Dissertations / Theses: 'Circus animals in art'

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Stjernebjerg, Christel Klan. "When Contrasts Joined The Circus : How Defying & Obeying Gravity Revitalized a Suffering Art Form Called 'Circus'." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190594.

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This Master thesis is about Western circus performance styles. It is the aim to describe, compare, and contextualise traits and tendencies of early Western circus performances (EWCP) and contemporary Western circus performances (CWCP) through academic terms. The investigation is centred around the thesis that CWCP have revitalized a suffering and almost dying art form called 'circus' – causing it to reach a new level of social and artistic acceptability in a postmodern world – mainly through the introduction of a significant stylistic feature: Identification. The feeling of a spectator's close emotional association with the action taking place onstage. This feature stands in opposition to the acrobatic skills exposed, and through this implementation, the author therefore claims an exposition of contrasts to occur onstage: The foreign and mysterious combined with the familiar and 'real'. The exposition of superior and seemingly unobtainable physical abilites combined with the exposition of human fragility, flawedness, and inferiority. The spectators' passive observance in awe of an artist flying high and far away combined with spectators' active engagement with an artist staring them closely into the eyes on the ground. The imaginative combined with relatable everyday-like images. Establishing a common ground between artist and audience while at the same time distorting it. According to the author, the feature of identification has been absent in stylistic expositions of EWCP. This absence is argued to create dichotomous gaps, rather than ties, between sender and receiver as well as between performed images and images linked to 'reality'. The author suggests that these modes were crucial causes of EWCP' decrease in popularity due to the arrival of postmodernism, and that the increasing popularity of CWCP in the later 20th century was due to the elimination of these gaps. The research is done by interweaving 1) historical contextualizations and comparative studies between EWCP and CWCP, 2) discussions of selected circus scholars' literature about circus performances' stylistic developments, 3) the author's embodied experiences with circus performances (ie. as an acrobat in the company Cirque du Soleil), and 4) stylistic analyses of tropes and patterns in selected EWCP and CWCP. Conclusions are reached through the author's constructions of coherence between these aspects. Paula Saukko's eclectic research model has been applied in order to integrate various methodologies. The analyses are based on dance scholar Susan Foster's theory about modes of representations as well as selected rhetorical terms related to stylistics. It is a core aim of this Master thesis to provide studies of circus performances' stylistic executions with more clarifying and adequate terminologies.

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Matthis, Rosa. ""We protect animals well" : A structural approach to abusive conduct within circus schools." Thesis, Linköpings universitet, Institutionen för tema, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-177596.

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This master thesis investigates abusive conduct in circus schools. Focus is put on the management level in order to achieve and provide knowledge of measures and attitudes related to prevention. The theoretical framework for the thesis is built on understanding knowledge as situated and the creation of normative borders producing ways for practitioners of identifying with artistic disciplines. Moreover, the thesis takes a structural understanding of abusive conduct. Stating the lack of research within circus schools, the thesis builds upon a research background relying on sports and academia as fields of reference. Research from these related fields are argued to help artistic education such as circus schools to make up for lost time. The data of this thesis comes from a survey conducted within a global federation of professional circus schools, FEDEC, and the results were thematically analyzed in eight categories. The results reflect circus schools as mainly willing actors against abusive conduct. However, the survey also shows a discipline that is in need of deeper knowledge in order to better apply policies and effectively prevent abuse. The respondents show varying degrees of uncertainty regarding policies and in certain cases refer to direct unwillingness to engage with designated safeguarding procedures, attitudes that must be seen as incompatible with management of any artistic school. In conclusion, this thesis argues that circus (and indeed other artistic) schools are in need of better knowledge and further research in order to better account for transparency, active leadership and bystanding dynamics within the specific social fields of the respective disciplines. Finally it is suggested that further research into identifying and naming problems related to cultures of abuse may help circus schools and other social actors within Circus to put these questions on the agenda.

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Bartlett, Heidi Kristen. "Animals be we." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4571.

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Drawing from interdisciplinary sources my work is focused on site-specificity, process, and how we orient ourselves within our landscape. Often searching to locate myself, I look to the potential of environments as conduits for performance and sculptural interventions. The outcome of my research varies from performance and installation, to sound, video, and drawing. Enticed by the relationship between the body and its surroundings, I utilize marks, light, movement, and ritual. Absurdity and fantasy often enter the work, through my unseen labor and created personas, creating a dialog between our symbolic and animal selves.

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Silveira, José Francisco Baroni. "Circo Girassol : o saber circense incorporado e compartilhado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/8587.

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Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica.
In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.

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Moore, Matthew. "If Animals Could Talk." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/40.

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This paper is an investigation of the ideas and philosophies that have played a role in the creation of my thesis exhibition entitled If Animals Could Talk. While my research into the subject of animals and more specifically human/animal interaction has covered a wide spectrum, this paper focuses on several texts including, “Why Look at Animals,” by John Berger and “Simulation and Simulacra” by Jean Baudrillard as being influential in the development of my artwork. This paper also analyzes the work of several artists dealing with human/animal relations. Those artists include Sanna Kannisto, Neeta Madahar and Douglas Gordon.

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Lymer, Kenneth J. "Animals, art and society : rock art and material culture in ancient Central Asia." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400540.

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Wong, Pui Yin Marianne. "The 'siling' (four cardinal animals) in Han pictorial art." Thesis, SOAS, University of London, 2006. http://eprints.soas.ac.uk/28946/.

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The term siling in this thesis, literally "four divine creatures", refers to this group of four animal spirits with directional significance commonly represented in the Han Dynasty and later periods, namely, the qinglong of the East, baihu of the West, zhuque of the South, and the xuanwu of the North. My thesis will explore the place occupied by the second group of four animal symbols in various pictorial art forms among the material remains of the Han, aiming to trace the emergence and spread of the visual representations of the siling. This study argues that, although individual animal images of the siling did not appear simultaneously, and although all four had much more ancient origins and associations with the cardinal directions, it was in the Western Han dynasty and in the neighbourhood of the capital Chang'an that the images of the four animals first emerged in a consistent iconography. The major concern of this research project is the meaning and usage and of the set of siling symbols, mainly in Han funerary contexts, taking into account relevant textual sources and the association of the siling with Han cosmological thought and some of the intellectual ideas that were predominant during the Han dynasty. By means of a comprehensive study of the set of siling representations, I aim to contribute to the knowledge of Han period archaeology and provide a new channel for the understanding of Han dynasty culture and beliefs.

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Edwards, Peggy Ann. "Portmanteau." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3227.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains iv, 12 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 4).

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Boochard, Bonnie K. Foss. "The Company of Animals: a Nontoxic Approach." [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-0402101-122123/unrestricted/boochard0419.pdf.

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Nagata, Camila. "All Animals Will Get Along in Heaven." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3634.

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My final thesis exhibition is directed towards children and parents. My goal is to create a connection between parent and child, and their past, present, and future through memory. Such a connection is accomplished through the implementation of these three different ideas in the artwork: 1) creating different layers of understanding, 2) producing everlasting memories, 3) connecting adult viewers to their past. In addition, I use principles as the foundation for each piece, such as the principles of kindness and learning. These principles are presented to the viewer through parables of current social and political issues, illustrated through my own cultural and artistic backgrounds. I am interested in planting good principles in the memories of the children and incentivizing parents to think about the impact the world around us has on their children.

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Winch, Lauren. "Metabolism, mythology, magic or metaphor? : animals in the rock art of Thailand." Thesis, University of Bristol, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658567.

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A common feature of many rock art corpora is the inclusion of animals, both naturalistic and fantastical. For a long time it was assumed that animals in the art simply related to actual or desired prey species. In recent decades, however, research has increasingly revealed rock art to be full of subtle nuances, mythological phenomena, multifaceted magic and potency, and metaphorical references to various aspects of society and culture. In line with this burgeoning interest in the multiplicities inherent within rock art, the central aim of this thesis is to examine which animals feature in the rock art of Thailand and why. Evidence outlined in this thesis suggests that the rock art of Thailand was created almost exclusively within the last 4000 years and consists of anthropomorphic figures, wild animal species, domesticated animals, geometrics and boats. This thesis explores the specific social and environmental contexts of rock art in Thailand alongside considerations gleaned from rock art research in other parts of the world, and uses this in the analysis of data gathered during primary fieldwork in May-July 2011. Fieldwork was conducted in two study regions: the southern peninsula and inland mountains. The key conclusion of this research project is that metabolic, mythological, magical and metaphorical considerations all played a part in the inception of prehistoric rock art in Thailand in different and often complimentary ways. Another important deduction is that the notions of personal and collective identity permeate both the inland and peninsula datasets, albeit idiosyncratically manifested through alternative methods of literal and metaphorical representation. Fieldwork findings and secondary sources suggest that the rock art was most likely produced by communities who were predominantly hunter-gatherer-fishers who may have also practiced a certain degree of mixed subsistence strategies. Domesticated animals appear to be absent from the painted record of the peninsula region yet dominate the faunal repertoire of the inland sites; alongside archaeological evidence from the two regions from the period between 5,000-2,000 BP I therefore conclude that the peninsula painting communities had a subsistence economy which continued to be more strongly centred on hunter-gatherer lifeways than their inland counterparts in the face of expanding agricultural practices in Southeast Asia.

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Mitchell, Amy L. Mitchell. "Ethics and the Use of Animals in Art: How Art Can Progress the Discussion of Human-Animal Relations." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469656441.

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Trapp, Franziska. "Lectures de cirque contemporain : un modèle d'analyse des représentations circassiennes axé sur des textes et contextes." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30002.

