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Urbaniak, Erick Francis. "Criminals and Artists: Detecting the Artist in German Crime Literature of the Twentieth Century." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1236187503.
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Thesis (Ph.D.)--University of Cincinnati, 2009.<br>Advisors: Todd Herzog (Committee Chair), Katharina Gerstenberger (Committee Member), Richard Schade (Committee Member). Title from electronic thesis title page (viewed May 2, 2009). Keywords: Crime Literature; Artists and Criminals; Hochstapler; Serial killers; Thomas Mann; Doron Rabinovici; Identity Formation; Criminality; History of the Artist. Includes abstract. Includes bibliographical references.
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Beyer, Beverly Ann. "Virginia Woolf's Starving Artists." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626064.
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Hill, Colin. "Leonard Cohen's lives in art, the story of the artist in his novels, poems, and songs." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29547.pdf.
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Mosely, Timothy. "The Haptic Touch of Books by Artists." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367982.
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The book as a medium for creative practice proliferated during the twentieth century. The early stages of this period were marked by an engagement with visible language driven largely by poets and, to a lesser degree, artists. From the mid-twentieth century, a distinctive literature and discourse for these books began to emerge. It was not until the late-twentieth century and particularly through artists' conceptual engagement with it that the book as a medium was afforded recognition as a distinct field, termed ‘artists books’. Within the growing literature, a consistent tension relating to the multidisciplinary nature of the field is evident. It has led to concern that, until the discourse reaches the level of a critical field, the field itself is in danger of losing its identity. While this view has received widespread support, how to mature the discourse has proved contentious.
At the turn of the twentieth century, when the West's privileging of sight began to attract critical attention, the haptic (pertaining to touch and materiality) was identified as a means to address the effects of that privileging. Together with a renewed interest in materiality, it informed the early-twentieth-century poets and artists' engagement with the book. In recent decades, the haptic has emerged as a disciplinary focus in many fields, particularly aesthetics. Within artists books discourse, the haptic nature of a book has now been raised as a potential focus for the field. Research into the literature of haptic aesthetics, as it is being termed, soon uncovers a wealth of significance for artists books relating to the sense of touch and its role in perception. With such an historical and a contemporary presence, the haptic warrants investigation as a focus for artists book practice and discourse. The research undertaken during my PhD candidature initiates such an investigation<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland College of Art<br>Arts, Education and Law<br>Full Text
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McDowall, John Charles. "The time of reading : artists' books and self-reflexive practices in literature." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/20652/.
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This project proposes that the reading of an artist’s book is one that may entail an experience that is distinctive to the medium, one that encompasses a shift of expectations of what a book is or does. That there is an awareness of the book held in the hands, and of its interactivity and deployment in time, and that this combination of tactile and cognitive negotiation of the mechanisms of the book’s structure, sequence and content make for a particularity of engagement. As a dialogical relationship, coming from a personal and infinitely variable experience of the book by its reader/viewer, this is one that is inherently elusive and complex to analyse. In investigating the nature of the temporality of self-reflexive dynamics as an underlying characteristic of the medium, this thesis submits that the foregrounding of the synthesis in time of the mutable and the concrete may be an apposite and constructive approach to exposition and evaluation of this heterogeneous field. The development of this research and the setting out of the enquiry has been undertaken through the production and methodology of my practice, which takes such auto-reflectivity as manifest subject. The thesis approaches the questions by means of the allusion to the occurrences and strategic use of self-conscious metafictional play in literature, not as a directly comparative study but by appraising the effect in terms of relational, and at times implicit association. Following an outline of the contexts of the critical study of artists’ books and of structuralist and post-structuralist narratology and literary theory in terms of the specular, the main portion of the writing is in the form of self-contained sections, in each of which a range of figures and mechanisms are considered, forming an overall constellation of shifting interconnection.
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Wootton, Sarah. "Consuming Keats : nineteenth-century re-presentations in art and literature." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339951.
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Molnar, Julie A. "Out from under the artists' brush : aesthetics and psychoanalysis in Manette Salomon and L'Oevre /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487596807824211.
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Burns, Jessica L. "Defining the Modeling Standard for 3D Character Artists." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/honors/296.
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The focus of this thesis is to find the most modern methods to craft 3D characters for implementation in game engines. The industry is constantly adapting to new software and my study is to cover the most efficient way to create a character from an idea to fully realized character in 3D. The following is my journey in learning new techniques and adapting to the new software. To demonstrate, I will work through the process of creating a character from a 2D concept to a 3D model rendered in real time.
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Bolzt, Kerstin. "Women as artists in contemporary Zimbabwe /." Eckersdorf, Germany : Breitinger, 2007. http://www.loc.gov/catdir/toc/fy0804/2008400471.html.
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Carpes, Mariza. "Fragments of a life : constructing a personal story." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/935918.
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Renew thyself completely each day; do it again, and again, and forever again.Jon Kabat-Zinn, Wherever You Go There You AreThe above quotation sums up my feelings about this thesis. By reviewing my life I feel a sense of renewal. I think that my memories are true and accurate. My story certainly is a living memory of my time. I have found that in telling my story I have purged myself of much of my past and refreshed myself in mind and spirit.I start my story by reviewing the three artists who have influenced my work over the past two years, Squeak Carnwath, Jean Hammond and Nancy Spero.I then give a chronological resume of my life to date: my time as a mother, teacher and artist. I describe some of my earlier works together with the moods and emotions which accompanied them. The latter part of the chapter deals with my life in the United States and how my work is developing and the many influences which are helping in this process.In Chapter 3, I talk about my imagery and my latest thoughts as an artist, and go on to describe the paintings which make up the exhibition which accompanies this thesis.Finally, I have attempted to evaluate the fragments of my life, fragments which make up the whole. This is my catharsis. I have released much of myself and my inhibitions. I have absorbed a variety of stimuli and felt a multitude of sensations. My emotions have ebbed to and fro, and in retelling my story I have renewed myself.<br>Department of Art
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Vanderlaan, Kimberly Marie. "The arts and artists in the fiction of Henry James, Edith Wharton and Willa Cather." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.85 Mb., 297 p, 2005. http://proquest.umi.com/pqdlink?did=1051280091&Fmt=7&clientId=8331&RQT=309&VName=PQD.
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Ardon, Marisol Francesca. "Formation and Reflection of Identity in U.S. Born Central American and Mexican Book Artists and Poets." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113142.
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<p> The difficulties to assimilate within any country when one’s parents are from another country has its own set of obstacles, especially within second-generation U.S. born Central Americans, or Mexicans. Second-generation children are constantly situated within positions to assimilate into U.S. culture, presented with stereotypical images of Latin-American figures like the Cholo, Spitfire or the unwanted illegal immigrant, have familial expectations to be a part of the “American Dream,” but still keep true to their ancestral roots. The struggle to completely assimilate into U.S. American society without losing one's cultural identity is a strong influence for the works of poets and book artists, and is reflected within the artist’s own internal conflicts in struggling to unite their cultural heredity with their new U.S. American culture. This paper will explore the work of LatinAmerican, U.S.-born book artists and poets and argue how their artwork has been impacted by their struggles to merge their cultural heritage and their present culture. This paper will also examine and highlight how social conflicts within both cultures augment further struggles within the formation of identity.</p>
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Goff, Jennifer. "The Serpent in the Garden: How early-modern writers and artists depicted devils and witches." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396523520.
