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Dissertations / Theses on the topic 'Existentialism in art'
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Furuhashi, Ryutaro. "Deconstruction, existentialism, and art /." Online version of thesis, 1996. http://hdl.handle.net/1850/12262.
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Sanders, J'aimé L. "The art of existentialism: F. Scott Fitzgerald, Ernest Hemingway, Norman Mailer and the American existential tradition." Scholar Commons, 2007. http://scholarcommons.usf.edu/etd/2350.
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The purpose of my research is to examine the philosophic influences on three literary works: F. Scott Fitzgerald's The Great Gatsby, Ernest Hemingway's Death in the Afternoon, and Norman Mailer's An American Dream. Through an investigation of biographical, historical, cultural, and textual evidence, I will argue for the influence of several European philosophers---Friedrich Nietzsche, Søren Kierkegaard, and Martin Heidegger---on these authors and on the structures and messages of their works. I will discuss how the specific works I have selected not only reveal each author's apt understanding of the existential-philosophical crises facing the individual in the twentieth century, but also reveal these authors' attempt to disseminate philosophic instruction on the "art of living" to their post-war American readers. I will argue that Fitzgerald, Hemingway, and Mailer address what they see as the universal philosophical crises of their generations in the form of literary art by appropriating and translating the existential concerns of existence to American interests and concerns. I will argue that Fitzgerald, Hemingway, and Mailer's emphasis on the individual's personal responsibility to first become self-aware and then to strive to see the world more clearly and truly reflects their own sense of responsibility as authors and artists of their generations, a point of view that repositions these authors as prophets, seers, healers, so to speak, of their times. Finally, I will discuss how, in An American Dream, Mailer builds on the Americanized existential foundations laid by Fitzgerald and Hemingway through his explicit invocation of and subtle references to the art and ideas of his literary-philosophic predecessors---Fitzgerald and Hemingway.
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Sanders, J'aimé L. "The art of existentialism : F. Scott Fitzgerald, Ernest Hemingway, Norman Mailer and the American existential tradition." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002224.
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Davis, Nameer. "The existential subject of concrete performance poetry." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35868/1/35868_Davis_1996.pdf.
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This dissertation is a claim for the act of Concrete Performance Poetry (and the Poet) as the "bridge" between existence and experience. I have structured the argument to locate the theory I have drawn on, and the practice of Performance Poetry, in three specific areas. "The Performance" (Chapter One); "The Concrete" (Chapter Two); and "The PoeU Poetry" (Chapter Three).
Chapter One. The Performance provides a circumstance for the PHENOMENOLOGICAL rapport between the PERFORMER and
LANGUAGE deriving from John Austin's SPEECH-ACT and Maurice Merleau-Ponty's EMPIRICAL and EXISTENTIAL speech. I also engage Charles Sanders Pierce's triadic model of interpretation to argue for the position of the Performer as the MECHANISM or INTERPRETANT of experience within the imperative to form the moment of existence.
Chapter Two. This chapter has as its locus, the CONCRETE and I have used Lisolette Gumpel's claim that there are two areas in which the concrete operates. (1) In the realm of existence - emanating from a concrete world and (2) in the realm of experience - emanating from a language system.
Chapter Three. This chapter examines the ACT of Concrete
Performance Poetry and the specific dialogue between experience and existence - language and performer - as instanced in the work of
Jas H. Duke and David Antin.
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Pomerantz, Evan D. "Postcession." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3860.
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This is a series of daily writings. Each day consists of a new topic and is closed at the end of the day. The ideas presented are philosophical, humorous, rambling, lamentations, incantations, doubt-ridden, aesthetic pep talks which combine into an affective representation of my studio practice’s becoming. There will be little congruency, some stories, and a lot of parallels because that is who I am.
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Jeffcoat, Tanya Francis. "The Individual as Ecological: Reconstructing Identity in a Deweyan Vein." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/dissertations/826.
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This dissertation will use the philosophy of John Dewey to develop a conception of the individual using an ecological model as an alternative to the atomistic type more typical of Western philosophy. An ecological model presents the individual as part of a biological and cultural milieu, but, contrary to a number of critiques of the Deweyan individual, it does not subsume the individual beneath the larger processes of which it is a part or sacrifice the individual to the social institutions such as the state. The Introduction and Chapter One provide an overview of various critiques of Dewey's understanding of the individual before arguing that the Deweyan individual is best understood in ecological terms. This first section also argues in favor of Dewey's current relevance, as his philosophy provides a number of resources for addressing contemporary social problems. Chapter Two briefly examines the claim that there are possible absolutist tendencies in Dewey's thought before discussing the threat of absolutism, examining absolutist practices as types of monocultures, and arguing that far from supporting such tendencies, a Deweyan ecological individualism works against such practices. Chapter Three examines some of the implications of using an ecological model for the individual, shows that such an understanding of the individual drives home the precariousness of existence, and argues that this model thus provides the basis for a Deweyan existentialism. While Chapter Three emphasizes the ways in which our interdependence highlights the dangers that individuals face, Chapter Four responds to these worrisome implications by arguing in favor of a Deweyan art of living that builds upon our social and biological interrelatedness with a Deweyan care ethics that responds not only to our status as ecologically integrated entities with responsibilities to our social and biological communities, but that also emphasizes our need for self-care. The final chapter examines the ecological individual and moral community through the lens of a Deweyan radical democracy that emphasizes the need for ecological literacy, citizen engagement, a knowledgeable respect for our diverse heritage, and a willingness to work together continually to change our institutions and our practices toward democratic ideals.