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En 1996, après avoir assisté à la dernière représentation de la septième édition du Centre National des Arts du Cirque, le journal parisien Libération prédit une troisième ère du Cirque : « Après les cirques traditionnels, puis les nouveaux cirques, il faut désormais compter avec le cirque contemporain. » Le pronostic devient réalité : la pièce du metteur en scène Joseph Nadj est considérée, en France comme ailleurs, comme le point de départ d’un nouveau genre dont la définition reste des plus vagues jusqu’à aujourd’hui : « Le cirque contemporain, lui, n’a strictement aucune unité formelle, ou disons, sans craindre le paradoxe, que c’est la diversité de ses formes qui l’unifie. » D’une part, cela s’explique par le fait que, dans le cirque contemporain, l’originalité est un moteur central et, d’autre part, que le genre se situe encore dans une phase de développement. Cela est en outre dû à l’absence jusqu’à aujourd’hui, dans la recherche scientifique, d’une analyse détaillée des représentations du cirque contemporain et qu’en plus on ne dispose pas d’un modèle d’analyse cohérente des représentations du genre. Le discours actuel autour du genre s’intéresse moins de savoir comment les spectacles de cirque contemporain engendrent du sens et quels sont les procédés caractéristiques qui les définissent. Au lieu de cela, on s’interroge sur ce qui devrait caractériser les pièces. Notre thèse tient compte de ce desiderata en développant pour la première fois une méthode pour analyser les représentations de cirque contemporain. En outre, elle explique et interprète résolument le genre au moyen d’une méthode solide, c’est-à-dire d’une description contextualisée de l’objet – à savoir la représentation – dans son contexte historique et culturel et fournit ainsi, au sens lessingien du terme, une dramaturgie du cirque contemporain qui, malgré la diversité des représentations, révèle des caractéristiques généralisables, le procédé fondamental, la structure des pièces et l'effet qu'elles produisent. Le développement du modèle de lecture pour les spectacles de cirque contemporain ainsi que l’évolution consécutive et la spécification du modèle s’appuient sur l'analyse textuelle de la poétique de la culture que justifie l’historien de la littérature Moritz Baßler dans son œuvre La fonction d’une poétique de la culture et l’archive sur la base du New Historicism conçu par Stephen Greenblatt. En outre, le travail présent se situe dans le domaine des théories de lecture relevant de la science du théâtre (Fischer-Lichte) et de la danse (Foster et Brandstetter). Le noyau de l‘argumentation se fonde sur l’hypothèse selon laquelle les représentations de cirque sont lisibles en tant que textes culturels
In 1996, the Paris newspaper Libération predicted a third era of circus after visiting the seventh edition of the Centre National des Arts du Cirque: “After traditional and new circus, we now have to account for contemporary circus.” The prognosis became reality: nowadays, in France as elsewhere, the performance of Joseph Nadj is considered as the starting point of a new genre whose definition however remains vague: “The contemporary circus has no formal unity. It is paradoxically the diversity of its forms that unifies the genre.” On the one hand, this is explained by the fact that originality is a central motor in contemporary circus; on the other hand, the genre is still developing . A further reason for the lack of a clear definition lies in the absence of detailed analyses of contemporary circus performances in circus research, and in the desideratum regarding a coherent model for its interpretation. The current discourse dedicated to the genre is less interested in knowing how contemporary circus performances generate meaning and in outlining the characteristic techniques and processes. Instead, one wonders what should characterize the performances. The present thesis takes into account this desideratum by developing for the first time a method to analyse representations of contemporary circus. In addition, it resolutely explains and interprets the genre by means of a contextualized description of the object - namely representation - in its historical and cultural context. In the Lessingian sense of the term, the thesis therefore provides a dramaturgy of contemporary circus which, despite the diversity of representations, reveals generalizable characteristics of the genre, the fundamental techniques and structures of the performances. and the effects they produce. The development of a reading model for contemporary circus performances as well as the consequent evolution and the specification of the model are grounded in the textual analysis of poetics of culture that the literary scholar Moritz Baßler justifies in his work on the basis of the theory of New Historicism designed by Stephen Greenblatt. In addition, the present work situates itself in the field of reading theories pertaining to theatre (Fischer-Lichte ) and dance studies (Foster and Brandstetter ). The core of the argument is based on the assumption that circus performances are readable as cultural texts

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Bruno, Elsa L. "Exemplary Equines: Gazes and Gesture of Bovine Animals in Trecento Fresco." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/383.

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Horses were high status animals in the middle ages. Strong, costly, and used in war, they symbolized power and wealth. Yet in some Trecento Italian frescos, horses take on another role. Particularly through their eyes, ears, and body positioning they seem to communicate with each other regarding the religious scenes at hand. Additionally, horses are often the only beings paying attention to Jesus or God, or are the sole beings who break the fourth wall of an image to engage with the viewer. While the revolutionary use of gesture and eye movement has been examined in humans in these frescoes, horses (and other bovine animals) have been left out of the conversation. Why are these animals seemingly the most aware and mentally active beings? Particularly remarkable frescos incorporate horses in this way in Florence, Padua, and Assisi, and San Gimignano. Giotto di Bondone, Pietro Lorenzetti, Taddeo Gaddi, Andrea di Bonaiuto, Altichiero da Zevio, Lippo Memmi (and their schools and assistants), completed large scale fresco cycles in churches in these cities that retain their importance and magnificence today. Eight panels from these cycles will be examined for their treatment of horses as a vehicle for emotional communication, in chronological order.

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Ann, Jessica. "Intentional Entanglement: The Art of Living on a Dying Planet." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461073161.

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Ndlovu, Ndukuyakhe. "A comparative analysis of rock art in southern Africa : animals and cosmological models." Thesis, University of Newcastle Upon Tyne, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613627.

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This dissertation examines the animal pattern derived from the detailed statistical analysis I carried out of the published rock art data, the data from Brandberg/Daureb region, and fieldwork I conducted in the northern parts of KwaZulu-Natal province, South Africa. This study, which highlights the value of quantitative analysis and attempts to find alternative interpretations for animal representation in rock art, is the first overview of the distribution of animal in southern African rock art. It provides an opportunity to explain an aspect of the art that has not previously received much attention in southern African rock art studies. While it has been previously noted by different rock art researchers that there is animal variation in terms of which animals are dominant species throughout southern Africa, this study provides the quantitative extent information on how far into which such variation exist. In attempting to provide an explanation for for variation in the representation of animals animal variation in southern African rock art, I use two main approaches: (i) correlation between most represented animals in the art and the ten vegetation biomes of southern Africa, and (ii) the application of the an adapted four-cell matrix model aimed at assessing alternative interpretations of rock art, in particular, the totemic and secular interpretations. Through the first approach, I show that there is a reasonable correlation between the areas where each of the four animals (eland, giraffe, kudu, and springbok) dominates (eland, giraffe, kudu, and springbok) and their known natural distribution. This is confirmed by their historically recorded natural distribution and the by faunal records. By applying the modified four-cell matrix model to rock art data from six regions, I establish that one animal in each takes the central predominance in each. This is a characteristic of shamanic communities. However, the major deviation is that the four-cell derived interpretation does not overly emphasise the dominance of eland to the exclusion of other animals that are well represented in the art.

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RYAN, Thomas. "SOCIAL WORK, INDEPENDENT REALITIES & THE CIRCLE OF MORAL CONSIDERABILITY: RESPECT FOR HUMANS, ANIMALS & THE NATURAL WORLD." Edith Cowan University. Regional Professional Studies (Bunbury): School Of School Of Communications, Health & Science (Rps) - Bunbury, 2006. http://adt.ecu.edu.au/adt-public/adt-ECU2006.0049.html.

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Social work's conceptualization as to what it is that entitles an individual or entity to moral consideration, or as having moral status, is thoroughly anthropocentric, and is articulated in complete disregard of the context of our fundamental evolutionary continuity and our embeddedness within an evolving natural world, and flies in the face of the reality that we already inhabit mixed communities and a wider household. It is deemed to be obvious that we are islands of moral value in an otherwise valueless natural world.

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Ryan, Thomas David Anthony. "Social work, independent realities and the circle of moral considerability respect for humans, animals and the natural world /." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2006.0049.html.

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Yoo, Doo-Sung. "Organ-machine Hybrids (Artificial Animals)." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1281418915.

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Fontaine, Pascal. "Application de techniques aquariologiques à la production d'alevins de truite arc-en-ciel, Oncorhynchus mykiss w. , en circuit fermé : importance des facteurs alimentaires." Vandoeuvre-les-Nancy, INPL, 1994. http://docnum.univ-lorraine.fr/public/INPL_T_1994_FONTAINE_P.pdf.

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Les techniques aquariologiques simples utilisées à l'aquarium tropical de Nancy et appliquées à l'aquaculture, sont testées dans le cadre d'une production d'alevins de truite arc-en-ciel, Oncorhynchus mykiss w. , de 1 g en eau recyclée (18-20°C). Leur adaptation aux exigences d'un élevage intensif et à la réalisation d'un prototype de bassin d'alevinage (1,8 m³) ne présente aucune difficulté majeure. À partir de larves d'un poids moyen initial de 0,12-0,19 g et d'une densité à l'empoissonnement de 12 000 à 15 000 individus par bassin, cet équipement, fonctionnant en circuit fermé total, permet la production en 28 jours et avec un taux de survie supérieur à 90%, d'alevins de 1 g d'un état sanitaire irréprochable. Des taux moyens de croissance favorables (22,8 mg/j/ind. Pour la phase alevin de 0,12-0,5 g) et des indices de conversion alimentaire compris entre 0,70 et 0,74, proches des valeurs standards (0,69) sont obtenus à l'aide d'un aliment pressé traditionnel. L'utilisation d'un aliment à plus haute valeur énergétique enrichi en lipides (4%) et appauvri en protéines (6%) assure une amélioration de ces performances et réduit les rejets azotés inorganiques. Les insuffisances de la filtration biologique entrainent une accumulation de substances azotées inorganiques toxiques, principal facteur limitant de la capacité de production de l'équipement proposé. Une brusque élévation des teneurs en nitrites fixe la charge piscicole maximale admissible à 15-16 kg/bassin et la capacité de production à 200 kg/an

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Braun, Sandra. "Arts du Cirque et remaniements psychiques : la piste comme Surmoi d'emprunt, ou le cirque comme pré-texte." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC190.