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Chott, Laurence R. "The artist as prisoner in the fiction of Bernard Malamud." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/440948.
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The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.
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Pflueger, Pennie Michelle. "The role of the artist in 19th century America : Hugh Blair's Lectures on rhetoric and belles lettres (1783) and the works of Washington Irving and Herman Melville /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901269.
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Millis, Jessica M. "An artist's childhood : short stories." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391234.
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Short stories follows five different characters as they attempt to develop their earliest artistic impulses. Through the use of young protagonists, these stories demonstrate the ways in which our earliest experiences with loss and trauma often create a space for imaginative discovery; the collection reveals that it is the uniqueness of this space, this blend of premature emotional depth and naïve whimsy, that opens up new psychological possibilities for the child-artist. Meant to be read as a collection of intimate character sketches, these stories reveal the artist's intensely visual approach toward growth and maturity. Several stories concentrate specifically on what it means to sustain one's imagination into adulthood, while others use flashbacks to demonstrate the profound influence of childhood memories on adult behavior.<br>Taylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me.<br>Department of English
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Purdham, Medrie. "The encyclopedic imagination in the Canadian artist figure /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85955.
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The "encyclopedic imagination" describes an artist's conviction that a work of art must be expansive and inclusive to a point of total embodiment. The artist (or dramatized artist figure) implies that the work of art must give a total account not only of the subjective life of the artist but of the reality to which the representing self responds. The focus of this study is not on any work's encyclopedic achievement (for the artist's inclusive ideal always remains well outside the actual capacity of the work), but on the relationship of the ideal of aesthetic all-inclusiveness to a problematic ideal of encompassing selfhood for the representing personality.<br>Following an introduction that establishes modern and postmodern conceptions of the notion of aesthetic totality, this dissertation describes, in six Canadian works, the (untenable) radicalization of the self through the "encyclopedic" ideal. Chapter one considers Ernest Buckler's The Mountain and the Valley (1952) and notes that the protagonist's drive towards total representation is costly to his sense of authentic temporality. Chapter two identifies "total embodiment" as the governing poetic principle of P. K. Page's The Hidden Room (poems c.1942-1997), and suggests the relation of this ideal to Page's apparent creative crisis. Chapter three examines the ethics of all-inclusive representation in Leonard Cohen's Beautiful Losers (1966) and argues that the novel's vision of the world incorporated into a single body is a reflection of both the totalitarian politic of One Man and of apocalyptic-beatific "total identity." Chapter four looks at Margaret Atwood's Cat's Eye (1988) in terms of the trope of the "perverse museum" in Atwood's oeuvre. The novel's treatment of representation as exhibition figures identity as a matter of insatiable demonstration. Chapter five considers the "life-long" poems of Louis Dudek (Continuation c.1971-2001) and bpNichol (The Martyrology 1967-1988) as particularly marked cases of works that must continue until they have enfolded a coherent world-view into an all-encompassing subjectivity.<br>Each chapter stresses the counterintuitive quality of the "encyclopedic" ideal and demonstrates that a total yet coherent representation of the world seems inversely proportional to a coherent yet total representation of the self.
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Reisberg, Mira. "An A/r/tographic study of multicultural children's book artists : developing a place-based pedagogy of pleasure." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Dissertations/Summer2006/m%5Freisberg%5F062206.pdf.
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Erenrich, Susan J. "Rhythms of Rebellion: Artists Creating Dangerously for Social Change." Antioch University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1286560130.
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Hill, Colin 1970. "Leonard Cohen's lives in art : the story of the artist in his novels, poems, and songs." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26737.
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The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.
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Bell, Pamela. "Art that never was : representations of the artist in twentieth-century Australian fiction." Thesis, The University of Sydney, 2003. http://hdl.handle.net/2123/7310.
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This thesis traces the development of the artist figure as a leading character in twentieth-century Australian novels. In Australia there have always been complex interconnections between the worlds of art and literature, perhaps the most obvious being the cluster of artists and writers centred on the journal Vision, co-edited by Norman Lindsay’s son Jack with Kenneth Slessor, who was heavily influenced by Lindsay. Slessor’s poem “Five Bells”, an elegy for his artist friend Joe Lynch, later became the subject of a mural painted for Sydney Opera House by John Olsen. Although this and other connections between poetry and art are of interest, this thesis concentrates on fiction only.
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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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Everly, Kathryn. "Changing identities of Catalonian women writers and artists : the works of Mercè Rodoreda, Remedios Varo, Montserrat Roig and Carme Riera /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983203.
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Smith, Karen Mary. "In momentum : the navigation, narration, and negotiation of continuing professional development by mid-career artists in south west England." Thesis, University of Plymouth, 2010. http://hdl.handle.net/10026.1/305.
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This thesis explores the Continuing Professional Development (CPD) of mid-career artists in England and the South West of England in particular during 2000 to 2010. It identifies what their needs are and asks what CPD means to them; how they navigate their careers through their practice; how they articulate their needs; and how they negotiate to fulfil those needs. It examines to what extent the providers’ thinking about, and provision of, CPD in the region is aligned with the needs of the artists themselves. The individual narratives of artists are represented at the centre of this research. The research was developed in collaboration with University of Plymouth and the CPD agency, ArtsMatrix Ltd. Research methods used to collect data included extended dialogues with the artists Alyson Hallett, Mariele Neudecker, Helen Poynor and Phil Smith, via a series of walking interviews, using walking as an ethnographic research tool. By walking I engaged with a literal momentum of movement paralleling the physical and theoretical momentums of the artists’ practices. Policy and literature reviews; group interviews; artist interviews; desk-based research; observation and attendance at artist-led seminars and practice groups were also used. The research contrasts two CPD Schemes: The Contemporary Craft Fellowship Scheme, and The Artist as Cultural Agent: DIY. The thesis includes a policy and provision review of CPD literature in the UK and South West of England over the past ten years; a mapping of South West CPD provision for artists; and the identification and application of relevant theoretical and critical approaches to place, space, language and momentum in order to consider CPD provision in relation to the articulation, situation and concept of a career. This thesis argues that the language of CPD can constrain as much as enable artists’ development; that the terms “mid-career” and “South West” are open to contestation and can affect provider conceptualisations of artists in the region; and that artists need professional development throughout their careers but may not name it as such. I advocate for policy and provision to understand artists’ need to be supported “throughout” their practices rather than at certain points in a career, and advocate walking as both a research method and as one of a number of facilitative practices for those who provide CPD with or for experienced artists. I also advocate for artist-led CPD initiatives and an administrative support agency for artists.