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Ferrigno, Andrea Ann. "Processing information." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2491.
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Braidwood, Alistair. "Iain Banks, James Kelman and the art of engagement : an application of Jean Paul Sartre's theories of literature and existentialism to two modern Scottish novelists." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3024/.
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Over and above applying Sartrean literary philosophy to Banks and Kelman this thesis therefore also offers a model of literary criticism that can be applied to a number of other contemporary Scottish authors. In conclusion, this thesis suggests that Sartre’s theories of literature can assist in the attempt to better understand the value of the writer in society, and of Kelman and Banks in particular. The comparison and contrast between Banks and Kelman makes clear the importance of contextualising the individual writer not only with the work of their contemporaries, but with the time, place and position in which they are writing. The intention of the thesis is to discover how Sartre’s ideas of existentialism and literature can be applied to writers and their work in a way that allows ‘the critic’ to analyse both the novelist’s fictional technique and to gauge the value of their role in society – in other words, how Sartre’s theories allow us to better understand the individual writer in a social, political and moral context, both nationally and internationally.
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Björk, Carola. "About body-building." Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6828.
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Not always so remarkable but still most important. Every day. The beautiful, small, horrible and often insignificant experiences that makes us who we are, fascinates me. You see, choose and become with no interruption. The constant change inspires me. This is a text circulating around an artistic practice, it´s an illustration of a why how what. Or, maybe more an attempt to put words onto a wish to see for tracing, where an aim is being become became. Be
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Devaux, Emmanuelle. "Étude de la métaphore séminale dans les commentaires bibliques de Paul Claudel." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040090.
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L’image du germe, du développement organique, est très importante dans l’œuvre poétique et dramatique de Claudel. Dans ses écrits en prose qui constituent la seconde partie de son œuvre, et sont principalement consacrés à l’étude de la Bible et de ses mystères, cette métaphore devient centrale. Elle est le vecteur privilégié de l’interrogation du poète sur la vocation de l’homme, le sens de sa vie, les réalités spirituelles qui le déterminent souterrainement. La semence devient plus largement le symbole d’un monde dynamique, divinement orienté vers un achèvement parfait tout en restant acteur de son développement et ainsi véritablement créateur. À travers le travail sur cette métaphore, le poète atteint ainsi un équilibre entre la valorisation de la vitalité qu’il admire et célèbre, et la recherche d’une forme parfaite, liée à la reconnaissance d’un Dieu créateur. La mise au point de ce nouvel « art poétique » passe par un travail poétique sur les images et les motifs rencontrés dans la Bible, autour notamment de l’annonce de l’Incarnation. Pour les interpréter, Claudel puise dans la Tradition chrétienne, reçue à travers la liturgie, mais aussi par la lecture des Pères de l’Église ou de théologiens comme saint Augustin et saint Thomas. Mais il exploite également les découvertes scientifiques les plus récentes, et dialogue avec des philosophies plus modernes. L’insistance sur le mouvement et la prise en compte de la spontanéité du vivant et des obscurités de l’homme qu’exprime la métaphore séminale permettent ainsi de rapprocher Claudel, malgré son apparent isolement, de ses contemporainsThe symbol of the germ, and the model of the organic development, play a very important role in Paul Claudel’s poetical and dramatical works. When the poet devoted himself to the study and the poetic commentary of the Bible in the last part of his life, this metaphor becomes central. Claudel uses it particularly in questions such as the meaning of human life and its links with spiritual realities. More broadly speaking, the image expresses the energy and the power of development contained in a world that aims at its complete achievement. Through this image, Claudel celebrates the vigor he admires in nature, and, at the same time, the perfection of a divine realisation. The reading of the Bible leads him to renew his approach of these themes. We also have to consider the influence on him of other sources, especially the Fathers of the Church, great theologists as Thomas Aquinas or Saint Augustine and other spiritual books which he frequently refers to. Nevertheless, we should not forget that he exploits as well the more recent scientific discoveries and discusses contemporary issues. The image of the germ allows Claudel to stress the dynamism of the world, the spontaneity of living things and to illustrate the mystery of man; thus, it is at the heart of his poetical world
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Cherry, Nannette. "Perceptions of Life and Death Through the Metaphor of Paint: Construction and Deconstruction of Form." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5162.
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This paper will explore classical and contemporary methods of painting applied to the portrait. It will emphasize the metaphor of paint as flesh and the connotations of the breakdown of the painted form that stands in for flesh as it relates to our preoccupations with our own mortality. Borrowing from influences like Lucian Freud, Jenny Saville, and Francis Bacon, the artwork explores the creation of a form that is physical and confrontational, and is intended to provoke a psychological response in the viewer. This series of figuration bases its processes on traditional methods, while borrowing from modern art devices to interpret intangible human characteristics that clarify the representation of the subject and the moment being captured. The ultimate product of this two-fold approach is an image that is a tightly rendered representational portrait that simultaneously lends itself to gestural study.ID: 031001490; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Title from PDF title page (viewed July 24, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 35).
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Emerging Media; Studio Art and The Computer
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Peacock, Leigh K. Ms. "Repetitive Acts Now." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/77.
