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Morris, Ryan L. "Hand/Face/Object." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent155655052646378.
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Heber, Ashley Dawn. "Resting cake face." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1623.
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My most recent series of paintings places specific focus on the societal struggles young women face with an emphasis on the need to constantly be viewed as attractive. I am interested in cultural taboos of women's sexuality, and body image anxiety. Layered imagery of anonymous groups of young women paired with grotesque representations of food mimic the internet bombardment so inescapable for young women today. Painted stereotypes of beauty further show the imbalance of male / female gender roles and holographic glitter as well as day glow color push the drama further. In spending time with my drawings and paintings the viewer will, ideally, begin to question the cultural expectations for women, and contemplate possibilities for change.
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Blaise, Aboua Kumassi Koffi. "Macunaíma / Kaydara: dois espelhos face a face. Ler Macunaíma sem rir." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-12092012-120553/.
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Explorar outros caminhos, até agora pouco seguidos, no intuito de participar de forma pertinente do debate acerca da inteligibilidade de Macunaíma de Mário de Andrade, isto, pode ser considerado o eixo que norteia este estudo comparado. Para levar adiante esta pesquisa comparativa apelamos para Kaydara, não apenas por ser uma obra prima da literatura africana de expressão francesa, mas também porque traz o olhar de dentro para fora de uma sociedade tradicional africana, capaz de dialogar com a literatura brasileira a ponto de lançar luz sobre alguns elementos culturais de origem afro-brasileira presentes nela. Por isso, fomos mergulhar naquilo que a maioria das sociedades africanas considera sua referência na Antiguidade: o Egito Antigo. Agora, quando se põem duas obras de grande valor estético frente a frente, o que sói acontecer é uma ajudar a ler a outra, por isso, nossa abordagem deixa de ser unilateral para privilegiar uma relação de leitura mútua, dando destaque às mais variadas consequências disso.<br>Explore other ways, until now little followed in order to participate in a meaningful way to the debate about the intelligibility of Macunaíma, this can be taken as the shaft that drives this comparative study. To carry out this comparative research we appeal to Kaydara, not only because it is a masterpiece of african french literature, but also because it brings - the look of the inside of a traditional african society, capable to converse with the brazilian literature, point to shed light on some cultural elements of afro-brazilian origin present in it. So we have been diving in what the vast majority of african societies consider his reference in antiquity: Ancient Egypt. Now, when you put two works of great aesthetic value face to face, which is usually happen is one help to read other, so our approach is no longer unilateral and privilege a relationship of mutual reading, highlighting various consequences.
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Wessner, Mark Daren. "Face to face [panim ʼel panim] in Old Testament literature /". Theological Research Exchange Network (TREN), 1998. http://www.tren.com.
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Willsdon, Clare Annabella Paton. "Aspects of mural painting in London, 1890-1930." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283657.
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Normand, Thomas Andrew. "Political trajectories in the painting of P. Wyndham Lewis." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6736/.
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This thesis presents an analysis of the political dimension to the paintings of Percy Wyndham Lewis (1882-1957). Through an exegesis of the discreet and latent "voices" in Lewis's paintings the ideological parameters of his thought world are disclosed. These imperatives are examined for their display of political predispositions, for values and attitudes, which reveal a loading towards specific socio-cultural standards. In so far as these standards can be identified with historically relevant political programmes they become manifestos for political actions. Or, at the very least, they can be seen to exist as critical and prescriptive social insights. Importantly, the focus of this examination and interpretation remains the visual image and its related texts. A key aspect of both the methodology and argument within this thesis, insists that the visual image is the bearer of meaning in both its subject matter and technique. Values are communicated not only in reference to the thing displayed, but, in the manner of the display. Hence, an analysis of the intellectual and formal strategies employed by Lewis in his painting becomes a central concern of the thesis. Finally, the thesis rounds on the actual nature of Lewis's politics as revealed in his approach to art. While it is accepted that the mediation from the political to the painted throws up many and substantial barriers, the thesis insists that a political reading of Lewis's creative work is not only appropriate but necessary. In offering just such a reading the author hopes to transcend the boundaries between the disciplines of Art History and Sociology.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Roberts, Claudette M. "Presence, absence, and the interface in twentieth-century literature and painting /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687175432.
