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Furtado, Michael Anthony 1958. "Islands of Castile: Artistic, Literary, and Legal Perception of the Sea in Castile-Leon, 1248-1450." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12098.
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xiii, 322 p. : col. ill.Before Spain encountered the Americas, it first encountered the sea. This dissertation explores the roots of that encounter by examining perceptions of the sea in late medieval Castile-Leon reflected in art, literature, and law. It analyzes the changing attitudes of the Castilians towards the sea through an examination of its perceived place in their world, underscoring the complexity of Castilian attitudes toward the dangers and opportunities presented by the marine environment. Conceptual separation and union serve as the two foundational concepts employed for the analysis of evidence from each of the three genres under examination. Each genre highlights in various ways either the strong contrast drawn between land and sea or their seeming union conceptually. These complexities are manifest in a broad variety of sources, from collections of miracle tales to fifteenth century romances. Analysis of legal distinctions between land and sea reveal significant differences in perception regarding the nature of each environment and the rights and responsibilities of Castilians acting in either. Findings include that artistic sources reveal that a fearful attitude toward the sea accentuated by helplessness before its power dominated thirteenth century imagery, contrasting with the greater unity of land and sea reflected in miniatures from fifteenth century sources. A similar pattern of separation and union emerges in the literary evidence, where fear of the loss of agency when traveling at sea in early sources gives way to fifteenth century examples that praise its value. A comparison of the laws contained in the Siete Partidas with the late medieval records of the Cortes of Castile-Leon reveals that while the Castilian monarchs tended to consider the sea as firmly outside of their realm throughout the majority of the period of this study, strategic necessity led to an inexorable growth in the importance of the sea in the affairs of the kingdom generally. Together, the evidence supports the conclusion that by the mid-fourteenth century the view of the sea as other, typical of all early Castilian sources, gave way to a fifteenth century perspective that welcomed it in many respects, laying the foundation for the development of a great maritime empire.
Committee in charge: Lisa Wolverton, Chairperson; Robert Haskett, Member; David Luebke, Member; David Wacks, Outside Member
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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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Wood, Jessica Susan. "Portraits of the artist : Dionysian creativity in selected works by Gabriele d’Annunzio and Thomas Mann." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6553/.
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My thesis argues that Gabriele d’Annunzio and Thomas Mann both conceive of artistic creation as a process which is influenced by their interpretations of Nietzsche’s notion of the Dionysian, and that striking affinities characterise their respective literary portrayals of the relationship between the artist and (a version of) the Dionysian. D’Annunzio and Mann, who were contemporaries, are rarely considered together, and it is widely assumed that there is little common ground between them. This thesis will demonstrate that their creative and critical engagement with Nietzsche, especially his idea of the Dionysian, offers a productive way of comparing the two writers and illuminating hitherto overlooked parallels between their understandings of creativity. The relationship between the artist and the Dionysian will constitute the main point of comparison. For both d’Annunzio and Mann, the Dionysian appears as a drive that can promote creativity, through encouraging liberation from repression and the rediscovery of primordial energies, but also destruction, by threatening self-dissolution, chaos and annihilation. The Dionysian will be seen to offer a highly precarious form of creativity. The artist’s success, and even survival, will depend upon his ability to master this potentially lethal drive, and channel the impulses it triggers into artistic production.
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Lamborn, Erin Alice. "From Darwin to Dracula: A study of literary evolution." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2836.
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Argues that, without the publication of Charles Darwin's "Origin of Species," Bram Stoker's novel "Dracula" and Oscar Wilde's novel "The Picture of Dorian Gray" would not have been written with their distinct style and themes, as evolution clashes with degeneration and female power (and the sexuality derived from that power) clashes with the new science. Stoker and Wilde combine the science of the late 19th century with the characters of their imaginations. Natural and sexual selection plays a part in these characters' core development. The mixture of sexuality, science and power in these two novels all combine to formulate what is known as Victorian sexology.
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Von, Solms Charlayn Imogen. "Ingenuity's engine : an overview of the history and development of the concept of the muse." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16468.
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Thesis (MPhil)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Many metaphors relating to creativity are too misleading, confusing, and restricted in scope for a meaningful exploration of the phenomenon and its fluctuating social and cultural contexts. Given the Muse's long-term association with literature, philosophy, education, and more recently, the fine arts and other "creative" fields, an analysis of this concept may provide a unique opportunity to gain insight into the "mechanisms" underlying the creative process. Since affiliation with the Muse appears to have signalled attainment of critical cultural and/or social status by cultural practitioners in various societies, from the ancient to the present (a category which was broadened substantially), it is thus logical to assume this concept encompasses and has accumulated characteristics particular to the creative process as historically and currently valued in Western culture. Given the limited scope of the thesis, I have focused on specific concerns: 1) Provide an overview of the history, origin and development of the concept via specific examples ranging from antiquity, the medieval period, and the modern. 2) Assess the changes which have occurred in the development of the concept, and postulate likely causes: such as for example, the impact of an increased focus on the visual - and by extension, the physical - due to a more literate populace, on a concept originally conceived of as experienced through predominantly audial means. 3) Identify closely related concepts, the characteristics of which may have played a role in the formulation of the initial concept, along with those integrated into it, to form the modern version of the Muse: examples include the influence of the myth of Pygmalion on notions regarding the poet's relationship with both material and Muse; and the consequences of an amalgamation of characteristics of Aphrodite with those of the pastoral Muse. 4) Explore the extent to which the Muse-poet interaction can reveal fundamental aspects of the creative process and its main components: the differences between the public invocation and experience of the Muse in an oral context, as opposed to the privately experienced Muse of the literate poet; also, the changes imposed on the concept's perceived means of functioning due to its extension to the practice of the visual arts; and the correlation between the Jungian notion of the anima and aspects of the Muse. 5) Postulate the fundamental aspects of the creative process as revealed by analysis of the concept of the Muse for further investigation. In brief then, the main intention of this thesis is simply to examine by analysis of particular examples, the feasibility of applying the concept of the Muse as metaphor through which to identify for further exploration, issues and themes relating to the production and changes in social assessment of creative enterprises.
AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and develop ideas, and this in turn relies on a language which is sufficiently detailed and flexible" (Singh 1997: 59). Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende "meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos geskiedkundig en huidig op prys gestel in die Westerse kultuur. Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies: 1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die middeleuse periode, en die moderne. 2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik ouditief ondervind is. 3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat daarby geintegreer is, om die moderne weergawe van die Muse te vorm: voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe aangaande die digter se verhouding met beide die materiaal en Muse; en die gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse. 4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos die verskille tussen die publieke invokasie en ervaring van die Muse in 'n verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat ondevind; asook die veranderinge temeegebring op die persepsies aangaande die konsep se funksionering as gevolg van die uitbreiding daarvan tot die visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en aspekte van die Muse. 5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos ontbloot deur analise van die konsep van die Muse vir verdere ondersoek. Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas, aangaande die produksie en veranderinge in sosiale waardering van kreatiewe ondernemings, ge-identifiseer kan word.
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Madore, Geneviève. "Les essais de jeunesse d'Hubert Aquin : la genèse d'un écrivain." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0007/MQ46590.pdf.
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Pereira, Sayonara Sousa. "Rastros do Tanztheater no processo criativo de ES-BOÇO : espetaculo cenico com alunos do Instituto de Artes da UNICAMP." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285046.
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Orientador: Inaicyra Falcão dos SantosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O percurso desenvolvido nesta pesquisa teve como ponto de partida o Tanztheater2, movimento de dança que ocorreu na Alemanha a partir de 1932, e considerações sobre a obra de quatro de seus principais protagonistas, respectivamente: Kurt Jooss, Dore Hoyer, Pina Bausch e Susanne Linke. Em seu prosseguimento, a pesquisa foi articulada no desenvolvimento profissional da autora por meio das influências absorvidas ao longo dos trabalhos com Tanztheater, estudos na Folkwang Hochschule Essen e na Hochschule Für Musik Köln; e o incremento da carreira da autora como bailarina, coreógrafa e pedagoga nos anos que atuou na Alemanha (1985-2004). Para a sua realização efetiva, foi adotada, na pesquisa a combinação de vários métodos: revisão bibliográfica e videográfica relevantes, observação participante e entrevistas semi-estruturadas. Como resultado deste percurso, foi criado o espetáculo cênico ES-BOÇO, realizado com alunos do Instituto de Artes da Unicamp, onde se encontra refletida a influência do Tanztheater na caligrafia coreográfica desenvolvida pela pesquisadora
Abstract: The objective of this study is twofold: to research the German Tanztheater3 and the work of four of its leading influencers, and to develop a stage performance with the participation of students of the Arts Institute of the Universidade Estadual de Campinas (Unicamp). A combined approach of literature and videographic reviews, participant observation, and semi-structured interviews is adopted to carry out this study. The study characterizes Tanztheater and analyzes the work of Kurt Jooss, Dore Hoyer, Pina Bausch, and Susanne Linke, based on the experiences of the author while studying, performing, teaching, and choreographing in Germany from1985 to 2004. The stage performance ES-BOÇO, which reflects the influence of the Tanztheater in its choreographic style, was created by the author as a result of this research
Doutorado
Doutor em Artes
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Almeida, Marcos Vinícius Lima de. "A lógica do espectro: romance histórico, necromancia e o lugar do morto." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21322.
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Fundação de Amparo à Pesquisa do Estado de São Paulo - FAPESP
Under the premise that our history is constituted under the impact of catastrophes, and that in this context, writing a historical novel will never be a neutral gesture, this paper proposes to investigate the historical novel in contemporary Brazilian fiction, from the perspective of theory and literary creation. This work proposes a hypothesis for the hypothesis of the hypothesis of Lukács (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) and Weinhardt (2011) and Bastos (2007). the reading of the contemporary historical novel. From two key notions, 1) what will be defined in this work as a spectrum logic, 2) and writing as a burial rite, the central premise of this work is to look at history as a fundamentally necromantic practice. These notions are tested, or developed, from the critical reading of two contemporary works: O marechal de costas, by José Luiz Passos (2016) and De mim já nem se lembra, by Luiz Ruffato (2015). If the sign (sema) is a tomb and the writing of history and the relationship with the past is a kind of burial rite (as Jeanne-Marie Gagnebin asserts, in the wake of Michel de Certeau), which separates the past from the present world of the living dead of the world), the past not properly elaborated, not buried, returns as specter: and haunts and defiles the present. In this sense, it is possible to read the contemporary historical novel as a kind of attempt to burial the specters of the past that haunt the present. In the practical section, this work presents a novel, a historical fiction, freely inspired by the figure of Januário Garcia Leal
Sob a premissa que nossa história se constitui sob impacto de catástrofes, e que, nesse contexto, escrever um romance histórico nunca será um gesto neutro, esse trabalho se propõe a investigar o romance histórico na ficção contemporânea brasileira, da perspectiva da teoria e da criação literária. Sem abandonar totalmente as concepções de Lukács, (2011), Jameson (2007), Perry Anderson (2007), Linda Hutcheon (1991), Esteves (2010) e Weinhardt (2011) e Bastos (2007), esse trabalho propõe uma hipótese para a leitura do romance histórico contemporâneo. A partir de duas noções chave, 1) aquilo que será definido nesse trabalho como lógica do espectro, 2) e a escrita enquanto rito de sepultamento, a premissa central deste trabalho é olhar para a história enquanto prática fundamentalmente necromante. Essas noções são testadas, ou desenvolvidas, a partir da leitura crítica de duas obras contemporâneas: O Marechal de costas, de José Luiz Passos (2016) e De mim já nem se lembra, de Luiz Ruffato (2015). Se o signo (séma) é um túmulo e a escrita da história e a relação com o passado uma espécie de rito de sepultamento (como afirma Jeanne-Marie Gagnebin, na esteira de Michel de Certeau), que separa o passado do presente (o mundo dos mortos do mundo vivos), o passado não devidamente elaborado, não enterrado, retorna como espectro: e assombra e contamina o presente. Nesse sentido, é possível ler o romance histórico contemporâneo como uma espécie de tentativa de sepultamento dos espectros do passado que assombram o presente. Na seção prática, esse trabalho apresenta um romance, uma ficção histórica, livremente inspirada da figura de Januário Garcia Leal
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Fernandes, Ana Candida Franceschini de Avelar. "Artistas plásticos no Suplemento Literário de O Estado de São Paulo (1956-1967)." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-30012008-113224/.