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This paper explains at the intersection of Memory theory, Feminist Theory, Existential Psychology, Faith and Contemporary Art, I have found a way to embrace and integrate memories and experiences into my art and be a more fully integrated, emotionally healthy person living fully in the present moment. I articulate my exploration of the broad concept of memory and addressing unresolved negative memories in order to realize healthy change in forming my identity.
Through art and philosophical research I have found substantial corroboration, conceptually supporting my information supporting my Post Minimal art making process. I employ memory evoking materials through the use of repetitive acts and strict self-imposed rules throughout the art making process, communicating ne living in the present moment, embracing yet uninhibited by their past.
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Hossu, Andrei-Iustin. "Existentialismul francez /." Cluj-Napoca : Ed. Mediamira, 1996. http://catalogue.bnf.fr/ark:/12148/cb38970783x.
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Tenhu, T. (Tapio). "Taide mielessä – Mieli taiteessa:opettajien kuvataidekokemuksien narratiivista tarkastelua." Doctoral thesis, Oulun yliopisto, 2019. http://urn.fi/urn:isbn:9789526223483.
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Abstract My doctoral thesis is a narrative study in which I examine the art experiences told in six teachers’ interviews and their meanings from childhood to the threshold of middle age. I have collected my research data in two stages in 2002 and 2014. The theoretical starting points of the study are in the hermeneutic, phenomenological, pragmatist and narrative research traditions. The data analysis is narrative. Because of their basic nature, the stories of art experiences differ from the descriptions of experiences in our everyday environment. They are characterized by complexity and difficulty of conceptualization, which is manifested both in the interviewees’ narration and in the conceptual examination in this study. My study introduces a new viewpoint on the examination of identity and meaning-making related to arts. In the results section of the study, I examine and interpret stories related to visual arts as abridged narratives, constituents of a biography and special events in life. In the interpretation of individual art experiences, I explore the meanings told in art as personal factors related to human existence and situations in the life-world. The results of my study show how art is manifested in the stories as a subjective, intentional and diverse opportunity for being in the world, reflection on meanings and forming a relationship with the world. The meanings associated with the interviewees’ experiences make visible the importance of art from the viewpoints of identity, vocational identity, reflection of experiences, and the examination and establishment of man’s relationship with the world. My study also takes a stand on the significance and status of art education in our education system. I present my study as a contribution to the debate on art education, its status and significance for growth as a human beingTiivistelmä Väitöskirjani on narratiivinen tutkimus, jossa tarkastelen kuuden opettajan haastatteluissa kertomia taidekokemuksia ja niiden merkityksiä lapsuudesta keski-iän kynnykselle. Tutkimusaineistoni olen kerännyt kahdessa vaiheessa: vuosina 2002 ja 2014. Tutkimuksen teoreettiset lähtökohdat ovat hermeneuttisessa, fenomenologisessa, pragmatistisessa ja narratiivisessa tutkimusperinteessä. Aineiston analyysi on narratiivinen. Taidekokemuksien kertomukset poikkeavat arkisen kokemusympäristöstämme kuvauksista perusluonteensa vuoksi. Niille on ominaista käsitteellistämisen vaikeus ja kompleksisuus, joka ilmenee sekä haastateltavien kerronnassa että tutkimuksen käsitteellisessä tarkastelussa. Tutkimukseni tuo taiteeseen liittyvän identiteetin ja merkityksenannon tarkasteluun uuden näkökulman. Tutkimuksen tulososassa tarkastelen ja tulkitsen kuvataiteeseen liittyviä kertomuksia lyhennettyinä narratiiveina, elämänkerran muodostajina ja erityisinä elämäntapahtumina. Yksittäisten taidekokemuksien tulkinnassa tuon tarkasteluun taiteessa kerrottuja merkityksiä ihmisenä olemiseen ja elämismaailman situaatioihin liittyviä henkilökohtaisina tekijöinä. Tutkimukseni tulokset osoittavat, kuinka taide ilmenee kertomuksissa subjektiivisena, intentionaalisena, monimuotoisena maailmassa olemisen, merkityksien reflektoinnin ja maailmasuhteen muodostamisen mahdollisuutena. Haastateltavien kokemuksiin liittyvät merkitykset tekevät näkyväksi taiteen tärkeyden sekä identiteetin, ammatillisen identiteetin, kokemuksien reflektion ja ihmisen maailmasuhteen tarkastelun ja muodostamisen näkökulmista. Tutkimukseni ottaa kantaa myös taidekasvatuksen merkityksellisyyteen ja asemaan koulutusjärjestelmässämme. Esitän tutkimukseni puheenvuoroksi keskusteluun taidekasvatuksesta, sen asemasta ja merkityksestä ihmisenä kasvamisessa
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Gómez, Artiola Xavier. "Gramática del pliegue: Una estética de la obra de Juan Muñoz." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/673482.