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Dans les champs de la médiation artistique, la psychanalyse s'est peu intéressée au cirque comme médium thérapeutique. Le travail proposé ici en tente une articulation. La thèse avancée montre que la pratique du cirque peut être vecteur de remaniements psychiques, dans un dispositif sensible aux enjeux transférentiels.À partir des particularités du cirque, j'avance quelques spécificités psychiques pouvant se jouer dans cet espace, thérapeutique de surcroît.Le cirque apparait comme un espace subversif, hétérotopique (Foucault), où les équilibres sont rendus instables. Ce déséquilibre, inhérent au cirque, pourrait aussi concerner les instances psychiques : j'en viens ainsi à proposer la piste comme un surmoi d'emprunt. Un surmoi clément, comme celui décrit par Freud dans L'humour (1927), autorisant à expérimenter le monde comme un jeu d'enfant. Un surmoi réconciliateur avec le moi, permettant quelques mobilités, dans cet espace sensoriel. Car la piste, dans son étymologie, est le lieu de la trace. Surface marquée, elle permet l'empreinte, en s'approchant du sensoriel comme première matrice, par le corps éprouvé. Elle réactualise quelques échos originaires, que je propose de décrire, du côté du sentir, du regard, et de la contenance rendue possible.Le cirque est aussi l'espace du Réel, réanimé par la vivance de la part animale. En ce sens, il permet un espace de silence nécessaire à l'articulation du langage. Il est pré-texte, pré-verbal indispensable, et fait résonner un peu d'inquiétante-familiarité. La piste de cirque apparait alors comme un espace où l'imprévisible peut émerger, où une sortie de la stase est possible, pour qu'une dynamique subjective prenne forme
In the fields of artistic mediation, psychoanalysis has very rarely focused on the circus as a therapeutic medium. The hereby approach attempts to articulate this connection. The proposed thesis shows that the practice of circus arts can be a conveyor of psychological reorganizations, within a sensitive transferential framework.From the perspective of the distinctive features of circus arts, I bring forward psychological specificities that play a role in this therapeutic space.The circus appears as a subversive heterotopic space (Foucault), where balances are rendered unstable. This imbalance, which is inherent to circus arts, could also be a concern for psychological authorities. The circus ring could be considered as a borrowed superego. A clement superego, similar to the one described by Freud in Humour (1927), allowing to experience the world as a child's play. A superego that reconciles with the self, allowing movement in the sensory space. Etymologically, the ring is the place of trace, a marked surface, that aliows the notion of footprint, by approaching the sensory dimension as the initial matrix, through the experienced body. Thus, it generates the update of several native echoes that I describe from the perspective of feeling, sight and composure.The circus is also a real space, reanimated by the experience of animal nature. In this respect, it allows a space of silence, necessary to the articulation of language. It is an unavoidable pretext and pre-verb that resonates a somewhat worrying familiarity. The circus ring thus appears, where the unpredictable can emerge, and where an exit from the stasis is possible, so that a subjective dynamism takes shape

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Rolet, Alain. "Regard des hommes et représentations animalières /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.

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Mémoire(M.A.)-- Université du Québec à Chicoutimi, 1992.
Ce travail de recherche a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques extensionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

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Ramos, Luís Eduardo Santos de Oliveira. "Entre a proeza e a bobagem: uma análise sociológica sobre o palhaço e o circo." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/9725.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work search, through historical and sociological aspects, to understand the performance and the social function of the clown starting from its origins in the popular comic culture, through its incorporation into the modern circus to the way in which it presents today in various fields artistic, but more specifically in Brazilian circuses. Seeking to analyze own elements of clown and clowning art but also of circus art and circus as leisure and sociability, the sociological view build a history of the development of the clown as a character of the Brazilian and global popular culture through elements like laughter and its transformations and possibilities, the civilizing process and the control of emotions, leisure spaces and multiple possible artistic manifestations in which the clown is inserted. For better understanding of this discussion, addressed sociological theories will be related to my field experience which consists in interviews, observation shows and cohabitation held with clowns and other circus performers.
A presente dissertação busca, através de aspectos históricos e sociológicos, compreender a atuação e a função social do palhaço partindo de suas origens na cultura cômica popular, passando pela sua incorporação ao circo moderno até a forma com a qual se apresenta hoje nos mais variados campos artísticos, mas mais especificamente, nos circos brasileiros. Buscando analisar elementos próprios do palhaço e da arte clownesca, mas também da arte circense e do circo enquanto espaço de lazer e sociabilidade, a visão sociológica presente constitui um histórico do desenvolvimento do palhaço enquanto personagem da cultura popular brasileira e mundial através de elementos como o riso e suas transformações e possibilidades, o processo civilizador e o controle das emoções, os espaços de lazer e as múltiplas manifestações artísticas possíveis em que o palhaço está inserido. Para melhor compreensão da presente discussão, as teorias sociológicas abordadas serão relacionadas com minha experiência de campo constituída por entrevistas, observação de espetáculos e convivências realizadas com palhaços e outros artistas circenses.

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Dray, Charlène. "Le protocole scientifique comme processus de création artistique appliqué au cheval : entre arts et sciences, des espaces hybrides où écrire le vivant." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30085.

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À l’ère de l’anthropocène, les sciences du vivant et les pratiques artistiques émergentes opèrent un décloisonnement des savoirs et des pratiques nous invitant à reconsidérer la présence des animaux en spectacle. Cette thèse a pour objectif de concevoir un processus de création favorisant l’agentivité du cheval sur scène au travers d’outils et de connaissances à même de donner à voir une nouvelle approche des relations interespèces. L’auteure de cette thèse, scénographe-chercheuse-écuyère et ses deux chevaux de randonnée Listan et Luzio, explorent les modalités de leur espèce de compagnie (Haraway) en la mettant à l’œuvre au cœur du dispositif scénique. Appuyées sur cette pratique de 2008 à 2019 dans le champ professionnel de la performance et du spectacle vivant, 152 expériences ont été réalisées. En se référant à l’histoire de l’art équestre (Hodak- Druel), à l’éthologie (Lorenz), à la sociologie et la philosophie (Despret) ainsi qu’aux courants plus récents tels que la technozoosémiotique (Bec), les partenariats art, science et technologie (Fourmentraux) et à l’éthologie cognitive (Leblanc), la recherche s’articule en trois parties. La première est consacrée à la transformation de la science de l’équitation en art de monter à cheval au XVIIe siècle (de Pluvinel) entraînant l’avènement du cirque moderne au XVIIIe puis du spectacle équestre tel qu’on le connait aujourd’hui (Zingaro). La seconde partie s’ouvre au-delà des domaines de recherche habituellement associés au cheval. D’une part sur des expériences d’amateurs éclairés qui ont dévoilé des capacités équines jusque-là insoupçonnées. D’autre part dans le champ de l’art, sur différentes manières d’aborder la création avec l’animal. Sans éviter d’aborder les questions d’actualité quant au travail animal (Porcher), une approche sémiotique (Bouissac) interroge le statut symbolique et la puissance d’agir (Latour) de ces animaux au cœur de l’œuvre. Cette seconde partie se termine, en croisant les recherches en cognition animale associées au développement d’interfaces technologiques qui permettent à l’auteure de s’engager à explorer de manière inventive, les modalités expressives d’une forme de langage animal/machine/homme. À la recherche de la création, la troisième partie met à l’épreuve ces différents constats. Adoptant une pratique artistique expérimentale, cette recherche donne alternativement aux chevaux le statut d’expérimentateurs au laboratoire et de partenaires artistiques à la scène (Hediger). Les performances qui en résultent considèrent la scénographie comme un agrès virtuel, qui engage une relation d’intermédialité entre l’animal usant d’outils interactifs et l’interprète humain qui les accompagne conviant les spectateurs à la mise en lumière d’une nouvelle place de la relation et du vivant dans l’art
At the time of the Anthropocene, life sciences and new artistic practices are decompartmentalizing knowledge and practices, inviting us to reconsider the presence of animals in performing arts. The aim of this thesis is to design a creative process that favors the agency of the horse on stage thanks to tools and knowledge that can reveal a new approach to interspecies relations. The author of this thesis, scenographer-researcher-rider and her two trail horses Listan and Luzio, explore the modalities of their particular breed (Haraway) by putting it to work at the heart of the scenic device. Based on this practice from 2008 to 2019 in the professional field of performance art and live performance, 152 experiments were conducted. Referring to the history of equestrian art (Hodak), to ethology (Lorenz), to sociology and philosophy (Despret), as well as to more recent trends, such as technozoosemiotics (Bec), partnerships between art, science and technology (Fourmentraux) and cognitive ethology (Leblanc), the research is divided into three parts. The first part is devoted to the transformation of the science of horse riding into the art of riding, in the 17th century, (de Pluvinel) leading to the advent of the modern circus in the 18th century and into equestrian show as we know it today (Zingaro). The second part opens beyond the areas of research usually associated with the horse. On the one hand, on the experiences of enlightened amateurs that reveal previously unknown equine capacities. On the other, in the field of the arts, on different ways of approaching creation with the animal. Without avoiding the current issues around animal work (Porcher), a semiotic approach (Bouissac) questions the symbolic status and agency (Latour) of these animals at the core of the art piece. This second part ends by associating research in animal cognition with the development of technological interfaces that allow the author to explore in an inventive way the expressive modalities of a form of animal / machine / human language . In search of creation, the third part tests these different findings. Opting for an experimental artistic practice, this research alternately gives the horses the status of experimenters in the laboratory and artistic partners onstage (Hediger). The resulting performances consider scenography as a virtual apparatus that produces an intermediality between the animal using interactive tools and the human interpreter who accompanies them, bringing to light for the spectator a new place for relationship and life in art

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Keller, Alison E. ""And a little child shall lead them" romanticism and Quakerism in Edward Hicks' Peaceable Kingdoms /." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5537.

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Thesis (M.A.)--West Virginia University, 2007.
Title from document title page. Document formatted into pages; contains v, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 97-100).

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Wright, Karen Louise. "Seaforms /." Online version of thesis, 1988. http://hdl.handle.net/1850/10412.

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Osborne, Katelyn. "Kindred." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3047.