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Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
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Mulholland, Rebekkah Yisrael. "Cullah Mi Gullah, African American Female Artists and the Sea Islands: Exploring Africanisms and Religious Expressions in Creative Works." Wright State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=wright1340413742.
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Osborn, Shyla Elizabeth. "Hybrid spectacles: Performance and power in the circulation of Latinidad /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3181119.
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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 264-268). Also available for download via the World Wide Web; free to University of Oregon users.
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Gleason, Paul William. "The artist-hero novels of D.H. Lawrence, James Joyce, and Samuel Beckett and the transformation of aesthetic philosophy /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004271.
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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.
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Thesis (Ph. D.)--University of Kentucky, 2004.<br>Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
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Jackson, Cailah. "Patrons and artists at the crossroads : the Islamic arts of the book in the lands of Rūm, 1270s-1370s." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:2d687f25-fb80-4470-b259-72714ba24386.
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This dissertation is the first book-length study to analyse the production and patronage of Islamic illuminated manuscripts in late medieval RÅ«m in their fullest cultural contexts and in relation to the arts of the book of neighbouring regions. Although research concerning the artistic landscapes of late medieval Rūm has made significant progress in recent years, the development of the arts of the book and the nature of their patronage and production has yet to be fully addressed. The topic also remains relatively neglected in the wider field of Islamic art history. This thesis considers the arts of the book and the part they played in artistic life within contemporary scholarly frameworks that emphasise inclusivity, diversity and fluidity. Such frameworks acknowledge the period's ethnic and religious pluralism, the extent of cross-cultural exchange, the region's complex political situation after the breakdown in Seljuk rule, and the itinerancy of scholars, Sufis and craftsmen. Analyses are based on the codicological examination of sixteen illuminated Persian and Arabic manuscripts, none of which have been published in depth. In order to appropriately assess the material and to partially redress scholarly emphases on the constituent arts of the book (calligraphy, illumination, illustration and binding), the manuscripts are considered as whole objects. The manuscripts' ample inscriptions also help to form a clearer picture of contemporary artistic life. Evidence from further illuminated and non-illuminated manuscripts and other textual and material primary sources is also examined. Based on this evidence, this dissertation demonstrates that Rūm's towns had active cultural scenes despite the frequent outbreak of hostilities and the absence of an effective centralised government. The lavishness of some manuscripts from this period also challenges the often-assumed connection between dynastic patronage and sophisticated artistic production. Furthermore, the identities and affiliations of those involved in the production and patronage of illuminated manuscripts reinforces the impression of an ethnically and religiously diverse environment and highlights the role that local amīrs and Sufi dervishes in particular had in the creation of such material.
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Kellow, Amanda Lee. "The Generation and Evolvement of Ideas in the Lifeworld of Artists and the Practice of Their Art: Implications for Education." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16043/1/Amanda_Kellow_Thesis.pdf.
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How artists develop their ideas has been envisaged as a mysterious and intriguing
process, difficult to understand or emulate. The "mystery" of how art ideas evolve has carried through to education, where students and teachers may view the introduction of how to formulate ideas as an unachievable task. Art educators have recognised the investigation of how artists think through the progression of their own practice as being an important aspect of understanding the evolvement of art ideas,
and have advocated that approaches to teaching and learning should be grounded in such artistic thinking. This study was based on the notion that it is important for research to give insights into the differing ways visual art ideas are constructed and to also identify the influences that may impact on this process. Through researching the formulation of art ideas over time in influential contexts, a revealing picture of the process of art idea evolvement emerged. The findings of the research are
presented as qualitative categories of description based on the participants' own
knowledge and lifeworld experiences as artists.
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David, Elise J. "Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
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Alaybani, Rasmyah. "Words and Images:Women’s Artistic Representations in Novels and Fine Art in the Kingdom of Saudi Arabia 2005-2017." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565009668743079.
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Steele, Suzanne Marie. "The artist's dilemma : truth, process, and form in the Great War narratives of Robert Graves, Mary Borden, and David Jones." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/25878.
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The Great War narrative has been the subject of wide scholarship but there have been no studies that have specifically focused on understanding the ethical and aesthetic struggles of the artist in war, the artist’s dilemma. The generation that experienced the Great War included many giants of twentieth-century intellectual, cultural, and political life, many of whom wrote personal narratives of their experiences. These narratives have contributed to shaping familial stories and the meta-narratives of nation states for generations—sometimes limiting a fuller understanding of the war. Through this thesis I aim to open the field of narrative investigation into a wider inquiry through applying what Brian Lande identifies as the ‘sensual and moral conversion’ of the soldier in war, to the artistic actor in the theatre of war. The proposition is to identify and read beyond generic conventions, then to observe the process, the tasks, and the moral, psychosocial, and aesthetic dilemmas of the artist in the theatre of war. To do this, the work focuses on three robust texts of the Great War: Robert Graves’s Good-bye to All That (1929), Mary Borden’s The Forbidden Zone (1929), and David Jones’s In Parenthesis (1937). The project explores not only the nuance of creative witness, self-witness, and testimony, but proposes a fuller empathic engagement with the narrative within the social contract of war writing. After developing a model of the formal conventions which structure the genre of war writing, and building on the work of Max Saunders, Henri LeFebvre, and others, I have carried out close readings of the three authors’ Great War narratives and related works. With an interdisciplinary approach that encompasses literary, artistic, historical, ethical, and sociological studies, and with extensive archival research, I propose to introduce another perspective on reading between the lines of Great War narratives. This perspective encompasses the ethical and aesthetic dilemmas that faced the artists of the war generation as they acted and reacted to war, a generation that shaped the intellectual, political, scientific, and artistic life of the twentieth century, and the lives of generations to follow.
