Dissertations / Theses on the topic 'Horror in art'

This arts-based study discusses using the horror film and monsters as a means of exploring the personification of fear in contemporary society. The paper incorporates the viewing and dissection of horror films into an artistic process to explore fears in order to further artistic expression. It additionally shows how this process can be used in an art classroom within the context of contemporary art to empower students and facilitate art criticism discussions.

My research proposes an analytical engagement with the central functions of Phantasmagoria and the Wunderkammer, namely atmosphere and display. My paper is divided into six chapters; Chapter one proposes spectatorship as a common thread linking the Phantasmagoria to the Wunderkammer and offers an overview of the similarities and disparities between the two. Chapters two, three and four focus on constructs, definitions and implications of Gothicity within the context of Phantasmagoria, Horror films and contemporary art. Aligning my studio-based practice with contemporary artists' who engage with aspects of the Gothic spectacle. Chapter five contemplates the Wunderkammer in terms of its history and precursive archival practices. Chapter six offers an analysis of specific contemporary artists' attraction to archaic modes of display and provides a theoretical platform for my own conceptual engagement. The objective of my research has been to collate reference material aligned to various modes of historic and theoretical enquiry, thereupon concluding my studies in the 'staging' of Phantom in the Comer an immersive multi-media installation.

This thesis is concerned with art and emotion, and horror fiction in particular. I criticize a theoretical paradigm of emotion and art based on cognitive theories of emotion, and argue that the approach developed in this thesis is a more promising one. I shall begin by clarifying the role of affective response in our emotional engagement with art. Two dominant cognitivist accounts of art and emotion—Walton’s Make-believe Theory and Carroll’s Thought Theory—will be discussed. I position the two theories as competing solutions to Radford’s puzzle of response to fiction so as to examine the subsequent debates between them. I aim to show that the debates reach an impasse as a consequence of their ignoring affective responses in favour of cognitive states. As a result, I call for a deeper investigation of affective responses to works of art. In Chapter 2, I demonstrate that both theories fail to take formal/stylistic elements of an artwork into serious consideration and to address the power of film. In Chapter 3, I discuss problems specific to Carroll’s analysis of the horror genre. I hope to show that the flaws of his approach are rooted in a mischaracterization of the emotion “horror” as a cognitive emotion. I then set forth constraints for a more promising account of cinematic horror. One of the constraints is being able to deal with the peculiarities of horror film music and sound, which seem to be beyond the grasp of cognitivist analysis. The various drawbacks of the two cognitive theories can be traced back to their common assumption that cognitive states are necessary for emotion. So in Chapter 4 I scrutinize various forms of arguments in favour of this cognitivist view of emotion and I conclude that the view is not justified. In Chapter 5, therefore, I explore an alternative theory of emotion. Drawing mainly on works of J. Prinz and J. Robinson, I discuss an embodied appraisal theory of emotion which maintains that affective responses have primacy over cognitive states in emotion and that non-cognitive states can also trigger emotion. Taking this embodied appraisal theory of emotion as my starting point, in Chapter 6 and Chapter 7, I then develop an embodied theory of filmic emotion, on which an aesthetics of cinematic horror can be built. I defend the embodied theory in terms of its competence in providing an account of various phenomena regarding affective responses evoked by fiction, the emotive-power of stylistic/formal elements and the power of film. In the light of the embodied theory, I re-conceptualize the emotion “horror” and address the peculiarities of horror film music and sound. By demonstrating how the embodied appraisal theory of emotion contributes to a more comprehensive account of filmic emotion and a subtler aesthetic of cinematic horror, I conclude that it is a more promising theory of emotion that facilitates a proper understanding of our emotional engagement with art.
published_or_final_version
Philosophy
Doctoral
Doctor of Philosophy

This thesis explores various dilemmas in making theatre performances in the context of social disruption, trauma and death. Diverse discourses are drawn in to consider issues of body, subjectivity and spectatorship, refracted through the writer’s experiences of and discontent with making theatre. Written in a fractal-like structure, rather than a linear progression, this thesis unsettles discourses of truth, thus simultaneously intervening in debates about the epistemologies of the body and of theatre in context of the academy. Chapter 1: Methodological Anxieties Psychoanalytic theory provides a way in for investigating the dynamics of theatrical performance and its corporeal presence, by focusing on desire and its implication in the notions of loss and anxiety. The theories of the unconscious and the gaze have epistemological implications, shifting definitions of “presence” and “truth” in theatre performance and writing about theatre. This chapter tries to outline the rationale for, as well as to enact, an alternative methodology for writing, as an ethical response to loss that does not insist on consensus and truth. Chapter 2: (Refusing to) Look at Trauma This chapter examines the politics that strives to make suffering visible. Discursive binaries of public/private, dead/living, and invisible/visible underlie the politics of AIDS and sexuality. These discourses impact on the reception of Bill T. Jones's choreography, despite his use of modernist artistic processes in search of a bodily presence that aims to collapse the binary of representation (text) and its subject (being). The theory of the gaze shows this politics to be a phallocentric discourse; and narrative analysis traces the metanarrative that results in the commodification of oppositional identities, so that spectators participate in the politics as consumers. An ethical artistic response thus needs to shift its focus to the subjectivity of the spectator. Chapter 3: The Screen and the Viewer’s Blindness By appealing to a transcendent reality, and by constituting spectators as a participative community, ritual theatre claims to enact change. The “truth” of ritual rests not on rational knowledge, but on the performer’s competence to produce a shamanic presence, which director Brett Bailey embraces in his early work. Ritual presence operates by identification and belonging to a father/god as the source of meaning; but it represses the loss of this originary wholeness. Spectators of ritual theatre are drawn into an enactment of communion/community, the centre of which is, however, loss/emptiness. The claim of enacting change becomes problematic for its absence of truth. Bailey attempts to perform a hybrid, postcolonial aesthetics; but the problem rests in the larger context of performing the notion of “South Africa”, a communal identity hardened around the metanarrative of suffering, abjecting those that do not belong to the land of the father/god – foreigners that unsettle the meaning of South African identity. Conclusion: Bodies of Discontent The South African stage is circumscribed by political and economic discourses; the problematization of national identity is also a problematization of image-identification in the theatre. In search for a way to unsettle these interrogative discourses, two moments of performing foreignness are examined, one fictional, one theatrical. These moments enact a parallel to the feminine hysteric, who disturbs the phallocentric truth of the psychoanalyst through body performance. These moments of disturbing spectatorship are reflected in the works of performance artist Marina Abramovic. Her explorations into passive-aggression, shamanism and finally theatricality and the morality of spectatorship allow for an overview of the issues raised in this thesis regarding body, viewing, and subjecthood. Sensitivity to the body and its discontent on the part of the viewer becomes crucial to ethical performance.

Le napolitain Giacomo Lubrano (1619-1693), poète et prédicateur jésuite, est l'un des représentants de la fin du baroque littéraire italien. Son œuvre, assez vite oubliée après la mort de l'auteur, n'a été redécouverte par la critique qu'à partir de la deuxième moitié du XXème siècle : les compositions en prose, comme les sermons des Prediche quaresimali, ainsi que les recueils de vers en latin (Suaviludia Musarum ad Sebethi ripam) ou en italien (Scintille poetiche), répondent à une vision moderne du langage, qui, si elle témoigne d’une sensibilité historique bien précise, s'insère de manière plus large dans le cadre d'une réflexion sur l'écriture poétique et oratoire appréhendée comme l'exercice apophatique de la voix (vox) ne pouvant retranscrire le Verbe divin (Verbum). À partir de l'analyse textuelle des trois œuvres mentionnées, notre recherche a donc voulu montrer cette modernité, en dégageant d'une part les caractéristiques d'une poétique du silence propre à G. Lubrano, pour qui le discours est toujours la manifestation d'une aphasie, et en proposant d'autre part la traduction française d'un choix de sonnets tirés des Scintille poetiche