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O Suplemento Literário de O Estado de S. Paulo (SLOESP), caderno não só literário, mas artístico da mais alta importância no campo cultural brasileiro, foi criado pelo professor Antonio Candido Mello e Souza, em 1956, e dirigido por Décio de Almeida Prado, até 1966. Italo Bianchi, indicado por Gilda de Mello e Souza, responsabilizou-se pelo projeto gráfico que refletia o tom do projeto do professor. Em 8 de abril de 1967, o projeto original foi substituído por um novo. Esta pesquisa visa catalogar e discutir as ilustrações publicadas pelo SLOESP, desenhos e gravuras de vários artistas, entre os anos de 1956 e 1967. As autônomas, impressas na capa, buscam divulgar as obras e enriquecer a página; as associadas, estas inéditas, acompanham contos, poemas e artigos. Na época, jovens como Renina Katz, Marcelo Grassmann, Fernando Lemos e Antonio Lizárraga apresentaram trabalhos ao lado de nomes consagrados como Di Cavalcanti, Portinari, Lívio Abramo e Flávio de Carvalho, constituindo um total de 157 artistas. A seleção desses colaboradores era tarefa de Almeida Prado, Bianchi e Lourival Gomes Machado, crítico de artes plásticas do Suplemento. Um catálogo digital acompanha a dissertação, com a reprodução das 966 ilustrações em alta resolução, possibilitando a leitura dos textos que com elas convivem, além de dados sobre as obras como autor, título, medidas, data de publicação e técnica e, no caso das associadas, autor e título do texto. Entrevistas, verbetes sobre os artistas e notas de pesquisa completam o catálogo.The Literary Supplement of the O Estado de S. Paulo newspaper (SLOESP), created by the Professor Antonio Candido Mello e Souza in 1956 and directed by Décio de Almeida Prado until 1966, was not only a literary but also an artistic production of the utmost importance as far as the Brazilian cultural field is concerned. Suggested by Gilda de Mello e Souza, Italo Bianchi was responsible for its graphic project which was replaced by a new one in April, 8th 1967. This present research\'s main objective is to catalog and discuss illustrations, drawings and printings, produced by many artists and published by the SLOESP between the years of 1956 and 1967. The autonomous kind of works, printed on the front page, aims at popularizing works and adorning the page; the associated ones accompany short stories, poems and articles. At that time, young artists such as Renina Katz, Marcelo Grassmann, Fernando Lemos and Antonio Lizárraga presented their works as well as some other already famous names such as Di Cavalcanti, Portinari, Lívio Abramo e Flávio de Carvalho. The selected material comprises works of 157 artists. The selection of the collaborators was done by Almeida Prado, Bianchi and Lourival Gomes Machado, SLOESP\'s art critic. A digital catalog accompanies the dissertation, with the reproduction of the 966 illustration in high resolution, which also enables the reading of the texts, including some information about them including author, title, dimensions, publication date and technique and, for the associated kind, author and title of the text. Interviews, entries and research notes complete the catalog.
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Silva, Fernando Costa e. "O Jornal Oió na formação do campo literário goiano em 1957 e 1958." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8967.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The following text is result of research involving the Oió Journal, published monthly in Goiânia between February 1957 and August 1958. It will be demonstrated that, around the Oió Journal, critics and writers met who introduced discussions involving the need to structure a literary field in Goiás. Part of these efforts, recorded in the self-titled "monthly of Goiás culture", appear to involve the professionalization of literary criticism and the prominence given to Bernardo Élis and Eli Brasiliense, most cited authors. Coordinated by the bookseller Olavo Tormin and his secretary Eliezer Penna, the Oió Journal gave an impetus to literary production in Goiás, which increased exponentially between the 50’s and 70’s. The texts published in this paper recorded the flourishing of Modernist Literature in the capital of Goiás, consolidated in the consecration of Bernardo Élis and Eli Brasiliense, in the maintenance of associations of letters, such as the Goian Academy of Letters and the Brazilian Association of Writers, and in the systematization of criticism professional.
O texto que segue é fruto de pesquisa que envolve o Jornal Oió, publicado mensalmente em Goiânia entre fevereiro de 1957 e agosto de 1958. Será demonstrado que, em torno do Jornal Oió, reuniram-se críticos e escritores que introduziram discussões envolvendo a necessidade de estruturação de um campo literário em Goiás. Parte destes esforços, registrados no autointitulado “mensário da cultura goiana”, aparecem envolvendo profissionalização da crítica literária e no destaque dado a Bernardo Élis e Eli Brasiliense, autores mais citados. Coordenado pelo livreiro Olavo Tormin e seu secretário Eliezer Penna, o Jornal Oió impulsionou a produção literária em Goiás, que aumentou exponencialmente entre as décadas de 50 e 70. Os textos veiculados neste suporte registraram o florescer da Literatura modernista na capital goiana, sedimentada na consagração de Bernardo Élis e Eli Brasiliense, na manutenção de associações de letras, como a Academia Goiana de Letras e a Associação Brasileira de Escritores, e na sistematização da crítica profissional.
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Charton, Hervé. "L'improvisation théâtrale "libre" : genèse, histoire et pratique d'un concept rare. Du Théâtre-Création (Lausanne, 1968-1975) à aujourd'hui. Étude appuyée par un laboratoire de recherche-action." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030158.