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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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L'Clerc, Lee. "Painting and visual imagery in literature, three contemporary Latin American novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ41201.pdf.
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Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.
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Serock, Erica. "Shades of Color: The Changing Face of Children's Literature." Thesis, Boston College, 2003. http://hdl.handle.net/2345/380.
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Thesis advisor: Susan A. Michalczyk<br>Children's literature possesses the power to crumble walls of prejudice, open the mind to unlimited possibilities and perhaps most importantly, entertain children whatever their race, age or social status. Many people have such fond memories of the books they read as children that, should you demand of any American college student what his favorite book was as a child, and he will find it difficult to narrow his selection down to just one. Ask any American child what her favorite movie during childhood and inherently nine out of ten children will choose a movie made by Walt Disney. Indeed literature and the stories of childhood play an important role in the intellectual and psychological development of human beings. During childhood, the literature children read and have read to them often lay the seeds for their future views of themselves and the world. If this were the case, then how much caution should be taken with the themes of these books? Children's literature is defined as "books that are good for children, written with their general necessities and entertainment in mind." The “goodness” of these books is determined not only in their vivid creativity and wildly imaginative stories, but as well in the long lasting lessons they impart upon the children who read them. These books give a child a glimpse into distant lands far away from the suburb they live in or the city in whose parks they play every day. As well, literature can also cultivate cultural prejudices and stereotypes that can either damage a child's developing psyche or improve it. From its inception, children's literature has always been meant to shape and mold children to the will of society. The questions remains to be answered, if literature holds such power over us, then what control should responsible publishers, teachers, librarians and parents exercise in determining what their children should be reading? Where does one draw the line between education and politics in the world of children's literature? In order to fully examine this question and comprehend its implications, one must first examine the history of children's literature and what it originally desired to achieve. Then, once the evolution has been traced, one can analyze the future and determine where the shifts that have occurred in children's literature throughout the eras are leading us in the years to follow<br>Thesis (BA) — Boston College, 2003<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Education, Lynch School of<br>Discipline: College Honors Program
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Vargas, Elisa. "Surrealism and painting within the context of the Argentine avant-garde : 1921-1987." Thesis, University of Essex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306197.
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Hornsey, Elizabeth. "At Face Value: Facial Difference, Facial Reconstructive Surgery and Face Transplants in Literature and Other Texts." University of Cincinnati / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1627661976152915.
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St-Onge, Simon. "La fille d'en face : création romanesque et réflexion théorique." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6269.
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Lorsque j'ai décidé de rédiger une thèse en création, ce n'est pas un thème particulier ou une histoire que j'avais en tête; c'était plutôt une structure narrative bien spécifique: le récit est pris en charge par deux auteurs distincts, un homme et une femme, auxquels ont a demandé d'écrire, conjointement, un roman. Ils doivent, chacun leur tour, rédiger un chapitre, le récit de l'un alimentant celui de l'autre dans ce qui constitue une seule et même histoire. L'histoire en question met en scène Vincent et Gabrielle, sa compagne. Alors que le couple tente d'avoir un enfant, Vincent devient peu à peu obsédé par sa voisine d'en face.
À cette partie «fictive» se joignent les réflexions personnelles des écrivains à propos du processus créatif: leurs réactions face à la mise en intrigue de leur partenaire, leur motivation, implication, etc. C'est à travers la présence--implicite ou explicite--de leurs instances narratrices et des manipulations du contenu narratif (mise en scène, point de vue, distance et profondeur, relation narrateur-personnage) que l'on peut déceler les «motivations» des auteurs. La question du pouvoir du narrateur, le jeu qui existe entre l'auteur, son narrateur, les personnages et le lecteur: voilà ce que j'ai tenté d'exploiter dans cet exercice de style.
Le concept du point de vue est donc au caeur de ce projet romanesque; la réflexion théorique s'efforce de dégager les corrélations entre le récit et les différentes perspectives qui le dirigent. Avec l'aide de Pouillon, Genette et Lintvelt, je m'attarde aux problématiques du mode et de la voix (qui voit , qui parle et de quelles façons), tout en soulignant les influences de la structure et de la technique sur le matériel narratif, de l'expérience créative sur la forme et ses instruments.