Deivisceris is a four-player role-playing tabletop game that focuses on themes of horror. It looks into ideas from the horror genre as a whole while combining aspects from the body horror and cosmic horror subgenres to create a discomforting horror experience. The game features illustrations and written events with a choice-based narrative that can have multiple outcomes depending on a player's decisions, stats, and items. Deivisceris utilizes randomness in order to create a new experience each time it is played through randomized characters and a randomized game board that is built up as it is played. The game reveals its narrative through clues within the gameplay, illustrations, and written text as characters enter the game's world blindly. Deivisceris is an immersive tabletop horror experience that can be further expanded on in the future with the possibility of a larger production.
Master of Fine Arts
Deivisceris is a four-player tabletop game that looks into the ways horror can be created in a board game format. It examines various ideas from the horror genre as a whole while taking inspiration more directly from two subgenres of horror: body horror and cosmic horror, each of which has very different ways of evoking horror. The game includes a variety of full-color illustrations and written situations that give players a chance to make their own decisions. Deivisceris utilizes randomness in order to create a new experience every time it is played. The game board is built up differently every time it is played and characters' stats, such as strength, intelligence, and endurance, may be different in each game. The game's story is revealed through clues within the gameplay, illustrations, and text. Deivisceris is a tabletop role-playing horror experience that can be further expanded on in the future with the possibility of a larger production.

Este trabalho se propõe a interpretar o diálogo travado por obras do cinema brasileiro contemporâneo com o repertório do cinema de gênero. A partir de questões suscitadas pela análise fílmica de obras como O invasor (Beto Brant, 2002) e Trabalhar cansa (Juliana Rojas e Marco Dutra, 2011), procura-se refletir sobre o discurso totalizador operado formalmente no cinema contemporâneo de ficção, os valores canônicos de nossa tradição crítica e sua relação com os gêneros cinematográficos e sobre a dinâmica sociopolítica na história recente do país.
This work aims to interpret the dialogue made by works of contemporary Brazilian cinema with the repertoire of genre cinema. As from issues raised by film analysis of works such as The Trespasser (Beto Brant, 2002) and Hard Labour (Juliana Rojas and Marco Dutra, 2011), it seeks to reflect on the totalizing discourse formally operated in the contemporary fiction cinema, on the canonical values of our critical tradition and its relation to film genres and on the socio-political dynamics in Brazil\'s recent history.

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This paper portrays different ways of experiencing horror, from the existing relationship between art and thought, looking for understanding some of the political forces that act over humanity in distinct contexts. We start off by the principle that experience of horror accompanies mankind since the first social forms and, through it, it s possible to look at the human condition and situations generated by the difficult sociability. The analysis of these difficulties involves the recognition of circumstances that act over humanity and set violence situations, impotence and suffering. The experience of horror in face of world s reality starts off by the individual itself attesting the Cartesian rationality consequences, and broadens toward the collective, revealing social and political problems, specially with modernity, when the work world asserts itself to mankind in an absolute way and life becomes something disposable. The pieces of artwork selected to the study express different ways of horror, produced in distinct contexts of oppression and carry on themselves important information about the worldly reality. The analysis of these works allowed new perspectives and established a dialogue with some thinker s ideas. In front of the absurd of the world, in which assignments appear to be tragic by its unachievement, an affirmative thought points to a creative way of existing, which diagnoses, values and potentiate life
Este trabalho apresenta um mapeamento de diferentes formas de experiência do horror, a partir da relação existente entre arte e pensamento, procurando entender algumas das forças políticas que atuam sobre os homens em distintos contextos. Partimos do princípio de que a experiência do horror acompanha o homem desde as primeiras formas sociais e, através dessa experiência, é possível lançar um olhar sobre a condição humana e sobre as situações geradas pela difícil sociabilidade. A análise dessas dificuldades implica o reconhecimento das circunstâncias que atuam sobre os homens e configuram situações de violência, impotência e sofrimento. A experiência do horror frente à realidade do mundo parte do próprio indivíduo, atestando as conseqüências da racionalidade cartesiana, e se amplia em direção ao coletivo, revelando problemas políticos e sociais, especialmente a partir da modernidade, quando o mundo do trabalho impõe-se ao homem de forma absoluta e a vida torna-se algo descartável. As obras de arte selecionadas para o estudo expressam diferentes formas de horror; foram produzidas em contextos distintos e carregam em si mesmas informações importantes sobre a realidade mundana. A análise das obras permitiu que novas perspectivas surgissem e estabelecessem um diálogo com as idéias de alguns pensadores. Diante do absurdo do mundo, em que as tarefas mostram-se trágicas por sua irrealização, um pensamento afirmativo aponta para um modo de existir criativo, que diagnostica, valoriza e potencializa a vida

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This paper aims to analyze social representations of the horror film in a group of consumers of the genre. The research is motivated by two questions posed by author Noël Carroll (1999) in the book "The Philosophy of Horror or Paradoxes of the Heart": how people can be attracted to narratives whose logic is to provoke horror and fear? And why should anyone have fear in this genre, when they know the plot is fictional? For Carroll, the people are interested in the horror stories because they are curious and it is not the plot that they are afraid, but the content generated by thinking about it. The objective is to test these two responses by author – which seem essential to understand the consumption of film horror – in the reception field with a group of potential viewers of the genre. For this objective, we look, in the social networking twitter, for people who showed interested in the cinema of horror. The criterion for selection was that their accounts/profiles were following the account/profile bocadoinferno – whose content is all oriented to the cinema of horror. For the first stage of selection, we considered the age and presenting a personal account at the account/profile: 190 subjects were approached at that stage, questioned if they want to participate. For those who agreed (86 people) were sent a questionnaire trying to find out if these spectators really are interested in the cinema of horror. The 32 individuals who responded were sent another questionnaire to identify how they perceived the gender they consume. Of the 24 respondents, six were selected for a virtual interview. In analyzing the results of data collection was reached three categories of social representation of the subjects about the consumption of horror cinema: a narrative perception, emotion and attraction caused by gender.
Este trabalho tem por objetivo analisar representações sociais sobre o cinema de horror em um grupo de consumidores do gênero. A pesquisa é motivada por duas questões colocadas pelo autor Nöel Carroll (1999) na obra “A Filosofia do Horror ou Paradoxos do Coração”: como as pessoas podem se atrair por narrativas cuja lógica é provocar horror e medo? E por que alguém sentiria medo em obras desse gênero, quando a trama não passa de uma ficção? Para Carroll, as pessoas se interessam pelas narrativas de horror porque são curiosas e não é da trama que elas têm medo, mas do conteúdo gerado ao pensar nelas. O objetivo deste trabalho é testar essas duas respostas do autor – que parecem essenciais para entender o consumo do cinema de horror – no âmbito da recepção, com um grupo de espectadores potenciais do gênero. Para isso, buscou-se na rede social twitter pessoas que se mostrassem interessadas pelo cinema de horror. O critério de escolha era o de que suas contas/perfis estivessem seguindo (following) a conta/perfil bocadoinferno – cuja produção de conteúdos é toda voltada para o cinema de horror. Para a primeira etapa da seleção, foram consideradas a idade e a apresentação de uma descrição pessoal na conta/perfil: 190 sujeitos foram abordados nessa fase, questionados se gostariam de participar da pesquisa. Para os que aceitaram (86 pessoas) foi enviado um questionário, buscando descobrir se esses sujeitos realmente se interessavam pelo cinema de horror. Aos 32 indivíduos que responderam, foi enviado outro questionário para identificar como eles percebiam o gênero que consumiam. Dentre os 24 que responderam, seis foram selecionados para uma entrevista virtual. Na análise dos resultados da coleta de dados chegou-se a três categorias de representação social dos sujeitos acerca do consumo de cinema de horror: a percepção narrativa, a emoção e a atração provocada pelo gênero.

