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Albertoni, Fernanda Bernardes. "Narrativas verbais : construto ficcional nas artes visuais e em sua documentação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2007. http://hdl.handle.net/10183/10744.
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A presente pesquisa analisa o emprego de narrativas verbais como construtos ficcionais utilizados por artistas do campo visual através de seus trabalhos e documentações. Particularmente enfocam-se três aspectos desses escritos: quando se apresentam em forma autobiográfica; quando esta biografia é associada ao mundo histórico; e quando o artista torna-se autor de uma historiografia particular. Nesta investigação elegemos escritos considerados representativos dessas ocorrências enfocadas – entre eles os dos artistas Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris e Jannis Kounellis. Através dessa análise, visa-se explanar algumas particularidades do gênero, tais como o que determina com que um escrito ficcional seja um trabalho do campo dito visual e não do literário; o porquê da escolha por parte dos artistas desse suporte como meio para suas significações; e por quais traços o meio verbal contagia um campo já usual à arte, o ficcional.This research analyses the use of verbal narratives as fictional constructs by artists from the visual field, through the work of these artists and their documentation, particularly focusing in three aspects of these artist’s writings: as autobiographical, as biographical in relation to the historical world, and when the artist becomes the author of a particular art history. For investigating the subject it was selected a group of artists and artworks that could be considered representatives of these occurrences – as seen in writings from Sophie Calle, Lucas Samaras, Ad Reinhardt, Joseph Beuys, Robert Morris and Jannis Kounellis. The analysis explore questions as what would classifies a work of fiction within from the visual arts field instead of literary; why these artists chose this form of expression as medium for their significations; and how the verbal field influences the fictional in visual art.
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Godoi, Vagner. "Funcionamento da obra de pesquisa." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-20032019-111504/.
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Entre os anos 2000 e 2010, são intensificadas e renovadas mundialmente as discussões sobre produções artísticas que se relacionam com o conhecimento, a universidade, a pesquisa, a teoria, a reflexão, a educação e os outros campos do conhecimento. Um dos ângulos desse fenômeno multifacetado, e que é motivo de interesse crescente dos artistas e demais profissionais da Arte, pode ser resumido com a expressão pesquisa artística. Uma das contribuições desta tese é relacionar o pioneirismo da criação dos programas de pós-graduação em Artes Visuais no Brasil, com trajetória consistente de estabelecimento e definição desde a década de 1970, a esse fenômeno recente, que aconteceu sobretudo na Europa, disparado pela transformação das academias de arte em universidades por lá, seguida de um debate intenso sobre os significados da pesquisa do artista. Além disso, este estudo percorre as produções artísticas, discursivas, pedagógicas e teóricas dos artistas brasileiros Jorge Menna Barreto e Ricardo Basbaum em busca da linha poética da pesquisa, contextualizando-os tanto como herdeiros da pesquisa em arte no Brasil quanto associados a essa movimentação internacional sobre a pesquisa artística. Parte-se da incerteza sobre a multiplicidade dos significados e das nomenclaturas que a pesquisa do artista provoca, não como uma indagação ontológica, mas com o propósito de entendimento sobre o seu lugar, uma questão institucional da arte inserida no ambiente universitário e, sobretudo, um problema que se encontra na própria obra de arte, agora considerada de pesquisa.From the years 2000 to 2010, discussions on artistic productions that are related to knowledge, university, research, theory, reflection, education and other fields of knowledge are intensified and renovated. One of the angles of this multifaceted phenomenon, and a reason for the rising interest in it by artists and other art professionals, can be summarized by the expression artistic research. One of the contributions of this thesis is correlating the pioneering creation of postgraduate programs in Visual Arts in Brazil, consistently established and defined since the 1970s, to this recent phenomenon, that took place specially in Europe, initiated by the transformation of art academies into universities, followed by an intense debate on the meanings of artist research. Moreover, this study examines artistic, discursive, pedagogical and theoretical productions by Brazilian artists Jorge Menna Barreto and Ricardo Basbaum in order to find the poetic line of research, contextualizing both as heirs of research in art in Brazil and affiliates of these international shifts on artistic research. The starting point is the uncertainty regarding the multiplicity of meanings and nomenclatures that artist research provokes, not as an ontological enquiry, but with the purpose of understanding their place, an institutional matter of art inserted in the university environment, and, particularly, a problem found in the work of art itself, now considered research.
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Junod, Karen. "Writing the lives of artists : biography and the construction of artistic identity in Britain (ca. 1760-1810)." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419032.
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Junqueira, Lilian Maus. "Escritos de artistas nos arquivos em transformação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/28622.
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Esta pesquisa analisa os modos de existência dos escritos de artistas no processo de documentação e circulação da obra de arte efêmera, bem como as práticas de arquivamento realizada pelos próprios artistas. Afinal, ao documentarem suas experiências efêmeras através da escrita e da fotografia, estariam eles contribuindo de que modo para a historiografia da arte? Durante o desenvolvimento dessa questão, serão realizados estudos de caso sobre as obras "Parangolés" e "Con glomerado", de Hélio Oiticica, e a Série "Documento Areal", realizada pelos artistas André Severo, Maria Helena Bernardes, Elaine Tedesco, Hélio Fervenza, Karin Lambrecht e Marcelo Coutinho.This research explores the modes of existence of artists' writings in the documentation and dissemination process of the ephemeral artwork, as well as the practice of filing done by the artists. After all, in documenting their ephemeral experiences through writing and photography, they would be contributing in that way to the historiography of art? During the development of this issue, case studies will be conducted on the artworks "Parangoles" and "Conglomerado" by Helio Oiticica, and "Documento Areal" Series, performed by artists Andre Severo, Maria Helena Bernardes, Elaine Tedesco, Helio Fervenza, Lambrecht and Marcelo Coutinho.
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Warr, Tracey Karen. "Creative acts : curating and writing with artists." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/1150.