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El presente texto realiza una interpretación creativa y novedosa de la obra del artista
Juan Muñoz, uno de los más influyentes no sólo a nivel nacional sino a escala
internacional en las dos últimas décadas del siglo XX. Para ello se bucea, en primer
lugar, en las fuentes humanas y artísticas de las que bebió el artista y que influyeron
directamente en su concepción del arte y del mundo. Para esta tarea se estimó necesario
investigar en profundidad qué le pudo enseñar su primer y duradero maestro, Santiago
Amón, labor que estaba sin realizar por la crítica y que se estima fundamental. La
interpretación continúa a partir de una lectura del Minimal desde el punto de vista del
propio Muñoz, interpretación que fructifica y que se interpenetra continuamente con el
resto del texto de la tesis. Se explora también su relación con la espacialidad de la
arquitectura del siglo XX, en donde se va a encontrar una de las fuentes para la
gramática que, según nuestra hipótesis, representa mejor el alcance y la complejidad de
su obra. A partir de la lectura de las fuentes críticas, se interpreta la obra de Muñoz en
relación a un marco gnóstico nihilista –algo que también constituye una novedad. Por
último, se incardina todo este discurso en la parte final, en donde se expone la gramática
del pliegue que da título a la tesis, cuya lógica permitirá comprender cómo Muñoz
anima su obra a partir de múltiples estratos de significación, así como en concepciones
de espacio y tiempo divergentes, implicando a su espectador a un nivel existencial
inusitado.Our dissertation is a personal and creative take on the work by the late artist Juan Muñoz, whose influence both at a national and international level in the last two decades of the XXth century is undisputed. To achieve this goal it has been necessary to delve into the human and artistic influences that shaped his worldview at an early stage of his life. Particularly, he was influenced very early on by his first mentor, Santiago Amón, a prominent art critic and leader of numerous initiatives that strived to bring news of state-of-the-art artistic movements into Franco’s Spain. Our interpretation continues with an innovative analysis of the foundations of Minimal Art which, departing from the opinions of such an art by Muñoz, challenges their own assumptions and demonstrates their own logic failures. An overview of the poetics of space in the XXth century is also developed, and Robert Venturi’s conception of complexity and contradiction in architecture is well taken into Muñoz’s own artistic grammar. We also push forward the most established interpretation of Muñoz’s work, and take it to the farther limit of nihilism, which undoubtedly is gnosticism. In the last part we take the risk, even if it is well substantiated, to propose an interpretative grammar of Muñoz’s work, one that would be able to cope with its multiple strata of significance and diverse coexisting conceptions of space and time, based on the idea of the (baroque) fold.
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Blaszak, Urszula. "THE REBIRTH OF CONSCIOUSNESS." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3820.
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Human beings encounter cascades of a plethora of experiences, one after another, every single microsecond of our lives. There are many things happening around. The world is full of events and occurrences. As they happen, the mind reacts to every individual input. This is a very exhausting and difficult. Thus, people have developed a process of self-defense against this horrible mishmash of information. Their minds have this amazing capacity of sorting them out and making sense out of them. Humankind's survival depends on that. If one does not sort all this information out, one might not be able to make a simplest decision. As humans process the information, they learn to ignore and forget. They focus on their feelings and emotions. They forget the logic. The oversimplification process begins. Humans create rigid systems of oversimplified formulas. They assign adjectives to things, occurrences, and other people. The number of those adjectives is small. After assigning, those adjectives obscure everything else. A new world is created, stupid, limited, lazy, and in the end making humans very easy to control. What starts as a basic survival process ends up as a tool one can use to destroy the owners of the mind. In the end, the birth of consciousness leads to its death. My work fights this process. It aims to put a person back into that state of shock created by a mishmash of information and thus create the rebirth of consciousness.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Shepard, Kathryn Ann. "Artists for Humanity's Sake: An Ameliorative Project Concerning Artists and the Existentialist Struggle Against the Dominant Narrative." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/104036.
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Existentialist ethics tell us that we as individuals cannot be truly liberated until all are. This means that we must pursue a more just world for all. Interestingly enough, as we look at the evidences of the ways in which cultural violence have been used historically and today as a means to withhold power from the people, we find that participating in the arts grants a great deal of power to the people. Thus, accessibility to participating in artistic acts or the creative process become fundamental to activism for social justice. This work lays out five fundamental aspects of the creative process that help us move towards liberation—confrontation of ideas, vulnerability, choice making, truth or world building, and authentic identity formation. In order to realize the full potential of positive impact the creative process can have in the realm of social justice, however, we must reframe our understanding of artists and the creative process in our society. This is a call to action both to artists and audience to recognize and wield the power of the arts to liberate all within our society.Doctor of Philosophy
We have all heard the disparaging stereotypes surrounding the arts--the arts aren't a viable career choice, they aren't important, they're just meant for hobbies, or they're for folks who aren't smart enough to do something "useful" with their lives. If you have been a practicing artist for any number of years you have surely been offered payment in "exposure" at least half a dozen times by now. And yet, creating art is perhaps one of the most powerful and political acts we may undertake as humans. With each creative act we make claim to our own identities and have the opportunity to support the unique identities of others. In a world plagued by injustice perhaps artists are just the heroes we need. In this work I outline the connection between the artistic act and liberation. It is a call to action both to artists and audience to recognize the great potential that artists have to shape the world for better or worse. It asks you, the reader, to support social justice by supporting accessibility to confrontational, vulnerable, and deliberate artistic acts both by others and yourself.
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Archard, David. "Marxism and existentialism : the political philosophy of Sartre and Merleau-Ponty /." Aldershot (GB) ; Brookfield (Vt.) : Gregg revivals, 1992. http://catalogue.bnf.fr/ark:/12148/cb37478407x.