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Olinda, Sahmaroni Rodrigues de. "Subterranean literature and artist-formation." Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=17965.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>nÃo hÃ<br>Leitura â como braconnage â da biografizaÃÃo da experiÃncia de agentes que se dizem escritores, filhos da pauta, este estudo objetiva compreender, a partir da figuraÃÃo de si nos relatos biogrÃficos sobre como agentes sociais que nÃo âdependemâ do mercado editorial â a âordem mercadolÃgica dos livrosâ â para fazerem circular seus trabalhos artÃstico-literÃrios formam-se âescritores/asâ (processo de subjetivaÃÃo, imersÃo de territÃrios existenciais). Trata-se de evidenciar uma caudalosa produÃÃo de literaturas subterrÃneas que banham e escorrem em bares, ruas, bosques, centros culturais, dentre outras zonas de encontro e partilha. Para tanto, contou com o apoio teÃrico de Roger Chartier (2003, 2005, 2009) e os estudos sobre a leitura como prÃtica cultural, Michel de Certeau (1990) e as prÃticas microbianas de invenÃÃo do cotidiano, Jorge Larossa (1998, 2002, 2004) e a relaÃÃo entre formaÃÃo e experiÃncia, Jacques RanciÃre (1987, 1995, 2000) e suas concepÃÃes de partilha do sensÃvel e mÃtodo da igualdade, Guattari (2011, 2012) e Guattari & Deleuze (1990, 2011) e sua concepÃÃo sobre subjetivaÃÃo. Como perspectiva metodolÃgica, foi utilizada a Pesquisa BiogrÃfica em EducaÃÃo (DELORY-MOMBERGER, 2015). Foram utilizadas a entrevista narrativa, o diÃrio de campo e o diÃrio de participante como âtÃcnicasâ de produÃÃo de dados. Produzimos entÃo uma forma de ler os dados que respeitasse as singularidades dos percursos e territÃrios estudados. O estudo evidenciou uma proliferaÃÃo de produÃÃo e circulaÃÃo de objetos-impressos literÃrios (zines, livros feitos à mÃo, folhas avulsas etc) e a dificuldade de separaÃÃo entre tela/pÃgina como modo de divulgaÃÃo de escritos literÃrios por parte dos artistas da palavra entrevistados, como tambÃm seus modos de fazer, ser e agir â sua formaÃÃo-artista â para se tornarem filhos da pauta.<br>Reading â as a braconnage â of the biographical process of the experience of the agents self-called writers, âsons of a sheetâ, this study aims at comprehending, from the self-figuring along the biographical narrations about the way some social agents, who do not âdependâ on editorial market â the âmarket order of the booksâ â to make their artistical-literary works come out become writers (process of subjectivity, immersion of existential territories). The objective is to enlighten a huge production of some subterranean literature which bathe and drop in pubs, streets, cafes, culture points, among other zones of meeting and sharing. Our theoretical support is upon the following postulates and authors: Roger Chartier (2003, 2005, 2009) and the studies about reading as a culture practice; Michel de Certeau and the microbial practices of the invention of the ordinary life; Jorge Larossa (1998, 2002, 2004) and the relation between formation and experience; Jacques RanciÃre (1987, 1995, 2000) and his conceptions about the sharing of the sensitive and his method of equality, Guatari (2011, 2012) and Guatari & Deleuze (1990, 2011) and their conception about subjectivity. As a methodological perspective, we made use of the Biographical Research on Education (DELORY-MOMBERGER, 2015). We also made use of the narrative interview and the journals of the researcher and the researched as âtechniquesâ of producing data. We produced a way of reading the data which respected the singularities of the per-courses and the territories studied. The study made evident a huge production and circulation of literary printed-objects (fanzines, hand-made books, loose sheets etc.) and the difficulty of separation between screen/page as a way to promote the literary writing as well as the ways of being, making and acting of the interviewed writers â their artist-formation â to become âsons of a sheetâ.
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Sarrat, Yoann. "Transgression et littérarité : l’oeuvre de Pierre Guyotat et son influence sur les milieux artistiques et littéraires." Thesis, Université Clermont Auvergne (2017-2020), 2017. http://www.theses.fr/2017CLFAL009/document.
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Cette thèse propose des réflexions autour de l’œuvre de Pierre Guyotat et des réactions qu’elle provoque ou a provoquées chez d’autres artistes, notamment en lien avec son actualité et ses récentes activités de 2013 à 2016. Nous utilisons deux questions théoriques qui, mobilisant différents champs d’étude, permettent d’établir et d’étudier les possibilités multiples propres à cette œuvre et qu’elle suscite : la transgression et la littérarité. D’abord, ce travail analyse le décloisonnement opéré par l’artiste – réfutant la dénomination réductrice d’écrivain – des mots et des topoï de la littérature, à travers ce qu’il nomme ses « figures », notion qui a une histoire tout à fait particulière dans l’analyse textuelle comme dans son travail et sa pensée. Ensuite, nous explorons les divers corpus – recueils, expositions, Enfer de la Bibliothèque Nationale – dans lesquels s’inscrit cette œuvre et les dialogues qu’elle entretient avec d’autres travaux, artistes et mouvements d’avant-garde (actionnisme viennois, art corporel, butô). Nous proposons une analyse d’une période charnière, transgressive, où la fiction entre par effraction dans la réalité de l’auteur qui se trouve décharné et physiologiquement attaqué jusqu’au coma avant de « renaître » sur scène. C’est l’épreuve, multiple et polysémique, de l’œuvre, incarnée dans la fiction par Samora Mâchel, figure dont le texte est encore inédit aujourd’hui. La scène constitue l’un des lieux d’exploration du second temps de cette réflexion où nous mettons en évidence de quelles façons la matière écrite guyotatienne en épouse les contours et rencontre d’autres artistes singuliers, considérant ainsi qu’une œuvre originale, créatrice et transgressive est une œuvre qui rend les autres artistes créateurs et originaux à leur tour. Cette seconde partie de la réflexion permettant de joindre la théorie à la pratique en étudiant des spectacles vivants, de la genèse aux représentations et en en interrogeant les acteurs<br>This thesis proposes reflections on the work of Pierre Guyotat and responses it generates or has generated, especially through his actuality and his recent activities from 2013 to 2016. We use two theoretical issues which, by mobilizing various study fields, make it possible to establish and study the multiple possibilities specific to this work and which it raises: transgression and literarity. Firstly, this work analyzes the decompartmentalisation performed by the artist – who refuses the reductive denomination of “writer” – of words and literature topoï, through what he call his “figures”, notion which has a specific story in textual analysis as well as in his work and way of thinking. Afterward, we explore the various corpus of documents – collections, exhibitions, the Inferno of National Library of France – which contains his work and possible dialogues with other avant-garde works, artists and movements (Viennese Actionnism, body art, butô). We propose an analysis of a pivotal and transgressive period when the fiction breaks into the author’s reality who find himself emaciated and physiologically attacked up to a state of coma before being “reborn” on stage. This is the challenge, multiple and polysemous, of this work, embodied in fiction by Samora Mâchel, a figure whose text remains still unpublished. The stage is one of the places to be explored in this secondary phase of reflection where we highlight in what ways the writing material of Pierre Guyotat will follow the outlines and meet other singular artists, considering that an original work, creative and transgressive, makes other artists original creators in turn. This second part of the reflection allows the junction between theory and practice by studying performing arts, from genesis to representation, and by questioning the artists
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Griffin, Brett Thomas. "Can the Wound Be Taken at Its Word?: Performed Trauma in Don DeLillo's The Body Artist and Falling Man." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/english_theses/48/.
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Thesis (M.A.)--Georgia State University, 2008.<br>Title from title page (Digital Archive@GSU, viewed July 20, 2010) Chris Kocela, committee chair; Marilynn Richtarik, Nancy Chase, committee members. Includes bibliographical references (p. 82-86).
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Molloy, Carla Jane. "The art of popular fiction : gender, authorship and aesthetics in the writing of Ouida : a thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in English in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2008. http://hdl.handle.net/10092/1956.