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Nous souhaitons penser l’improvisation théâtrale « libre » dans une continuité de nature avec le théâtre à deux temps. L’improvisation théâtrale s’est en effet déterminée au cours des quarante dernières années comme un champ à part, avec son histoire et ses règles propres. En nous consacrant à l’improvisation « libre », nous considérons une improvisation qui ne fait pas intervenir a priori de structure d’ensemble, de règles formelles ou stylistiques, qui laisse aux improvisateurs la responsabilité de les déterminer eux-mêmes. Si ce type d’improvisation est courant en musique ou en danse, il reste rare ou ponctuel au théâtre. C’est à travers la notion d’acteur-créateur, telle que l’ont définie Alain Knapp et le Théâtre-Création, que nous la retrouvons. Ce groupe (Lausanne, 1968–1975) a été l’un des premiers en Europe à produire des spectacles improvisés sur des thèmes proposés parle public. Alain Knapp, en héritier de Brecht, nous aide à penser un acteur-créateur qui se distingue de l’improvisateur contemporain par son autonomie créatrice, et par l’attention qu’il porte à l’inscription de ses actes artistiques dans un contexte et une histoire. Revenant à aujourd’hui, nous réinvestissons cette notion d’acteur-créateur à travers celle de performativité. Un ensemble d’expériences et un laboratoire de recherche-action centré sur les perspectives (viewpoints) nous permettent de développer une conception pratique de l’improvisation comme étude d’un contexte par un répertoire. Enfin, ayant explicité quelle liberté est à l’oeuvre dans l’improvisation « libre »et comment la reconnaître, nous décrivons le continuum qui relie cette dernière à la représentation verrouilléeWe want to think of free-improvisation in theater in a continuity with traditional theatre. Theatrical improvisation has indeed grown over the last forty years as a separate field, with its ownrules and history. By dedicating ourselves to free-improvisation, we concentrate on an improvisation that does not involve a preconceived overall structure, or formal or stylistic rules, which leaves improvisers with the responsibility to decide them on the spot. Whereas common in music and dance, free-improvisation is rare or occasional in theatre. It is approached through the notion of actor-creator, as it was defined by Alain Knapp and the Théâtre-Création. This group (Lausanne,1968-1975 ) was one of the first in Europe to perform improvised plays on themes proposed by the audience. Drawing a lot from Brecht, Alain Knapp’s actor-creator has a creative autonomy and pay great detail to the way his artistic acts are inscribed in a given background and history.This distinguishes him from contemporary improvisers. Back to the present, we renew the notion of actor-creator through performativity. A set of experiments and a laboratory focused on Mary Overlie’s Viewpoints allow us to develop a practical approach to improvisation as a study of a context through a repertoire. Finally, having explained which idea of liberty is at work in free-improvisationand how to recognize it, we describe a continuum that connects it to set performances
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Balat, Samah Mohamed. "The study of Andalusian “Muwashaḥāt”: a literary and artistic approach"." University of the Western Cape, 2020. http://hdl.handle.net/11394/7267.
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Magister Artium - MAThis thesis aims at presenting a comprehensive study, through which more will be learnt about the art of the Andalusian Muwashaḥāt. This is a study of their artistic structure, types, and poetic purposes. The art of the Muwashaḥāt was different in form and rhythm from the classic Arabic poem, because the Muwashaḥāt had multi meters and rhymes, and it relied on the musical rhythm. Besides, the poetic language of the Muwashaḥāt was based on both classical and vernacular Arabic. The Muwashaḥāt was invented by the Andalusian poets to keep pace with the musical development in Andalusia, the researcher will shed light on aesthetic methods, and the poetic styles that characterized the Muwashaḥāt as an innovative poetic art which had strong ties with the music and singing, and showing the impact of the Andalusian environment on the development of this art. The art of the Muwashaḥāt left a distinguished mark on the Arabic poetry and music, especially in the Maghreb and North Africa where a lot of musical schools and poets still pay a lot of attention to such type of that Andalusian art. The continuous interest in this art, until current days, strongly motivated the researcher to proceed with this study.
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Morris, Kathleen. "Weird science : affect and epistemology in contemporary literary and artistic projects." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:b4b1f633-b1ee-424f-b254-0814ebe5c9b0.
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Contemporary cultural practices sometimes appear dispassionate, distant and clinical—committed to conceptualism or formalism. Yet works by Jacques Roubaud and Jacques Jouet (both members of the Oulipo, a group of experimental writers in France that use formal and mathematical constraints to generate new literary forms) suggest a complex relationship between epistemology and affect. This thesis argues that contemporary literary and artistic projects that appropriate the tropes of clinical procedure and experimental constraint, suggest alternative forms of knowledge that implicate the body and emotions of the experiencing subject. In these projects, affect and emotion travel through reason, logic, system and constraint and are transformed in the process. Therefore any analysis of forms of affect in these works must also consider the procedural and scientific aspect, that which makes them "projects". My research, drawing on recent work that places emphasis on affect, considers these projects as test cases often mediating between a series of dichotomies such as reason/emotion and mathematics/poetry. Curiously it is in the encounter with epistemological systems that the value of affect, embodiment and subjectivity is underscored, and this thesis interrogates the various ways that contemporary projects articulate affect almost despite themselves. By passing through a scientific impulse to inquire about and test the validity of epistemological systems, these projects underscore the role of affect in producing knowledge. This thesis insists on the continued importance of the Oulipo in contemporary culture and seeks to provide a larger, interdisciplinary context for oulipian experimentation by analysing similar works in the visual arts. This thesis has four chapters, each based on the materials that the projects themselves investigate: 1) numbers and mathematics, 2) lists, collection, and census-data, 3) itineraries and travel, 4) weather and meteorology. Projects bear witness to what the poet Lyn Hejinian has called the romance of science: its rigor, patience, thoroughness and speculative imagination (Mirage, 1983, 24) In so doing, these projects reveal forms of affect that only emerge through this 'weird science' as literary and artistic experiments.
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Kakavas, George. "Dionysios of Fourna (c. 1670-c.1745) : artistic creation and literary description." Thesis, Courtauld Institute of Art (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431679.
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Brown, Luke. "Tension between artistic and commercial impulses in literary writers' engagement with plot." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5158/.
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This thesis explores whether plot and story damage a literary writer’s attempt to describe ‘reality’. It is in two parts: a critical analysis followed by a complete novel. The first third of the thesis is an essay which, after distinguishing between story and plot, responds to writer critics who see plot as damaging to a writer’s attempt to describe ‘the real’. This section looks at fiction by Jane Austen, Henry James, Jeffrey Eugenides, Julian Barnes, Tom McCarthy and Zadie Smith, against a critical background of James Wood, Roland Barthes, David Shields and others including Viktor Shklovsky and Iris Murdoch. It then examines my own novel which makes up the second part of the thesis and looks at whether my advocacy of plot has compromised my literary ambitions, and to what extent my advocacy of plot prioritises the commercial over the artistic. The discussion is set against the extra context of my eight years working as a commissioning editor of literary fiction. It is also set against the process of being edited by a publisher who brought to bear commercial imperatives as well as artistic ones on the redrafting process. The second part of the thesis is the novel, My Biggest Lie, due for publication in April 2014.
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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.
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Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Nédélec, Marine. "De l'incohérence à l'humour, Dada et le surréalisme dans le miroir de la presse : réception et diffusion de Dada et du surréalisme par la presse française (1920-1927)." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H084.