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Großheim, Michael. "Politischer Existentialismus : Subjektivität zwischen Entfremdung und Engagement /." Tübingen : Mohr Siebeck, 2002. http://catalogue.bnf.fr/ark:/12148/cb410082212.
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Texte remanié de: Habilitationsschrift--Philosophische Fakultät--Universität Rostock, 2000. Titre de soutenance : Die unheimliche Welt absoluter Selbstlosigkeit: entfremdete Subjektivität und politischer Existenzialismus.Bibliogr. p. 474-520.
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au, kward@central murdoch edu, and Koral Ward. "In the blink of an eye : an investigation into the concept of the 'decisive moment' (Augenblick) as found in nineteenth and twentieth century western philosophy." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20061121.110354.
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In the blink of an eye is a figurative expression which, in its most basic interpretation describes the experience of a fleeting but momentous event. It comes, however, to represent an encounter with the eternal. That it can contain these antithetical elements points to the abidingly paradoxical nature of the Augenblick. In this thesis we follow the development of the concept from its roots in the theology of Søren Kierkgaard and the myth of Friedrich Nietzsche, to its existential eludidation nearly a century later in the work of Karl Jaspers and Martin Heidegger. In the final two chapters of this thesis, the Augenblick is viewed as an inherited conceptual tool for metaphysical thought. We apply it to the consideration of an historical epoch of great social change and to certain works of art which express its zeitgeist. This well-used metaphor is a living idea, it continues to gather meaning to itself.
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Hofmann, Gabriele. "Das Tristan-Syndrom : psychoanalytische und existenzphilosophische Aspekte der Tristan-Figur Richard Wagners /." Regensburg : S. Roderer, 1997. http://catalogue.bnf.fr/ark:/12148/cb37707564v.
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Silva, Daniel Corsi da. "Atos tridimensionais: manifestações da existência: interfaces entre a arquitetura e a escultura." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-22082012-103651/.
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Esta dissertação propõe-se a analisar possíveis interfaces entre a Arquitetura e a Escultura, abordando suas produções realizadas a partir da segunda metade do século XX, período que se caracterizou pelo rompimento de inúmeros paradigmas teóricos e conceituais. Considerando essas manifestações a partir de suas naturezas tridimensionais, busca-se, segundo um enfoque transdisciplinar, apurar significados e novos parâmetros de análise compartilhados por ambas expressões, num processo recíproco de influências conceituais e práticas. A pesquisa divide-se em duas partes. Na primeira delas - Conceitos Tridimensionais - são estudados os fatos históricos e os conceitos filosóficos que influenciaram as concepções teóricas das produções da arquitetura e da escultura desse período. Nesta parte também são estudadas algumas transformações específicas dos universos dessas manifestações, consideradas determinantes para a constituição das obras posteriormente destacadas. Na segunda parte - Processos Tridimensionais - é realizada a leitura de algumas obras arquitetônicas e escultóricas fundamentadas sobre novas organizações produtivas estabelecidas no período estudado. Partindo do repertório transdisciplinar apresentado na primeira parte sobre os conceitos criativos de ambas as manifestações, são definidos parâmetros de análise que abrangem temas fundamentais das interfaces mencionadas. Os conceitos de Paisagem, Tempo, Estrutura, Matéria e Forma são estendidos em definições que conduzem a leitura de cada uma das obras selecionadas. Com isso, são estabelecidos novos conceitos cognitivos dessas construções, demonstrando como se influenciam mutuamente, compartilhando ou não suas intenções. Também é revelado o potencial advindo da proximidade entre Arquitetura e Escultura, oferecendo referenciais teóricos e práticos para que possam ser explorados em futuras produções. Sintetizando os procedimentos específicos destes atos tridimensionais e os conceitos filosóficos de leitura, busca-se demonstrar, a partir da densidade das obras escolhidas, atos singulares da existência humana.This dissertation aims to analyze possible interfaces between Architecture and Sculpture, approaching their productions made from the second half of the twentieth century, a period that was characterized by disruption of numerous theoretical and conceptual paradigms. Considering these manifestations from their three-dimensional nature, according to a transdisciplinary approach, it seeks to establish new meanings and analysis parameters shared by both expressions, in a reciprocal process of conceptual and practical influences. The research is divided into two parts. The first part - Three-Dimensional Concepts - refers to the historical facts and philosophical concepts that have influenced the theoretical concepts of architectural and sculptural production of this period. In this part are also studied some transformations of the specific universes of these manifestations, which are considered crucial to the creation of the works later analyzed. In the second part - Three-Dimensional Processes - it is presented a reading of some architectural and sculptural works based on new productive organizations established in the studied period. From the transdisciplinary repertoire presented in the first part about the creative concepts of both manifestations analysis, parameters are defined to embrace fundamental themes of the mentioned interfaces. The concepts of Landscape, Time, Structure, Matter and Form are extended in definitions that lead to the reading of each of the selected works. Thus, new cognitive concepts of these constructions are established demonstrating how they influence each other, sharing their intentions or not. The potential arising from the proximity of these two expressions is also shown, offering theoretical and practical references so that they can be explored in future productions. Summarizing the specific procedures of these three-dimensional acts and the philosophical reading concepts, it is aimed to show, from the profundity of the chosen works, single acts of human existence.
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Silva, Guimarães Renato. "De la critique de la raison dialectique à l'esthétique de la faim : Jean-Paul Sartre et Glauber Rocha." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010576.