Syftet med detta examensarbete var att ta reda på vilka typer av djurögon applicerade på en mänsklig karaktär som kan uppfattas som mer eller mindre skrämmande. Arbetet grundar sig på teorier om fiendedesign i skräckspel samt ögonens anatomi. Sex konceptbilder skapades och användes till 15 semistrukturerade intervjuer. Fem frågor rörande de sex karaktärerna med olika djurögon gav svar på frågeställningen i arbetet. Resultatet från denna undersökning visar att färg och form har en viss betydelse för hur en betraktare upplever vad som är skrämmande för de utvalda ögonen.

This practice-led research project explores how humour can be employed to develop a methodology for examining the socio-political dimensions of contemporary art practice. This research aims to identify and elaborate on how using the evasive strategies and elliptical frameworks associated with ideas of the absurd and nonsense can lead to new ways of understanding the nexus between social, political and cultural practices. This is achieved primarily through an examination of the art practices of Marcel Duchamp, Bruce Nauman, and Martin Kippenberger. These artists contextualise this research because in different ways they all engage with humour as a device to critique conventional notions of how art can be read or understood. Using these strategies the project aims to demonstrate new ways for considering how visual art can use humour to creatively and critically investigate the relationships between art and the social.

Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.

Il presente studio mira a constatare lo stretto collegamento tra la figura femminile e il cinema thriller e horror italiano, qui denominato genericamente “fantastico” in un’ accezione estensiva, a evidenziarne caratteristiche comuni relative a entrambi i generi. La periodizzazione della ricerca va dagli anni sessanta agli anni ottanta ed il primo obiettivo è stato quello di valutare secondo un approccio culturalista l’interdipendenza donna-horror, spesso sfociata in un approccio misogino al genere. I risultati sono stati spesso discordanti rispetto alle premesse di partenza: le donne sono raffigurate solo come vittime, il gradimento del pubblico è esclusivamente maschile. La messa in discussione di questa tesi si è resa possibile attraverso una ricerca empirico-applicativa di un campione di film e una disamina di scritti più recenti che mirano in qualche caso a rovesciare il paradigma di partenza. Il secondo obiettivo ha rilevato differenze tra rappresentazione femminile nel cinema italiano e americano, muovendo dal presupposto che le teorie su cui ci si è basati provengono dagli stati uniti e hanno previsto un campione per lo più di film non italiani. quindi l’ intento dello studio è stato anche quello di misurare l’applicabilità di alcuni paradigmi teorici al caso italiano. lo svolgimento della ricerca ha previsto un’indagine di tipo quantitativo (rilevazione del corpus estensivo di film) e intensivo-qualitativo (analisi di alcuni principali stereotipi femminili, tratti dalla letteratura e dal cinema: damsel in distress, belle dame sans merci, final girl), per giungere poi alla conclusione che il genere fantastico italiano ha risentito forse più di ogni altro di una conflittualità permanente, tra bisogno di emancipazione e resistenza conservatrice.
This current study aims to ascertain the close connection between female figure and Italian horror/thriller, cinema, here called "fantastico" in an extensive meaning, in order to highlight common features related to both genres. The periodization of research goes from 60s to 80s and the first purpose was to evaluate, according to a culturalist approach, the woman-horror interdependence, often focused in a mysoginic approach to the genre. The results have often been conflicting with respect to the starting presuppositions: the women are represented only as victims, the audience’s satisfaction is exclusively male. The discussion of this thesis was possible through an empirical and applicative research of a film sample and a careful investigation of latest writings that aim in different cases to reverse the paradigm of the starting point. The second objective detected differences between female representation in the Italian and American cinema, moving from the assumption that the theories which we are based on, come from united states and have provided a sample of more American films than Italian ones. Therefore the intent of this essay was testing the applicability of some historical theoric paradigms to the Italian case. the research’ s method involved a quantitative cataloging of extensive film corpus and an intensive one, which analyzes the main female stereotypes drawn from literature and cinema (damsel in distress, belle dame sans merci, final girl ). the conclusions show that the Italian fantastic genre has resisted more than other ones of a permanent conflict between emancipation and conservative resistance.

Considered under the theme 'The Floating World', the aim of this research project was to create a written exegesis and a series of artworks, primarily in the form of digital animation and illustration, which investigate decorative and illustrative art practices and their historical lineages. Particular emphasis was given to investigating the links between contemporary decorative/illustrative art practice and the aesthetics and psychology of the Edo period in Japan (C17th - C19th), in which the term 'The Floating World' was used to describe the city of Edo (old Tokyo). The writing concerned with The Floating World is comprised of the following chapters: history; concepts; aesthetics; contemporary adaptations of Ukiyo-e; and gothic romance and associated genres. The outcomes of my Masters program represent a sustained exploration of decorative and illustrative art practice and theory, and incorporate experimentation with associated genres such as magic realism, gothic romance, the uncanny, iconography, surrealism and other metaphorical and abstract representational practices. More broadly, my Masters project is an investigation, both theoretical and practical, into the way drawing and illustration have been a process through which to (literally) give shape to hopes and fears, and to describe understandings of self and the world. I am particularly interested in exploring how, through the act of abstraction and the use of metaphor and decoration, a capacity to 'speak the unspeakable' and 'know the unknowable' are somehow enabled. For example, when contemporary Japanese artist Takashi Murakami decorates Edo-inspired screens with a colourful arrangement of morphing cartoon mushrooms, he conjures up a startling and complex poetic space that juxtaposes traditional Japanese aesthetics and philosophy with the hyper-consumerist characters and ethos of Disneyland, as well as disquieting references to the mushroom bombs that dropped down on Hiroshima and Nagasaki from US planes. A similarly complex space is enacted by contemporary US artist Inka Essenhigh: her oversized canvases seem like sublime Japanese-inspired screens but a closer inspection reveals that the decorative motifs are actually dismembered body parts morphed together to create a savage and compelling metaphor for contemporary America that is all the more disarming for being perf ormed in a seemingly innocuous illustrative style. My research will draw on these examples but will endeavour to create a series of artworks that are particular to an Australian context. This interests me particularly in a time when, as a nation, we appear to be confounded about what it means to be Australian: as a contemporary artist I am interested in how we represent ourselves as a nation, and in exploring the motifs and attributes that we consider to be ours.

This thesis examines the relationship between the practice of architectural design and the media through which it is represented. It makes a consistent critical appraisal of the philosophical presumptions under which architectural theory is made, in particular, the relationship between theories of expression and representation. The thesis presents seven distinct projects by the author which developmentally explore the degree to which architecture is able to represent the sublime - in particular through the concept of horror. In this instance horror emerges as a category of excess that supervenes the uses of the term in the genres of film and literary studies. Within the thesis horror describes an (impossible) objective for representation The thesis argues that the environment within which these philosophical questions of 'effect' may most resonantly be explored is, ultimately, digital media. The author draws on contemporary commentary by Jacques Derrida and Georges Bataille, in particular Derrida's discussion of the Parergon and contemporary discussion of l'informe, the informal to support these arguments. It is within the apparently 'real' environments of virtual reality that the presentation of the mise-en-scene of horror may be explored. Immersive digital environments, it is argued, provide an appropriate level of freedom and direction for the exploration of the spatial experience of the abyss. The thesis concludes by presenting observations on the antinomy of aspirations that any materialist theory of architectural practice must attend to when working within digital media.

Ce mémoire rend compte d’où j’en suis dans ma pratique artistique, à un moment où je tente d’articuler un questionnement sur l’habiter incluant la mobilité, avec sa matérialisation dans une œuvre statique. Dans ce texte comme dans ma production, vous trouverez des fragments provenant de lieux divers, personnels, publics, naturels, urbains, autant que d’univers de pensée variés. En effet, la philosophie, la géographie et la psychanalyse sont mises à contribution et assemblées tant bien que mal pour tenter de saisir comment se joue une présence au monde, dans le corps, le lieu, la pensée, le mouvement, les choses. Ces réflexions accompagnent un corpus d’œuvres tirées de l’exposition Ma nature a horreur du vide, qui ont été réalisées à la suite de déambulations, en ville et en forêt.