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This thesis examines the popular Victorian novelist Ouida (Maria Louisa Ramé) in the context of women’s authorship in the second half of the nineteenth century. The first of its two intentions is to recuperate some of the historical and literary significance of this critically neglected writer by considering on her own terms her desire to be recognised as a serious artist. More broadly, it begins to fill in the gap that exists in scholarship on women’s authorship as it pertains to those writers who come between George Eliot, the last of the ‘great’ mid-Victorian women novelists, and the New Woman novelists of the fin de siècle. Four of Ouida’s novels have been chosen for critical analysis, each of which was written at an important moment in the history of the nineteenth century novel. Her early novel Strathmore (1865) is shaped by the rebelliousness towards gendered models of authorship characteristic of women writers who began their careers in the 1860s. In this novel, Ouida undermines the binary oppositions of gender that were in large part constructed and maintained by the domestic novel and which controlled the representation and reception of women’s authorship in the mid-nineteenth century. Tricotrin (1869) was written at the end of the sensation fiction craze, a phenomenon that resulted in the incipient splitting of the high art novel from the popular novel. In Tricotrin, Ouida responds to the gendered ideology of occupational professionalism that was being deployed to distinguish between masculinised serious and feminised popular fiction, an ideology that rendered her particularly vulnerable as a popular writer. Ouida’s autobiographical novel Friendship (1878) is also written at an critical period in the novel’s ascent to high art. Registering the way in which the morally weighted realism favoured by novelists and critics at the mid-century was being overtaken by a desire for more formally oriented, serious fiction, Ouida takes the opportunity both to defend her novels against the realist critique of her fiction and to attempt to shape the new literary aesthetic in a way that positively incorporated femininity and the feminine. Finally, Princess Napraxine (1884) is arguably the first British novel seriously to incorporate the imagery and theories of aestheticism. In this novel, Ouida resists male aesthetes’ exploitative attempts to obscure their relationship to the developing consumer culture while confidently finding a place for the woman artist within British aestheticism and signalling a new acceptance of her own involvement in the marketplace. Together, these novels track Ouida’s self-conscious response to a changing literary marketplace that consistently marginalised women writers at the same time that they enable us to begin to uncover the complexity of female authorship in the second half of the nineteenth century.
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Kellow, Amanda Lee. "The Generation and Evolvement of Ideas in the Lifeworld of Artists and the Practice of Their Art: Implications for Education." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16043/.
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How artists develop their ideas has been envisaged as a mysterious and intriguing process, difficult to understand or emulate. The "mystery" of how art ideas evolve has carried through to education, where students and teachers may view the introduction of how to formulate ideas as an unachievable task. Art educators have recognised the investigation of how artists think through the progression of their own practice as being an important aspect of understanding the evolvement of art ideas, and have advocated that approaches to teaching and learning should be grounded in such artistic thinking. This study was based on the notion that it is important for research to give insights into the differing ways visual art ideas are constructed and to also identify the influences that may impact on this process. Through researching the formulation of art ideas over time in influential contexts, a revealing picture of the process of art idea evolvement emerged. The findings of the research are presented as qualitative categories of description based on the participants' own knowledge and lifeworld experiences as artists.
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Pearson, Wendy G. "Calling home queer responses to discourses of nation and citizenship in contemporary Canadian literary and visual culture /." Connect to this title online, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060123.143327/.
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Thesis (Ph. D.)--University of Wollongong, 2004.<br>Title from PDF title page (viewed on Mar. 6, 2006). Includes bibliographical references (p. 299-323). Also issued as a print manuscript. Print manuscript includes ill. omitted from online version.
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Mackwell, Jutta. "'Useless art' or 'practical protest' : the fin-de-siècle artist between social engagement and artistic detachment." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/2618.
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This thesis follows recent scholarly interest in the British fin de siècle, focussing on the artist and the notion of art within the context of capitalisation and rapidly changing social strata. It claims that the artist can be understood as a socially orientated rather than purely economically motivated player, who tries to position himself and his art within a distinctly transformed cultural landscape. It demonstrates how many texts and art works of the fin de siècle are permeated by a socio-critical and didactical discourse, which serves to legitimize the artist and his art work on the one hand, and aims at the aesthetic education of his audience on the other. This approach allows for a reconciliation of the paradoxical co-existence of socio-critical engagement and the concept of ‘art for art’s sake’ in fin-de-siècle art works. Chapter One, “Leaving the Ivory Tower,” provides a temporal framework for the discussion of the fin de siècle by tracing the development of the eighteenth-century, idealized notion of the artist through the writings of John Ruskin, Matthew Arnold and Walter Pater. It also gestures towards the connection of this tradition to Theodore Adorno’s understanding of ‘social art’. Examining Oscar Wilde’s “The Critic as Artist” within the context of this temporal trajectory, this chapter aims to establish an understanding of the paradoxical demands that face the artist in the light of capitalisation and the development of a mass readership at the end of the nineteenth century. Chapter Two, “Social Aestheticism,” investigates Oscar Wilde’s “The Soul of Man under Socialism” and several of his fairy tales and George Moore’s Confessions of a Young Man in view of their affiliation with Aestheticism. These texts, while insisting on the autonomy of art and voicing their opinions in the disdainful tone of the disinterested artist, are striking because of the social awareness and criticism that they express. By showing how these opposing concepts aim for the legitimization of the artist, this chapter draws attention to the aesthetic-didactical element of Aestheticism, positioning its artists as social critics and educators rather than otherworldly figures. Chapter Three, “A Map of Utopia,” considers William Morris’ News from Nowhere as an example of the artist as visionary and the importance of artistic imagination in the process of social evolution and change. It argues that Morris’ utopia can be read as supporting the concept of autonomous art in that it expresses the omnipresence of art and the realization of a perfect society that this entails. As such, the text demonstrates the social effectiveness of autonomous art which, in turn, supports an understanding of the artist as social agent. Chapter Four, “Periodical Education,” looks at The Yellow Book as an example of audience education and the positioning of the artist through the medium of art. It contrasts The Yellow Book’s aspiration to be an ‘art for art’s sake’ publication with its socio-critical content, evidencing how the concept of autonomous art is used at the fin de siècle for the selection and education of an audience. Chapter Five, “The Author at a Distance,” examines Max Beerbohm’s essays in the light of their aesthetic-didactical tone and the artist-audience relationship they establish. By including a selection of Beerbohm’s later essays, this chapter also gestures towards the difference between the artist-audience relationship implied in fin-de-siècle art as opposed to Modernist art. This attests to the distinct character of fin-de-siècle art. Further, the chapter investigates the effects of these aspects in terms of artist legitimization and the promotion of autonomous art, and thus shows how Beerbohm’s essays contribute to an understanding of fin-de-siècle art as didactical, aesthetic and autonomous at the same time. In conclusion, this thesis reveals how artists at the fin de siècle used their art in order to legitimize an idealized position of the artist within society, to promote the separation between art and life and to create an audience that would appreciate and understand this view. It thus also demonstrates how the paradox between the concept of autonomous art and artistic socio-critical engagement can be reconciled.
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Corre, Julie. "L'art emblématique d'Henri Peacham à travers l'étude de Minerva Britanna (1612)." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20007.