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L'enjeu de cette thèse est de dénouer les fils de l'esthétique de la faim à travers une série de médiations, des discours flottants, qui ne sont ni simple procédure visant ou décrivant une pratique ni pure théorie, parce qu'elle hérite de la réalité sociale de manière implicite et explicite. Nous cherchons cette parole qui révèle les contradictions de ce monde, ce ne sera pas de point de vue de l'image cinématographique même si elle rend opérationnelle. La thèse centrale de la démonstration tente de trouver son opérationnalité à partir de la tradition intellectuelle brésilienne et affirmer comme chez Sartre le refus « de confondre l'homme aliéné avec une chose, et l'aliénation avec les lois physiques qui régissent les conditionnements d'extériorité […] Pour nous, l'homme se caractérise avant tout par le dépassement d'une situation, parce qu'il parvient à faire de ce qu'on a fait de lui, même s'il ne se reconnaît jamais dans son objectivation [1] ». La production intellectuelle de Glauber Rocha dépasse le cinéma en conjurant l'art, la vie et le politique, sans jamais les dissocier, dans une expérience poétique régulée par le locus métaphorique de la faim lié à la réalité sociale des zones arides du Brésil.[1] La critique de la raison dialectique, précédé de Questions de méthode, tome I, nouvelle édition, Paris, Gallimard, nrf, Bibliothèque des Sciences Humaines, 1985, p. 76The aim of the thesis is to unravel the strands of the aesthetic of hunger through a serie of mediations, dispersed discourses, that are neither a simple procedure aiming for and describing a practice nor pure theory, because of its both implicite and explicit derivations from social realityµ. We found the parole that reveals the contradictions of this world, but not from the point of view of the cinematographic image, through this image is what renders it operational. The principle thesis seeks its manifestation in the Brazilian intellectual tradition and confirms, as in Sartre, the refusal « […] to confuse the alienated man with a thing or alienation with the physical laws governing external conditions... For us man is characterized above all by his going beyond a situation, and by what he succeeds in making of what he has been made – even if he never recognize himself in his objectivation ».The intellectual production of Glauber Rocha goes beyond cinema in conjuring art, life, and the political, without dissociating them, in a poetic experience directed by the metaphoric locus of hunger as linked to the social reality of arid zones in Brazil.[1] Search for a method, translated by Hazel E. Barnes, New York, Vintage Books, 1968, p. 91
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Delfmann, Thomas. "Ernst Weiss : existenzialistisches Heldentum und Mythos des Unabwendbaren /." Münster : Kleinheinrich, 1989. http://catalogue.bnf.fr/ark:/12148/cb35544674x.
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Zaiser, Reinhard. "Karl Rahners Begriff des "übernatürlichen Existentials" im Lichte von Viktor E. Frankls These vom "unbewussten Gott" /." Hamburg : Dr. Kovač, 2004. http://catalogue.bnf.fr/ark:/12148/cb41143232h.
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Webster, Robert Scott, and n/a. "An Existential Framework of Spirituality for Education." Griffith University. School of Vocational, Technology and Arts Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070215.170759.
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The research reported here addressed the questions 'what is spirituality?' and 'how should spiritual development be provided in education?'. The literature reviewed indicated confusion and uncertainty over the meaning of the concept spirituality, and the only guidance as to how spiritual development should be facilitated, was mainly from a religious perspective. This however, proved to be problematic for adoption into state-run educational institutions, where religious education is not provided for. As spiritual development is an aspect of the overall educative development of individuals, attention was given to what is meant by both 'education' and the 'educated person'. This initial research provided the context by which spiritual development could be understood and grounded in accepted and well argued notions of what interventions into the development of the individual are to count as educational. This also clarified the context for which the formulated framework of spirituality was to have implications. The major approach of this research was philosophical, in that an existential perspective was sought to develop a framework of spirituality that was able to embrace both religious and secular contexts of education. The major works examined were those written by Søren Kierkegaard, Friedrich Nietzsche and Martin Heidegger, because these were argued to have most relevance for spirituality and spiritual development of the educated person. While these works were analysed one philosopher at a time, the existential perspective that was relevant for spirituality was developed using common themes found in their writings. Consequently this approach produced a rather eclectic view of Existentialism that down-plays the many differences that exist between these philosophers. An existential framework of spirituality was then formulated using the philosophy of these contributors as the foundation. This framework is argued to be more effective than the other frameworks of spirituality that were identified in the literature reviewed. Its implications for education practice were developed and argued. The evaluative applicability of the framework was then illustrated and tested through a critique of an educational project in Queensland. It was beyond the scope of this thesis to test the framework any further than this particular case. However, further research is recognised as being required to test other aspects of the framework.
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Seekins, M. Elizabeth. "L'importance d'autrui : une etude des themes existentialistes dans le roman Tous les hommes sont mortels par Simone de Beauvoir = The importance of others: a study of existential themes in the novel All men are mortal by Simone de Beauvoir /." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/SeekinsME2007.pdf.
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Breteau, François. "La poétique de l'ironie : des fondements du nécessaire et de l’impossible." Paris 8, 2013. http://octaviana.fr/document/204721652#?c=0&m=0&s=0&cv=0.