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Case, Christopher David. ""I See You Face to Face": The Poet-Reader Relationship in Walt Whitman's "Crossing Brooklyn Ferry"." Thesis, Boston College, 2004. http://hdl.handle.net/2345/445.
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Thesis advisor: Robert Kern<br>In this paper, I argue that Walt Whitman alters his poetic program from his first to second edition of Leaves of Grass. By intensifying the emphasis on individuality and personality, Whitman overcomes the limitations of his vastness by allowing for intimate contact with a future reader. I continue to argue that the poem "Crossing Brooklyn Ferry" exemplifies the emphasis on individuality and personal union. Instead of assuming a relationship with his reader, Whitman sets for himself the goal of making this relationship possible<br>Thesis (BA) — Boston College, 2004<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: English<br>Discipline: College Honors Program
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Key, Laura. "Face value : representations of money in American literature, 1896-1944." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/face-value-representations-of-money-in-american-literature-18961944(6a2ed6f3-0a55-4dd7-91b8-a96ebedffef2).html.
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This thesis analyses the significance of socio-historical conceptions of money in relation to the development of American literary modernism from 1896 to 1944. Taking as its starting point Jean-Joseph Goux's contention that there was a correlation between the end of gold-backed money in France and the birth of French modernist literature, this study considers how far this claim is tenable in the American case. In 1896, the key debate surrounding the presidential election was over whether money should be backed by gold or silver specie, which became a major public issue. Faith in the gold standard was challenged, raising the possibility that the source of monetary value was negotiable. Subsequent policy changes, financial panics, the Depression and the World Wars all affected public conceptions of money, until the Bretton Woods Agreement instituted an international gold standard supported by the gold-backed U.S. dollar in 1944, effectively re-establishing a firm relationship between gold and money. Since the 1990s, New Economic Criticism has sought to understand the ways in which money and literature converge throughout history. Although several studies of money and American literary realism have been undertaken, the relationship between money and American literary modernism specifically has largely been overlooked in scholarship. Analysing the works of Robert Herrick, Gertrude Stein, F. Scott Fitzgerald and John Dos Passos, this thesis contends that a certain strand of American modernism developed as a series of reflections upon the relationship between money, value and realistic representation, in which the limitations of realism are exposed. Calling for a re-historicisation of the relationship between money and literature, this study argues that particular socio-historical moments in the story of American money emphasised the fluidity of money, sending social conceptions of value into flux in a society in which money functioned as the general equivalent by which all values were measured. These moments when accepted face values were called into question offered American writers the language and structure by which to consider and challenge the limitations of existing literary forms by comparing money with literature. Both paper money and literature, forms of representation which function via the inscription of words upon paper, contain an inherent duality; they have both a material value, in terms of their composition from paper and ink, and a deeper capacity to represent a certain value in the society in which they circulate. Modernism is concerned with such a duality, emphasising the materiality of the text and exposing the text's status as a representation that can never equal the reality that it represents. The authors discussed here confronted the discrepancy between written language as a reflection of the real world and words as material constructs in themselves through the metaphor of money, manifesting in both textual theme and structure, where the boundaries of realist representation are broken down via the use of unconventional forms. Utilising the method of close textual analysis and situating the texts examined within the wider socio-historical contexts of which they were born, the thesis focuses upon four different moments in the story of U.S. money and literature. This historically contingent approach facilitates the argument that these literary texts function as sites at which to examine and come to terms with contemporaneous social issues, helping to broaden both the purpose and structure of American literature in the early-twentieth century.
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Glasburgh, Michele M. "Chick lit: the new face of postfeminist fiction?" Thesis, School of Information and Library Science, 2006. http://hdl.handle.net/1901/349.