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The published texts and curatorial practice collected together in this PhD interrogate the nature of the creative act in contemporary visual art practices. They focus on the complex of co-creation in relation to: - creative acts of dialogue between the practices of artists, curators and writers - creative acts of experiencing the world - creative acts of making art about experiencing. They form a coherent programme of research addressing: - site-based and contextually engaged curated projects since the 1950s - relationships between, and definitions of, the roles of curator, writer and artist in contemporary practices - the nature of authorship and collaboration - histories, theories and practices around Body Art and Land Art - current philosophical and scientific debates around consciousness - the situated, immersive and creative nature of embodied consciousness - writing practices that address consciousness and experience. The material draws, in particular, on the ideas and work of James Joyce and Marcel Duchamp, as well as a range of other thinkers including Georges Bataille, Rosalind Krauss, Mary Douglas, Francisco Varela and Elaine Scarry. Section 1 Includes materials and discussion of independent site-based curatorial projects In the UK including New British Sculpture, Edge 90, Edge 92, TSWA, Tyne International, Artscape Nordland and Artangel. Artists discussed include Helen Chadwick, Cornelia Parker, Guillermo Gomez Pena & Coco Fusco, Maria Thereza Alves, Alan Michelson & Jimmie Durham. This section also includes articles on Marina Abramovic, Dorothy Cross and Carolee Schneemann. Section 2 includes materials and discussion of curatorial and writing projects concerned with the nature of experience and embodied consciousness. This includes the projects EarthWire with artists Kathleen Rogers, Rena Tangens, Jozefa Rogocki and Bruce Gilchrist, James Turrell's Northumberland Skyspace and Twilight It also includes writings on the artist's body, embodied consciousness, documentation and performance, James Turrell, Heather Ackroyd and Dan Harvey, Chris Burden, Joan Jonas and Cyril Lepetit. Section 3 considers embodied consciousness immersed in its environment and the work of artists addressing this theme. It includes the curatorial projects Here, Contemporary Romantic and the sound art festival OX' with artists including Ray Lee and Alexel Shulgin, the exhibition projects KnoWhere, Generator and Dialogue and writings on art and weather, women's art, KnoWhere, Marcus Coates, London Fieidworks and Optik.
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Badamshina, Ghuzal. "Writings on music : artistry as a methodological component." Thesis, University of York, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296387.
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Ewbank, Antônio Gabriel Gonçalves. "Escritos de Robert Smithson." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-01032013-114329/.
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Esta pesquisa parte da obra do artista norte-americano Robert Smithson (1938-1973), sobretudo de seus escritos deixados. Desde o início, a vontade era a de andar às voltas de um modo específico de conhecimento do mundo: escrever sobre a intricada relação entre teoria e prática no campo das artes visuais. Estudo cujo conteúdo teve por lastro as referências - literárias, artísticas, teóricas e históricosociais - sintetizadas nos textos do artista eleito. Tal contexto de trabalho conduziu as análises deste ensaio, cada forma determinada por seu próprio repertório. Escavando assuntos com palavras, sempre rente à coleção de escritos de Robert Smithson. Experimento por acabar, resta um conjunto composto por dezessete pequenos fragmentos. A execução desta montagem representa uma adaptação ensaiada repetidas vezes diante de um espelho. O tiro partiu de local pouco conhecido; o cartucho era de festim: ricocheteou até perder força e cair, por fim.This research departs from the oeuvre of the American artist Robert Smithson (1938-1973), especially from the writings he left. From the beginning, the will was to surround a specific way of knowing the world: to write about the intricate relation between theory and practice in the visual arts field. Study whose content had as its ballast the references - literary, artistic, theoretical, historical and social - synthesized in the texts of the elected artist. Such work context conducted the analysis of this essay, each form determined by its own repertoire. Excavating subjects with words, always close to the collected writings of Robert Smithson. Unfinished experiment, a set made up of seventeen small fragments remains. The execution of this assemblage represents an adaptation rehearsed repeatedly before a mirror. The shot came from little-known site; it was a blank cartridge shot: ricocheted till it lost strength and fell, at last.
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Boutilier, Alicia Anna. "Mapping an artist's identity, the life, work and writing of Yvonne McKague Housser." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36813.pdf.
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Martin, Timothy Daniel. "Robert Smithson : writings, sculptures, earthworks." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324920.
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Jacobson, Malcolm. "Getting paid writing graffiti : How graffiti artists produce value within marketing." Thesis, Stockholms universitet, Sociologiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-114878.
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In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti. Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture. The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.
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Lam, Yung, and 林勇. "Writing in the shadow, or writing the present in the past and writing the past for the present." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31950620.
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Lam, Yung. "Writing in the shadow, or writing the present in the past and writing the past for the present." [Hong Kong : University of Hong Kong], 1994. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13762084.
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Cattani, Maria Lucia. "Spontaneity, repetition and systems in reproductive media : a reflection on personal practice." Thesis, University of Reading, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266153.
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Gasper, Kahlil Almustafa. "Writing Ourselves Into Existence| A Spoken Word Artist's Autoethnography of a Liberatory Hip-Hop Pedagogy." Thesis, Loyola Marymount University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10933563.
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While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.
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Cervi, A. C. "R.M. Rilke and J.P. Jacobsen, J.P : A study of an artistic affinity." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383772.
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Nicol, Jennifer. "Escape artists : adventure and isolation in women's writing at the fin de siècle." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/25494.
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Recent scholarship has examined the lived experience of unmarried women in nineteenth- and twentieth-century Britain, both in cities and in the countryside. Typically, scholarship in this field has focussed on women's social identity whether spinster, widow or lesbian and addressed how these types of women were variously used in fiction and the press to contest or uphold the gendered status quo. This thesis problematises the distinct characterisation of these social identities by examining works which seek to unify female social identity at the fin de siècle through a common modern experience: the conflict between individual and collective life. All of the female subjects examined in this thesis whether author, artist, or fictional character, and whether married, separated, unmarried, widowed, homosexual, or not easily identifiable either way are solitary figures. Their movement within and interaction with their environments reveal the uneasy combination of separation and exposure experienced by working women of all classes at the fin de siècle. This thesis examines the solitary female figure in works of British fiction produced between 1880 and 1922. It considers the pressures and implications of separation and exposure in relation to female celebrity and creative practices at the fin de siècle. My methodology involves examining the biography and auto/biographical works of Amy Levy (1861-1889), George Egerton (pseud. of Mary Chavelita Dunne Bright; 1859-1945), Sarah Grand (pseud. of Frances Elizabeth Bellenden McFall; 1854-1943) and Charlotte Mew (1869-1923), and drawing out aspects that speak to the desires for privacy and, conversely, publicity and/or companionship. I identify how their lived experience of this conflict broadly, between society and solitude affected the depiction of modern female consciousness in their literary works by examining their female characters subjective interaction with three environments: the foreign landscape, the home, and the city. My aim is to identify how Levy, Egerton, Grand and Mew used their literary works to acknowledge and retaliate against the restrictions which continued to limit urban women's physical, social and psychological autonomy.