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La philosophie est contingence pure. Elle estime ne pas connaître toutes les ambiguïtés du langage que l’existence accueille en son sein. La philosophie postmoderniste n’a aucunement la prétention de faire prévaloir une connaissance déterministe, mais bien au contraire, elle relativise la connaissance. Ce relativisme culturel se fie plus aux propositions que l’Art construit. L’art, en effet, est la forme la plus profonde de l’expression humaine. La philosophie postmoderniste est donc avantageusement empathique dans la progression de sa recherche esthétique. La Poétique est avant tout une oeuvre d’art qui n’imite pas seulement la nature mais qui la sublime en la reconstruisant : la métaphysique aurait beaucoup à apprendre du langage poétique. Le langage poétique est une singularité exclusive donnant naissance à des sens et significations sémantiques nouveaux. Quant à l’ironie elle devient révolutionnaire dans sa forme la plus épurée car elle est caustique et sarcastiquePhilosophy is pure contingency. It considers it does not know all the ambiguities of language that existence involves. Postmodernist philosophy does not pretend to emphasize a deterministic knowledge, but on the contrary, it keeps knowledge in proportion. This cultural relativism relies more on proposals that Art build. Art, in fact, is the deepest form of human expression. Postmodernist philosophy is therefore advantageously empathetic in the progression of its aesthetic research. Poetics is primarily a work of art which does not only imitate nature but which also sublimates it by rebuilding it: metaphysics could learn a lot from poetic language. Poetic language is an exclusive singularity giving birth to new senses and new semantic meanings. As for the irony, it becomes revolutionary in its purest form because it is caustic and sarcastic
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Ross, Benjamin David. "Transhumanism: An Ontology of the World's Most Dangerous Idea." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505282/.
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Transhumanism is the name given to the cultural and philosophical movement which advocates radical human technological enhancement. In what follows, I use perspectives drawn from existential philosophy to problematize transhumanists' desire to recast human finitude as a series of technical problems with technical solutions. The ontological account of transhumanism offered here questions the assumed benefit and inevitability across six chapters. Following an introductory chapter, Chapter 2 introduces the key players, and present the philosophy of transhumanism and the opposing view of bioconservativism. Chapter 3 offers a narrative of transhumanism beginning with its mythical antecedents, and proceeds to describe the emergence of contemporary transhumanist institutions. Chapter 4 focuses on the challenge that transhumanists Aubrey de Grey and Ray Kurzweil present to mortality. The chapter asks whether human immortality is a coherent idea, and consider the consequences of achieving a data-driven amortality. Chapter 5 continues the analysis of transhumanism as it challenges limits to knowledge (ignorance), and limits to well-being (suffering). Ray Kurzweil is presented as a key figure of transhumanist thought, along with David Pearce, who desires to eradicate suffering through genetic engineering. The hubris of transhumanism is viewed through the lens of Friedrich Nietzsche in chapter 6. Nietzsche's critique of the "last human" is interpreted in terms of transhumanist thought, and a role for the philosopher in the context of transhumanism is presented. Finally, chapter 7 offers Buddhism as an alternative response to suffering. This chapter profiles "Buddhist Transhumanists," and consider what connection transhumanism has with Buddhism's philosophy of impermanence.
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Wiesner, Van. "An Examination of the Relationships Between Affective Traits and Existential Life Positions." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4539/.
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There were two major goals of this study - to examine validity of scores for the Boholst Life Position Scale and to examine potential associations between life positions and affective traits. Two hundred seventy-seven students enrolled in undergraduate psychology classes at a large university volunteered for the study. Concurrent validity of scores for the life position scale was supported based on two compared instruments. Pearson product-moment correlations for the comparisons were -.765 and .617, both statistically significant at the p < .001 level. Factor analysis demonstrated that the scale could accurately be conceptualized as consisting of two factors - an "I" factor and a "You" factor. MANOVA, ANOVA, multiple linear regression, and canonical correlation analysis were used to examine associations between life positions and the affective traits of angry, sad, glad, social anxiety, loneliness, and satisfaction with life. Subjects were catagorized into four groups representing their life position: "I'm OK, you're OK," "I'm OK, you're not OK," "I'm not OK, you're OK," and "I'm not OK, you're not OK." A MANOVA employing life position as the independent variable with four levels and the six affective traits as the dependent variables demonstrated statistical significance (p < .001 level) and h2 was .505. All six separate ANOVAs, with life position as the independent variable and each separate affective trait as the dependent variable, revealed statistical significance (p < .001) and h2 varied from a high of .396 for the sadness variable to a low of .116 for social anxiety. Six separate multiple linear regression equations using two independent variables, a measure of self-esteem and a measure of the perceived OK-ness of others, and each separate affective trait as the dependent variable, showed statistical significance (p < .001). The average Adjusted R2 was .475. Both canonical correlation functions were statistically significant (Rc12 = .77 and Rc22 = .21). In summary, life positions were strongly associated with specific affective traits.
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Lambert, Simon. "La chambre : roman ; suivi de l'essai La chambre : entre littérature et philosophie." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/26937/26937.pdf.
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Sybylla, Roe, and roesybylla@hotmail com. "Making Our Freedom : Feminism and ethics from Beauvoir to Foucault." The Australian National University. Faculty of Arts, 1997. http://thesis.anu.edu.au./public/adt-ANU20040629.142154.