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Kindred, an MFA exhibition held at the Tipton Gallery located in downtown Johnson City from Feburary 22nd to March 4th. Kindred presents two bodies of work, which are a collection of drawings, etchings, monoprints, and lithographs, that center around a personal mythology and symbolism of self-identity and discovery. These works explore the physical and spiritual connection behind being a fraternal twin through the metaphorical use of animal imagery. The ideas discussed in this paper center around the process of creating a personal mythology and symbolism through my observations of animals and how I relate that experience to other mythologies that inspire me. This process of creating narratives and iconography coincide with the writings of Joseph Campbell and Carl Jung. This paper also includes the inspiration of other artists, such as Beth Cavener and Dennis McNett, who also use animal imagery to explain a kind of kinship.

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Girard, Catherine. "Rococo Massacres: Hunting in Eighteenth-Century French Painting." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11521.

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My dissertation is a study of paintings with hunting subjects made in France between the 1730s and 1750s, concomitantly with the escalation of Louis XV's (r. 1715- 1774) obsession with hunting. It concentrates on up-close depictions of dying and dead animals by prominent artists such as Jean-Baptiste Oudry (1686-1755), François Boucher (1703-1770), and Jean-François De Troy (1679-1752). Particular attention is paid to how the moments that surrounded the kill of the prey by royal hunters--the hallali and the curée--were conjured up by these painters, and how their canvases were integrated into interiors, particularly those dedicated to the king's after-hunt gatherings. These painted drops of blood, hanging tongues, dislocated bodies, and tortured carcasses complicate the lack of seriousness and alleged playfulness of the discursively and ideologically determined category of the Rococo.
History of Art and Architecture

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Lecomte, Vincent. "Un penser animal à l'oeuvre." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.

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Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en images
To evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images

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Cooper, Simon George Art College of Fine Arts UNSW. "Mutant manifesto: a response to the symbolic positions of evolution and genetic engineering within self perception." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/44255.

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Believing that ideas about evolution and genetics are playing an increasing role in popular conceptions of who we are and what it means to be human, I sought ways to express this through my art. In particular I tried to articulate these notions through figurative sculpture. As the role of figurative sculpture in expressing current ideas about being human has declined in the West, I saw this as a challenge. It was the intent of my Masters program to reposition the sculpted body back within contemporary western cultural contexts. For an understanding of those contexts I relied heavily on my own culturally embedded experience and observations. I took as background my readings of evolutionary inspired literature and linked it with my interpretations of the genetic mythologies so prevalent in recent movies. The result was an image of contemporary humans as multifaceted, yet subservient to their genes. These genes appear to be easily manipulated and the product of technological intervention as much as, if not more than, inherited characteristics. As part of developing a sculptural form able to manifest this, I investigated some non-western traditions. I used field trips and residencies to research Buddhist and Hindu sculptures of the body and developed an interest in the spatial and conceptual relationships between those bodies. Through making figurative work in the studio, I came to realise the figures' inadequacy in expressing temporal relationships. As temporal change is a fundamental element of evolution and genetics, I needed to explore this element. The result was a number of series; groups of works that create their own context of relationships. Not all these groups use sculptures of the body but they evoke the notion of bodies, naturally or technologically hybridised, mutating, transforming, evolving and related to each other generationaly through time.

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Bonaudo, Krizia. "Hybridations entre cirque et théâtre au début du XXe siècle en France." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30074.

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La thèse Hybridations entre cirque et théâtre au début du XXe siècle en France sepropose de réfléchir au rapport entre spectacle circassien et théâtre à l’époque del’épanouissement des avant-gardes historiques en France, de repérer et d’analyser lespoints de contact entre ces deux genres artistiques. Le choix de focaliser notre attentionsur le théâtre est dû aussi au fait que celui-ci, parmi les genres littéraires, a notammentreprésenté pour les avant-gardes un lieu physique et idéal d’expérimentation formelle,performative et actorielle, ce qui en fait un terrain particulièrement fécond en matière decontamination avec les autres arts et notamment avec le cirque. En général, les piècescomposées dans le cadre des expérimentations du début du siècle permettent deremarquer une certaine influence du spectacle forain, du point de vue de la performanceet de la structure langagière et formelle. Le cirque souvent au centre de ces pièces estprésenté avec des traits grotesques qui déforment la réalité et provoquent la sensibilitédes spectateurs. L’hypothèse critique qui régit notre recherche repose sur l’idée que lesavant-gardes historiques notamment au théâtre ont puisé dans le vaste réservoir ducirque, pour renforcer le côté spectaculaire, performatif de leur projet de renouvellementet de provocation. Dans ce contexte le cirque va jouer donc une fonction privilégiée deporte-parole d’un message expérimental et de nouvelles techniques expressives,corporelles et de mise en scène
My thesis Hybridations entre cirque et théâtre au début du XXe siècle en Franceaims to investigate the intersections and the similarities between circus shows andtheatre performances, following the development of the historical avant-gardemovements in France. As is well known, theatre has always been a literary genre opento formal, performative and actorial experimentation – both physically and ideally. Thatis why it is a very rich source of contaminations with all of the arts, especially circus. Ingeneral, several plays written during the experimental period at the beginning of thecentury show the strong influence of circus artistic expression, in both theirperformances and their linguistic and formal structures. In fact, circus is often at theheart of these plays, distorting reality and shocking the audience because of its moregrotesque sides. My critical hypothesis is that the historical avant-garde movements takeadvantage of the various circus experiences to make their theatre stronger, from ascenographic and performative point of view, and to develop their innovative andprovocative projects. In this context, theatre becomes the actual vehicle for anexperimental message, conveying new expressive, corporal and staging techniques

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Harmsen, Corlia. "Shape me into your idea of home : representations of longing in contemporary photography and video practice." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6578.

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Thesis (MA (Visual Arts))--University of Stellenbosch, 2011.
Includes bibliography.
ENGLISH ABSTRACT: This study is motivated by an interest in a host of idiosyncratically interrelated phenomena that can be understood, in my view, as symptomatic of a primary interest in representing experiences of affect, loss, alienation and objectification of an “other”, which in turn, necessitates a critical interrogation of the notion of self. These phenomena include notions of the body (animal and human), private and public spaces, voyeurism, transgression, desire, fetishization, sentimentality and most critically, nostalgia as understood through experiences of homesickness and heimwee. My focus is on the affective potential of contemporary lens-based (photographic and video) art. I approach this study by way of three central ideas: the longing for home (the relationship between self/space); the longing for the body (the relationship between body/self); and the longing for the other (the relationship between self/other). I make use of psychoanalytic and feminist theory, as well as theoretical interpretations of photography and screen-based media, in the broader context of visual art and culture, to frame my discussion. As such, this study draws on the theoretical work of Roland Barthes and Susan Sontag to introduce basic concepts such as the relationship between photography and memory, and develops these to include ideas of the gaze, self and alientation from the self read through Judith Butler and Jacques Lacan’s image of the mirror phase; home and homesickness read through Martin Heidegger, Sigmund Freud’s notion of das unheimlich (uncanny) and Julia Kristeva’s notion of abjection; and Gilles Deleuze and Felix Guattari’s objectification of the animal-other. This study is intimately linked with, and critically informed by my personal artistic practice, which focuses specifically on the photographic or filmic representation (projection) of separation, displacement and longing for an absent other (home, partner & domestic animal). I discuss my own work relation to selected examples by artists including Shizuka Yokomizo, Sophie Calle, Penny Siopis and Jo Ractliffe, among others, framing the art object and related processes as cathartic, mnemonic and talismanic; acknowledging the paradoxical aspect of photography as simultaneously distancing and acting as a trace of the real; and analysing the evocative (metaphorical or conceptual) allusions made possible by lens-based processes and their presentation as print and projection, image and screen.
AFRIKAANSE OPSOMMING: My navorsing is gemotiveer deur ŉ belangstelling in ŉ menigte idiosinkratiese onderling verbonde verskynsels wat myns insiens beskou kan word as simptomaties van ŉ primêre belangstelling daarin om ervarings van affek, verlies, aliënasie en objektivering van ŉ “ander” weer te gee. My fokus sal op die verband tussen kontemporêre kuns en affek wees. Hierdie onderling verbonde verskynsels sluit in: die self en nosies van “die ander”/aliënasie, identiteit, die liggaam, die verbeelding; veiligheid, die huis, huishoudelike ruimte/plek/ontheemdheid; beheer, grense, oortreding, voyeurisme en geweld; verlange, nostalgie (heimwee), misnoegdheid; verlies, gemis, rou, woede, depressie met inbegrip van melancholie; liefde, romanse, sentimentaliteit, kitsch, besit; begeerte, obsessie, objektivering, tot fetisj maak (met inbegrip van objektivering van die huisdier). Ek benader ŉ bespreking van bogenoemde verskynsel deur diskoerse van psigoanalise en feminisme binne die raamwerk van my navorsing. Ek beoog om, met behulp van psigoanalitiese teoretiese verwysings, in hierdie verhandeling die verlange na die huis (die verband tussen self/ruimte, hoofstuk een), die verlange na die liggaam (die verband tussen liggaam/self, hoofstuk twee) en die verlange na die ander (die verband tussen self/ander, hoofstuk drie) te verken. Ek sal voorbeelde van kontemporêre fotografie en videokuns, asook voorbeelde bespreek om kontekstuele verwysing na ŉ bespreking van die uitoefening van my eie kreatiewe kuns te verskaf. Ek sal die uitbeelding (projeksie) van skeiding, ontheemding en verlange na ŉ afwesige ander (huis, maat en huisdier) bespreek. Die veld van my teoretiese ondersoek sal put uit sleutelteorieë van Roland Barthes, Susan Sontag, Sigmund Freud, JaquesLacan, Julia Kristeva, Gilles Deleuze en Felix Guattari, Martin Heidegger en Judith Butler ten einde basiese begrippe in gebruik te kan neem soos die verband tussen fotografie en geheue (die kunsvoorwerp/proses as suiweringsmiddel, mnemoniek en besitter van bonatuurlike, veral beskermende magte), paradokse in fotografie, uitbeelding en verlange/aliënasie, huis en heimwee (die bonatuurlike, ellende), kontemporêre kuns en affek, die starende blik en die objektivering van die dier-ander en die stemmingsvolle (metafories of konseptueel) sinspelings wat deur fotografiese prosesse en aanbieding (druk en projeksie, afbeelding en skerm) moontlik gemaak word.