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This study is a content analysis of ten chick lit books, a genre of women’s fiction. Books were analyzed for five postfeminist characteristics as defined by Susan Faludi’s backlash theory, outlined in Backlash: The Undeclared War Against Women and in further research on popular culture’s notions of womanhood: 1) negative reaction to second wave feminism, 2) focus on the individual instead of a collective sisterhood, 3) desire for more traditional femininity through domesticity, consumerism, romance, and motherhood, 4) female identity crisis causing fears of a man shortage, a loudly ticking biological clock, and career burnout, and 5) feelings of anxiety over ability to make the correct future decisions. Analysis has found that chick lit does generally reinforce the notions of postfeminism/backlash, however the characters displayed anxiety over how to incorporate feminine paths into their lives and generally disregard motherhood.
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Thompson, Mary E. "The furrowed face : the depiction of the elderly in painting, England and the United States, 1870-1910." Thesis, Oxford Brookes University, 2017. https://radar.brookes.ac.uk/radar/items/9c6b3ee4-80f0-44dc-a0a4-70399c36f001/1/.
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Old age has always evoked diametrically opposed opinions. On the one hand, the elderly are respected, regarded as benevolent repositories of wisdom and comfort; on the other, they are considered as decrepit vestiges of life, who pointlessly linger on, wasting the world for the vibrant and useful. These views were particularly topical in the last decades of the nineteenth/first decade of the twentieth centuries, when there was increasing concern in many countries about the aged and their vulnerability. In England and Wales this resulted in the 1908 provision by the government of an old age pension. In the United States, however, provision of support from the state was introduced significantly later, in the 1930s. How, if at all, was this variation in view reflected in the painting of the elderly in the two countries? This study addresses this question by firstly considering how the elderly are portrayed in genre painting in each country. It then moves on to the world of portraits, looking in more detail at the work of individual artists, both American and English, including Thomas Eakins, John Singer Sargent and Hubert Herkomer. In England it emerged that the elderly were often shown as happy if shabby, with a more submissive attitude to fate; there was also a significant segment of painting which recorded the poverty and difficulties which may face the old. In contrast, in the United States the elderly were shown as vibrant, assertive and materially better off, with few indications of the troubles they may undergo. In both countries, however, it became clear that the elderly were regarded in a positive way by artists, who delighted in the excellent practice of artistic skills provided by the time-ravaged faces and features of the old.
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Tastekin, Emel. "Another look at Orientalism : Western literature in the face of Islam." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33849.
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Another Look at Orientalism seeks to establish a genealogical link between the fields of literary criticism and Islamic studies through a case study of the Qur’anic scholarship of Abraham Geiger (1810-1874). Responding to Edward Said’s thesis in Orientalism (1978), which polemically subordinates all Orientalist scholarship of the nineteenth century to some form of imperialist motive, this dissertation argues that Geiger, as a member of the Jewish diaspora in a German-speaking land, reacted against the Christian bias in the philological scholarship of his time by highlighting the heading “Abrahamic” in his work Was hat Mohammed aus dem Judenthume aufgenommen? (1833). I see Geiger’s work as one of the first attempts to critique the internal imperialism of Western/European culture and, as such, a precursor of comparative and postcolonial literary studies of the twentieth century.
From a theoretical angle, I combine Jacques Derrida’s philosophy, particularly on “Abrahamic hospitality” and “exemplarity,” with perspectives drawn from diaspora and postcolonial studies, such as those of Aamir Mufti, Jonathan and Daniel Boyarin, Sander Gilman, Susannah Heschel and Amos Funkenstein. The aim is to show that Geiger’s pioneering influence on the “objective” study of Islam—however motivated by his defence of Judaism in face of Christianity—should be seen as a gesture of hospitality towards Islam. I ultimately argue that Islam was not always exterior but also implicated in the construction of modern European identity.
In the first chapter, I show how the corroboration of a Judaeo-Christian essence in Western literary criticism, particularly in the works of canonical critics like Matthew Arnold and Erich Auerbach, was informed by the nineteenth-century background of the “Jewish question.” In the second chapter, I trace how postmodern Jewish theory, as influenced by Derrida’s philosophy, has contended with the supersessionist and hegemonic implications of the Judaeo-Christian “hyphen.” Next, I turn to my case study of Abraham Geiger and contextualize his work with respect to the methods of German Orientalism and in relation to the German-Jewish emancipation struggle. I then analyze Geiger’s Was hat Mohammed aus dem Judenthume aufgenommen? in the light of Derrida’s philosophy of exemplarity and hospitality, as explained in Chapter Two.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.