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Henry Peacham fait publier, en 1612, un ouvrage qu’il a longuement retravaillé à partir de manuscrits qui en constituent la matrice. Ainsi, Minerva Britanna voit le jour alors même que l’Angleterre pleure la mort du jeune Henri, prince héritier de la couronne et destinataire du recueil d’emblèmes d’Henry Peacham. Cette thèse propose une étude de l’art emblématique de ce polygraphe anglais peu connu et peu acclamé par la critique. Elle prend appui sur l’examen minutieux de son recueil, Minerva Britanna et s’attache à démontrer la qualité graphique des pictura emblématiques ainsi que la polyvalence des thèmes abordés par l’emblémiste.Un premier temps aborde la question de l’art emblématique d’Henry Peacham sous un angle biographique et bibliographique. Cette partie initiale nous donne l’occasion de découvrir la genèse de l’ouvrage ainsi que sa composition avant de nous pencher sur le développement du genre emblématique en Angleterre. L’étude vise plus précisément à démontrer que l’ouvrage de Peacham prend des accents militants et que l’auteur se veut le porte-parole des artistes anglais dont le statut demeure très instable.La deuxième partie se penche sur la question générique. On remarque que Minerva Britanna tient à la fois du conduct book anglais mais également du genre des specula principum en passant par celui du memento mori. Cela nous permet de mettre en évidence la polyvalence de ce recueil d’emblèmes mais également l’éclectisme du style peachamien. Ce deuxième temps est, en outre, l’occasion de faire le point sur les sources de l’auteur et sur la manière dont il clame son désir d’originalité tout en revendicant ses diverses sources d’inspiration.Enfin, une troisième partie vise à démontrer Minerva Britanna constitue une analyse des premières années du règne jacobéen. Il est ainsi question de politique intérieure puisque le recueil évoque tour à tour la philosophie du règne, la notion d’absolutisme monarchique, mais aussi les difficultés d’ordre religieux auxquelles doit faire face le roi. La politique extérieure du royaume est scrutée de près. Minerva Britanna témoigne en effet de l’épineux projet d’Union entre l’Angleterre et l’Écosse, ce qui nous amène également à nous pencher sur la question de l’identité nationale ainsi que sur l’ouverture au monde du royaume d’Angleterre<br>Henry Peacham had a masterpiece published in 1612: Minerva Britanna. This collection of emblems represents the outcome of years of work on several manuscripts which he revised and which make up the main sources of the book. Minerva Britanna was published at the time when England was mourning for Prince Henry, deceased heir to the throne and addressee of Peacham’s book of emblems. This thesis aims at putting forward the worth of the emblematic art of this polygraph English artist who is not very famous and not often praised by critics. This analysis is based on a detailed study of Minerva Britanna and its purpose is to demonstrate the graphic quality of the emblematic picture as well as the variety of the themes treated by the emblemist.First, I shall deal with Henry Peacham’s emblematic art from a biographical and bibliographical angle. This will also enable the reader to discover the book’s genesis as well as its composition before analyzing the development of the emblematic genre in England. I will show that Peacham’s book takes on militant overtones and that the artist wants to present himself as the spokesman of English artists whose status was greatly unstable.Then, I will turn to the notion of genre. I will show to what extent Minerva Britanna can be seen as typical of the English “conduct book”, but also as representative of the specula principum and memento mori genres. This will clearly put forward the variety of this emblem book but also the eclecticism of Peacham’s style. I shall deal with the importance of the author’s source material in order to prove that Peacham skilfully handles both his thirst for originality and his desire to honour those who inspired his work.Finally, a third and last part will show that Minerva Britanna is also a historical analysis of the first years of James as King of England. I shall deal with domestic politics so as to examine the philosophy of James’s rule and the notion of monarchic absolutism but also the religious difficulties that the King had to face. James I’s foreign policy will also be under study. I shall demonstrate that Minerva Britanna is a testimony of the burning issue that was the Union scheme between England and Scotland. This will lead me to consider the question of national identity as well as England’s position concerning the New World
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Harrison, Juliet Frances. "Artistic fictions : the representation of the artist figure in works by David Storey, John Fowles and Tom Stoppard." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286588.
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Stine, Alison. "Rust Belt Blues." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365151197.
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Marcon, Adriana. "Retratos da arte e do artista : projeto autobiográfico de José Saramago /." Assis, 2014. http://hdl.handle.net/11449/108469.
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Orientadora: Sandra Aparecida Ferreira<br>Banca: Gilberto Figueiredo Martins<br>Banca: Sônia Helena de Oliveira Raymundo Piteri<br>Resumo: Esta dissertação propõe uma análise de Manual de Pintura e Caligrafia (1977) e As Pequenas Memórias (2006), do escritor português José Saramago, procurando destacar suas singularidades, semelhanças e diferenças. Objetiva-se mostrar como o romance Manual de Pintura e Caligrafia, por possuir laivos autobiográficos, é prenúncio do retrato da arte/escrita exercida por Saramago na sua produção literária vindoura, enquanto As Pequenas Memórias, sua autobiografia propriamente dita, exibe o retrato do artista/escritor nos tempos juvenis. Com a escolha dessas obras que representam, respectivamente, o ponto inaugural e o porto de chegada de um projeto autobiográfico que é também literário, pretende-se evidenciar as tensões de gêneros instaladas na autobiografia quando produzida por um ficcionista, bem como a presença de indícios autobiográficos na elaboração de um romance. Para cumprir este propósito, recorreu-se a um aporte teórico-metodológico pautado na fortuna crítica saramaguiana, na reflexão sobre os gêneros romanesco e autobiográfico e nos estudos de análise estrutural da narrativa. Após um caminho minucioso de reflexões acerca dos objetos que presidem a dissertação, efetua-se a comparação entre as narrativas estudadas, evidenciando-se os pontos de semelhança e de contraste entre ambas<br>Abstract: This dissertation proposes an analysis of Manual of Painting and Calligraphy (1977) and Memories of my Youth (2006), written by the Portuguese writer José Saramago, seeking to highlight their singularities, similarities and differences. It objectifies to show how the novel Manual of Painting and Calligraphy, for having autobiographical vestiges, is the sign of the portrayal of the art/ writing that will be put into practice in Saramago's future writing, while Memories of my Youth, his autobiography, shows the portrayal of the artist/writer when his was young. With the choice of these books that represent, respectively, the beginning and the end of an autobiographical and literary project, it intends to consider the genre tensions installed in the autobiography when written by a novelist, as well as the presence of autobiographical vestiges in a novel. To reach this objective, it appeals to a theoreticalmethodological contribution based on specialists of Saramago's writing, on reflections about novel and autobiography, and on studies of the structural analysis of narrative. After a long way of detailed reflections about the objects of this dissertation, it accomplishes the comparison between the narratives, evidencing the possible connections and differences between both texts<br>Mestre
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Silva, Elaine Cristina dos Santos. "O fantástico nos contos de Hoffmann e de Balzac : o artista louco /." São José do Rio Preto, 2015. http://hdl.handle.net/11449/127697.