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Myers, Donald L. "Remediation of the misconception held by elementary students that humans are not animals through application of integrated art-science activities." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902510.

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This study was designed to investigate the effectiveness of integrated art-science curricula upon remediation of the misconception held by elementary students that humans are not animals. Quantitative instruments were designed to measure and assess: (1) the existence of the misconception within the test population; (2) the degree to which the misconception existed within grade levels and treatment groups within grade levels; (3) the degree to which any positive level of remediation is achieved; and (4) evaluation of the experimental curricula by participating faculty. Qualitative instruments were applied to measure and assess the reasoning process applied by students for the formation of and any degree of change in the targeted misconception.Two hundred and forty-two students, in grades one, three and five, from a rural elementary school in east central Indiana participated. Enrolllment of students in individual classrooms was accomplished by administration policy of random assignment. Classrooms, by grade level, were randomly assigned to treatment groups by the researcher.Students in control groups at each grade level were instructed according to established curricula of the school. Students in experimental animal science groups were instructed through specifically designed hands-on science activities with the art component being the school's established curriculum. Students in experimental animal art groups were instructed according to specifically designed art activities incorporating observations made during science lessons, with the science component being the school's established curriculum. Students in the both treatment groups received instruction combining the experimental animal science and experimental animal art curricula.Results indicated that students instructed from the experimental curricula demonstrated remediation of the misconception, with students in the both treatment groups of each grade level demonstrating the highest degree of remediation. Students in control groups failed to demonstrate any level of significant remediation while actually demonstrating an increase in the degree to which the misconception was held.Implications presented by the data indicate interdisciplinary approaches to learning to be far more effective in establishing higher levels of comprehension and understanding. Through the combination of the innate behaviorial characteristics of elementary students and the connecting relationships of academic disciplines, presentation of instructional materials will generate higher levels of interest and enthusiasm within both students and teachers. The resultant effect being a more positive learning environment and an increase in achievement.
Department of Biology

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Montgomerie, Elizabeth Amber. "Images of rural activities on mosaic pavements in Late Antiquity in the Levant." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:06c62da9-7dcf-4b34-96ec-3d5ea425e2cb.

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Images of rural activities become very popular in mosaic floor decoration in the Levant during the Late Antique period. I aim to explore different categories of iconography and discuss the images of people engaged in rural activities, such as pastoralism; hunting, fishing and activities connected with the vintage. I also aim to look at imagery that is often discussed in isolation without relation to other connected iconographic categories. The symbolic meaning of the representations of the zodiac found in synagogues, for example, is often discussed in detail without also looking at the rural calendars that appear in Christian contexts during the same period in the same region. I also want to explore the archaeological evidence for the activities that appear on the mosaic pavements. Studying both the archaeology and the iconography will, I hope, help us understand what the use of these particular categories of iconography in decorative schemes can tell us about the society that created them.

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Torres, Anita Jacinta. "The Flora and Fauna in Eighteenth-Century Colonial Mexican Casta Paintings." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5210/.

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The primary objective of this thesis is to identify patterns of appearance among the flora and fauna of selected eighteenth-century New Spanish casta paintings. The objectives of the thesis are to determine what types of flora and fauna are present within selected casta paintings, whether the flora and fauna's provenance is Spanish or Mexican and whether there are any potential associations of particular flora and fauna with the races being depicted in the same composition. I focus my flora and fauna research on three sets of casta paintings produced between 1750 and 1800: Miguel Cabrera's 1763 series, José Joaquín Magón's 1770 casta paintings, and Andrés de Islas' 1774 sequence. Although the paintings fall into the same genre and within a period of a little over a decade, they nevertheless offer different visions of New Spain's natural bounty and include objects designed to satisfy Europe's interest in the exotic.

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Jin, Lipeng. "Animal ethics and contemporary art : an exploration of the intersections between ethics and aesthetics, humans and animals, human and animal injustices." Thesis, Lancaster University, 2016. http://eprints.lancs.ac.uk/82819/.

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This research provides artistic interventions into the question of institutionalised violence against animals. With a relational and holistic vision in mind, this artistic enquiry explores the intersections between ethics and aesthetics, humans and animals, human and animal injustices. It is dualistic and anthropocentric thinking that underlies both human and animal oppression. A Derridean approach invites us to think about the shared vulnerability among all beings through the presence of the animal other, calling our infinite responsibility towards the animal and dismantling entwined dualisms. With regard and respect, we are encouraged to appreciate the animal as a singular, specific, valuable being, rather than a predetermined, dualistic category. Formally and conceptually informed by contemporary art addressing both human and animal oppression, this enquiry critically reflects on the invisibility of violence towards animals which contributes collective ignorance and indifference to animal suffering. Translating the testimony of animal’s plight into poetic representation, I propose three pieces of large-scale, mixed-media installation works, combining aesthetic elements such as paintings, feathers, fabrics, lights, spaces, and audience experiences to confront the viewer with this question. In so doing, I believe that the poetics of art has the potential of transforming public consciousness of thinking about animals in non-binary and non-instrumental terms.

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Urbonaitė, Aušrinė. "Šiuolaikinės rankinės-krepšiai jaunimui "Urbe animalis"." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110802_154314-54927.

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Bakalauro darbą sudaro: • Kūrybinė dalis: trys konceptualios ir funkcionalios rankinės-krepšiai jaunimui; • Projektinė dalis: 2 planšetai pristatantys kolekcijos idėją, aiškinamieji brėžiniai; • Teorinis aprašas: pateikiama netradicinius aksesuarus kuriančių dizainerių ir aksesuarų tendencijų analizė bei prieduose - verslo planas susietas su gaminių realizavimu. Pagrindinė kūrybinio darbo idėja – remiantis fiziologinėmis gyvūnų kūnų savybėmis, sukurti netradicinių rankinių-krepšių kolekciją, kuri padėtų suformuoti liberalesnį požiūrį į kasdienius aksesuarus ir praplėsti jų pasirinkimą. Originalaus dizaino, konceptualių idėjų trūkumas jaunimo rankinėse, įkvėpė sukurti netradicines rankines-krepšius laisvalaikiui, turinčius funkciją. Kuriant, prototipais prinkti trys gyvosios gamtos žinduoliai – kengūra, skujuotis ir šikšnosparnis. Jų kūnų funkciniai ypatumai interpretuoti krepšių dizaine: kengūros sterblė – kuprinė priekyje, skujuočio kūną dengiantis šarvas – kuprinės ir gobtuvo sintezė ir šikšnosparnio sparnas – krepšys tvirtinamas prie klubo ir rankos riešo. Kolekcijos pavadinimas „Urbe animalis“ (lot. miesto gyvūnai), atspindi pamatinę kolekcijos idėją – žmonių atsigręžimą į savo ištakas, į gyvają gamtą, o gaminiai skirti sąmoningam, šiuolaikiniam miesto jaunimui. Krepšių spalvinis sprendimas parinktas atsižvelgiant į žmogaus ir faunos aplinkoms būdingas spalvas – žalią, mėlyną ir pilką.
Thesis consists of: • Creative part: three conceptual and functional bags-baskets for youth; • Project part: 2 planchets, which represents idea of collection and explaining schemas; • Theoretical part: presented analysis of designers who are making non-traditional accessories and their tendencies as well enclose business plan related with realization of products. Main idea of creative work – referencing to physiological animal bodies’ characteristics, create non-traditional collection of bags-baskets, which would help to shape more liberal attitude to casual accessories and extend a choise of their. Lack of original design, conceptual ideas in bags for youth, had inspired to create non-traditional bags-baskets for leisure, containing functionality. Three mammalian animals were selected from nature as prototypes – kangaroo, pangolin and bat. Their body singularity and functionality are interpreted in bags design: pouch of kangaroo – bag on a front; shell, covering back of pangolin – synthesis of backpack and hood; wing of a bat – bag, which is attached between hip and wrist. Collection named “Urbe animalis” (lat. city animals), reflects the main idea of collection – human redounding to it’s origins, living nature and designated to conscious, contemporary city’s youth. Solution of colours were chosen considering to inherent human’s and fauna’s surroundings – green, blue and gray.

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Liang, Wei. "Zaji ou les arts acrobatiques chinois : un voyage entre Chine et France." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30020.