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Que reste-t-il encore à examiner de Dada et du surréalisme, quasiment cent ans après leur naissance ? Malgré les multiples études déjà existantes, certainement beaucoup de choses, à commencer par les réactions de leurs contemporains. Car si la réception de Dada, puis surtout du surréalisme, a suscité des analyses, ce vaste champ de recherche demeure encore en grande partie à explorer. Cent vingt-six titres ont été ici consultés parmi la presse française des années vingt, afin d’observer la réception de Dada et du surréalisme. L’analyse des articles a fait émerger des thématiques, qui ont construit la structure de cette thèse. La première partie montre comment Dada et dans une moindre mesure le surréalisme ont été perçus comme incohérents, absurdes et donc incompréhensibles. En cherchant à expliquer les raisons de l’incohérence dadaïste, cette partie glisse vers la notion d’hermétisme. De là, la seconde partie s’attelle à analyser l’humour Dada à travers les mystifications, puis le rire joyeux qui tourne à l’offensive et au tragique. En faisant dialoguer les avis de critiques les uns avec les autres, ce travail permet de replonger ces avant-gardes dans leur époque. S’y dévoile leur histoire, mais aussi en filigrane les préoccupations des années vingt. En outre, cette étude fait émerger les filiations dans lesquelles la presse a inscrit les deux mouvements : du romantisme au futurisme, en passant par le symbolisme, les Arts Incohérents, l’impressionnisme, le postimpressionnisme, le cubisme ou encore les HumoristesWhat is left to examine about Dada and the Surrealism almost a hundred years after the birth of these movements? Numerous studies have dealt with the subject, yet the reactions of their contemporaries have still to be explored. If Dada’s and the Surrealism’s reception among the public has been touched upon by scholars, it remains an unexplored aspect of these movements. This thesis relies upon the analysis of a hundred and twenty-six titles from the 1920’s French press in order to fill this gap by exploring the reception of Dada and Surrealism. The structure of this thesis has been built upon the themes found in the press articles. The first part shows how Dada and to a lesser extent Surrealism have been perceived as incoherent, absurd and thus unintelligible. By trying to explain the reasons of this Dadaist incoherence, this first part touches upon the notion of hermeticism. Then, the second part analyses Dadaist humour through its mystification and laughter which often turns to be offensive and tragic. By cross-reading the various critical assessments of these two movements, this thesis allows us to put back these avant-guardes in their own historical contexts. It unveils their history which is underlined by the concerns of the 1920’s. in addition, the analysis of their reception enables us to insert these two movements in a cartography of references which goes back to the Antiquity, continues in the Middle Ages, expands in the 19th century and comes to an end in the beginning of the 20th century. Therefore, Dada and Surrealism have been read and evaluated in relation to artistic and literary history, from Romanticism to Futurism, right through Symbolism, Incoherent Arts, Impressionism, post-Impressionism, Cubism and the Humorists
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Wedel, Valerie A. "The undoing of the self an artistic exploration /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/5004.
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Thesis (M.F.A.)--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 April 4, 2008) Vita. Includes bibliographical references.
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Rockage, Jennifer. "Overheard-collected-remade." Morgantown, W. Va. : [West Virginia University Libraries], 2010. http://hdl.handle.net/10450/11086.
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Thesis (M.F.A.)--West Virginia University, 2010.Title from document title page. Document formatted into pages; contains iii, 49 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 44-45).
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Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
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Snyder, Jane. "Literary Continuities/Imperative Education." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1550153843.
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Literary Continuities: British Books and the Britishness of Their Early American Readers People get their worldview from what they read. in a reading-saturated society such as 18th-century America, the most popular books determined the public consciousness. as such, the origin of these books must be carefully examined. Herein lies the question of whose books and ideas were popularized. According to quantitative analysis of primary evidence gathered from private and public library collections as well as booksellers' advertisements and inventories, the majority of books read in 18th-century America could be considered British more than American. Before, during, and after the American Revolution the most popular and highly culturally valued books were still British. This explains the continued Britishness of Americans even after they declared and won political independence. Few scholars consider the implication of the origin of early American ideas, particularly in the study of popular books, leading to a common misconception about the rate at which American society became wholly American. Imperative Education: The Politics of Reading and Advice in Colonial American Colleges Harvard, William & Mary, Yale, Princeton, Columbia, the University of Pennsylvania, Brown, Rutgers, and Dartmouth were all founded in some iteration before the American Revolution. Amazingly, these colleges are rarely studied collectively. Even more individualized is the discussion of their early college libraries. These book collections determined the range of knowledge available to students, so the people who decided which books were included had a great deal of power over the colleges. Library benefactors across the American colonies and from institution to institution had quite similar reasons for donating certain books. This commonality can be called imperative education, a scheme through which books were donated to consciously further the donor's value system and assign it as truth. Such a structure means the nine colonial colleges were pieces of one movement rather than polarized individual entities fighting religious representation wars as they are often misrepresented. Their charters and founding documents back up the universality of imperative education. The general idea that students' reading habits needed to be strictly controlled is also apparent in controversies surrounding several of the institutions in their early years.
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Hardwick, Joseph Brian. "Romans et theses : french "existentialist" fiction, literary history and literary modernism /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16410.pdf.
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Hooks, Karin L. "Literary Retrospectives: The 1890s and the Reconstruction of American Literary History." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338301078.
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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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Green, Charles. "Thief in the attic : artistic collaborations and modified identities in international art after 1968 /." Connect to thesis, 1998. http://eprints.unimelb.edu.au/archive/00000866.
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Payne, Emily. "The creative process in performance : a study of clarinettists." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:652aa4a1-347b-41e2-8ba3-a71eee9c3e5a.
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This thesis examines creativity in performance through the study of the performance practices of professional clarinettists. Creativity research has tended to emphasise the innovative, revelatory qualities of the creative process, rather than the more pragmatic activities related to notated performance. This corresponds to a tension between the perceived creative opportunities of improvisation and notated music, and has resulted in a discourse that associates improvisation with spontaneity and novelty, and notated performance with repetition and reproduction. How might this discourse be challenged? Through a series of case studies documenting clarinettists working in a variety of collaborative settings, I examine how performers' constructions of creativity might complement or challenge the perceived creative affordances of notated music, and how the presence of, and/or collaboration with a living composer affects the creative process. A broadly ethnographic methodology is employed, drawing on thematic analysis of qualitative data obtained through semi-structured interviews with musicians, and audio-visual footage of workshops, rehearsals and performances. Conceptually, the thesis adopts an ecological perspective (Ingold 2011; Clarke, Doffman, and Lim 2013), proposing that creativity is a distributed phenomenon, entangled within a complex interweaving of social, material, and historical influences. It draws on work by Richard Sennett (2008) and Tim Ingold (2013) on craft and material engagement, suggesting that the interaction between a practitioner and a tradition entails a synthesis of action, perception and prior experience. I argue that this orientation is useful for developing an analytical framework that accounts for the dimensions of performance that might otherwise be taken for granted. The research offers insights into the performance practices of contemporary concert musics - a line of inquiry that remains largely unaddressed. More broadly, it makes room for a more forward-looking model of creativity based on processes rather than outcomes, and one that better appreciates the fluid pathways between performers and scores.