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Orientador: Norma Wimmer<br>Banca: Guacira Marcondes Machado Leite<br>Banca: Roxana Guadalupe Herrera Álvarez<br>Resumo: Este trabalho tem como objetivo analisar três obras fantásticas - "La cour d'Artus" (1816) e "La leçon de violon" (1819), de E. T. A. Hoffmann (1776-1822), e "Le chef-d'oeuvre inconnu" (1831), de Honoré de Balzac (1799-1850) - para confirmar a proximidade entre o fantástico balzaquiano e o hoffmanniano, uma vez que ambos o manifestam por meio das mentes perturbadas de suas personagens. Tomando como base os estudos de Todorov (1970), Castex (1974), Vax (1974) e Schneider (1985), explicitar-se-á como a literatura fantástica era desenvolvida no século XIX, para evidenciar como os autores do corpus contribuem nesse contexto, visto que seus contos distanciam-se do conto fantástico tradicional. Por meio de estudos como os de Bessière (1974), Roas (2001) e Batalha (2003), mostrar-se-á a relação do fantástico com os debates relativos ao sujeito de cada época, enfatizando o sujeito do século XIX e o contexto de produção dos contos a serem analisados. Estudos sobre loucura na literatura fantástica, como o de Ponnau (1997), serão usados para demonstrar como a figura do louco é trabalhada no fantástico e, em relação ao corpus, evidenciar o poder destruidor da mente sobre o corpo. Por se tratar de um trabalho que remete à área da literatura comparada, a noção de intertextualidade, de acordo com Kristeva (1974) e Samoyault (2008), também será útil para a análise do corpus<br>Abstract: This work aims to analyze three fantastic works - "La cour d'Artus" (1816) and "La leçon de violon" (1819), by E. T. A. Hoffmann (1776-1822), and "Le chef-d'oeuvre inconnu" (1831), by Honoré de Balzac (1799-1850) - to confirm the proximity between the fantastic conducted by each one, since both express the fantastic through the troubled minds of his characters. From the studies of Todorov (1970), Castex (1974), Vax (1974) and Schneider (1985), we will investigate how fantastic literature was developed in the nineteenth century, in order to highlight how the authors contributed in this context, since their stories deviate from the traditional fantastic tale. Through studies such as Bessière (1974), Roas (2001) and Batalha (2003), we will show the relationship between the fantastic and the discussions on the subject of each epoch, emphasizing the subject of the nineteenth century, context in which the stories that we will analyze were written. Studies that deal with madness in fantastic literature, such as Ponnau (1997), will be employed to demonstrate how the figure of the madman is crafted, and, in relation to the corpus, to highlight the destructive power of mind over body. Because it is a study which refers to the area of comparative literature, the notion of intertextuality, according to Kristeva (1974) and Samoyault (2008), will also be useful during the analysis of the corpus<br>Mestre
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Marcon, Adriana [UNESP]. "Retratos da arte e do artista: projeto autobiográfico de José Saramago." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/108469.
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000746121.pdf: 1058625 bytes, checksum: 917fd398ea4b320563bf84c35c68be85 (MD5)<br>Esta dissertação propõe uma análise de Manual de Pintura e Caligrafia (1977) e As Pequenas Memórias (2006), do escritor português José Saramago, procurando destacar suas singularidades, semelhanças e diferenças. Objetiva-se mostrar como o romance Manual de Pintura e Caligrafia, por possuir laivos autobiográficos, é prenúncio do retrato da arte/escrita exercida por Saramago na sua produção literária vindoura, enquanto As Pequenas Memórias, sua autobiografia propriamente dita, exibe o retrato do artista/escritor nos tempos juvenis. Com a escolha dessas obras que representam, respectivamente, o ponto inaugural e o porto de chegada de um projeto autobiográfico que é também literário, pretende-se evidenciar as tensões de gêneros instaladas na autobiografia quando produzida por um ficcionista, bem como a presença de indícios autobiográficos na elaboração de um romance. Para cumprir este propósito, recorreu-se a um aporte teórico-metodológico pautado na fortuna crítica saramaguiana, na reflexão sobre os gêneros romanesco e autobiográfico e nos estudos de análise estrutural da narrativa. Após um caminho minucioso de reflexões acerca dos objetos que presidem a dissertação, efetua-se a comparação entre as narrativas estudadas, evidenciando-se os pontos de semelhança e de contraste entre ambas<br>This dissertation proposes an analysis of Manual of Painting and Calligraphy (1977) and Memories of my Youth (2006), written by the Portuguese writer José Saramago, seeking to highlight their singularities, similarities and differences. It objectifies to show how the novel Manual of Painting and Calligraphy, for having autobiographical vestiges, is the sign of the portrayal of the art/ writing that will be put into practice in Saramago’s future writing, while Memories of my Youth, his autobiography, shows the portrayal of the artist/writer when his was young. With the choice of these books that represent, respectively, the beginning and the end of an autobiographical and literary project, it intends to consider the genre tensions installed in the autobiography when written by a novelist, as well as the presence of autobiographical vestiges in a novel. To reach this objective, it appeals to a theoreticalmethodological contribution based on specialists of Saramago’s writing, on reflections about novel and autobiography, and on studies of the structural analysis of narrative. After a long way of detailed reflections about the objects of this dissertation, it accomplishes the comparison between the narratives, evidencing the possible connections and differences between both texts
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Thornton, Elise. ""I am an artist, Sir. And a woman" : representations of the woman artist in modernist literature." Thesis, King's College London (University of London), 2013. https://kclpure.kcl.ac.uk/portal/en/theses/i-am-an-artist-sir-and-a-woman(edf61b3f-22d7-41a8-88fc-a0200bdc1a75).html.
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The figure of the artist-hero has dominated literary narratives since the Romantic period. With the development of the first wave of feminism and the New Woman, the artist- heroine began to emerge in the literature of the twentieth century. This marks a shift from the traditional Bildungsroman narrative, which typically ends in marriage, to the Künstlerroman as female protagonists were increasingly depicted as autonomous artists. Modernist women writers, in particular, engaged with the figure of the woman artist, and issues surrounding gender and artistry. This thesis explores the intersection of modernism, gender and creativity in the work of Virginia Woolf, Dorothy Richardson, May Sinclair and Vita Sackville-West. Often misclassified as Bildungsromane, the question of whether the female protagonists in these novels are read as developing artists is not a mere issue of taxonomy: it is about women’s autonomy, education, professionalisation, and their right to individual self-expression as artists. Whilst some critics believe the boundary separating these two genres is virtually nonexistent, there is, in fact a dividing line which women have been barred from crossing as professional artists. These modernist women writers, in their representation of the woman artist, engage in much wider questions about the patriarchal, imperial and national narratives which contain and define women and their artistic endeavours. In The Voyage Out, for example, Rachel Vinrace’s death operates as a refusal of a system which would define her as imperial wife and mother, but would also limit her musicality. These writers explore the division between the amateur and the artist, the training and public role of the woman artist at the turn of the twentieth century. Furthermore, they examine and reinterpret the necessary conditions needed to achieve artistic fulfilment. The thesis situates this writing in the context of women’s education; May Sinclair’s Mary Olivier (1919), for example, questions the boundaries of acceptable female education by focusing specifically on Mary’s interest in Greek studies. In Pilgrimage (1915-67), Richardson radically redefines what constitutes the art object through the creative process of everyday life. The question of marriage and motherhood recurs throughout these texts and, except for Lady Slane in All Passion Spent (1931), the other artist-heroines reject these domestic roles. These authors, including Sackville-West, examine the compatibility of the professional life of the woman artist with wifehood and motherhood. Crucially, this thesis investigates the stylistic choices— whether stream of consciousness, the second person perspective—these modernist writers employ to investigate women and creative expression.