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Zazi (杂技), qui signifie « compétences variées » et dont l’équivalent en français est « l’acrobatie chinoise » est un ensemble d’arts vieux d’au moins trois millle ans. Il n’existe pas à ce jour en français de synthèse accessible et documentée par des sources chinoises de sa chronologie et de l’évolution de ses formes des origines à nos jours.Cette thèse a pour objectif de combler ce manque en documentant le sujet à partir d’un corpus d’ouvrages chinois et français. L’auteure de la thèse, chinoise, enseignante de français et traductrice, a pu accéder aux sources utiles et a conduit une enquête, voyageant entre France et Chine sur les différents terrains de conservation (bibliothèques, musées, documentation en ligne) et d’exploitation (spectacles, festivals, écoles) des arts acrobatiques chinois.La thèse met à disposition de furures recherches une synthèse des résultats obtenus lors de cette enquête, bibliographiques (250 références), iconographiques (128 documents), présentés chronologiquement en déroulant un vaste panorama, qui s’articulent en trois parties.La première propose une chronologie du développement des formes de l’acrobatie chinoise dans le contexte de chaque dynastie jusqu’à la dernière dynastie en 1912, à partir de sources et documents chinois, par des traductions originales et inédites de textes anciens ou contemporains de sinologues et d’historiens des spectacles en chine, notamment, et avec son autorisation, de textes du Pr Quifeng Fu, ainsi qu’une riche iconographie en collaboration avec la bibliothèque de Nanjing. En n’hésitant pas à s’affronter à ces problèmes de traductions, la thèse rend ainsi accessible au lecteur français une partie de l’histoire d’un des arts majeurs parmi les spectacles mondiaux.La deuxième partie étudie l’intégration en quatre étapes de l’acrobatie chinoise en France et de ses influences sur la société et la scène françaises, notamment à travers quelques exemples concernant les modes du « à la chinoise » et de la « Chinoiserie » entre les XVIIe et XIXe siècles. Elle s’intéresse ensuite aux échanges sous la République de Chine jusqu’au rebondissement de l’acrobatie chinoise au XXe siècle après la fondation de la République Populaire de Chine en 1949. Elle observe à cette occasion ses nouveaux codes artistiques et culturels, les messages politiques qu’elle véhicule lors de l’invitation des artistes chinois dans les grands festivals du cirque en France et à Monaco.La troisième partie dresse briévement les contours et les perspectives de collaborations artistiques sino-françaises en acrobatie et cirque au XXIe siècle, observe l’apport des acrobates chinois sur la scène contemporaine et les influences du spectacle vivant occidental sur l’acrobatie chinoise contemporaine, pour se questionner enfin sur le devenir de l’acrobatie chinoise en appliquant les résultats de ce voyage documentaire dans le temps et entre deux cultures, à un projet de création de festival franco-chinois de cirque et d’acrobatie en Chine
Zaji (杂技), which means « various competences » and is sometime translated in French "Acrobatie chinoise", is a form of art at least three thousand years old. To date, there is no French synthesis available to trace its origin, development and evolutions up to the present day.This thesis aims to fill this gap by documenting the subject from a corpus of Chinese and French publications and documentation. The author of the thesis, Chinese to French translator and teacher, has conducted an investigation through her access to documentary resources, exhibits of artifacts and live shows of Chinese acrobatic arts.The thesis provides a synthesis of the results obtained during this survey, presented chronologically in a broad panorama with bibliographical references (250) refrences and iconographical (128).The thesis is composed of three chapters. The first chapter proposes a chronology of the development of the forms of Chinese acrobatics in the context of each dynasty until the last dynasty in 1912, referring to archives and documents in China, including the published and unpublished, original and translations of ancient or contemporary texts. This chapter is completed with the assistance from historians of Zaji such as Professor Fu Quifeng, as well as the support of Nanjing Library. By confronting problems of translations, the thesis makes it accessible to French readers a major history of the world's oldest performing arts.The second chapter examines the integration and reception of Chinese acrobatics in France from senventeenth century to twentieth century and its influences on French theatre, particularly in the fashion of the "Chinoiserie", then go through reciprocal exchanges during the Republic of China until the rebound of Chinese acrobatics in the twentieth century after the founding of the People's Republic of China in 1949, specifically its new artistic forms and cultural codes, the political messages it conveys, the invitation of Chinese artists to circus festivals in France and Monaco.The third part briefly outlines the perspectives of Sino-French artistic collaboration in circus in the twenty-first century, observes the contribution of Chinese acrobats on the contemporary scene and the influences of the Western live show on contemporary Chinese acrobatics, to finally questions the future of Chinese acrobatics by applying the results of this documentary trip between two cultures, to open the conclusion of this thesis: a French-Chinese circus and acrobatic festival will be organized by the author to explore the artistic and innovating future of Zazi

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Stillpass, Zoe. "Vers le non-humain : quelques sujets émergents de l'art récent (1987-2018)." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH109.

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Ces dernières années, l'autorité de l'exceptionnalisme humain a de plus en plus été remise en question par un certain nombre d'artistes contemporains. Leurs œuvres non-anthropocentriques reconnaissent le rôle fondamental que jouent les acteurs non-humains dans la production artistique. Pour eux, le non-humain inclut des entités biologiques et non biologiques, corporelles et incorporelles. Cette thèse examine plusieurs pratiques artistiques qui, depuis les années 1990, attirent l'attention sur l’agentivité [agency] non-humaine. À cette fin, elles sont analysées à travers certaines théories interdisciplinaires correspondantes qui se sont développées de manière concomitante. Elles sont en outre comparées à des approches théoriques influentes qui réduisent l’art à des constructions sociales. Cette étude se déploie en trois parties inspirées par la thèse de Donna Haraway sur l’effacement de trois frontières à la fin du XXe siècle : la frontière entre les humains et les animaux, entre les organismes et les machines ainsi qu'entre le matériel et l’immatériel. Avec la dissolution de ces frontières et avec la capacité d’action qui est accordée aux entités non-humaines, le monde de l’art commence à englober des assemblages plus complexes et variés. Par conséquent, cette étude tente de décrire les nouvelles formes et les sens qui en émergent à mesure que des artistes adoptent un point de vue non-anthropocentrique
In recent years, the authority of human exceptionalism has increasingly come into question by a number of contemporary artists. Their non-anthropocentric works acknowledge the fundamental role that non-human actors play in artistic production. For them, the non-human includes both biological and non-biological, corporeal and incorporeal entities. This dissertation examines several artistic practices that, in various ways since the 1990s, draw attention to non-human agency. To this end, I analyze these works in the context of corresponding cross-disciplinary theories which developed concurrently with these practices. In addition, I contrast them with influential theoretical approaches that reduce art to social constructions. This dissertation is divided into three parts, each matching the three boundaries that Donna Haraway identified as dissolving at the end of the 20th century: the boundary between humans and animals, between organisms and machines, and between the material and the immaterial. With the dissolution of these boundaries and the granting of agency to non-human entities, the art world begins to encompass more complex and multifarious assemblages. Accordingly, this paper attempts to show the novel forms and meaning that emerge as artists adopt a non-anthropocentric point of view

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Cantrell, Samantha E. "Housing sexuality: domestic space and the development of female sexuality in the fiction of Angela Carter and Jeanette Winterson." Texas A&M University, 2003. http://hdl.handle.net/1969.1/2226.

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A repeated theme in the fiction of Angela Carter and Jeanette Winterson is the use of domestic space as a tool for defining socially acceptable versions of female sexuality. Four novels that crystallize this theme are the focus of this dissertation: Winterson??s Oranges Are Not the Only Fruit (1985) and Art and Lies (1994) and Carter??s The Magic Toyshop (1967) and Nights at the Circus (1984). Each chapter examines both authors?? treatments of a specific room in the house. Chapter II, "Parlor Games: Spatial Literacy in Formal Rooms," discusses how rooms used for formal occasions project a desirable public image of a family. More insidiously, however, the rooms protect the sexual order of the household, which often privileges male sexuality. Using the term spatial literacy to describe how characters interpret rooms, the chapter argues that characters with a high spatial literacy can detect not only the overt messages of these formal rooms, but also what underlies those messages. Chapter III, "Making Meals, Breaking Deals: Mothers, Daughters, and Kitchens," discusses the kitchen as the site of the production of domestic comfort. An analysis of who has primary responsibility for the production of comfort and whose comfort is privileged often reveals the power hierarchy of a given household. The chapter also examines the kitchen as a volatile space that can erupt with violence and the expression of repressed emotions and repressed sexuality. Finally, the kitchen is analyzed as a space of intimacy between mothers and daughters. Chapter IV, "Bedtime Stories: Assaulting Sexuality in the Bedroom," argues that the privacy of the adolescent bedroom is often disrupted by the surveillance of family members trying to control the sexual identity of the room??s occupant. The chapter also examines how social prescriptions encourage women to tolerate the interruption of their privacy. Each of the protagonists from these four novels has opportunities to learn about subverting the discursive constructions of domestic space, and several characters enact that subversion. This ability for subversion suggests the possibility for agency, a possibility that postmodernist thought often rejects, but one that Carter and Winterson allow.

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Morrey, Christopher Calvin James H. "Bite the hands that feed you retrieving material discourse from industrial culture /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6665.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 10, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Thesis advisor: James Calvin. Includes bibliographical references.

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Posthumus, Liane. "Hybrid monsters in the Classical World : the nature and function of hybrid monsters in Greek mythology, literature and art." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6865.