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Thompson, Susannah Catherine. "The artist as critic : art writing in Scotland 1960-1990." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2831/.
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Gasper, Kahlil Almustafa. "Writing Ourselves Into Existence: A Spoken Word Artist’s Autoethnography of a Liberatory Hip-Hop Pedagogy." Digital Commons at Loyola Marymount University and Loyola Law School, 2018. https://digitalcommons.lmu.edu/etd/529.
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While there is growing research about the positive impact of teaching artists (TAs), these professional arts educators are an underused resource. As a TA, I have more than a decade of experience implementing spoken word and hip-hop as a pedagogical approach in urban public school classrooms. By conducting this autoethnographic study, I sought to explore insights from these 10 years of lived experience for understanding and documenting the critical principles of my practice as a TA. This autoethnography of my life as a TA tells stories from urban public school classrooms during my formative years as an educator. The research explored the impact my artistic practices have had on developing my pedagogical approach, including the emotional and financial challenges inherent to working on the margins. By interpreting and analyzing ethnographic material from five residencies, this research resulted in complex narrative accounts, which provide insights for the field of arts education, with a specific focus on TAs. Moreover, this study offers a visionary context for a liberatory educational praxis of spoken word and hip-hop in classrooms and communities.
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Robertson, Stuart. "Figures for the artist in the writings of Henry James and Oscar Wilde." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/4945/.
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This study is a cultural materialist analysis of the spectacular commodity economy of the fin-de-siecle as mediated and represented in the iconography of the artist that Oscar Wilde and Henry James employ. The figure of the artist within the dominant social organisation of the fin-de-siecie is studied in relation to residual, dominant and emergent social formations. Focussing on four distinct figures, I examine the ways in which the discursive subject positions of the actress, the critic, the revolutionary and the child are oppositional because they represent positions that frustrate and evade the forceful processes that seek to incorporate individuals to the hegemony. This evasion is achieved because these positions exploit ambiguities within the discursive formations. Each of these positions is characterised by the same qualities of marginality, vulnerability and mutability, qualities traditionally identified as weaknesses, which I identify here as paradoxical strengths. The figure of the actress captures the force with which the processes of hegemony reify women, but she also represents an alternative to those schemes of identity formation. The vulnerability of the actress before the hegemonic discourses, a vulnerability that the artist shares, is paradoxically the quality that offers the greatest opportunity for constructing alternative positions. In a corruptly theatrical world the actress's art allows her to confound the possessive male gaze, and to evade the roles scripted for her by hegemony. The figure of the actress represents the first example of the theatrically multiple subjectivity that James and Wilde identify and explore. The critic is inextricably bound by systems of exchange and the logic of the marketplace and this represents the vulnerability of the critic. This vulnerability though depends upon the critic's intermediate position and this intermediate position is a site, I argue, which James and Wilde exploit as they re-conceptualise the action of culture and the work that art achieves. At the fin-de-siecle this work was recognised as necessary and urgent by many intellectuals. The developing mass culture presented an emergent form of social organisation, one that offered substantial opportunities for change. Cultural critics sought to find ways to understand and influence these social forms. Both Henry James and Oscar Wilde critique the dominant narratives of art and culture through their readings and rewritings of Matthew Arnold's works. Their rewritings reveal the complicity of Arnold's formulations of hegemony at the same time as they identify oppositional positions and strategies. These oppositional positions and strategies depend upon redefining the existing relations of production and consumption that govern aesthetic encounters. The work that art does becomes the transformation of the individual's consciousness, a change from the fixed bourgeois self to a theatrically multiple subjectivity. The critic mimes this change in order to make the process available to all. The revolutionary represents the vulnerability of the individual to political discourses of reaction and revolution. This vulnerability is realised by James and Wilde in their works through the figure of the scapegoat, an individual whose relation to the group is explicitly dangerous and revelatory. I argue that James and Wilde both identify a theatrically multiple subjectivity and I trace the genealogy of this subjectivity in Hegelian thought. I illustrate how Henry James's investigation of city-spaces demonstrates his understanding of the creation and regulation of subjects in modernity. The figure of the child is a familiar role for the romantic artist but the romantic child is also the latent being intently examined by late nineteenth century psychology, ethnology, and physiology. I argue that the potential of the child, as its promise and its threat, reveal the means through which subject positions are established, fixed and regulated, and holds out the promise of evading those regulatory schemes. I read Oscar Wilde's fairy-tales in the context of late nineteenth century folklore research, in particular the writings of Andrew Lang, and I relate James's literary children in 'The Turn of the Screw' and What Maisie Knew to his developing modernist literary form. I conclude that a significant contribution of these writers to the establishment of a distinctively Modernist literary practice was their detailed exploration and examination of the relationship of the artist to the dominant and emergent social formations, and their commitment to an active role for the artist in contesting the limits of modern subjectivity, doing battle with the forces of capital.
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Seda-Reeder, Maria. "The writing on the wall 1977-2007, New York Graffiti artists, Jenny Holzer and Swoon /." Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1179409053.
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Thesis (M.A.)--University of Cincinnati, 2007.Title from electronic thesis title page (viewed July 18, 2007). Includes abstract. Keywords: graffiti; Jenny Holzer; Swoon; avant-garde; posters; writing; New York City. Includes bibliographical references.
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SEDA-REEDER, MARIA. "THE WRITING ON THE WALL: 1977 - 2007, NEW YORK GRAFFITI ARTISTS, JENNY HOLZER AND SWOON." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179409053.
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Slave, Alexandra. "Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23104.
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My interdisciplinary dissertation, Écriture Artiste and the Idea of Painterly Writing in Nineteenth-Century France, studies the notion of écriture artiste as an ideologically charged aesthetic doctrine that provides a better understanding of the rapports between art and the socio-historical context of mid nineteenth-century France. Specifically, using a case study approach, I examined four encounters between writers and painters, including Gustave Flaubert, Gustave Moreau, the Goncourt brothers, Eugène Delacroix, Émile Zola, Édouard Manet, J.-K. Huysmans and Odilon Redon. I analyzed how these pairings, each illustrative of a different facet of écriture artiste, highlight extratextual realities of the time through aesthetic embellishments. Findings show that some of these artists refashion the existing hierarchy of academically legislated rules on style by purposefully obscuring legibility in order to valorize artistic productions as alternatives to, not copies of, nature. Moreover, they reshape cultural views by staging the coexistence of lyrical and positivist elements, thus encouraging an array of subjective interpretations. I conclude that écriture artiste provides a valid framework for analyzing a self-conscious type of art that uses symbolic power to shape public taste. In turn this provides alternatives to a monolithic model upheld by legitimate culture. The central contribution of my project is its analysis of écriture artiste as a concept that does not fit neatly specific categories of genre or literary movements.