This paper is an examination of the horror elements found in Peter Watts’ Blindsight. In depicting an encounter with aliens, this science fiction novel explores topics such as the nature of sentience, mankind’s relationship with technology, posthumanism, and the limitations of the human body and mind. Blindsight also envisions entities (aliens, vampires, and artificial intelligences) capable of interacting with material realities inaccessible to human beings. Using Levi R. Bryant’s machine-oriented ontology, this thesis demonstrates how Watts employs these themes and issues to problematize anthropocentrism and the notion of selfhood. These elements—and more—will be discussed and shown to match the criteria associated with ontological horror.

This study traces the history and culture of Spain as seen through the lens of the nation´s production of horror cinema. Starting from the boom of Spanish horror film in the early 1960s, the thesis compares and contrasts the political and social aspects of Spanish society throughout three distinct eras of the 20th century: 1962 – 1975 (the boom of Spanish horror film through the Franco dictatorship), 1975 – 1999 (the transition to democracy through the end of the 20th century) and 2000 – present (the 21st century). Movies as diverse as Gritos en la noche (1962, Jesús Franco), ¿Quién puede matar a un niño? (1976, Narciso Ibáñez Serrador) and Angustia (1987, Bigas Luna) are framed by culturally-related anectodes as well as correlations to their respective social environments. Special attention has been paid to the production and release of each film, especially in regards to censorship during the Franco dictatorship. The results show that Spanish horror cinema has acted as a true mirror to culture, society and politics in its native country throughout the 20th century and that this trend will likely extend in to the future.

In my thesis I argue that the return of the religious in contemporary culture has been in two forms the rise of so-called fundamentalisms in the established faiths-Christian, Jewish, Muslim, Hindu, even Buddhist-and the rise of a New Age style spirituality that draws from aspects of those faiths even as it produces something distinctively different. I argue that this shift both produces post-modern media culture, and is itself always-already mediated through the realm of the fictional. Secular and profane are always entangled within one another, a constant and pervasive media presence that modulates the way that contemporary subjects experience themselves and their relationship to the spiritual. I use popular culture as an entry point, an entry point that can presume neither belief nor unbelief in its audiences, showing that it is “unreal” texts such as Lord of the Rings, Harry Potter, The Matrix and so on that we find religious symbols and ideas refracted through a postmodernist sensibility, with little regard for the demands of “real world” epistemology. I argue that it is in this interplay between traditional religions and New Age-ised spirituality in popular culture that the sacred truly finds itself in postmodernity.

This project's objective was to design and build 4 stages of the Audrey II puppet for the East Tennessee State University production of Little Shop of Horrors (Ashman, 1982). The puppets were to be created with consideration for the production space, budget, and operator ease, along with audience impact. This paper will present the design and construction in a step by step-bystep fashion using illustrations and photographic examples. Each puppet in the series was originally conceived using references to living plants and animals combined with an artistic vision of the designer. The puppets were built with light, modern materials using new and traditional techniques for puppet construction. Construction techniques and materials resulted in light, maneuverable puppets that can be manipulated with ease and with high audience impact.

On a metaphoric level, the zombie is an extremely malleable and dynamic figure because it can act as a template for exploring the hazy definitions of humanity. The trope of the zombie I trace in this dissertation is the performance of an absence: the zombie as fragmented and incomplete human. I examine examples of the zombie in American literature across the last century that reify the absence of something crucial in the ontological makeup of a complete human, a component I term `the absent quale.' In the first two chapters, I establish the trope of the zombie as a figure that lacks a particular quale essential to humanity. Chapter One examines H. P. Lovecraft's zombies in "Herbert West: Reanimator" (1921–22) in the context of scientific materialism, which denies the existence of the soul. By 1959, when Robert Heinlein wrote his time travel classic "All You Zombies—," the figure of the zombie as an embodied absence was so established in popular culture that Heinlein's narrator uses the word "zombies" as a metaphor; Chapter Two reads the figurative zombie as a characterization of the fragmented along the temporal dimension. In Chapter Three, I consider Harlan Ellison and Robert Silverberg's "The Song the Zombie Sang" (1970) alongside Walter Benjamin's influential essay, "The Work of Art in the Age of Mechanical Reproduction," using the latter's concept of the aura to denote a sort of material analogue to the human soul. I argue in Chapter Four that the bricolage of popular culture motifs that Robin Becker's zombie rehearses throughout Brains: A Zombie Memoir (2010) enacts the postmodern estrangement from an authentic dimension of being. Expanding on this theme, Chapter Five explores the ways in which popular culture dictates reality for the living and the undead members of the pre- and post-apocalyptic American society Colson Whitehead describes in Zone One (2011).

"It Follows" (2014), written and directed by David Robert Mitchell, premiered at the Cannes Film Festival in 2014. It chronicles the story of Jay, a college student who contracts a curse through sexual intercourse. The curse manifests itself as a human whom only the infected persons can see, always following at a walking pace, and determined to kill if it catches up. This thesis demonstrates the score's crucial role in establishing affect, setting, and character in a film with sparse dialogue and a silent monster. Moreover, the score creates a sense of the uncanny by complicating the binary between music and sound effect and fulfills the need to create dread without resorting to the loud or sudden sounds traditionally heard in horror films. The score's composer, Richard Vreeland, achieves this effect by drawing on both classical film scoring techniques as well as more modern horror scoring styles. It is this interaction between styles that enhances the viewers' experience of dread and horror in the film. This thesis analyzes how Vreeland's score for "It Follows" exploits the poetics of the fantastical gap, of the uncanny, and of musical semiosis. I primarily focus on the "Heels" theme and use of drones in "It Follows," tracing how these musical features blur the distinction between what is score and what is sound effect. I also examine the use of melodic themes in a primarily non-melodic score. By analyzing these elements, I show how Richard Vreeland uses both classical and modern scoring techniques to answer his own question: "Why is this scary? What could push that emotion even further?"

Fear is one of the oldest and most basic of human emotions. In this thesis, I will explore the topic of fear in relation to literature, both a staple of the horror genre as well as a device in literary works, as well as in my own writings. In addition, I will use Sigmund Freud's theory of the “uncanny” as a possible device to examine the complexities of fear and its effects both on the mind and body through the medium of literature, and, more specifically, where and how these notions are used within my own short stories. By exploring how and why certain fears are generated, we may be able to better examine our own reactions in this regard.