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Thesis (MPhil (Ancient Studies))--University of Stellenbosch, 2011.
ENGLISH ABSTRACT: The aim of this thesis is to explore the purpose of monster figures by investigating the relationship between these creatures and the cultures in which they are generated. It focuses specifically on the human-animal hybrid monsters in the mythology, literature and art of ancient Greece. It attempts to answer the question of the purpose of these monsters by looking specifically at the nature of manhorse monsters and the ways in which their dichotomous internal and external composition challenged the cultural taxonomy of ancient Greece. It also looks at the function of monsters in a ritual context and how the Theseus myth, as initiation myth, and the Minotaur, as hybrid monster, conforms to the expectations of ritual monsters. The investigation starts by considering the history and uses of the term “monster” in an attempt to arrive at a reasonable definition of monstrosity. In aid of this definition, attention is also given to themes that recur when considering monster beings. This provides a basis from which the hybrid monsters of ancient Greece, the centaur and Minotaur in particular, can be considered. The next section of the thesis looks into the attitudes to animals prevalent in ancient Greece. The cultural value of certain animal types and even certain body parts have to be taken account, and the degree to which these can be traced to the nature and actions of the hybrid monster has to be considered. The main argument is divided in two sections. The first deals with the centaur as challenger to Greek cultural taxonomy. The centaur serves as an eminent example of how human-animal hybrid monsters combine the familiar and the foreign, the Self and the Other into a single complex being. The nature of this monster is examined with special reference to the ways in which the centaur, as proponent of chaos and wilderness, stands in juxtaposition to the ideals of Greek civilisation. The second section consists of an enquiry into the purpose of the hybrid monster and considers the Minotaur’s role as a facilitator of transformation. The focus is directed towards the ritual function of monsters and the ways in which monsters aid change and renewal both in individuals and in communities. By considering the Theseus-myth and the role of the Minotaur in the coming-of-age of the Attic hero as well as the city of Athens itself, the ritual theory is given application in ancient Greece. The conclusion of this thesis is that hybrid monsters, as manifestations of the internal dichotomy of man and the tenuous relationship between order and chaos, played a critical role in the personal and communal definition of man in ancient Greece.
AFRIKAANSE OPSOMMING: Die doelstelling van hierdie tesis is om die sin van monsters te ondersoek deur te kyk na die verhouding wat bestaan tussen hierdie wesens en die gemeenskappe waarbinne hulle hul ontstaan het. Die tesis fokus spesifiek op die mens-dier hibriede monster in die mitologie, literatuur en kuns van antieke Griekeland. Dit probeer om tot ‘n slotsom te kom oor die bestaansrede van monsters deur te kyk na die aard van die man-perd monster. Hierdie wese se tweeledige samestelling – met betrekking tot beide sy interne en eksterne komposisie – het ‘n wesenlike bedreiging ingehou vir die kulturele taksonomie van die antieke Grieke. Die tesis kyk ook na die rol, van monsters in die konteks van rituele gebeure. Die mite van Theseus as ‘n mite met rituele verbintenisse, en die Minotaurus as hibriede monster, word dan oorweeg om te bepaal wat die ooreenstemming is met die verwagtinge wat daargestel is vir rituele monsters. Ten einde ‘n redelike definisie van monsteragtigheid daar te stel, begin die ondersoek deur oorweging te skenk aan die geskiedenis en die gebruike van die woord “monster”. Ter ondersteuning van hierdie definisie word daar ook aandag geskenk aan sekere temas wat herhaaldelik opduik wanneer monsters ter sprake kom. Dit skep ‘n basis vir die ondersoek na die hibriede monsters van antieke Griekeland, en meer spesifiek na die kentaurus en die Minotaurus. Die tesis oorweeg ook die houding van die antieke Griekse beskawing teenoor diere. Die kulturele waarde van sekere soorte diere, en selfs seker ledemate van diere, moet in ag geneem word wanneer die hibriede monsterfiguur behandel word. Aandag moet geskenk word aan die maniere waarop die assosiasies wat die Grieke met diere gehad het, oorgedra word na die aard en handelinge van die monsterfiguur. Die hoofargument van die tesis word in twee dele uiteengesit. Die eerste gedeelte behandel die kentaurus as uitdager van die kulturele taksonomie van die antieke Grieke. Die kentaurus dien as ‘n uitstekende voorbeeld van die manier waarop die mens-dier monster dit wat bekend is en dit wat vreemd is, die Self en die Ander, kombineer in een komplekse wese. Die aard van hierdie wese word ondersoek met spesifieke verwysing na die maniere waarop die kentaurus, as voorstander van die ongetemde en van chaos, in teenstelling staan teenoor die ideale van die Griekse beskawing. Die tweede gedeelte vors die doel van die hibriede monster na en oorweeg die Minotaurus se rol as bevorderaar van transformasie. Hier word gefokus op die rol van die monster in ’n rituele konteks en die maniere waarop monsters verandering en vernuwing teweegbring in enkelinge sowel as in gemeenskappe. Hierdie teorie word van toepassing gemaak op antieke Griekeland deur die mite van Theseus en die rol van die Minotaurus te oorweeg binne die konteks van die proses van inburgering wat beide die held en sy stad, Athene, ondergaan. Die gevolgtrekking van hierdie tesis is dat hibriede monsters, as uitbeeldings van die interne tweeledigheid van die mens sowel as van die tenger verband tussen orde en chaos in die wêreld, ‘n noodsaaklike rol gespeel het in die persoonlike en sosiale definisie van die individu in antieke Griekeland.

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Salamanca, Angarita Óscar Mauricio. "Memoria del "Goldfish": Presentación y Representación del animal en el dibujo occidental de finales del siglo XX, La." Doctoral thesis, Universitat de Barcelona, 2005. http://hdl.handle.net/10803/2560.

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El animal ha estado presente en el laboratorio a partir del siglo xx. Ya sea en la investigación científica, en el debate político o en la exploración artística, el animal ha carecido de refugio, es la víctima propiciatoria de todos los sacrificios contemporáneos.

Sin la función exploratoria que las vanguardias adjudicaron al arte poco o nada habría que documentar de tales operaciones. La figuración plástica, por otro lado, ha afianzado su proximidad en los diseños derivados del industrialismo tardío. El pop como escuela última del siglo pasado ha visto explotar las hibridaciones entre imagen pictórica y mediática. El siglo xx fue el siglo del triunfo de la imagen visual. La profusión de imágenes ha saturado la visión y sustituido al mundo por su representación.

La gráfica en el arte de finales de siglo cobraría una inusitada preponderancia por sobre las expresiones pictóricas. El arte conceptual y los minimalismos ejercieron una fuerte influencia sobre los estilos emergentes atrajeron una mayor atención hacia aspectos estructurales y sistemáticos de la práctica del arte. Hacia principios del siglo XXI el estatuto contemporáneo del dibujo es de primera relevancia respecto a otros recursos.

Poco queda ya de las identidades clásicas, nada, a decir verdad, de los géneros pictóricos donde las presencias animales hallaban clara pertinencia. El código genético es el trazo definitorio de las identidades en el siglo XXI. Ni la naturaleza muerta, ni el paisaje, ni el retrato con animales subsisten más que como formas paródicas. Los individuos del finales del siglo perdían toda relación de permanencia y trascendencia. En ese proceso fueron desfigurándose y desmaterializándose como la misma sustancia de la obra artística. Devenido discurso el arte tendría que volverse por un lado autorreferencial y por el otro una aplicación comunicativa.

No hallamos más a la naturaleza en nuestro entorno. El arte del siglo XX fue urbano, artificial, abstracto, sintético, teórico y, finalmente, sarcástico. La imagen de la naturaleza pasó a ser un tópico romántico trascendido y obsoleto; un lamento nostálgico. La sobre explotación de los recursos naturales aunada a la depauperación de las regiones rurales del planeta, particularmente en regiones extensas del tercer mundo, ha generado una actitud catastrofista hacia el programa desarrollista de occidente y se plantean más dudas que certezas frente al destino de múltiples especies animales y vegetales. El imaginario tradicionalmente prolífico y virtuoso de la naturaleza como abundancia inabarcable y como fuente de secretos y maravillas se ha trocado en una visión apocalíptica de fin de la vida.

La creciente preocupación en torno a la degradación acelerada de la naturaleza ha conducido a una conciencia política y civil de la ecología como postura ética y cultural de vanguardia. En correspondencia con el ecologismo desde el arte se ha hecho presente una actitud de reinterpretación de lo natural, ya no por medio de la imitación figurativa, sino como correlato cultural elíptico.

Por ello, la presencia de los animales en el arte de las últimas décadas del siglo XX plantea paradojas interesantes. No son el tema central de tal práctica, a decir verdad ningún tema lo fue; son agentes de extrañeza y de descentramiento. Son un sujeto aparentemente banal, periclitado en la historia, pero abandonado al margen de mitologías y utopías ancestrales. Los grandes imaginarios zoológicos de claras connotaciones al culto han perdido pertinencia en un mundo tecnificado y mediatizado. Por otro lado ese espacio salvaje del mundo animal, como instinto y naturaleza pura, ha sido neutralizado por la práctica psicoanalítica. Es propio de la civilización actual no hallar otros referentes que los antropocéntricos. El estatuto animal ha sido degradado a la domesticación e incorporado a la cadena productiva. Lo animal es excesivo y excedente: un suplemento irracional sin lógica en el diseño de la civilización futura.

La calidad espiritual del arte contemporáneo es débil, porque la sociedad que lo produce tiene un alma confundida. Las formas animales, tradicionalmente arquetipos de valor y conocimiento, nos son tanto más extrañas cuanto más manipulables y desintegradas nos parecen. Buscar un lugar para su manifestación en el arte necesariamente demanda una reconsideración de los procesos culturales de interpretación del mundo como un espacio donde aún tenga cabida la dimensión espiritual.
"Goldfish's Memory: Animals' Display and Representation in the Late 20th Century Western Drawings. (1970 - 2000)"

The traditionally prolific and virtuous imaginary of nature, as an endless abundance and source of all secrets and wonders, has changed into an apocalyptic vision of the end of life, as we know it.

The increasing concern about the fast degradation of nature has led to a civil and political conscience around ecology, as an avant-garde ethical and cultural posture. From the point of view of the ecology, seen through the lens of the Arts, there has been an attitude towards the re-interpretation of the natural, not by means of the figurative imitation, but as a cultural elliptic co-narrative.

This is the reason why, the presence of animals in the art production of the last decades of the 20th Century poses some interesting paradoxes. Animals are not the central theme of this practice; actually, they never were: they are agents of estrangement and decentralization. They are an apparently banal subject, glorified in history, but put aside along with mythologies and ancestral utopias. The great imaginary from zoology, clearly bonded to cult and ceremonial practices, has lost its pertinence in a technophile and media-influenced world. On the other hand, the "savage" space of the animal realm, as pure and natural instinct, has been neutralized by a psychoanalytic practice. It is proper to the current civilization to find no other references that those anthropocentric. The animal statutory has been subdued to domestication and incorporated to the dynamics of the production line. The animal is excessive and a left over: it is an irrational supplement without logic in the design of the future civilization.

The spiritual sphere of contemporary art is weak because the society that produces it bears a confused soul. Animals' form, traditionally depicted as a knowledge and value archetype, appears to us the stranger the more controllable and disintegrated they seem. To look for an appropriate space for their artistic manifestation obliges a reconsideration of all the cultural processes we use to interpret the world as a place where a spiritual dimension is still possible.

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Contreras, Nässel Sabina. "All animals were hurt during the making of this art : En uppsats om döda djur i konsten med utgångspunkt i Nathalia Edenmont, Marco Evaristti och Guillermo Vargas verk." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-15955.

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My essay, All animals were hurt during the making of this art – En uppsats om döda djur i konsten med utgångspunkt i Nathalia Edenmont, Marco Evaristti och Guillermo Vargas verk, deals with dead animals in art. It is a comparative study with a starting point based on the work Star, 2002 by Nathalia Edenmont, Helena, 2000 by Marco Evaristti and Eres lo que lees, 2007 by Guillermo Vargas. I examine why dead animals in art upsets and provokes us, and why the artists choses to use dead animals as material in their artworks. I do this by the help och Steve Baker and Anthony Julius theories concerning animals in art and transgressive art. Was the use of animals just for the shockeffect, to get the attention from the media or did the artworks have a deeper meaning. I also discuss the ambivalent relationship we have towards animals and what they represent in art.

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Brod, Undine. "“C” is for Ceramics – It Also Stands for: Collecting, Community, Content, Confusion, and Clarity." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1309449467.