My work intervenes in extant debates on literature and the visual arts in the latter half of the nineteenth century by challenging the critical tradition that considers écriture artiste as a pedantic descriptive style. My dissertation broadens the scope of écriture artiste beyond the work of the Goncourt brothers. This expansion of the field also reveals that this type of art theory is developed with an acute consciousness about the power of art and the artist to reach a changing readership, prompted by the shifting ideological climate of the time.
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Camino, Minacha. "An investigation into the writings of established art and design practitioners as a useful model for the Critical Research module of the Art and Design B.A. (Hons) Course." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/an-investigation-into-the-writings-of-established-art-and-design-practitioners-as-a-useful-model-for-the-critical-research-module-of-the-art-and-design-ba-hons-course(7852f0ed-826f-46bb-98fc-6e5d2e216615).html.
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The requirement for a written element in the B.A (Hons) Arts degree has been in place since the Coldstream Report of 1960. Since that time, there have been discussions, scholarly articles and further government committees addressing the way that this component is delivered by universities and colleges. These discussions centre on the content, the assessment of the content and its relationship to students' own practice. There are many divergent views about how the subject, variously called contextual, critical or complementary studies, should be presented by the students in a way that has academic rigour and enhances studio practice. However, I have identified a gap in that literature: there also is a rich history of artists and, more recently, designers writing about their own and others' practice. I sought to establish whether or not the writing of established practitioners could be useful in improving students' own efforts and encouraging a synthesis between the written work in their final year journals, (an alternative to the traditional dissertation) and their studio practice. The methodology that seemed most appropriate was an instrumental case study, with data from interviews (transcriptions), text analysis and analytic induction of the writings by established practitioners and the students' writings about their own work and the work of others. Experience and by now conventional practice suggests that all students refer to the work of established practitioners, not always from their own chosen discipline. Although the students are not necessarily asked to research and write about other established practitioners, inevitably they will do so to engage with, identify and contextualise theory and history. There was a general lack of understanding about the complexities of the intended learning outcomes and, importantly, the sub-assessment criteria that was realised to be more difficult to explain and understand than the more traditional, essay method of the dissertation. This difficulty was mainly owing to the students' lack of experience in critical thinking and poor research skills when writing about their own work. The task for third year students was burdensome for some, but easier for those students who had critical studies embedded in their studio practice. In only one discipline were the tutors optimistic about the abilities of their students to understand the criteria and therefore likely to be successful in the assessment of the journal. This finding was mirrored in their students' responses. The lack of interest and wide knowledge of some tutors in comparison with other colleagues lead to a tension between what is currently learnt in the studio and what is learnt from non-studio teaching. I explored the relevant writings using the three themes of production, content and consumption. A comparison between students' and established practitioners' writing, using the criteria for the intended learning outcomes for the critical studies module, found that there were both some similarities and some important differences. On the basis of the evidence, the journal could provide the students with a more insightful understanding of their studio practice if there is: • A revision of the assessment criteria, using the saturation points of established practitioners writing in my analysis tables; • Much greater fostering of interest into the reading of established practitioners' writing; and• A team of tutors who are able and willing to teach critical studies/research alongside the studio work. These findings have implications for the training of the staff as well as the structure of the degree courses in art and design.
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Kogut, Kate Berneking. "Connections and confluences the personal and artistic journeys in the writing of Survival dance /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4781.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 26, 2007) Vita. Includes bibliographical references.
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Schoess, Ann-Sophie. "Re-writing Ariadne : following the thread of literary and artistic representations of Ariadne's abandonment." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:dfe15854-b0d8-4971-9127-c60e2417ad62.
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This thesis takes Ariadne's abandonment as a case study in order to examine the literary processes of reception that underlie the transmission of classical myth in different eras and cultural contexts - from Classical Antiquity through the Italian Renaissance. Rather than focusing on the ways in which visual representations of Ariadne relate to literary treatments, it draws attention to the literary reliance on a cultural framework, shared by writer and reader, that enables dynamic storytelling. It argues that literary variation of the myth is central to its successful transmission, not least because it allows for appropriations and adaptations that can be made to fit new social and religious parameters, such as Christian conventions in the Middle Ages. In focusing on the important role played by the visual arts in the classical tradition, this research further challenges the still prevalent misconception that the visual arts are secondary to literature, and refutes the common assumption that the relationship between image and text is unidirectional. It highlights the visual impulses leading to paradigm shifts in the literary treatment of the abandonment narrative, and examines the ways in which writers engage with the visual tradition in order to re-shape the ancient narrative. Throughout, attention is drawn to the visual and cultural framework shared by ancient writers and readers, and to the lack of engagement with this framework in traditional classical scholarship. Through its focus on the literary narratives' visuality and mutability, this thesis offers a new paradigm for studying classical myth and its reception.
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Almeida, Juliana Gisi Martins de. "Fotografia e práticas artísticas : os discursos dos artistas nos anos 1960 e 1970." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/72686.
