that artistic decadence and deleterious white commercial interests undermine the renaissance is reconsidered, allowing him, ironically, to be recognized as the New Negro Renaissance’s most important intellectual force in defining the Black Aesthetic.
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Farebrother, Rachel Louise. "Tracking the collage aesthetic in the Harlem Renaissance, with special reference to Alain Locke's 'The new negro', Jean Toomer and Zora Neale Hurston." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275573.
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Birkle, Eric Michael. "Detroit’s Belle Isle Aquarium: An Idiosyncrasy of Identity, Style, Modernity, and Spectacle." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1555674210421851.
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Carter, Victoria Katsuko. "Gustav Stickley's Hapke-Geiger House and Noland and Baskervill's Hunton House: Richmond Architecture ca. 1915." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/752.
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Textbooks teach architecture as conveniently divided into styles and periods, but in reality styles overlap. At the turn-of-the-twentieth century there were three major architectural and decorative movements in the United States: the Aesthetic Movement, the Arts and Crafts Movement, and the American Renaissance Movement. This thesis shows how superficial stylistic labels can be by comparing two very different-seeming houses of the early twentieth century: The Hapke-Geiger House of ca. 1912 in Chesterfield, Virginia, based on a Gustav Stickley Arts and Crafts design, and the Hunton House of 19 14 in Richmond, Virginia, designed in the American Renaissance style by Noland and Baskervill. These homes are very different from one another, but they have three major similarities: They each use an established plan with no essential connection to the building's supposed style, they mix styles, and they have similar kinds of porches. This thesis will pursue these issues to go beyond the superficial stylistic labels and examine how the three major movements of the time are interrelated.
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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.
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From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.
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Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.
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This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
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Gonzalez, Shelly S. "Anti-Romance: How William Shakespeare’s “King Lear” Informed John Keats’s “Lamia”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1169.
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The purpose of this thesis is to analyze John Keats’s “Lamia” and his style of Anti-Romance as informed by William Shakespeare’s own experimentation with Romance and Anti-Romance in “King Lear.”
In order to fulfill the purpose of my thesis, I explore both the Romance and the Anti-Romance genres and develop a definition of the latter that is more particular to “King Lear” and “Lamia.” I also look at the source material for both “King Lear” and “Lamia” to see how Shakespeare and Keats were handling the originally Romantic material. Both Shakespeare and Keats altered the original material by subverting the traditional elements of Romance.
In conclusion, the thesis suggests that Shakespeare’s Anti-Romance, “King Lear,” and his general reworking of the Romance genre within that play informed Keats’s own experimentation with and deviation from the traditional Romance genre, particularly in “Lamia.”
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Zalamea, Patricia. "Subject to Diana picturing desire in French Renaissance courtly aesthetics." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.16804.
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TAI, SU KUEI, and 蘇桂代. "On the Relationship between Renaissance architectural style and Pythagorean Aesthetics." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/14756795658246273076.
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Chao, Shun-Liang, and 趙順良. "The Aesthetics of Visual Poetry: Renaissance Pattern Poems and Cumming''s Visual Poems." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/08688485160043266141.
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碩士國立政治大學
英國語文學系
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In this thesis I am to proffer an aesthetic knowledge of visual poetry by illustrating Renaissance pattern poems and cummings'' visual poems, through which to rectify the conventional view of visual poetry as insignificant or "aesthetically irrelevant." My thesis is composed of five parts. In Inthoduction I outline the stakes of visual poetry, present its brief history, and bring forth three aesthetic issues abstracted from Renaissance pattern poems and cummings'' visual poems. These three issues occupy respeictively one chapter of my thesis. The first issue is the mimetic relation of visual poetry to nature. In their visual shapes which are the faithful representation of natural objects, I find an epistemological difference between Renaissance pattern poems and cummings'' visual poems. The second issue is concerned with the interaction between poetry and painting. Now that visual poetry is hightly mimetic, its linkage with painting (or visual arts) is all the more intimate. I concentrate upon, in consequence, how Renaissance pattern poems and cummings'' visual poems cross respectively the border G.E. Lessing builds between poetry, the temporal art, and painting, the spatial art. The former two issues focus on the writing mode of visual poetry;then, the third one attends to how this writing--which is called by John Hollander as "aberrant"--poses a challenge to the reader''s conventional response to poetry. And there are two contrasts in this discussion:one is the distinction between the reading of conventional poetry and that of visual poetry; the other the distinction between the reading of Renaissance pattern poems and that of cummings'' visual poems. The process from the first to the third issue is, we can find, an interconnection between from and content. Such a development brings out what I asserts in Conclusion:in order to prevent visual poetry from being nothing but a world play--i.e., to be not only visual poetry but visual poetry--visual poets have to secure the compatibility between its form and content.
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Burks, Marlo A. "DAS LICHT DER KÜNSTE: HUGO VON HOFMANNSTHALS DIE FRAU OHNE SCHATTEN MIT BLICK AUF WALTER PATERS THE RENAISSANCE." 2011. http://hdl.handle.net/10222/14252.