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Gao, Wei Zhi. "Creative criticism : the example of James Joyce /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/9422.
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Kehoe, Peggy. "Self discovery and personal creation /." Online version of thesis, 1991. http://hdl.handle.net/1850/11073.
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Saxton, Linda K. "Computer imagery and creative energy /." Online version of thesis, 1987. http://hdl.handle.net/1850/10309.
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Heine, Martin Alfons. "Versus the vox populi reflections on the practice of art as a quest for liberation /." Connect to full text, 2003. http://hdl.handle.net/2123/640.
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Thesis (Ph. D.)--University of Sydney, 2004.Title from title screen (viewed 5 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Sydney College of the Arts. Degree awarded 2004; thesis submitted 2003. Includes bibliographical references. Also available in print form.
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Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
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The lack of discussion on art in Spinoza's works has led to the belief that a) the principles of his philosophy are actively hostile to art, and b) that his philosophy has nothing to offer regarding art's theorisation. This thesis examines the few places that Spinoza refers to art in order to discern three things: I) what Spinoza's thoughts on art are; II) how his views on art fit into the wider themes of his philosophy; and III) how his general philosophical position as well as his specific ideas on art might contribute to new models of theorising art. In Chapter One I develop Spinoza's relational and naturalistic concept of individuation, therein providing the theoretical ground for the subsequent chapters which, following Spinoza, treat the work of art as a complex body that conforms to the rules of individuation as they are developed across the Ethics. Chapter Two locates Spinoza's views on the creative act from what he notes of architecture, painting, and other 'things of this kind' in IIIP2Schol. Here I argue that Spinoza radically naturalises the creative act, deriving it from the complex causal activity of extended substance itself. To this extent art is given in IIIP2Schol as an expression of the complexity of Nature. Chapter Three turns to Spinoza's brief words on art and culture in IVP45Schol to ascertain his position on artistic experience. Here I argue that according to IVP45Schol art's necessity for the wise man lies in its ability to foster affective complexity. Chapter Four turns to that other peculiarly human artefact, Holy Scripture, to identify how 'nonnatural' objects come to be differentiated from merely 'natural' objects in Spinoza's strong naturalism. Finally I end with an appendix that brings Spinozistic principles to bear on a consideration of a poem by Futurist poet Mina Loy.
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Tavassoli, Zea Zahra. "La bande des quatre : nineteenth-century artistic and literary sources in late Nouvelle Vague filmmaking." Thesis, University of Kent, 2016. https://kar.kent.ac.uk/61010/.
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This thesis examines the different ways the cinemas of Éric Rohmer, Jacques Rivette, François Truffaut and Jean-Luc Godard adapted literary and artistic motifs characteristic of the nineteenth-century romantic and realist traditions, from the 1960s to the 1980s. The selection of these four directors is based on their early and formative commitment to the politique des auteurs, a film criticism trend that was significantly indebted to central aesthetic precepts of the realist and naturalist novels. The profound social changes of the 1960s led directors, artists and writers to question long-accepted ideas about representation and authorship. The left-wing culture in France, which envisioned art and political protest as an inseparable whole, extensively criticised the nineteenth-century discourse on the realist novel as the outward revelation of the author's inner life. As a result, critics rapidly considered the politique des auteurs and, by extension, the universalist and openly westerncentric premises of the Nouvelle Vague as unpersuasive and dismissible. This thesis acknowledges that the relation these directors maintained with nineteenth-century thought has been overshadowed by scholarship on their individual careers, a research tendency that consolidates the notion of rupture and discontinuity between Rohmer, Rivette, Truffaut and Godard's filmographies. However, each one of them commonly returned to nineteenth-century sourcing and imagery in the post-1968 period through adaptations and transpositions of Heinrich von Kleist, Honoré de Balzac, Adèle Hugo, Prosper Mérimée and so on. As the first work to regroup this 'gang of four' in the aftermath of Rohmer's forced resignation in Cahiers du cinéma, this thesis argues that their approaches to the nineteenth-century cultural legacy should be assessed as distinct forms of reaffirming, revising, challenging and commenting on their former vision of cinema as a novelistic space, able to manifest the essence of sheer appearances. As the chapters will demonstrate, their engagements with nineteenth-century art and literature are complex. They are, on the one hand, inflected by their personal responses to the politicisation of the 1960s and 1970s French film culture and, on the other hand, informed by their individual understanding of the role of nineteenth-century narratives and aesthetic patterns within the framework of modern filmmaking. The introduction chapter lays the theoretical foundations of the Nouvelle Vague's early engagements with notions of romanticism and realism and, in light of the existing scholarship, establishes the aims and methodology of this thesis. Chapter two examines Rohmer's cinematic transposition of Balzac's rhetorical realism and analyses the paradoxes and modernist potential of the director's neoclassical film aesthetics in Die Marquise von O ... (1976). Chapter three explores the ways Rivette turns the Balzacian myths of Icarus and Pygmalion into more immediate accounts on his contemporaries' struggle for unalienated and totalising works of art through Out 1: Noli me tangere (1971) and La Belle Noiseuse (1991). Chapter four analyses Truffaut's long series of engagements with nineteenth-century imagery and explores the reasons why L'enfant sauvage (1970), Les deux anglaises et le continent (1971), L'histoire d'Adèle H. (1975) and La chambre verte (1978) coincided with his growing conservatism. Chapter five develops Godard's relationship with the romantic legacy through the case-studies of Passion (1982) and Prénom Carmen (1983) - films which allude to Charles Baudelaire's entangled notions of spleen and the ideal and give an unprecedented attention to the aesthetics of chiaroscuro. The conclusion chapter establishes points of convergences and contrasts between the four directors through a comparative account that also addresses the ways in which their individual stands towards the romantic and realist legacies have evolved.