Si bien existe una cantidad considerable de trabajos de investigación sobre las llamadas cineastas “vanguardistas” o “resistentes” a las estructuras comerciales, la obra fílmica de mujeres que recurren a formas populares no ha recibido suficiente atención crítica en los estudios de cine en general, ni en estudios fílmicos feministas en particular. Esta tesis se propone abordar una selección de obras realizadas por cineastas estadounidenses contemporáneas que han sido percibidas como películas de género en los discursos críticos: la película de terror Jennifer’s Body (2009), dirigida por Karyn Kusama y escrita por Diablo Cody, el western Meek’s Cutoff (2010), dirigido por Kelly Reichardt, y el filme de guerra The Hurt Locker (2008), dirigido por Kathryn Bigelow. Tomando como punto de partida la conceptualización del género cinematográfico como un proceso, y a la vez un repertorio o una constelación de materiales culturales, estéticos e ideológicos, el objetivo es reflexionar sobre cómo las cineastas citadas emplean los formatos genéricos para entablar un diálogo con las formas pasadas, y al mismo tiempo contribuir a rehacer y permutar los imaginarios sociales, en particular en cuanto a la representación del género sexual. La tesis pretende contextualizar la obra de las cineastas estudiadas, ofreciendo un detallado examen no solo de sus películas, sino también de sus figuras públicas, que se prestan a consideraciones sobre una serie de cuestiones que nos parecen cruciales para repensar y problematizar la noción de “cine de mujeres”: la división entre los géneros “masculinos” y “femeninos”, la creciente importancia y visibilidad de la figura autorial de las cineastas, la disolución de los lindes entre el cine comercial y el cine independiente, el contexto de la llamada cultura mediática posfeminista y la cuestión del placer fílmico de las espectadoras. Uno de los objetivos principales es desestabilizar la distinción entre cultura femenina y masculina, así como revaluar ciertos géneros como espacios discursivos válidos para los análisis feministas –abiertos a posibilidades de reinscripción estética, narrativa e ideológica– y de esta manera ofrecer un replanteamiento crítico de la deslegitimación o del olvido habitual de ciertos géneros cinematográficos en contextos particulares. En términos generales, esta tesis se propone examinar con qué tipo de obstáculos y limitaciones se enfrentan las cineastas, sea por su género sexual, sea por el género cinematográfico en el cual eligen trabajar, pero también cómo traspasan o desestabilizan estas fronteras, forzándonos a rediseñar nuestras propias herramientas metodológicas, conceptos y entramados teóricos a partir de los cuales repensar la vigencia del “cine de mujeres” como clave hermenéutica. La tesis se estructura en cinco secciones: un capítulo que incluye el marco teórico, un capítulo dedicado al estudio comparativo y extratextual de la recepción y de la construcción de la figura autorial de las cineastas abordadas en esta investigación, y tres capítulos que contienen análisis detallados de tres géneros fílmicos: cine de terror, western y cine bélico. La intención no ha sido ofrecer una visión panorámica del cine de mujeres estadounidenses en el momento actual, ni trazar la evolución de las respectivas cineastas o tradiciones fílmicas en el sentido más amplio, sino más bien ofrecer una aproximación transversal y sincrónica, que permita destacar los principales problemas que surgen en la intersección del género cinematográfico, la autoría fílmica de mujeres y el género sexual.
While a considerable amount of research has been done on so-called “avant-garde” or “oppositional” female filmmakers, women who make films by drawing on popular forms have still to be given sufficient critical attention, in film studies in general, and in feminist film studies in particular. The objective behind this thesis is to address a selection of works of contemporary American filmmakers which have been perceived in the critical discourses as genre films: Jennifer’s Body (2009) as a horror film, directed by Karyn Kusama and written by Diablo Cody, Meek’s Cutoff (2010) as a western, directed by Kelly Reichardt, and The Hurt Locker (2008) as a war film, directed by Kathryn Bigelow. In particular –and taking as a starting point the conceptualization of genre as a process, a repertoire or a constellation of cultural, aesthetic and ideological materials– the aim is to reflect on how these filmmakers use the genericity of filmic storytelling to engage purposefully with past forms, at the same time as contributing to remaking and shifting social imaginaries, especially in terms of gender representation. This thesis seeks to put women filmmakers in context, offering a close examination not only of their films, but also of their public figures, which raise a number of intriguing questions that are crucial to rethinking and problematizing the notion of “women’s cinema”: the distinction between “male” and “female” genres, the growing importance and visibility of authorial images of female filmmakers, the blurring borders between commercial and independent cinema, the context of the so-called postfeminist media culture, and the consideration of female spectatorial pleasures. This thesis neither attempts to offer a panoramic vision of contemporary women’s cinema, nor to trace the evolution of respective filmmakers and filmic traditions in the wider sense, but rather to present a transversal and synchronic approach, one that underlines the principal obstacles that arise at the intersection of film genres, female film authorship, and gender.

Amparo Davila's writing style is characterized by circumventing the boundaries between the real and the fantastic and between the known and the unknown. The author creates a narrative that evokes horror in the reader by mixing the uncanny of the unknown with the reality of the world. This study proposes that the sinister in Davila's stories are created by abandonment. This abandonment is the peremptory element of Davilian narrative and can be seen and examined throughout the author's literary work. The abandonment wields a mechanism of loneliness, madness, hopelessness and chaos that eventually provokes the sinister. The element of abandonment disturbs the main character of the story and makes him fall into an abyss from which he or she cannot escape. This abandonment is not always obvious, since most of the time the abandonment is veil by a halo of gothic and fantastic elements. The present thesis has the task of breaking down the different types of abandonment that are presented throughout this narrative, its sinister function and the theoretical and historical interpretation of the various abandonments both personal and collective that Amparo Davila presents. The route of abandonment proposed in this thesis is explained in the following three stories: "El desayuno" (1961), "La quinta de las celosías" (1959) and "La señorita Julia" (1959).

Although widely viewed in the West, Japanese films are often misunderstood, as they are built on cultural, theatrical, and aesthetic traditions entirely foreign to Western audiences. Particularly in regards to Japan's "fantastic" cinema - including giant monster pictures, ghost stories, and "J-Horror" films - what is often perceived as "cheap" or "cheesy" is merely an expression of these unique cultural roots. By observing and exploring such cultural artifacts as kabuki, noh, and bunraku - the traditional theatrical forms of Japan - long-standing literary traditions, deeply embedded philosophical beliefs, and even more recent developments such as the controversial dance form butoh, these films, including Gojira (1954), Daimajin (1966), Kwaidan (1964), Onibaba (1964), Testuo the Iron Man (1989), and Ju-On (2002), can be placed in their proper perspective, leading to a reevaluation of their worth not merely as commercial products, but as uniquely Japanese expressions of that society's unique place in world culture.

In der vorliegenden Arbeit sollte die Wirksamkeit von Altrenogest (Regumate®) und Gonadotropinen bzw. des GnRH-Analogons D-Phe6-GnRH im Rahmen eines Verfahrens zur Brunst- und Ovulationssynchronisation bei besamten, als ingravid detektierten Jung- und Altsauen überprüft werden. Die Untersuchungen wurden an insgesamt 265 Jung- und 542 Altsauen vorgenommen. Die Sauen wurden im Rahmen der ultrasonografischen Trächtigkeitskontrolle, die zwischen den Tagen 21 und 35 nach der ersten künstlichen Besamung durchgeführt wurde, als ingravid detektiert und einer von drei verschiedenen Versuchsgruppen (VG) zugeteilt: VG 1 (n = 490): Applikation von 4 ml Regumate®/Tier/Tag oral über 15 Tage; einmalige subkutane (s.c.) Injektion von 1.000 IE PMSG/eCG 24 Stunden nach letztmaliger Regumate®-Gabe; i.m. Applikation von 500 IE hCG 78 bis 80 h nach PMSG/eCG zur Induktion der Ovulation; VG 2 (n = 135): identisch zu VG 1, aber Gabe von 5 ml Regumate® und 800 IE PMSG; VG 3 (n = 182): identisch zu VG 2, aber Injektion von 50 µg D-Phe6-GnRH zur Induktion der Ovulation. Die Sauen wurden jeweils zweimal im Abstand von 24 und 40 Stunden nach hCG bzw. D-Phe6-GnRH künstlich besamt. Der Erfolg der Behandlungen wurde anhand der sonografischen Untersuchung der Ovarien kontrolliert. Untersuchungen erfolgten zum Zeitpunkt der Trächtigkeitsuntersuchung, am Ende der Regumate®-Behandlung, unmittelbar vor der ersten und unmittelbar nach der zweiten künstlichen Besamung. Trächtigkeits- (TR) und Abferkelrate (AFR) sowie Anzahl insgesamt und lebend geborener Ferkel wurden dokumentiert. Als jeweilige Kontrolltiere dienten Jung- bzw. Altsauen, die brunst- und ovulationssynchronisiert wurden, zur Erstbesamung anstanden und zeitgleich wie die Tiere der Versuchsgruppe besamt wurden. Die Auffindungsrate der Ovarien betrug 88,9 % zum Zeitpunkt der Trächtigkeitsuntersu-chung (TU) und 98,3 % am Ende der Regumate®-Behandlung. Während der Besamungen konnten bei allen untersuchten Tieren die Ovarien dargestellt werden. Zum Zeitpunkt der TU wiesen die Sauen überwiegend Corpora lutea (CL; 56,3 %; p < 0,05) auf. Der zweithäufigste Befund waren Follikel von 2-6 mm Durchmesser (F2-6; 27,7 %; p < 0,05). Durch Altrenogest konnte das Follikelwachstum effektiv gehemmt werden, ohne die spontane Luteolyse zu beeinträchtigen. Mehr als 84 % der Tiere wiesen am Ende der 15-tägigen Behandlung mit Regumate® F2-6 auf. Altsauen, die 4 ml Regumate® erhielten, hatten häu-figer als die mit 5 ml behandelten Tiere polyzystisch degenerierte Ovarien (POD). Zahlrei-che Altsauen, vor allem solche mit periovulatorischen Funktionsgebilden zum Zeitpunkt der Trächtigkeitsuntersuchung (p < 0,05), wiesen zudem CL am Ende der Behandlung auf (16,3 %). Jungsauen ovulierten unabhängig von der ovulationsauslösenden Substanz überwiegend zwischen beiden Besamungen (p < 0,05), während Altsauen zu gleichen Anteilen zwischen den Besamungen und nach der zweiten Besamung ovulierten. Die ovulationsauslösende Substanz, d.h. hCG bzw. GnRH, hatte weder bei Jung- noch bei Altsauen einen Einfluss auf das Ovulationsverhalten. Der Ovulationszeitpunkt war ohne Einfluss auf die Trächtig-keitsrate. Altsauen, die D-Phe6-GnRH erhielten, wurden häufiger tragend als Tiere, die hCG erhielten (p < 0,05). Reziprokes Ergebnis erzielten die Jungsauen (p < 0,05). Kon-trolltiere wiesen Trächtigkeits- bzw. Abferkelraten auf, die bis zu 15,6 % (TR; p < 0,05) bzw. 16,8 % (AFR) höher als die der Versuchstiere waren, da vor allem die Altsauen, nicht aber Jungsauen aller drei Versuchsgruppen schlechtere Fruchtbarkeitsleistungen erzielten. Aus den Ergebnissen ist zu schlussfolgern, dass die kombinierte Anwendung von Altrenogest (Regumate®) und Gonadotropinen bzw. GnRH-Analogon D-Phe6-GnRH zur Brunst- und Ovulationssynchronisation bei besamten, als ingravid detektierten Jung- und Altsauen geeignet ist. Ausgehend von den Ergebnissen ist zu empfehlen, Sauen mit 5 ml Reguma-te®/Tier/Tag zu behandeln (Zyklusblockade). Ein Applikationsintervall von 15 Tagen ist ausreichend. Werden 800 IE PMSG/eCG 24 Stunden nach letztmaliger Regumate®-Applikation verabreicht, kann mit zuverlässiger Stimulation des Follikelwachstums gerechnet werden. Jungsauen sollten 500 IE hCG 78 bis 80 Stunden nach der PMSG/eCG-Gabe erhalten. Bei Altsauen sind dazu 50 µg des GnRH-Analogons D-Phe6-GnRH emp-fehlenswert. Die transkutane Ultrasonografie ist ein geeignetes Verfahren zur Darstellung von Ovarien und ovarieller Funktionskörper.