Full textAbstract:
Hugo von Hofmannsthal’s literary relation to Walter Pater has already been established in
the secondary literature; nevertheless, the Frau ohne Schatten has not been analysed with
respect to this relation. This project investigates the role of the arts (especially that of
architecture, painting, poetry, music and the carpet) in the story and connects this role
with the aesthetics that Pater sets out in The Renaissance. It will be shown that art in its
various forms is closely connected to the plot and action of the story. In the work of Pater
and Hofmannsthal, art even has a vivifying or animating function. Important
characteristics of art for Hofmannsthal and Pater are the relation of the arts to and
amongst one another, the idea that all things flow (following Heraclitus’ panta rhei, Gr.), and the concept of Anders-streben. The world of art and the world of reality
in its everyday sense will be shown through their ambiguous and even paradoxical
relation to one another. Hugo von Hofmannsthals literarisches Verhältnis zu Walter Pater ist in der
Sekundärliteratur schon belegt; trotzdem ist Die Frau ohne Schatten hinsichtlich dieses
Verhältnisses nie analysiert worden. Diese Arbeit untersucht die Rolle der Künste
(besonders der Architektur, Malerei, Dichtung, Musik und des Teppichs) in der
Erzählung und verbindet diese Rolle mit der Ästhetik, die Pater in The Renaissance
darlegte. Es wird gezeigt, dass die Kunst in ihrer verschiedenen Gestalten sehr eng mit
der Handlung der Erzählung verbunden ist. Bei Pater und Hofmannsthal hat die Kunst
sogar eine belebende Wirkung. Wichtige Merkmale der Kunst für Hofmannsthal und
Pater sind das Verhältnis der Künste untereinander, die Idee, dass alles fließt (nach
Heraklits panta rhei, Gr.), und das Konzept des Anders-strebens. Die Welt der
Kunst und die Welt der Wirklichkeit im alltäglichen Sinne werden durch ihre vieldeutige
und zumal paradoxe Beziehung zueinander gezeigt.
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Avxentevskaya, Maria. "The Aesthetic Aspect of Knowledge Acquisition in the European Renaissance and Early Modern Period." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-350989.
Full textAbstract:
Maria Avxentevskaya How to discover things with words? John Wilkins: from inventio to invention Abstract in English My doctoral thesis explores the functions of rhetorical and dialectical devices in the argumentative style of John Wilkins (1614−1672). My study traces the development of his discursive techniques in scientific narratives, theological writings, and linguistic treatises, with the aim to examine how the interplay between cognitive and performative language enhanced early-modern practices of knowledge-making. I argue that the procedures of dialectical rhetoric, apart from being popular perlocutionary tools, were effective as heuristic instruments. Language was one of the important agents in the performing of science, and my study employs the concept of "performative knowing" as a key to Wilkins's dialectical and scientific inventions. The idea of performative knowing straddles several constituents derived from the analytic philosophy and speech act theory. From this perspective, Wilkins's undertakings appear as a coherent exercise in the art of making knowledge through persuasive communication. My thesis explores how Wilkins's argumentative method departs from baroque rhetorical flair of The Discovery of a World in the Moone (1638), explores the capacity of rhetoric to impart scientific...
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(9148919), Marsalene E. Robbins. ""The Breadth, and Length, and Depth, and Height" of Early Modern English Biblical Translations." Thesis, 2020.
Find full textAbstract:
The significance of early modern Bible translation cannot be overstated, but its “breadth, and length, and depth, and height” have often been understated (King James Version, Ephesians 3.18). In this study, I use three representative case studies of very different types of translation to create a more dynamic understanding of actual Bible translation practices in early modern England. These studies examine not only the translations themselves but also the ways that the translation choices they contain interacted with early modern readers.
The introductory Chapter One outlines the history of translation and of Bible translation more specifically. It also summarizes the states of the fields into which this work falls, Translation Studies and Religion and Literature. It articulates the overall scope and goals of the project, which are not to do something entirely new, per se, but rather to use a new framework to update the work that has already been done on early modern English Bible translation. Chapter Two presents a case study in formal interlingual translation that analyzes a specific word-level translation choice in the King James Version (KJV) to demonstrate the politics involved even in seemingly minor translation choices. Chapter Three treats the intermedial translation of the Book of Psalms in the Sternhold and Hopkins psalter. By using the language and meter of the populace and using specific translation choices to accommodate the singing rather than reading of the Psalms, the Sternhold and Hopkins psalter facilitates a more active and participatory experience for popular worshippers in early modern England. Finally, Chapter Four analyzes John Milton’s literary translation in Paradise Lost and establishes it as a spiritual and cultural authority along the lines of formal interlingual translations. If we consider this translation as an authoritative one, Milton’s personal theology expressed therein becomes a potential theological model for readers as well.
By creating a more flexible understanding of what constitutes an authoritative translation in early modern England, this study expands the possibilities for the theological, interpretive, and practical applications of biblical texts, which touched not only early modern readers but left their legacies for modern readers of all kinds as well.