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Robertson, Elizabeth Clare. "The artistic patronage of Cardinal Alessandro Farnese (1520-89)." Thesis, University of London, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364061.
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The purpose of this dissertation is to reconstruct the artistic patronage of Cardinal Alessandro Farnese (1520-89), to examine the mechanisms of that patronage, and in particular the role of intermediaries, and finally to consider what can be known of the Cardinal's personal taste and the extent to which it affected the ultimate appearance of the work of art. The study is based on extensive new archival material, as well as printed sources. In the introduction the Cardinal's biography and the character of his court are outlined, and the nature of the source material is discussed. Chapter 2 is a survey which aims to depict the cultural environment in which Alessandro grew up: the patronage of his grandfather Paul III, and his father Pier Luigi Farnese, and especially the projects in which Alessandro himself was involved are covered. In the following two chapters the history of Alessandro's artistic commissions, secular and religious,is reconstructed, and his development in relation to contemporary events is considered. His commissions for works of decorative art, which follow a rather different pattern, are discussed separately in chapter 5. Chapter 6 examthes the role of the Cardinal's various artistic advisers, such as Paolo Giovio, Annibal Caro, Fulvio Orsini and Onofrio Panvinio the responsibility delegated to them and their influence. In the final chapter I outline my conclusions about Alessandro's intentions as a patron and the nature of his taste. New documentary material is presented in the appendix.
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Greene, Richard Thomas. "Mary Leapor : a problem of literary history." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306589.
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Hawes, Ben. "Yeat's versions of literary history, 1896-1903." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/915a643d-f367-4025-8ab7-fc64cc1f18ab.
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This study examines the critical prose written by William Butler Yeats in the period 1896-1903, and identifies the evolution within it of a mode of literary history. I concentrate on Ideas of Good and Evil, and on the selected edition Poems of Spenser. The introduction examines notions of golden ages and of original fracture, and the insertion of these tropes into a variety of literary histories. I consider some of the aims and problems of literary history as a genre, and the peculiar solutions offered by Yeats's approaches. I give particular attention to Yeats's alternation between two views of poetry: as evading time, and as forming the significant history of nations. The first chapter examines those essays in Ideas of Good and Evil written earliest. I consider the essays on Blake first, because Blake was the most significant influence on the writing of Yeats's idiosyncratic literary histories. I proceed to the essays on Shelley, on a new age of imaginative community, and on magic. The second chapter demonstrates how Yeats's ideals and ideas became modified in more practical considerations of audience, poetic rhythm and theatrical convention, and I identify the new kinds of literary history in the essays on Morris and Shakespeare, which are concerned with fracture, limitation and the loss of unmediated access to timeless imaginative resources. The third chapter briefly examines Yeats's very early imitations of Edmund Spenser, and then considers the uses of literary history in Yeats's edition of Spenser. The final chapter identifies Yeats's later returns to Spenser, and shows how the earlier modes of literary history governed subsequent adaptations. My conclusion summarises the advantages and limitations of Yeatsian literary history, and place my study into the context of Yeats's whole career, comparing these literary histories with A Vision
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Rodriguez, Linda Marie. "Artistic Production, Race, and History in Colonial Cuba, 1762-1840." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10467.
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This dissertation addresses the works of art of two free men of color, Vicente Escobar (1762-1834) and José Antonio Aponte (date of birth unknown-1812), who lived in late eighteenth and early nineteenth-century Havana. I offer the first consideration of these two artists together in order to illuminate the scope of visual artistic practice of free people of color prior to the foundation of the fine arts academy, the Academia de San Alejandro, in 1818. Creole and Spanish elites who supported the foundation of the school expressed concern that blacks had been “dominating” the arts and excluded them from studying there. I posit that both Escobar and Aponte worked as self-aware artists prior to the elite project of the fine arts academy, which followed an unclear path after its foundation. Escobar painted the portraits of colonial society’s Spanish and creole elites. The works span the dates from 1785 to 1829. Aponte’s only known work of art – a so-called libro de pinturas (book of paintings) found in 1812 – no longer exists. However, a textual description of the book survives in the court record that documents his trial for conspiring to plan slave rebellions across the island. Aponte collaged together an array of images to depict a “universal black history” that we are now forced to imagine as the original work of art has been lost. I argue that both artists, through their artistic practices, embodied a self-awareness as artists that they directed to transformative ends. These artistic practices – as advanced by the works themselves as well as how they were produced and received – involved the articulation of two axes. The first axis moved from the representation of the visible, in the case of Escobar’s portraits, to the representation of the invisible, in the case of Aponte’s book of paintings. The second axis measures how the works themselves could be “historically effective” – following T.J. Clark – and transform a colonial black identity, operating on the scale of the individual to that of a larger community. For Escobar, his artistic practice was personal; for Aponte, his artistic vision extended beyond himself.History of Art and Architecture
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Simpson, Nigel. "Post-structuralism and history." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282616.
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DeMaio, Rory. "Performing artistic control| Gian Lorenzo Bernini and his caricature drawings." Thesis, Tulane University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591482.
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Hall, Wendy E. "Ceramic handbuilt vessels." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/725080.
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The creative project involved the exploration and to cone 06 in an development of eight large handbuilt ceramic vessels. False bottoms, double walls, and amorphous forms were constructed inside the vessels and textured with various implements. To create contrast on the exterior of the forms, a variety of experimental glazes, porcelain slips, and stains were applied. The pieces were then fired electric kiln. After this process, the outer surfaces were manipulated again with the use of a sandblaster and sandpaper.Each piece created for this project had a particular character and life of its own. A constant factor also remained in the work, which held it together as a whole.Department of Art
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Murphy, Eric. "Five earthenware vessels with mixed media for reflection and contemplation." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941719.
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As humans and society have evolved, living has become more abstract and individualized. This report on the creative project discusses the artistic process and how each of the five works personalized or called attention to the abstractness of a beholder's existence. Each of the mixed-media works centered around a hand-built ceramic granary form which referenced the human drive to store resources. During exhibition at Ball State University, beholders would construct an association to storage by resolving the disparities caused by the mix of images and materials in each artwork.The artistic process was defined into three categories of experiences: personal investigation, experimentation and skill-building. A major component of personal investigation was the development of the Visual Vocabulary, a collection of devices, images and ideas from the artist's life experiences. The experimentation category occurred when the elements of the visual vocabulary were conceptualized into a scenario for an artwork. The physical work involved in making each artwork was part of the skill-building category. How each work was constructed and the exhibition was also discussed.Department of Art
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Vallis, Gina. "Finding fault : history and the extra-literary novel /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Bergman, Jenni. "The significant other : a literary history of elves." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/55478/.