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Este trabalho apresenta uma investigação sobre a fotografia produzida por artistas nos anos 1960 e 1970, a partir de uma análise discursiva dos textos que os próprios artistas escreveram na época. Proponho que a especificidade da concepção de fotografia dos anos 1960 e 1970 é resultado de um processo complexo: habitando uma exterioridade selvagem da disciplina das artes visuais naquele momento, a fotografia é escolhida por artistas como uma estratégia importante em uma disputa discursiva pelas definições de arte que resulta na sua formação como objeto para a disciplina das artes visuais. Esta investigação se desdobra em três capítulos: As Fontes de Pesquisa; A Fotografia-Qualquer; Fotografia e Práticas Artísticas – os Discursos dos Artistas nos Anos 1960 e 1970. No primeiro capítulo desenvolvo uma discussão sobre o texto de artista e sua relevância para a compreensão da arte produzida nas décadas de 1960 e 1970, pela análise comparativa de quatro livros que reúnem textos de artistas da época, com o intuito de explicitar o modo como estes escritos são incluídos no campo teórico das artes visuais, pela sua republicação, que se coloca como uma reapresentação (com um consequente deslocamento de seus contextos originais, edição e, muitas vezes, recortes), o que interfere em sua existência e significado para o conhecimento artístico. Nos capítulos 2 e 3, apresento o resultado de uma investigação que teve como objetivo extrair dos discursos dos artistas, datados dos anos 1960 e 1970, qual o papel que a fotografia desempenhava em suas práticas artísticas no contexto maior da arte daquele período. Persigo a ideia da fotografia como um dispositivo de despersonalização do artista como gênio criador, como figura especial que produz objetos especiais e, portanto, distingue-se das outras pessoas. Esta qualidade da fotografia-qualquer é enfatizada em textos de artistas dos referidos anos em uma celebração da possibilidade da anti-arte que resultava da utilização da fotografia como medium, na apropriação do que havia de menos especial em termos de técnica e material para a produção de imagens e se contrapunha à arte que eles chamavam de tradicional ou convencional. Ainda centralizo minha atenção, nos textos dos artistas, no modo como eles abordam seus trabalhos, a fim de destilar daí três papéis que a fotografia pode desempenhar em suas práticas artísticas: a fotografia como documento; a fotografia integrada à prática artística; a fotografia como trabalho de arte. Enquanto tendências extraídas dos modos de apropriação da fotografia como medium para a produção, esses agrupamentos têm a função de organizar, por semelhança e diferença, as abordagens discursivas dos artistas sobre suas práticas, a partir de como eles elaboraram seu fazer e determinaram o lócus de seu trabalho – em outras palavras, o que, para cada um deles, constitui o trabalho de arte propriamente dito em meio aos vários elementos que compõem sua prática artística. A fotografia na arte existe em virtude do discurso – tanto visual quanto textual – que a toma como objeto, e, neste sentido, estava sendo inventada para aquele momento, nos escritos e trabalhos dos artistas. A presença da fotografia na prática artística das décadas de 1960 e 1970, abordada a partir dos discursos dos artistas, revelou-se como um processo complexo de estabelecimento da fotografia como um objeto para o saber artístico, do qual se pode falar e para o qual se forma um vocabulário específico, possibilitando que ela se coloque como mais um medium para a produção artística, entre outros e em relação a eles.This thesis presents an investigation into the photography produced by artists in the 1960s and 1970s, based on a discursive analysis of texts that the artists themselves wrote at the time. I propose that the specificity of the conception of photography from the 1960s and 1970s is the outcome of a complex process: inhabiting a wild exteriority of the visual arts discipline at that moment, photography is chosen by artists as an important strategy in a discursive dispute for definitions of art which results in its constitution as an object to the visual arts discipline. This investigation unfolds in three chapters: Sources of Research; The Photography-Whatever; Photography and Artistic Practices – Discourses of Artists in the Years 1960 and 1970. In the first chapter I carry out a discussion on the artist’s text and its relevance for understanding the art produced in the 1960s and 1970s, by means of a comparative analysis of four books that gather texts of artists of the time, in order to clarify how these writings are included in the theoretical field of visual arts, through their republication, which arises as a re-presentation (with a consequent displacement from their original contexts, editing, and often cuts), and so interferes with their existence and meaning for the artistic knowledge. In chapters 2 and 3, I present the result of a research that seeks to extract, from speeches of artists dating from the 1960s and 1970s, the role played by photography in their artistic practices in the larger context of art of that period. I pursue the idea of photography as a device of depersonalization of the artist as creative genius, as a special character who produces special objects and therefore distinguishes himself from other people. Such quality of the photography-whatever is stressed in texts of artists from those years in a celebration of the possibility of anti-art that resulted from the usage of photography as a medium, through an appropriation of the least special techniques and materials available at that time for the production of pictures and was opposed to the art that they called traditional or conventional. I also focus my attention, in the artists’ texts, in how they approach their own work, in order to withdraw three roles that photography can play in their artistic practices: the photograph as a document; the photograph integrated into the artistic practice; the photograph as an art work. While trends drawn from the ways of appropriation of photography as a medium for production, these groups have the task of organizing, by similarity and difference, the discursive approaches of the artists about their practices, based on how they developed their doing and determined the locus of their work – in other words, that which, for each of them, constitutes the work of art itself among the various elements that comprise his artistic practice. Photography in the arts exists by virtue of the discourse – both visual and textual – that takes it as an object, and in this sense it was being invented for that time, in the writings and works of the artists. The presence of photography in the artistic practice in the 1960s and 1970s, approached by means of a research into the discourses of artists, has shown itself as a complex establishment process of photography as an object to the artistic knowledge, an object of which one can speak and for which a specific vocabulary is formed, enabling it to place itself as a new medium among others (and in relation to them) for artistic production.
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Murphy, Gregory. "Langston Hughes' struggle for artistic freedom, the role of patronage and politics in Hughes' writing." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26249.pdf.
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Thomas, Beth A. "Complicating Metaphor: Exploring Writing About Artistic Practice Through Lacanian Psychoanalytic Theory and Conceptual Metaphor Theory." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1264986315.
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Vilela, Jimson Ferreira. "[2013 - 2015] O movimento de translação de um artista em torno do próprio trabalho." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-14012016-105213/.
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O objeto desta dissertação são os trabalhos de arte produzidos pelo autor entre 2013 e 2015. Partindo dos próprios trabalhos e dos espaços onde foram apresentados, este ensaio busca articular procedimentos e conceitos recorrentes na produção do artista por meio de imagens, descrições, desenhos, anotações, projetos e interpretações que interroguem a ideia de livro como suporte, matéria-prima e lugar.The object of this Master\'s thesis is the author\'s works of art produced between 2013 and 2015. Departing from the works of art themselves and from the spaces where they were presented, this essay seeks to articulate recurring procedures and concepts in the artist\'s production through images, descriptions, drawings, notes, projects and interpretations that question the idea of the book as a support, raw material and place.
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BARROS, FILHO Augusto Cláudio de Miranda. "Vestígios da escrita nos livros de artista de Sebastião Pedrosa." Universidade Federal de Pernambuco, 2015. https://repositorio.ufpe.br/handle/123456789/17467.