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This thesis examines the possibilities for feminism that arise from the work of Michel Foucault, which I explicate by comparison it with humanist existentialism. I begin with The Second Sex, Simone de Beauvoir's application of existentialism to women. I expose the problems that arise in Beauvoir's project. Woman's body is an obstacle to her transcendence, and further, she must abandon her feminine desires and values, and accommodate herself to masculine patterns if she is to overcome her immanence and subordination. To understand why such problems recur in The Second Sex, I turn to Sartre's Being and Nothingness. After examining the conceptions underlying his thought, I conclude that his philosophy is unable to encompass difference, and is therefore antithetical to the feminist project.
¶
Foucault's philosophy offers solutions to these problems by eliminating consciousness as universal subject of action, and by making subjectivity a product of time, through showing how subjects are formed though the changing effects of power upon bodies. His thought encompasses difference at a fundamental level, through understanding human beings as particular 'events' in time. I argue that Foucault's philosophy does not depend fundamentally, as does Sartre's, upon woman as Other.
¶
Foucault shows how our particular historical form of rationality, created within power relations, sets limits on what we can think, be and do. He shows how thought can overcome some of these limits, allowing us to become authors of our own actions. Misunderstandings are common, particularly of his conception of power and its relation to subjectivity. Many commentators demand changes that reinstate the concepts he fundamentally rejects. Others do not see the unity of his philosophy. I show its importance to women's emancipation and to a feminist ethics.
¶
Finally, I compare Foucault's thought with feminism of difference. With the help of Heidegger, I argue that Foucault offers a superior but complementary way to know who we are, through understanding the history of our making. I show how the masculine and the feminine can be reconciled through a reconceptualisation of the relation of sex to time. All told, Foucault is a philosopher of freedom and for him the practice of freedom is an ethics.
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Cruise, Wilma. "Artist as subject : subject as object." Diss., 1997. http://hdl.handle.net/10500/17941.
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The artist uses herself as the object of study. Her subjective position is
validated within a theoretical framework provided by feminism,
existentialism and Freudian theory. The three world views provide the
context for an analysis of sculpture produced between the years 1988
and 1997. Three one-person exhibitions held in 1990, 1993 and 1996,
are examined in terms of their iconographic emphasis and their
theoretical bias. The role of the unconscious in the genesis of the
sculptures and the problem of author/reader dichotomies in interpretation
are dealt with as thematic threads throughout the dissertation.Department of History of Art and Fine Arts
M.A. (Fine Arts)
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Trapani, Alex. "Bruce Nauman : the true artist is an absurd fountain." Diss., 2017. http://hdl.handle.net/10500/23276.
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Link to dataset: https://doi.org/10.25399/UnisaData.14152106.v1The work of Bruce Nauman can be understood as an enquiry into the absurd. His work is a critique of art, the artist and society, and is in part viewed as a mediation of stereotypical ‘truth’. The absurd is defined and analysed to elucidate the nature of art and human behaviour by means of literary comparison, in particular of Camus, Sartre and Wittgenstein. This research focusses on Nauman’s subversive performance- based work and analyses how he simulates a particular work of Duchamp. I propose that Nauman espouses human activity into the functionality of objects, such as fountains. My artworks expand on Nauman’s interrogation of the concept of a ‘true artist’ by embodying an absurd fountain as a Sisyphean construct. In contextualising my work in relation to incessant duty, insecurity and double negatives, I offer a regenerative vigour against idolisation of success through contemplation of the artist’s doubt and the absurd.
Art History, Visual Arts and Musicology
M.A. (Visual Arts)
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Blahníková, Jana. "Stopy času (proměny umělých struktur jako inspirace k výtvarné tvorbě)." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312823.
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JANA BLAHNÍKOVÁ Keywords: texture, matter, art informel, existentialism, time, change, traces, beauty, ugliness, imagination Abstract: The Master Thesis concerns itself with changes of artificial textures as an inspiration for creative work. By artificial textures are meant paints and layers on objects, on which time has left its mark. A part of the Thesis deals briefly with the basic categories of aesthetics with special regard to texture change. The Thesis maps out the Czech and the world art scene of the 1950s and 1960s and focuses on the main artists of that period, whose work relates to the subject. The theoretical base is linked with the artists and art schools of thought, which is presented in the didactic section a part of which I used in my practical work and described in the reflection.
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Swanepoel, Andrew Peter. "Repositioning the problematic gender formation of a generation of white South African men through performance art." Diss., 2018. http://hdl.handle.net/10500/25347.
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An overview of global statistics on violence, country to country and worldwide, indicates that men are the main perpetrators of violence in our societies. Furthermore, the behavioural traits of risk-taking and self-harm are also associated with men. It is my contention that the formative processes involved in gender identity are at the root of these dysfunctions.
In an attempt to present a positive alternative, I focus on a group I name the X- Men: white South African Generation X males. Drawing on Judith Butler‟s theory of performativity and its allowance for agency and resistance, I argue that they are not necessarily trapped by how their gender identities were formed through Apartheid‟s gendered institutions. These included schools, sport and the military.
I posit that within the institution of art, self-aware artists may present visual representations of resistance and transformation. Acknowledging art as signifying text, the X-Men situate signs differently in an effort to accomplish a social and intersubjective raising-of-awareness. Additionally, this new identity and its associated positive performance have the potential to undermine certain stereotypical perceptions harboured by the broader society as a result of problematic behaviour associated with men.Art History, Visual Arts and Musicology
M.V.A.