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Nascimento, Fabiana Angélica do 1972. "A novela Pole Poppenspäler de Theodor Storm e o tema da oposição entre o artista e o burguês." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269865.
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Orientador: Mário Luiz Frungillo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-26T21:19:29Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: O objetivo deste trabalho é analisar a novela Pole Poppenspäler como uma narrativa organizada ao redor do tema da oposição entre o artista e o burguês. Tal perspectiva de análise abrangerá não só o tratamento dado a essa temática, bastante cara à literatura alemã, mas também a sua representação no contexto do Realismo Poético e na própria evolução do gênero novela. Em Pole Poppenspäler o conflito gerado pela transição entre duas diferentes perspectivas, a do mundo pequeno burguês e a do artista, condensa-se, de forma simbólica, na trajetória das personagens Tendler e Paul, ao mesmo tempo em que está presente, de modo realista, a caracterização geográfica e humana das "pessoas simples" ("kleine Leute"), como camponeses, operários e artesãos. Também a regionalização geográfica e linguística estão de acordo com o repertório típico do realismo do século XIX, por meio da representação das paisagens alemãs e do uso de dialetos. Para que a nossa hipótese de interpretação fosse efetivamente realizada, a história do gênero novela foi revista em seus diferentes momentos de existência. Desse modo, pôde-se investigar de que maneira a alteração dos pressupostos históricos provoca alterações na representação do conflito entre as mentalidades do artista e do burguês<br>Abstract: The goal of this research is to analyze the short-novel Pole Poppenspaeler as a narrative organized around the theme of the opposition between the artist and the bourgeois citizen. Such an analysis perspective will comprehend not only the treatment given to the theme (very dear to German literature), but also the representation the theme has in the context of Poetic Realism, besides the way the genre of short-novel has develop itself. In Pole Poppenspaeler, the conflict generated by the transition between two different perspectives (one from the bourgeois world and another from the artist) condense itself, in a symbolic way, through the characters¿s Tendler and Paul journey; at the same time, it is present (in a realistic manner) the geographic and human characterization of "simple people" ("kleine Leute"), like countrymen, workmen and artisans. Also the geographic and linguistic regionalization are according to the typical repertory of the XIXth century realism. In order to our hypothesis of interpretation be effectively executed, the History of the short-novel as a genre was reviewed in its different moments of existence. Therefore, it is possible to investigate how the alteration of the hystorical processes provokes an alteration in the representation of the conflict between the artist¿s and the bourgeois citizen¿s mindsets. Keywords: German literature, Poetic Realism, motive, short-novel<br>Mestrado<br>Teoria e Critica Literaria<br>Mestra em Teoria e História Literária
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Olinda, Sahmaroni Rodrigues de. "Literaturas subterrâneas e formação-artista: biografização, escrita e experiência." reponame:Repositório Institucional da UFC, 2016. http://www.repositorio.ufc.br/handle/riufc/20825.
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OLINDA, Sahmaroni Rodrigues de. Literaturas subterrâneas e formação-artista: biografização, escrita e experiência. 2016. 194f. – Tese (Doutorado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2016.<br>Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2016-11-07T12:14:37Z
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Previous issue date: 2016<br>Reading – as a braconnage – of the biographical process of the experience of the agents self-called writers, “sons of a sheet”, this study aims at comprehending, from the self-figuring along the biographical narrations about the way some social agents, who do not “depend” on editorial market – the “market order of the books” – to make their artistical-literary works come out become writers (process of subjectivity, immersion of existential territories). The objective is to enlighten a huge production of some subterranean literature which bathe and drop in pubs, streets, cafes, culture points, among other zones of meeting and sharing. Our theoretical support is upon the following postulates and authors: Roger Chartier (2003, 2005, 2009) and the studies about reading as a culture practice; Michel de Certeau and the microbial practices of the invention of the ordinary life; Jorge Larossa (1998, 2002, 2004) and the relation between formation and experience; Jacques Rancière (1987, 1995, 2000) and his conceptions about the sharing of the sensitive and his method of equality, Guatari (2011, 2012) and Guatari & Deleuze (1990, 2011) and their conception about subjectivity. As a methodological perspective, we made use of the Biographical Research on Education (DELORY-MOMBERGER, 2015). We also made use of the narrative interview and the journals of the researcher and the researched as “techniques” of producing data. We produced a way of reading the data which respected the singularities of the per-courses and the territories studied. The study made evident a huge production and circulation of literary printed-objects (fanzines, hand-made books, loose sheets etc.) and the difficulty of separation between screen/page as a way to promote the literary writing as well as the ways of being, making and acting of the interviewed writers – their artist-formation – to become “sons of a sheet”.<br>Leitura – como braconnage – da biografização da experiência de agentes que se dizem escritores, filhos da pauta, este estudo objetiva compreender, a partir da figuração de si nos relatos biográficos sobre como agentes sociais que não “dependem” do mercado editorial – a “ordem mercadológica dos livros” – para fazerem circular seus trabalhos artístico-literários formam-se “escritores/as” (processo de subjetivação, imersão de territórios existenciais). Trata-se de evidenciar uma caudalosa produção de literaturas subterrâneas que banham e escorrem em bares, ruas, bosques, centros culturais, dentre outras zonas de encontro e partilha. Para tanto, contou com o apoio teórico de Roger Chartier (2003, 2005, 2009) e os estudos sobre a leitura como prática cultural, Michel de Certeau (1990) e as práticas microbianas de invenção do cotidiano, Jorge Larossa (1998, 2002, 2004) e a relação entre formação e experiência, Jacques Rancière (1987, 1995, 2000) e suas concepções de partilha do sensível e método da igualdade, Guattari (2011, 2012) e Guattari & Deleuze (1990, 2011) e sua concepção sobre subjetivação. Como perspectiva metodológica, foi utilizada a Pesquisa Biográfica em Educação (DELORY-MOMBERGER, 2015). Foram utilizadas a entrevista narrativa, o diário de campo e o diário de participante como “técnicas” de produção de dados. Produzimos então uma forma de ler os dados que respeitasse as singularidades dos percursos e territórios estudados. O estudo evidenciou uma proliferação de produção e circulação de objetos-impressos literários (zines, livros feitos à mão, folhas avulsas etc) e a dificuldade de separação entre tela/página como modo de divulgação de escritos literários por parte dos artistas da palavra entrevistados, como também seus modos de fazer, ser e agir – sua formação-artista – para se tornarem filhos da pauta.