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Esta dissertação aborda perspectivas de uso da escrita e do texto nas artes visuais, fundamentalmente em livros de artista. É construído um levantamento histórico acerca do uso plástico/visual e conceitual da escrita e do texto, passando pela cultura islâmica, algumas vanguardas artísticas, chegando à contemporaneidade. São observados aspectos e formas de emprego sob uma perspectiva conceitual e sob uma abordagem pictórica do texto e da escrita. Nossa aproximação junto aos livros de artista é feita a partir da construção de uma linha histórica sobre como o livro torna-se um objeto também visual. Exemplos de artistas, abordagens plásticas e modos de classificação são apresentados no desenvolver do texto. Para nos auxiliar nas leituras a respeito da escrita e do texto nos livros de artista de Sebastião Pedrosa, recorremos à Crítica de Processos para buscar, elencar e analisar os documentos que nos proporcionaram leituras e classificações de sua obra. Ao fim da pesquisa, o leitor poderá compreender aspectos relativos à criação, processos criativos e formas de leitura de obras livro-referentes que possuam texto, escrita ou alguma menção à linguagem verbal.
This thesis discusses prospects for use of writing and text in the visual arts, primarily in artist's books. It is built on a historical survey of the plastic/visual and conceptual use of writing and text, through the Islamic culture, some avant-garde art and all the way to contemporary art. Aspects and application forms under a conceptual perspective and in a pictorial approach to text and writing are observed. Our approach with the artist's books is made from building a history line about how the book also becomes a visual object. Examples of artists, visual approaches and classification methods are presented throug the text. To assist us in reading about writing and text in Sebastião Pedrosa's artist books, we turn to Process Criticism to seek, to list and analyze the documents provided by the artist and his process, with readings and ratings of his work. At the end of the research, the reader can understand aspects of the creation, creative processes and forms of reading book-related works that have text, writing or any mention of verbal language.
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Penet-Merahi, Camille. "L’écriture dans la pratique des artistes algériens de 1962 à nos jours." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL002/document.
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Cette thèse se propose d’apporter un éclairage nouveau sur la pratique des artistes algériens de 1962 à aujourd’hui en examinant les rapports entre écritures et œuvres, qu’il s’agisse d’imbrication avec des mots dans la création artistique comme les titres, d’autonomie avec des écrits d’artistes ou de pratiques collectives dans le cas d’un travail en commun entre artiste et écrivain. À partir d’un corpus constitué de figures tutélaires de la période post-indépendance telles que Mohammed Khadda, Choukri Mesli ou Denis Martinez, d’artistes des années 1990 comme Adel Abdessemed, Kader Attia ou Rachid Koraïchi et de la jeune génération représentée par Yasser Ameur, Walid Bouchouchi ou Souad Douibi, notre objectif est d’interroger les liens entre évènements historiques et écriture dans la pratique artistique. Dans un premier temps, durant les années qui suivent l’indépendance et la volonté de s’émanciper des instituions coloniales, au moment où se met en place un nouvel « art algérien », on observe une manière d’envisager l’écriture, soit comme réactivation du passé (national), soit comme vecteur d’arabisation, soit comme revendication de diversité linguistique, soit comme quête d’abstraction. Il s’agit ensuite, pour la période de 1988 à 2000, de mettre à jour les particularités d’une écriture de l’exil et de l’intitulation des œuvres à l’étranger en insistant notamment sur l’extranéité et la revendication identitaire avec le soufisme. Enfin à partir de 2000, une nouvelle scène artistique se met en place en Algérie. Objet de transmission, l’écriture dans l’art se déploie dans un contexte de globalisation accrue, à un moment où la circulation des artistes et des œuvres change d’échelle. Ce rapport nouveau à l’écriture est envisagé dans une perspective comparatiste avec le Maroc et la TunisieThis thesis seeks to shed new light on the practices of Algerian artists from 1962 to the present day by examining the connection between writings and works of art, whether in the interweaving of words in the artistic work such as the titles, the autonomy of the artists’ writing, or the collaborative practices of artists and writers. Drawing from a corpus of work consisting of tutelary figures of the post-independence period such as Mohammed Khadda, Choukri Mesli, or Denis Martinez, of artists from the 1990s such as Adel Abdessemed, Kader Attia, or Rachid Koraïchi, and the young generation represented by Yasser Ameur, Walid Bouchouchi, or Souad Douibi, our objective is to question the connections between historic events and writing in artistic practices. At first, during the years which follow the independence and the will to become emancipated established colonial, as is set up a new "Algerian art", we observe a way of envisaging the writing, either as reactivation of the (national) past, that is as vector of Arabisation, as claiming of linguistic diversity, or as a quest of abstraction. It is then a question, for the period from 1988 to 2000, to examinate the peculiarities of a writing of exile and the naming the works abroad by insisting in particularly on the foreignness and the identity claiming with the Sufism. Finally, from 2000, a new artistic scene emerging in Algeria. As an object of transmission, writing in art is increasingly used in a global context leading to a moment when the circulation of artists and works changes of scale. This new connection to writing is envisaged in a comparative perspective with Morocco and Tunisia
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Jurand, Erin K. "Visualization in the writing process : a case study of struggling K-4 learners in a summer writing camp." Diss., Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/615.
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Ramsey, Colin Tucker. "The labor of writing : the literary cultures of the artisan class and the "lower sorts" during the era of the American revolution /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3052239.
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Baccianti, Sarah. "Telling stories in the Medieval North : Historical writing and literary artistry in Medieval England and Medieval Scandinavia." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530107.
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Stoner, Zachary. "Hell is a Game Show: An Artistic Interpretation of the Afterlife." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524835391884507.
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Mattos, Daniela de Oliveira. "Performance como texto, escrita como pele." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/15287.