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Ginoux, Nathalie. "Le thème symbolique de "la paire de dragons" sur les fourreaux celtiques (IVe-IIe siècles avant J.-C.) : étude iconographique et typologie /." Oxford : J. and E. Hedges, 2007. http://catalogue.bnf.fr/ark:/12148/cb41160524d.

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Bell, Roslynne. "Power and Piety: Augustan Imagery and the Cult of the Magna Mater." Thesis, University of Canterbury. Classics and Linguistics, 2007. http://hdl.handle.net/10092/955.

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This thesis examines the ways in which the Magna Mater became an integral part of Augustan ideology and the visual language of the early principate. Traditionally, our picture of the Augustan Magna Mater has been shaped by evidence from literary sources. Here, however, the monuments of the goddess' cult are considered in their religio-political context. Works that link Augustus himself to the Magna Mater are shown to reveal that the goddess played a significant and hitherto unappreciated role in official propaganda. Part I examines the nature of the Augustan reconstruction of the Palatine Temple of the Magna Mater and challenges persistent claims that the princeps was disinterested in the metroac cult. Augustus' use of inexpensive building materials is shown to be, not a display of parsimony, but an attempt to retain the traditional appearance of a venerable structure. A reinterpretation of the temple's pedimental and acroterial sculpture, using the Valle-Medici reliefs, demonstrates that Augustus promoted the Magna Mater as an allegory of Rome's Trojan heritage and as a symbol of a new Golden Age. Part II investigates the topography of the Augustan precinct on the Palatine, and argues that the geographic linkage of the metroön and the House of Augustus became a topos in imperial imagery. It then demonstrates that several well-known works of art echo this connection between the princeps and the goddess. These works range from statues in the Circus Maximus designed to be viewed by thousands, to the Gemma Augustea, a luxury item intended for the elite. They are also found both inside and outside Rome. A reassessment of the Vicus Sandaliarius altar and the Sorrento base illustrates popular recognition of Augustus' reinvention of the Magna Mater as a national deity of Rome and the tutelary goddess of the Julio-Claudii.

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Kunak, Juraj. "Justification of restrictions on imports or exports of goods on the grounds of the protection of health and life of humans, animals or plants." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130205_095138-00887.

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The present master thesis provides the reader with overall and detailed review of jurisdiction of the CJEU in correlation with primary and secondary law of the European Union regarding justification of restrictions on imports or exports of goods on the grounds of the protection of health and life of humans, animals or plants pursuant to the art.36 of TFEU. The very first part deals with the essence of the free movement goods. It explains the concept of the prohibition on custom duties on imports and exports and charges having equivalent effect and quantitative restrictions on imports and exports and all measures having equivalent effect. Simultaneously this part demonstrates the application of the art.36 of TFEU and presents mandatory requirements and their purpose. The second part clarifies the concept of goods according to the European Union law, examples and provides proper definition. The third part presents the core of the thesis. It is subdivided into more than 10 parts. It contains explanations regarding principle of proportionality, protection of health and life of humans, total bans, precautionary principle, sufficiently rigorous risk assessment doctrine, protection of health and life of animals, prohibition on use, labeling requirements, or protection of the environment. The most relevant and most widely-known cases were chosen and analyzed in order to present the approach of the CJEU to the disputable measures and their justifications.
Šis baigiamasis magistro darbas suteikia skaitytojui bendrą, visaapimančią ir išsamią ESTT jurisdikcijos apžvalgą dėl importo ir eksporto prekių ribojimo pagrįstumo sąlygų žmonių, gyvūnų ar augalų sveikatos bei gyvybės apsaugos tikslais pagal SESV 36 straipsnį, remiantis pirminiais bei antriniais Europos Sąjungos teisės aktais. Pirmojoje dalyje kalbama apie laisvo prekių judėjimo esmę. Čia paaiškinama importo ir eksporto muitų bei lygiaverčio poveikio mokėjimų bei kiekybinių importo ir eksporto apribojimų bei lygiaverčio poveikio priemonių draudimo koncepcija. Taip pat, ši dalis pademonstruoja SESV 36 str. veikimą, pabrėžiant privalomuosius reikalavimus bei jų tikslus. Antrojoje dalis paaiškina prekių sampratą remiantis Europos Sąjungos teise,pateikia pavyzdžių bei deramą apibrėžimą. Trečiojoje dalyje pateiktas baigiamojo magistro darbo pagrindas. Ši dalis yra suskirstyta į daugiau kaip 10 dalių. Čia yra sutelkti paaiškinimai dėl proporcingumo principo, žmonių sveikatos ir gyvybės apsaugos, visiško draudimo, atsargumo principo, pakankamai griežtos rizikos vertinimo doktrinos, gyvūnų sveikatos ir gyvybės apsaugos, naudojimo draudimo, ženklinimo reikalavimų bei aplinkos apsaugos. Siekiant pristatyti ESTT požiūrį į abejotinas priemones bei ribojimo pagrįstumo sąlygas yra analizuojamios aktualiausios ir plačiausiai žinomos bylos.

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Mateu, Serra Mercè. "Observación y análisis de la expresión motriz escénica. Estudio de la lógica interna de los espectáculos artísticos profesionales: Cirque du Soleil (1986‐2005)." Doctoral thesis, Universitat de Barcelona, 2010. http://hdl.handle.net/10803/132584.

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Los objetivos generales de la tesis se centran, por una parte, en sistematizar la información sobre las prácticas expresivas en la disciplina praxiológica, y, por otra, en profundizar en la lógica interna del circo a través de una compañía de circo contemporáneo. La parte teórica y discursiva de este trabajo se desarrolla a lo largo de los tres primeros capítulos, que constituyen un marco teórico de elaboración personal creado a propósito para la tesis, y que constituye una de sus aportaciones más relevantes. El primero de los capítulos está dedicado a situar el concepto que subyace en el conjunto de la tesis, la educación motriz artística. En el segundo capítulo se abordan las situaciones motrices de expresión desde la óptica de la ciencia de la acción motriz o praxiología motriz (desarrollada por el profesor Pierre Parlebas), perspectiva desde la cual se plantea este estudio. Por último, en el tercer capítulo se identifican los rasgos dominantes de la lógica interna de las situaciones motrices de expresión escénica en el contexto de los espectáculos artísticos profesionales (de danza, circo, mimo y teatro gestual). El conjunto de los tres capítulos proporciona el marco teórico en base al que se construye el instrumento de observación que se utiliza en la parte empírica de la investigación. En la segunda parte de la tesis se profundiza en la lógica interna de una de las situaciones motrices de expresión: los espectáculos artísticos profesionales. Dentro de los mismos, se acude a la modalidad de circo, y dentro de ella, a diez de los espectáculos de circo contemporáneo de la compañía Cirque du Soleil en el periodo comprendido entre 1986 y el año 2005. Tras la explicación en el capítulo cuarto de las bases de la metodología observacional, y su aplicación a nuestro objeto de estudio, en el quinto capítulo se explica el instrumento de observación (Expresión motriz escénica en el circo EMEC) creado ad hoc a partir de la observación de los espectáculos motores circenses elegidos en nuestro trabajo. La aplicación de la metodología observacional junto con la elaboración del formato de campo, complementado con las técnicas de observación, registro, codificación, control de la calidad del dato y el análisis de datos, permite obtener unos resultados útiles con vistas a perfilar los componentes que se combinan en la creación de espectáculos y observar cómo éstos se suceden diacrónicamente a lo largo de los mismos. Ya en el sexto capítulo se exponen y analizan los datos obtenidos tras el registro, con la aplicación de diversos análisis: descriptivo, comparación de proporciones, análisis de tendencias, análisis log-linear y análisis secuencial de retardos, para finalmente, interpretar los mismos. El capítulo séptimo reúne las conclusiones obtenidas, y se origina alrededor de tres bloques: en primer lugar, conclusiones relativas a las situaciones motrices de expresión en el contexto de la praxiología motriz; en segundo lugar, relativas a la lógica interna de los espectáculos motores; y finalmente, conclusiones a partir del estudio empírico de la compañía de circo estudiada. Finalmente, la investigación reúne el conjunto de referencias documentales, electrónicas y audiovisuales utilizadas, así como los anexos que complementan el estudio.
The main goals of this thesis consist, on the one hand, of systematizing the information about expressive practices in Praxeology, and, secondly, of gaining insight into the internal logic of the circus by analysing the shows by a contemporary circus company. The theoretical part of this paper develops over the first three chapters, which are a theoretical framework which is self-designed and created on purpose for this thesis. This is one of the most important contributions of this work. Chapter 1 describes the context underlying the entire thesis; motor artistic education for artistic purposes. In Chapter 2, motor expression is approached from the perspective of the science of motor action or motor praxeology (developed by Professor Pierre Parlebas). Chapter 3 identifies the dominant features of the internal logic of scenic expression motor situations in the context of professional artistic performances (dance, circus, mime and gestural theatre). This set of three chapters provides the theoretical framework upon which the observation instrument used in the empirical part of the research is built. The second part of the thesis explores the internal logic of one type of motor situations of expression: professional performances. In particular, circus was chosen and, within it, ten shows by the contemporary circus company Cirque du Soleil in the period between 1986 and 2005. Chapter 4 deals with the bases of observational methodology, and its application to our subject matter. Chapter 5 includes the explanation of the observation instrument (Scenic Motor Expression in Circus) created ad hoc from observation of the circus performances picked for this work. Applying observational methodology, along with the field work format, supplemented with observation, recording, coding, quality control and analysis of data, makes it possible to obtain results that can be used to define the components making up these shows, and watch them happen diachronically as the shows develop. Chapter 6 details the data recorded and the analysis and interpretation of results. The following analysis techniques are applied: descriptive, comparison of ratios, trend analysis, log-linear analysis and sequential analysis of delays. Chapter 7 summarises the conclusions, organised around three blocks: 1) the conclusions on motor expression situations in the context of Motor Praxeology; 2) the contributions on the internal logic of motor performances; and 3) the conclusions from the empirical study. Finally, the documentary, electronic, and audio-visual references used are listed, followed by the annexes.

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Cobb, Morgan B. "Sex, Chastity, and Political Power in Medieval and Early Renaissance Representations of the Ermine." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1458578117.

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Dissertations / Theses on the topic 'Circus animals in art'

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