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This thesis is an analysis and literary history of the human-sized elf as a Significant Other. It argues that this character is in direct relation to humans while also situated beyond the boundaries of what is human, familiar, and same, and acts as a supernatural double that defines these boundaries. The first chapter relates the origin of the word elf and the creature's characteristics in the Germanic regions of Europe. Chapter 2 discusses similar beings in Celtic sources and the establishment of a realm in which they dwell. The development of Faerie, primarily in French sources, is further examined in Chapter 3. Chapter 4 scrutinises the application of the words elf and fairy to a diminutive being, here referred to as the Insignificant Other. Chapter 5 assesses the demise of the diminutive being and re-establishment of the human-sized elf. Because of his paramount influence, the central section of the thesis (chapters 6-9) is devoted to the Elves of J. R. R. Tolkien. This section begins by analysing the descriptions of Tolkien's Elves in order to evaluate his debt to earlier traditions. Chapter 7 assesses the status of Elves in Middle-Earth, while chapter 8 scrutinises the presentation of gender. Chapter 9 discusses the Dark-Elves and their place in Tolkien's developing ideas about Elves. The final section examines Tolkien's influence and the current status of the elf. Chapter 10 focuses on four recent narratives that identify human-sized fairies in comics and film. Chapter 12 investigates the popularity of the Tolkienian elf in modern Fantasy fiction, while the final chapter locates the elf as Significant Other in contemporary popular culture and media.
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Connell, Liam. "Rewriting the nation : nationalist interventions in literary history." Thesis, University of Sussex, 2000. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324204.
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Suleiman, Feda. "Dome Of The Rock: A Rich Historic and Artistic Account." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461152510.
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Lambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
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The aim of the thesis was to explore two focus questions using the phenomenological approach. Firstly, what it meant to be an artist for three particular artists; a painter, a writer and a playwright. Secondly, what a general explicitation (after Van Kaam, 1958) of the three subjects' artistic creative experience and working processes revealed in essence. The taped data of the three artists were reduced and explored through a number of phenomenological strategies. This led to the formulation of four essential descriptions for each artist, which were based structurally on Van den Berg's experiential categories in A Different Existence. Thus, the essential descriptions reflect each artist's relationship with his/her world, body, fellow people and time. The final step was the achievement of a general extended description. The major conclusion arising from the phenomenological explication is that art affords a way through which artists are able to live an authentic existence. That is, the body and world of the artist are in harmony and the artist's art roots him in the past, is manifest in the present and indicates the future direction of his work. Another conclusion is that the artist is Janus-faced and this enables him/her to balance subjectivity and objectivity in the Lebenswelt and to communicate what he/she sees to others in a healthy way through art. The artist's relationship with world, body, fellow people and with time, is postulated as being qualitatively richer than that of the nonartist. The two focus questions were successfully answered through the research explication and were validated by two independent judges. The viability of the phenomenological approach in the field of artistic creativity was therefore demonstrated. Suggestions for future research were made, one of which was that more phenomenological research aimed at eliciting specific information on the creation of art works might render more information on the artistic creative process.
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Harvell, Marta Krogh. "A New Literary Realism: Artistic Renderings of Ethnicity, Identity, and Sexuality in the Narratives of Philip Roth." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115092/.
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This dissertation explores Goodbye, Columbus and Five Short Stories (1959), the Ghost Writer (1979), the Counterlife (1986), the Facts (1988), Operation Shylock (1993), Sabbath's Theater (1995),and the Human Stain (2000), arguing that Roth relishes the telling of the story and the search for self within that telling. with attention to narrative technique and its relation to issues surrounding reality and identity, Roth's narratives stress unreliability, causing Roth to create characters searching for a more complex interpretation of self. Chapter I examines Roth’s negotiation of dual identities as Neil Klugman in Goodbye, Columbus feels alienated and displaced from Christianized America. the search for identity and the merging of American Christianity and Judaism remain a focus in Chapter II, which explores the implications of how, in the Ghost Writer, a young Nathan Zuckerman visits his mentor E.I. Lonoff to find him living in what he believes to be a non-Jewish environment—the American wilderness. Chapter II also examines the difficulties of cultural assimilation in "Eli, the Fanatic," in which Eli must shed outward appearances of Judaism to fit into the mostly Protestant community of Woodenton. Relative to the negotiation of multiple identities, Chapter III considers Sabbath’s attempt, in Sabbath’s Theater, to reconcile his spiritual and physical self when seeking to avoid his inevitable death. Exploring a further dimension of the search for self, Chapter IV traces the legacy of stereotyped notions of identity, considering ways in which Roth subverts stereotypes in the Human Stain. the search for identity and its particular truths remains a focus of Chapter V, which explores Roth's creation of an unstable reality through the Counterlife, the Facts, Operation Shylock, and the Human Stain, suggesting that the literary imagination matters more than truth in fiction. in its attention to Roth's focus on identity, race, and narrative technique, this dissertation contributes to the evolution of criticism addressing the social significance of the major works of Philip Roth.
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Birdsall, Stephanie. "Meaning and the literary text." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24076.
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Often debates over literary meaning can get swept up into larger discussions about social significance, political responsibilities, identity struggles and deification of cultural objects. Literary meaning becomes, in these deliberations, not just a theoretical entity but a powerful social force. All of these queries, however, inasmuch as the literary enterprise is a part of human interaction, are dependent on the brute fact of communication. Any notion of literary meaning must ultimately rest upon a concept of meaning that explains, or attempts to explain, how communication is possible. This, in turn, leads down the dark path into human psychology and the relationships of our minds to the world around us. This thesis will attempt to explore various viewpoints about the connections between thought, language, and literature and to argue that these connections necessitate more attention than has been paid to them by literary theorists.
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Lai, Kin-keung Edwin, and 黎健強. "Hong Kong art photography : from its beginnings to the Japanese invasion of December 1941." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hdl.handle.net/10722/210323.
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McGoldrick, Lynne. "The literary manuscripts and literary patronage of the Beauchamp and Neville families in the Late Middle Ages, 1390-1500." Thesis, Northumbria University, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354372.
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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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