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This thesis is as much an academic investigation as it is a work of art. It is constituted by text and image mutual crossings, problematizing the artist s writing as a poetic-performative device that produces itself by means of the contiguities that mediate discourse and visuality (and beyond). Conceived of as a space composed of sucessive rectangles, like those filled with words and velocity in the same way as a book , this work also configures itself as a sort of exhibition space or in-between space, which opens room for activations: from the ones, here analyzed, effectuated by the artist s gestures, to the singular experiences that will be generated by each one of the readers, when in contact with what is presented here. The heterogeneous parts that embody this text establish relations to each other, but don t configure a whole; they are not even submitted to hierarchization or evolutive enchainments of any sort, like the ones occurring in accordance with the traditional organization by chapters. Therefore, the research intends to implement and open relations among certain productions of the art field, both from my authorship and from other s, bringing them close to certain works from literature, poetry and philosophy
Esta tese é tanto uma pesquisa acadêmica quanto uma obra de arte. Constitui-se por atravessamentos entre texto e imagem, problematizando a escrita de artista como um dispositivo poético-performativo que se produz por meio das contiguidades entre enunciados e visualidades (e além). Pensado como um espaço composto por retângulos sucessivos, desses repletos de palavras e velocidades assim como um livro , este trabalho também se configura como uma espécie de espaço expositivo ou espaço entre, que dá lugar a ativações, desde aquelas efetivadas por meio dos gestos de artistas aqui analisados até as experiências singulares que serão geradas por cada um dos leitores, em seu contato com o que aqui se apresenta. As partes heterogêneas que dão corpo a este texto se relacionam mas não configuram um todo; tampouco se submetem a quaisquer hierarquizações ou encadeamentos evolutivos como os que ocorrem segundo a organização tradicional por capítulos. A pesquisa busca, portanto, tornar fecundas as relações entre certas produções do campo da arte, tanto as de minha autoria quanto aquelas de outros autores, aproximando-as de algumas obras da literatura, da poesia, da filosofia
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Young, Toby. "The artistic self : identity and self-representation in Nicholas Maw's 'Life Studies' : portfolio of compositions and critical writing." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:92443395-2833-40dd-abae-6e3b859a5faa.
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In his article 'The Death of the Author', Roland Barthes posits that the intentions and identity of an author are irrelevant to the understanding of an artwork. Yet in his analysis of a text by Balzac, Barthes inadvertently demonstrates that there are basic thematic categories associated with an artist's identity, which are intrinsic to a work's interpretation. This thesis proposes that the author of an artwork functions as a semiotic curator, collating signifiers from within these external categories in order to reflect their understanding of the world. Taking as a case study Nicholas Maw's 1976 score Life Studies - a piece described by the composer as being based on his own life - this experiential understanding of identity and self is explored through the lens of David Hume's bundle theory, where the unified experience of self is created through the collection of a series of perceptions. This thesis hypothesises that there are five key categories of perception that constitute Maw's artistic self in Life Studies: simulacra, narrative, design, agency, and nostalgia. Methodologically, these five areas - or rhizomes - are presented through a tripartite study, in an attempt to combine the three distinct disciplines which the philosopher Gilles Deleuze believed approached a holistic understanding of reality: philosophy, analysis, and - in the accompanying portfolio - composition (creativity).
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Dingman, Toni SuzAnne. "Facilitating creativity through the discipline of craftsmanship within the writing process." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/770.
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Van, Eecke Christophe. "Pandaemonium: Ken Russell's Artist Biographies as Baroque Performance." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/218962.
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Ken Russell (1927-2011) was a renegade talent and the self-styled enfant terrible of British cinema. His legacy as a film-maker consists of a large number of films on the lives of artists, mainly composers. But Russell’s approach to artist biography was highly unorthodox: rather than reconstruct a factual account he offered a deeply personal interpretation of artists’ lives based on his own understanding of their work. In a programmatic text for his film on Mahler (1974), Russell explained that his films ‘evolve through a stream of consciousness in which the man and the myth, the music and its meaning, time, place, dream and fact all flow and blend into the mainstream of the film itself’ and that ‘my film is simply about some of the things I feel when I think of Mahler’s life and listen to his music’.This book is an attempt to explain what that statement means and to unpack its implications for the practice of life writing. It takes a baroque approach to performance and performativity to show how Russell not simply made highly inventive films on other artists, but also constructed those films as a kind of self-portrait. Russell’s work then becomes a performance of self through art. In four chapters of detailed analysis this book reconstructs Russell’s method, from the very first films he made for the BBC in the early 1960s through his major feature films of the 1970s and 1980s.Doctorat en Histoire, histoire de l'art et archéologie
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Price, David. "The space of the page in the writing of Don DeLillo, or the writer as advanced-artist." Thesis, Manchester Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.551156.
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What happens when fiction is considered as a space for art, and when art is considered as a space for fiction? This thesis addresses these questions through a practice-led study of the fictional writings of Don DeLillo. DeLillo has been publishing novels since 1971, each of which have engaged with aspects of art production and art criticism. The formal implications of this have played a polarising role in the criticism that has gathered around his work, with some critics reading DeLillo's fictional artworks as evidence of a highly post-modem and plural production, whilst others have seen these works as more modernist reflections on the writing process. In this thesis propose that by reading DeLillo's writing through the art-historical oeuvre of Thomas Crow, and his notion of the 'advanced-artwork', that a new model of practice can be defined, where writing becomes the site for the production of visual art, and visual art becomes the site for writing. The 'advanced-artwork', according to Crow is formed by multiple practices that operate within a single work, and incorporates elements of critical thought within its physical production - qualities in DeLillo's fiction that have energised his critics, but have yet to be analysed using an analogous model from another field. After a review of the aspects of DeLillo criticism that that set the ground for these questions, and a parallel review of Crow's art-historical writings, I address the potential for synthesising these areas on two fronts. Firstly, by a detailed study of DeLillo's 1988 novel Libra, reading it through art-theory and proposing that the novel fulfils many of the criteria of the advanced-artwork, as well as showing how this reading allows many of the problematic questions in existing DeLillo criticism to be addressed. My second means of approaching Libra in these terms is the practical component of my thesis. This takes the form of a vi sual artwork made up of wri ting, produced in response to an archive ofDeLillo's drafts and working papers. Using a manual typewriter, like DeLillo himself, I reproduce successive drafts of sections of the novel that are conceptually related to the questions that in the rest of the thesis I have addressed in theoretical terms. In using this dual method of questioning of art's potential relationship to writing, I have attempted to use the work of a single author to reflect on the possibilities of writing as a medium for contemporary art-practice, and the potential of art to become a site of literary criticism. But by grounding my critique of DeLillo's fiction in the raw materials of the medium I have also attempted to question the space of the page in wider terms, as an expansive site of inter-disciplinary practice that allows its component parts to be set in critical discourse.
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Lamonica, Claire Coleman Neuleib Janice. "Conflict and creativity in student writing groups a case study investigation /." Normal, Ill. Illinois State University, 1996. http://wwwlib.umi.com/cr/ilstu/fullcit?p9633421.