The Cape Horn Biosphere Reserve is located at the southern tip of South America. This large archipelago is considered one of the last pristine areas left on the world. Despite it being an unpopulated area with most of the native forest cover intact, it has not been exempt from biological invasions, one of the major drivers of biodiversity loss. Three species that naturally interact in their native range in North America – American beavers (Castor canadensis), muskrats (Ondatra zibethicus), and American mink (Neovison vison) – were independently introduced in this remote region. In my dissertation, I investigated (i) the hypothesis of niche expansion in the invasive mink population on Navarino Island towards terrestrial habitats; (ii) potential mink impact on breeding success of forest-bird populations; (iii) habitat selection of small-rodent species and their perception on the mink's novel predation risk; and (iv) the dynamics of multiple-species invasions under the hypothesis of an invasional meltdown. Additionally, I worked within the framework of environmental philosophy. I provide an example of combining ecological and cultural dimensions within the International Long-Term Ecological Research network to disentangle the ethical dilemmas that surround the management of invasive species. I finally proposed a management plan based on the idea of multiple invasive species management, discussing potential solutions to overcome the challenges that the control of invasive species represent and to more effectively protect the biological integrity of the native ecosystems.

One of the main purposes of this work is to provide an overall view of all urban storage structures, an aspect which was lacking in studies about the topography and urbanism of Rome. Another primary aim is to highlight the technical aspects of buildings, analyzing their structural and planimetric characteristics. This thesis furthermore went beyond mere technical aspects, identifying from the very beginning the importance of functional aspects, able to give back the real utilitarian nature of this kind of buildings. Lastly, the management aspects were considered. The research was conducted on storage structures within the urban space, which has been considered within the limits of the administrative organization of the Augustan regions. From a chronological point of view the research extended from the middle Republican age to the Severian age, periods which the examined structures are referred to. The research was conducted in a systematic way, dealing with a substantial amount of extremely heterogeneous data. Through an accurate survey, which considered all available sources, 195 warehouses were individuated. Each structure has been recorded according to homogeneous entries, in order to gather together, in a methodical and orderly way, the available data, end make them comparable. With regard to the methodology, the study carried out an accurate bibliographic examination, which entailed the consultation of a sizable bibliography based on issues related to the storage structures in Rome, the topography of Rome and storehouses in general. After this consultation, a review of epigraphic sources followed, affording evident information about ownership, kind of goods and of activities carried out in the structures. In addition to the consultation of principal catalogues, also on-line database was used (www.manfredclauss.de). At a later stage it took place a careful review of the fragments of Forma Urbis Romae, the marble map of Severian age, in which, among others represented buildings, numerous storehouses have also been recognized. Several revisions of the fragments then occurred, putting first the ones with a known topographical positioning. For such a work it has been possible to count on the Stanford Digital Forma Urbis Project on-line database (developed by Stanford University and by Soprintendenza ai Beni Culturali del Comune di Roma). Where it was possible, the direct approach to the structures has been preferred, so making a series of autoptic analysis to the remaining buildings, in order to obtain technical and structural information. Direct analysis were conducted not only in structures situated within archaeological areas but also in buildings situated in the underground part of some Churches. Upon these artifacts many direct surveys and analysis of the masonry structures were accomplished, and everything was equipped with photographic shoots. Finally there was the archive research (in particular on Archivio di Documentazione Archeologica at SSBAR), with the aim to make clear and complete some aspects that from other sources were incomplete. All the collected data merged into the Catalogue and represented then the foundation for the development and elaboration of the research. The work was developed in collaboration with some ongoing studies about similar subject matters, very important for an updated development. Among these, the project Entrepòts et lieux de stockage dans le monde grèco-romain antique (ANR-CNRS-IRAA-EFA), that dealing with warehouses within the Mediterranean basin, gave the chance of having an important comparison. Furthermore there is an ongoing collaboration for the completion of the on-line database Entrepots, of which the present research is integral part. Another collaboration was created with the Porticus Aemilia Project (SSBAR-KNIR), focused on the direct study, by excavation and structural analysis, of one of the most important buildings of Rome, and of this research itself. Finally an important contribution was given by the Chair of Archaeology at Sapienza Università di Roma, that from the very beginning provided the data of the project Imago Urbis, in this way giving a tangible support to the development of the topographic aspects and to the location of warehouses. The research work highlighted some particularly interesting aspects. The analysis of structural features for instance underlined the high level of attention used in making these serviceable buildings, from the foundations to the roofing, with specific devices directed to ensure the good stability of the building and the healthiness of the rooms for the conservation of goods. In particular the analysis was carried out distinguishing the constructive aspects of original phases from the following transformations, in order to make clear, through changes and holdovers, what really was important in the different ages. From this point of view modifications during Traian and Severian ages turned out to be particularly interesting. An original aspect of the research was the creation of a planimetric typology of storage structures. Although the previous literature about warehouses had already expressed in terms of “types”, there was a lacking of a systematic study thanks to which it was possible to distinguish various types. The work led to the identification of six basic types, whose variations are represented by the features of storage compartments and of logistic spaces (courtyards, aisles, compartments composition). The analysis of appearance and permanence of planimetric types permitted to individuate in functional aspects and in topographic conditionings the real reason which led to the diffusion and development of different planimetric plants. It is also fundamental the comprehension of topographic aspects, which see the storehouses concentrated in some specific areas. From the beginning the work individuated two urban macro-contexts, represented by the river compartment and by the inner one. It turned out to be particularly interesting the river context, hosting the main part of the warehouses. In this context the research individuated the chronological sequence of occupation of the river banks with storage structures and focused on the peculiarity in relation to the directions of arrival and to the types of goods. Thus the specificity of some riparian areas emerged, areas which were assigned to the reception and storage of some particular kinds of goods. This part of the research, that took in consideration also the infrastructures and urban contexts in which the storage buildings rose, can be considered as an important integration to the topographic knowledge of the city. Finally the research dutifully dealt with the analysis of functional aspects of the storage structures. The ongoing studies dealing with similar matters have a propensity for considering the warehouses not only as storage buildings, but also as multifunctional buildings, in which also other activities were practiced, such as sales, manufacturing, housing. From this research it emerged that Rome’s warehouses are perfectly compatible with this innovative view, which includes the storehouses in a much more dynamic consideration than the traditional one. Within the research some diagnostic elements were individuated, in order to define the exclusive storage function, or the multifunctional feature of the building, completing the analysis with the epigraphic sources. In the end, the epigraphic and literary sources contributed in a decisive way to the comprehension of managements aspects. Both the influence of private sector, and the influence of public one were analyzed, identifying a line of demarcation between these two sectors less clear than how it was expected. Both in fact provided transportation and storage of goods in the capital city, and both considering the warehouse building not only as a storage for goods, but also as a real estate able to give a return in terms of capital (through rents). The research thus gave the chance of highlight many interesting aspects about warehouses operation: on one side the careful planning and the large organization, on the other side the great versatility and variety of functions, goods and aims to which the warehouses were intended.