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Keck, Michaela. "Walking in the wilderness the peripatetic tradition in nineteenth century American literature and painting." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2811163&prov=M&dok_var=1&dok_ext=htm.
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Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bellon, Liana. "Wilde's decorative arts : a study of painting, clothing, and home décor in the writings of Oscar Wilde." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79285.
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This project explores Oscar Wilde's work on painting, the art of dress, and home decor, referred to collectively in his lectures as the 'decorative arts.' While it has become commonplace to assert that Wilde's plays and essays subvert the status quo, few scholars have studied Wilde's work on the decorative arts to substantiate his status as a writer arguing for social and political change. Through an analysis of Wilde's North American lecture tour and his editorship of The Woman's World, as well as his approach to painting, clothing, and home decor in his more well-known work, I argue that Wilde conceives of the decorative arts as a means of expressing and inciting dissatisfaction with the social and political realities of Victorian England.<br>As I show, Wilde subtly presents avant-garde art, sartorial details, and home decor items as functional ornaments. The formal elements of a painting foster receptivity and, by extension, sensitivity and compassion. Unconventional attire functions as a visual symbol of discontent with social and physical conformity. In light of Wilde's published support of women's emancipation, his writings on home decor imply that the well-decorated house, rather than the Victorian wife, should be responsible for creating domestic harmony.<br>Wilde's penchant for the decorative arts has long remained the domain of anecdote; the following study instead positions Wilde's interest in the decorative arts as a defining, and insightful, aspect of his oeuvre .
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Skrzeszewski, Aline. "Traversee des frontieres litteraires: La litterature-monde face aux malaises de nos societes." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592133290443453.
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Meacock, Joanna. "Saintly ecstasies : the appropriation and secularisation of saintly imagery in the paintings and poems of Dante Gabriel Rossetti." Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/1596/.
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Using unpublished source material at Princeton University, the University of British Columbia, the British Library and the National Art Library in the V&A, this thesis aims to broaden current scholarly understanding regarding Rossetti's exposure to, interest in, and subsequent appropriation of aspects of monastic life and saintly legend in his religious and secular paintings and poems. The intention of part one of this thesis is to discuss and analyse Rossetti's early interest in monasticism and the legends of the saints. Rossetti's attraction to Catholic ritual and ceremony, both in terms of its aesthetic impact and the feelings of awe it engendered, will form the background to a discussion of his admiration for pre-Reformation art. The concern which he displayed in his own paintings and poems for saintly legend and theological mysteries will be shown to have its origins in early Christian art, as well as in the apocryphal lives of the saints and the writings of the Church Fathers, which had seen a resurgence in popularity in the wake of the Oxford Movement. Rossetti's growing fascination with art as a vehicle for the conveyance of religious ideas will be considered in relation to the early and mid-nineteenth century revival of interest in the medieval painter-monk and in the practice of illumination. Rossetti's 1856 watercolour Fra Pace will be examined in this context. The pertinence of the example of St Luke, who used his art as a preaching tool, will also be considered, Rossetti having returned to this concept directly, and obliquely, throughout his career in both his visual and poetic art. The influence of the quasi-monastic Nazarene painters, also called the German Brotherhood of St Luke, will be examined. Rossetti's suggestion of "Brotherhood" as an appendage to "Pre-Raphaelite" will be considered within a specifically monastic context, looking at the artist's family history, analogous artistic communities, and the revival of interest in ascetic institutions within the nineteenth century. The extent to which the works of the Pre-Raphaelite group showed a basis towards asceticism will be analysed, as will contemporary reactions to this.
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Porter-Salmon, Emily. "Textual cues, visual fictions : representations of homosexualities in the works of David Hockney." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1023/.