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Thesis (D.A.)--Illinois State University, 1996.Title from title page screen, viewed May 23, 2006. Dissertation Committee: Janice Grace Neuleib (chair), James Robert Kalmbach, Heather Ann Brodie Graves, John Francis Cragen. Includes bibliographical references (leaves 215-222) and abstract. Also available in print.
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Wirtz, Jason. "Poets on inventing revisioning invention theory, practice and pedagogy within rhetoric, composition, English education and creative writing /." Diss., Connect to online resource - MSU authorized users, 2008.
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Herrmann, Laura Renee. "African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo, 1598." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000573.
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Woodhams, Elizabeth Jean Deshon. "Memories are not silence: the trauma of witnessing and art making. A Phenomenological exploration of my lived experience as an artist." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15978/.
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This research investigates formative and definitive lived experiences as two narrative forms - art works and writing. The research seeks to uncover the essential features of these experiences (dominated as they are by my experiences of AIDS and the after effects of war) and bring the two narratives together as a reflexive and reflective dialogue. The 'lens' of my art practice (both written and visual) is predominantly that of a landscape painter -be it 'landscape of faces' (portraits), landscapes of the human form (figurative) or the more traditional descriptions of landscape (especially deserts). Phenomenological research is a particular mode of describing and understanding the contours of lived experience. By a process of self-reflection and critical analysis this research explores various understandings of landscape so as to uncover their structure and meaning and to come to a deeper understanding of how those elements influence my art making.
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Petković, Milisava [Verfasser], and Ingrid [Akademischer Betreuer] Hotz-Davies. "Choreographies of Writing in Contemporary Artistic and Educational Performance : William Forsythe and Guillermo Gómez-Peña / Milisava Petković ; Betreuer: Ingrid Hotz-Davies." Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1213720915/34.
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Vermooten, Elizabeth. "Fiction writing as symbolic constructivist inquiry in ego state therapy." Diss., Pretoria : [s.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11262008-125922.
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Douglass-Chin, Richard J. "Where the spirit leads me : the autobiographical holy foremothers of contemporary African American women's writing /." *McMaster only, 1998.
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Holdsworth, Claire. "History has tongues : re-evaluating historiography of the moving image through analysis of the voice and critical writing in British artists' film and video of the 1980s." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/10771/.
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This thesis examines experimental film and video in 1980s Britain through a critical reassessment, mapping histories of these practices in relation to critical writing of the period. This historiographical analysis utilises material contained in The British Artists’ Film and Video Study Collection, part of the Museum at Central Saint Martins (UAL). Close analysis of a number of selected film and video works created within the artistic, activist and experimental communities active at the time both develops the thesis’ function as a new account of the period and provides a critical means of surveying historiography within the field of artists’ moving image. This study establishes the voice as a key theme in relation to both constructed narratives in historiographical writing and in works from this time. Employment of oral, primary source accounts frames analyses of voices in preexisting written histories and acts as a means to explore aural strategies and components within film and video works. Initial analyses of ‘historical recovery’ before, during and after the 1980s is followed by first considering how stories are recounted by voices, before investigating works that responded to events at the time and exemplified the struggles of voices during this significant period in British history. Focus on the voice frames a critical exploration of lexicons related to ghosts which appears later in the thesis. Jacques Derrida’s lecture and publication Specters of Marx (1994) is referenced to develop discussion of ghosting in relation to myths and historical sources in analysis of Ken McMullen’s Ghost Dance (1983), in which Derrida muses on ghosts and recording. An exploration of recording technologies and media informs a critique of writing history in order to reflect upon British film and video of the 1980s. It identifies a cacophony of voices – political, critical, activist and artistic – as characteristic of the times and a key element in the composition of the works and historical accounts of the moving image.
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Rife, Martine Courant. "Rhetorical invention in copyright imbued environments." Diss., Connect to online resource - MSU authorized users, 2008.
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Fattūḥ, Sirīn. "La création à l'épreuve des guerres et de leurs effets : quelques aspects de l'art contemporain libanais." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010568.
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Cette thèse explore les conséquences des guerres libanaises de 1975-1989 et de l’amnistie (1991) sur la production artistique de deux générations d’artistes libanais. Durant les premières années de l’après-guerre, l’amnistie institutionnelle a imposé un silence tacite chez la population libanaise, ce que les artistes de la première génération, ceux qui étaient adolescents pendant les guerres, ont contourné en interrogeant leur passé proche (celui des guerres) ainsi que leur présent, à travers leurs œuvres. Ils ont sondé leur mémoire, celle de leur pays et de ses habitants afin de déjouer les vérités officielles du pouvoir étatique. La particularité de leurs œuvres réside dans leur approche critique où les deux régimes esthétiques, celui du réel et celui du fictif, avoisinent. La deuxième génération d’artistes, qui étaient enfants pendant les guerres et dont je fais partie, ont quant à eux suivi les pas de leurs aînés en abordant dans leurs œuvres les mêmes problématiques, afin de tenter d’élucider leur passé fragmentaire, mais également pour s’en affranchir. Les œuvres des artistes de la première et deuxième génération de l’après-guerre questionnent l’histoire du Liban à travers l’utilisation de la forme du témoignage, celle du documentaire, de la narration, mais également par la fiction ou par des documents d'archives inventées. L’approche des artistes consiste à semer le doute chez leurs spectateurs par les intrusions du réel dans le fictif ou celles du fictif dans le réelThis thesis explores the consequences of the 1975-1989 Lebanese wars and the 1991 amnesty on the artistic production of two generations of Lebanese artists. In the post-war early years, institutional amnesty imposed a tacit silence on the Lebanese population. Artists of the so-called first generation, those who were teenagers during the wars, bypassed this silence by questioning their recent past (the one of war) and their present through their art. They probed their memory, that of their country and its people, to foil official truths of state power. The peculiarity of their work is their critical approach where both the aesthetic regimes of the real and the fictitious are proximate. Meanwhile, the second generation of artists, those who were children during the wars, including myself, have followed the footsteps of their elders addressing the same issues, in an attempt to unravel their fragmentary past, but also in order to emancipate from it. The art of both the first and the second generation artists questions the Libanon’s history through different forms of testimony, namely the documentary, the narrative, but also fiction or by invented archival documents. In order to encourage their audience to grasp Lebanon’s incomplete history, these artists’ approaches consist to sow doubt among viewers by intrusions of reality into the fictional or fiction into the real