Uno degli obiettivi principali del lavoro è stato quello di fornire un quadro d’insieme di tutte le strutture urbane di stoccaggio, aspetto che mancava nell’ambito degli studi di topografia e di urbanistica di Roma. Altro obiettivo fondamentale è stato quello di mettere in luce gli aspetti tecnici degli edifici, analizzandone le caratteristiche strutturali e planimetriche. La tesi, in terzo luogo, si è spinta oltre i meri aspetti tecnici, individuando fin da subito l’importanza degli aspetti funzionali, in grado di restituire la vera natura utilitaria di questo tipo di edificio. Da ultimo sono stati considerati gli aspetti gestionali. La ricerca è stata condotta sulle strutture di stoccaggio all’interno dello spazio urbano, considerato nei limiti dell’organizzazione amministrativa delle regioni augustee. Dal punto di vista cronologico la ricerca si è estesa su un panorama compreso tra la media età repubblicana e l’età severiana, periodi a cui si riferiscono le strutture in esame. La ricerca è stata condotta con sistematicità, affrontando una cospicua mole di dati estremamente disomogenei. Tramite un accurato censimento, che ha preso in considerazione tutte le fonti disponibili sono stati individuati 195 magazzini, che hanno costituito la base del lavoro. Ciascuna struttura è stata schedata secondo voci omogenee, allo scopo di raccogliere in maniera sistematica e ordinata i dati disponibili e renderli confrontabili. Per quanto concerne la metodologia, la ricerca ha previsto un accurato spoglio bibliografico, che ha comportato la consultazione di una cospicua bibliografia incentrata sulle tematiche afferenti alle strutture di stoccaggio di Roma, la topografia di Roma e i magazzini in generale. A questa è seguita una revisione delle fonti epigrafiche, in grado di restituire informazioni esplicite riferite a proprietà, tipi di merci e di attività svolte all’interno delle strutture. Oltre alla consultazione dei principali repertori si sono sfruttate anche le banche-dati on-line. E’ seguita un’attenta revisione dei frammenti della Forma Urbis Romae, mappa marmorea di età severiana, nella quale, tra gli edifici rappresentati, sono stati riconosciuti anche numerosi magazzini. Il lavoro è proceduto con più revisioni dei frammenti, dei quali sono stati privilegiati quelli con collocazione topografica nota. Il lavoro ha potuto contare sull’utilizzo della banca-dati on-line del Stanford Digital Forma Urbis Project (curata dalla Stanford University e dalla Sovraintendenza ai Beni Culturali del Comune di Roma). Dove possibile la ricerca ha prediletto l’approccio diretto alle strutture, conducendo quindi una serie di analisi autoptiche agli edifici superstiti, con il fine di ricavare informazioni tecniche e strutturali. Le analisi dirette sono state condotte tanto in strutture conservate all’interno di aree archeologiche, quanto in edifici conservati nei sotterranei di alcune Chiese. Su tali manufatti sono stati eseguiti rilievi diretti e analisi delle strutture murarie, corredando il tutto con riprese fotografiche. Infine sono state eseguite delle ricerche d’archivio (in particolar modo nell’Archivio di Documentazione Archeologica della SSBAR), con il fine di chiarire e completare alcuni aspetti cha dalle altre fonti risultavano incompleti. Tutti i dati raccolti sono confluiti nel Catalogo e hanno costituito la base per lo sviluppo e l’elaborazione della ricerca. Il lavoro ha potuto svilupparsi in collaborazione con alcune ricerche in corso su tematiche affini, fondamentali per uno sviluppo aggiornato del presente studio. Tra queste il progetto Entrpôts et lieux de stockage dans le monde grèco-romain antique (ANR-CNRS-IRAA-EFA), che occupandosi dei magazzini nel bacino del Mediterraneo ha fornito la possibilità di disporre di abbondanti confronti. Inoltre è in corso la collaborazione per il completamento della banca-dati on-line Entrpôts, di cui la presente ricerca è divenuta parte integrante. Si è sviluppata poi una collaborazione con il Porticus Aemilia Project (SSBAR – KNIR), incentrato sullo studio diretto, tramite scavo e analisi strutturale, di uno degli edifici più importanti di Roma e di questa ricerca. Infine un contributo importante è stato dato dalla cattedra di Archeologia dell’Università di Roma, cha ha messo fin dagli inizi a disposizione i dati del progetto Imago Urbis, fornendo così un tangibile aiuto allo sviluppo degli aspetti topografici e di posizionamento dei magazzini. Il lavoro svolto ha messo in luce alcuni aspetti particolarmente interessanti. L’analisi degli aspetti strutturali ha evidenziato ad esempio l’elevato grado di attenzione con cui queste strutture utilitarie furono costruite, dalle fondazioni alle coperture, con accorgimenti specifici volti a garantire la buona stabilità dell’edificio e la salubrità degli ambienti per la conservazione delle merci. In particolar modo l’analisi si è sviluppata distinguendo gli aspetti costruttivi delle fasi originarie dalla trasformazioni successive, in maniera da rendere evidente, tramite le modifiche e i mantenimenti, cosa realmente risultasse importante nelle varie età e cosa abbia costituito un progresso. Particolarmente interessanti, da questo punto di vista, sono risultate le tecniche costruttive, e dunque le modifiche strutturali, d’età traianea e severiana. Aspetto originale della ricerca è stata la creazione di una tipologia planimetrica delle strutture di stoccaggio. Sebbene la precedente letteratura, riferita a magazzini, si sia espressa parlando di “tipi”, si registrava l’assenza di uno studio sistematico di supporto per poter realmente distinguere tali “tipi”. Il lavoro ha portato all’individuazione di 6 tipi base, le cui varianti sono rappresentate dalle caratteristiche dei vani di stoccaggio e degli spazi logistici (cortili, corridoio, composizione dei vani). L’analisi della comparsa e della permanenza dei tipi planimetrici ha permesso di individuare negli aspetti funzionali e nei condizionamenti topografici le reali motivazioni che portarono alla diffusione e allo sviluppo dei diversi impianti planimetrici all’interno della città di Roma. Fondamentale è anche la comprensione degli aspetti topografici, che vedono i magazzini concentrati in alcune aree specifiche. Il lavoro è stato organizzato fin dall’inizio individuando due macrocontesti urbani, rappresentati dal comparto fluviale e da quello interno. Particolarmente interessante è risultato il contesto fluviale, ospitante la maggior parte dei magazzini. In esso la ricerca ha portato ad individuare la sequenza cronologica di occupazione delle rive con strutture di stoccaggio e ne ha messo a fuoco le peculiarità in relazione alle direttrici di arrivo e ai tipi di merci. E’ emersa così la specificità di alcune aree rivierasche deputate al ricevimento e allo stoccaggio di particolari tipi di merci. Questa parte della ricerca, che ha preso in considerazione anche le infrastrutture e i contesti urbani in cui sorsero gli edifici di immagazzinamento, si configura come un’integrazione alle conoscenze topografiche della città. Infine la ricerca si è doverosamente spinta nell’analisi degli aspetti funzionali delle strutture di stoccaggio. Le ricerche in corso che si occupino di tematiche affini, sono propense a considerare i magazzini non solo come edifici di stoccaggio, ma anche come edifici multifunzionali, nei quali fossero praticate cioè anche attività di vendita, lavorazione o abitazione. Dalla presente ricerca è emerso che i magazzini di Roma sono perfettamente compatibili con questo quadro innovativo, che inserisce i magazzini in un’ottica molto più dinamica di quella che la tradizione ha sino ad ora tramandato. Nella ricerca sono stati individuati ed esposti gli elementi diagnostici per determinare la funzione di stoccaggio esclusivo o di edificio multifunzionale, completando l’analisi con il contributo delle attestazioni epigrafiche. Infine le attestazioni epigrafiche e le fonti letterarie hanno contribuito in maniera determinante alla comprensione degli aspetti gestionali. E’ stata analizzata l’influenza del comparto privato e del comparto statale nella gestione dei magazzini, individuando una demarcazione meno netta del previsto tra le due realtà, entrambe coinvolte nella conduzione e nello stoccaggio di merci nella capitale ed entrambe in grado di sfruttare l’edificio magazzino, non solo come deposito per le merci, ma anche come bene immobiliare in grado di produrre capitali (tramite gli affitti). La ricerca ha permesso dunque di evidenziare molti aspetti interessanti correlati al funzionamento dei magazzini: da un lato, l’attenta programmazione e la grande organizzazione, dall’altro la grande versatilità e la varietà di funzioni, merci e usi cui i magazzini erano destinati.