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This thesis is concerned with representations of homosexual themes and subjects in the works of David Hockney (b. 1937). A male, homosexual British artist, Hockney came of age during a period in which homosexual acts between males remained criminalised in both Britain and the United States. Openly homosexual since the early 1960s, Hockney began to produce images concerned with homosexual themes during his Royal College of Art student years. This thesis explores Hockney’s discovery of texts, languages, images and publications relating to homosexuality from the 1960s onwards, and his personal and creative responses to these sources. The concept of a homosexual creative ‘canon’ existed amongst homosexual men of this period, albeit in an unofficial capacity; this wider context of historical creative and cultural precedent within homosexual subcultures has not previously been the subject of sustained critical engagement in relation to Hockney. In addition to the artist’s works dealing with homosexual themes produced prior to the partial decriminalisation of homosexuality in Britain in 1967, this thesis looks beyond that period, and also considers Hockney’s personal self-fashioning and media engagements. Far from an anomalous maverick, Hockney and his works are shown to fit within a continuum of homosexual creative and cultural endeavour.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in early Greek vase-painting and literature." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405416.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.
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Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
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Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.<br>Romance Languages and Literatures
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Mitchell, Alexandre G. "Comic pictures in Greek vase painting : humour in the polis and the Dionysian world in the sixth and fifth centuries B.C." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248968.
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Kasende, Luhaka Anyikoy. "Énonciation et idéologie dans l'univers romanesque de V.Y. Mudimbe : le roman négro-africain face aux discours hégémoniques." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ45176.pdf.
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Robertson, Sarah M. "L'art et l'amour à Travers un Amour de Swann de Marcel Proust." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/882.
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The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.
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Ennis-Chambers, Sarah. "Birth and After Birth and Painting Churches: Tina Howe's Examination of Love and Savagery in the American Family." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/865.
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Playwright Tina Howe has been quoted as saying that "family life has been over-romanticized; the savagery has not been seen enough in the theatre and in movies . . ." (Moore 101). In two of her plays, Birth and After Birth (1973) and Painting Churches (1983), that savagery appears in the form of name-calling, jealousy, apathy, disregard, and physical and mental abuse. A juxtaposition of the similarities in Birth and After Birth and Painting Churches will explain the "savagery" Howe is examining. The earlier play is written in the surrealistic style of lonesco and Beckett, playwrights who have been a major influence on Howe. The later work is a much more realistic, conventional play. Both center around three-member families (a set of parents and an only child) and take place at a time of significant change. The main focus is Painting Churches and the abuse that lies at the heart of the play. Mags Church (short for Margaret) has come home to help her parents, Fanny and Gardner, pack their things; they are moving from Boston to their summer cottage in Concuit. A promising young artist on the rise, she is also going to paint a portrait of them. But the painting of this portrait will be much more than the creating of a new piece of art for Mags; it will be a very personal and very trying test. Throughout the play, Howe reveals Mags' multifaceted mental and emotional problems and how her mother, while essentially a loving parent, contributed greatly to her daughter's lack of self-esteem and need to mask herself behind her work. She may even be responsible, and this thesis proves that Fanny Church subjected her only child to continuous psychological abuse, creating in her a deep-rooted psychosis. Birth and After Birth, written a decade earlier, examines some of the issues addressed in Painting Churches, and is basically used as backup evidence to help prove my theory.
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Garcia, Rangel Sherezade. "The Wounded Me : a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7355/.
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Chambost, Blandine. "Female figures of excess in French painting and literature in the second half of the nineteenth century." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620506.
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Motyl, Katharina. "With the Face of the Enemy : Arab American Literature Since 9/11 / Katharina Motyl." Frankfurt : Campus, 2019.
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Sundkvist, Luis. "Turgenev and the question of the Russian artist." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/228706.
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This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.
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Mercado, Leticia. ""Habla, bulto animado": El problema del silencio en la poesía ecfrástica de la España barroca." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104156.
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Thesis advisor: Elizabeth Rhodes<br>This dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation<br>Thesis (PhD) — Boston College, 2015<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Romance Languages and Literatures
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Toure, Zalia Maiga. "Les Femmes Face aux Traditions dans les Litteratures et Cinemas Contemporains de l'Afrique Francophone." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194971.