Les composés du titre sont préparés par une réaction d'Horner Emmons entre un dérivé carbonylé (aldéhydes et cétones aliphatiques et aromatiques) et l'anion issu de la réduction électrochimique du o,o-diéthyl trichlorométhyl phosphanate. On propose une méthode de préparation des dichloro- et chlorométhylphosphonates par électrolyse à courant constant sur cathode à feutre de carbone. Le comportement électrochimique des oléfines dichlorées préparées est étudié. On obtient également un époxyphosphonate par réduction électrochimique d'un sel de phosphonium dérivant du trichlorométhylphosphonate

Texte remanié de: Dissertation--Katholisch-Theologische Fakultät--Bonn--Rheinische Friedrich-Wilhelms-Universität, 2002.
Contient le texte grec de la décision du Concile de Nicée II avec sa traduction allemande.

This research investigates the culturally programmatic symbolism of jazz music in film. I explore this concept through critical analysis of composer Terence Blanchard's original score for Malcolm X directed by Spike Lee (1992). I view Blanchard's music as representing a non-diegetic tone parallel that musically narrates several authentic characteristics of African-American life, culture, and the human condition as depicted in Lee's film. Blanchard's score embodies a broad spectrum of musical influences that reshape Hollywood's historically limited, and often misappropiated perceptions of jazz music within African-American culture. By combining stylistic traits of jazz and classical idioms, Blanchard reinvents the sonic soundscape in which musical expression and the black experience are represented on the big screen. My new work––Black Magic––is a musical response to the research found within this study. The through-composed piece is written in three movements for a studio orchestra. It is an homage to the musical, cultural, and entertainment contributions of African-Americans in the magical realm of Hollywood cinema.

The subject of the thesis is a comparative analysis of sign production and the interpretation of the film and painting of oneiric or horror genre focused on Vall Lewton's films and their similarity to the painting in creating an atmosphere of uneasiness and fear. Although these works are based on a sign structure, which is an important key to their interpretation, they are not independent of the different interpretations they allow. On the contrary, it seems that the work's intention is to encourage the viewer to complete the art by projecting his own fear into it. This approach is based on Umberto Eco's and Jan Mukařovský's theory of the interpretation, both of which emphasizing the reader's role in understanding the principle of functioning of the work of art. The concepts of the model author and model reader in Eco's theory and the term semantic gesture within Mukařovský's work are sharing numerous similarities.

Splatterpunk was a short-lived, but explosive horror literary movement birthed in the 1980’s that utilized graphic depictions of violence in its prose. Drawing parallels to other subversive and radical art movements like Dada and Hardcore Punk, this paper examines through a Marxist lens how Splatterpunk, influenced by the destructive nature of 1980’s neoliberalism, reflected the violence, categorized as direct and structural, of its period of creation and used extreme vulgarity as an act of rebellion against traditional horror canon.

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My dissertation, entitled “Hijas del horror: Rocío Silva Santisteban y Regina José Galindo. El testimonio como herramienta discursiva del arte de la memoria,” focuses on the representation of sexual violence in the poetry of Rocío Silva Santisteban and the performances of Regina José Galindo. I analyze the discursive tools that these artists use to represent violence in a way that allows the public or reader to engage with women’s point of view. Silva Santisteban as well as Galindo were inspired by the thousands of oral testimonies that women survivors told to the truth commission in Peru and Guatemala. First chapter, “Crimes Against Women in the Armed Conflict in Guatemala and Peru,” is a review of the internal wars in Guatemala (1962-1996) and Peru (1980-2000), focusing especially on the crimes and consequences these wars had for women. Second chapter, “Theoretic Foundations of Sexual Violence Against Women: The Role of the Testimonies,” is a review of the different approaches that seek to explain the characteristic of sexual violence against women, why most of women doesn’t denounce it and which is the conception of women that is behind this violence expression. Third chapter, “Daughters of Horror or Experiencing Others’ Pain,” is a close reading of the most recent poetry book by Rocío Silva Santisteban, Las hijas del terror (2007), in which the author represents rape, forced displacement, and fear from the perspective of Peruvian women. I give special attention to the way testimonies inspired the book and are used as a poetic tool. Fourth chapter, “Regina José Galindo or the Body as Testifying to Pain,” is an analysis of two performance pieces –Mientras, ellos siguen libres (2007) and La verdad (2013)–, where Galindo represents the crimes suffered by women during the Guatemalan war. She places her body in the place of the female that suffered rape, torture, destruction, horror. I give special attention to the contradictions that the representation of violence can lead to, without intention, the perpetuation of violence, and the strategies that Galindo uses to avoid that misunderstanding. The fifth concluding chapter established a dialogue between these two artists.
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Bethsabe Huaman Andia

Folk Horror, as a subgenre of Horror, has been revived in recent years. The films reflect the societal and political concerns of the time in which they were made, while retaining connections to specific folktales and their structures. This thesis will consider the significance of the relationship between Folk Horror and specific folktale narratives and structures, applied a folktale lens to contemporary examples of Folk Horror. The films examined are Robert Eggers’ 2015 film The Witch: A New England Folktale and Ari Aster’s 2019 film Midsommar. Both films recreate and adapt folktales to align with horror, commenting upon the present through utilising narrative forms of the past. Contemporary connotations of the folktale are in turn dismantled and affirmed, as horrific elements of the folktale in the past and in the present are rendered visual through Horror. A working definition for folktales, alongside details about their origins and implications, will be drawn from Jack Zipes’ 1979 work Breaking the Magic Spell: Radical Theories of Folk and Fairy Tales. Clover’s theory of the Final Girl will be applied and altered in the context of Folk Horror. The structure and narratives of the folktale demonstrably align with the tropes and characteristics of horror.