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Starting with a contextual characterization of the concepts of “women”, and “traditions”, this dissertation examines the position of women facing African traditions, particularly through some of their practical manifestations: excision, polygamy and levirate. This dissertation focuses on the description of the ontological, social and cultural bases of these traditional practices in order to reflect on their links to ancestral believes. This study explores how social representations are reflected in a corpus of five novels and three films, chosen in connection with their pertinence to the subject. In this respect, the ideological and philosophical position of the authors regarding those ancestral practices is analyzed. In such a respect, it is important to mention Fatou Keita in Rebelle, Mariama Barry in La Petite Peule, Mariama Bâ in Une si longue lettre, Habibatou Traoré in Sidagamie, Dieudonné Nkounkou in Le lévirat, on the one hand, Sembène Ousmane in Moolaadé and Xala, Cheick Oumar Sissoko in Finzan, on the other hand. My analysis explores the attitudes of female heroines who revolt against their oppressive patriarchal environments and it reveals the necessity of questioning those behaviors and habits of mind that perpetuate the subjugation of women in the name of tradition. I also review perceptions of ancestral practices in West Africa, first by women themselves and then by society as a whole. This study brings to light some of the most traditional and egregious abuses against women that are rooted in West African ancestral traditions, particularly against those women living in rural areas. I consider, for example, the various systems of mystification that allow the oppression of women to persist today in the name of tradition. While this study points out the urgent need to overcome certain negative aspects of West African traditions, it also acknowledges the benefit of valorizing positive elements of traditional life and cultural experience, even more than we already do presently.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Wagner, Erin K. "“How Can They Meet Us Face to Face?”: The Faith-Reason Debate in C. S. Lewis’s Till We Have Faces and Medieval Dream Visions." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275766772.
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Thistleton-Martin, Judith. "Black face white story : the construction of Aboriginal childhood by non-Aboriginal writers in Australian children's fiction 1841-1998 /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031024.100333/index.html.
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Urso, Graziela Schneider. "A face russa de Nabokóv: poética e tradução." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8155/tde-30042010-122536/.
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Embora o nome Nabókov remeta tão-somente a escritor norte-americano, criador de Lolita, raro se lembra de sua origem russa. Nem os leitores, nem a crítica literária brasileira associam Nabókov à literatura russa, apesar de ter-se consagrado primeiramente como autor russo e por mais de 20 anos ter escrito nessa língua, com a qual ele se identifica tanto como escritor, tradutor e autotradutor, quanto como professor e teórico. A presente dissertação é o primeiro trabalho a trazer tradução direta do russo da coletânea de contos Primavera em Fialta (1956), obra-prima do momento russo de Nabókov, inédita no Brasil. Propõe-se a adentrar o arcabouço nabokoviano, delinear sua poética e traçado distintivo, ressaltando seus procedimentos estilísticos e lingüísticos. Finalmente, objetiva-se observar o processo tradutório de Nabókov, suscitando questões atreladas às mudanças de paisagem e língua literária e investigando a relação entre escritura, tradução e identidade cultural e artística.<br>Although Nabokov is usually best remembered as the North-American author of Lolita, his Russian origins are rarely mentioned. Brazilian readers and literary critics never think of linking Nabokov with Russian literature, even though he was first known as a Russian writer, for over two decades, and even though he identified himself as such, as well as being a translator, self-translator, teacher and theoretician. This master thesis is the first one to offer a direct translation from Russian into Portuguese of Spring in Fialta (1956), a remarkable collection of short stories from Nabokov s Russian period, considered a masterpiece, never yet published in Brazil. It will also describe Nabokov´s poetics and stylistic peculiarities, as well as the linguistic process at work in the short stories. This work aims at studying Nabokov´s translation process, raising issues linked with the changes in his literary landscape and language, and observing the relation between writing, translation, as well as cultural and artistic identity.
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Fisher, James. "'I came here a stranger, as a stranger I depart' : an investigation into the relationship between drawing and narrative of place." Thesis, University of Gloucestershire, 2009. http://eprints.glos.ac.uk/1242/.
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This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.
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Armond, Andrew D. Wood Ralph C. "The Anglo-Catholic quality of Christina Rossetti's apocalyptic vision in The Face of the Deep." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4203.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Manion, Deborah Maria. "The ekphrastic fantastic: gazing at magic portraits in Victorian fiction." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.
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While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction.
Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.