Relevant bibliographies by topics / Imagination in art / Dissertations / Theses
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Dissertations / Theses on the topic 'Imagination in art'

Author: Grafiati
Published: 28 July 2024
Last updated: 30 July 2024

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1

Altorf, Marije. "Iris Murdoch and the art of imagination : imaginative philosophy as response to secularism." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/1677/.

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This dissertation examines the work of the British philosopher and novelist Iris Murdoch. A centre concern of this work is a question Murdoch poses more than once: ‘How can we make ourselves morally better?” This question is understood to initiate a form of philosophy which is critical of much of its tradition and its understanding of reasoning and argument. It also recognises its dependence on other disciplines. Murdoch develops this form of philosophy in reply to the cultural phenomenon of secularisation. In the absence of God, she attributes tasks to philosophy formerly performed by religio
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2

Daur, Uta Art History &amp Art Education College of Fine Arts UNSW. "The melodramatic imagination of Tracey Moffat's art." Publisher:University of New South Wales. Art History & Art Education, 2008. http://handle.unsw.edu.au/1959.4/43256.

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This thesis tracks the melodramatic imagination of Tracey Moffatt's art. Whereas many of Moffatt's photographic and filmic works employ conventions of melodrama, the critical literature on her art has barely engaged with this important aspect of her practice. The thesis redresses this gap. I argue that a particular understanding of melodrama that constructs inauthe.ntic and indeterminate realities crucially shapes Moffatt's art. Building on seminal works from literature and film studies, as well as psychoanalysis I develop a framework for the detailed examination of melodrama in Moffatt's art,
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Miller, B. Darlene. "Playground for the imagination." Click here to access thesis, 2006. http://www.georgiasouthern.edu/etd/archive/spring2006/rebecca%5Fh%5Fsmith/smith%5Frebecca%5Fh%5F200601%5Fma.pdf.

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Thesis (M.F.A.)--Georgia Southern University, 2006.<br>"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts" ETD. Includes bibliographical references (p. 57).
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4

Harris, Alexandra. "Coming home : English art & imagination, 1930-45." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440720.

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5

Rosen, Aaron Matthew. "Brushes with the past : art history and Jewish imagination." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612180.

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Doyle, Denise. "Art and the imagination in avatar-mediated online space." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536629.

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7

Peacock, Mary, and not supplied. "Under the Bitumen the River - Translating the Imagination." RMIT University. Art, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080804.150756.

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The project was informed by non-rational modes of perception which explored the matrix of dream, imagination, my body and the viewer. The material from this matrix was brought together and translated into artworks through the use of every day materials, techniques and procedures. The resulting artwork offered an experience in the form of an installation which included projected images, aural landscapes, tactile surfaces and spatial constructions.
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Peterson, Megan L. "Telling Stories About Monsters Through Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/86.

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This study is about how the research of monsters and contemporary artists who create monster-related work can help create monsters from my own imagination using the process of synthesis. In it I discuss how the monsters I created in my artwork tell a story. I also talk about how this study can be used to relate art to other fields of study such as English and History, and the idea of Visual Culture.
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Lindstrand, Jennifer. "Educating the imagination: fostering compassionate empathy through art and media." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92406.

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This work explores the concept of empathy, what empathy is and why it is important in relation to the field of education. The idea of a compassionate empathy, in which one moves from understanding to deeply caring, is examined as an essential component of creating a more just world. The ability to empathize is based on recognition and identification with another's feelings, beliefs or experience. In order to develop this type of compassionate knowing, it is important that a strong imagination be present. Simply put, without imagination empathy cannot exist. As with compassionate empathy, so to
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10

GAY, MARIA EUGENIA. "OF THE ART (,) OF HISTORY: IMAGINATION AS CREATIVITY AND KNOWLEDGE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=24734@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Costuma-se relacionar o problema da imaginação com o tratamento do ficcional ou do artístico, mas esta associação não foi sempre assim. Além do campo da arte, a imaginação envolve também o campo das disciplinas humanas, como a história, a antropologia, a política e inclusive a teologia. Pela sua estreita ligação com processos ditos físicos, a imaginação também intervém nas classificações das capacidades e funções físicas do cérebro. A discussão sobre a imaginação gravita entre
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11

Robb, Niall Angus. "The Magic Surface: Wonder, Transfromation and Imagination in Contemporary Art." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16210.

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The aim of this research paper is to interrogate the term magic and to ascertain its appropriateness as a descriptor for the captivation I feel in response to certain everyday material expression, which I explore in my own work, and observe in the artistic practice of other artists. Through engaging with the theories and writing of scientific disciplines such as mineralogy and interfacial science, along with the writings of natural philosophy and natural magic I test whether I can separate the term magic from its familiar supernatural incarnation, leading to a reconsidering and expanding of wh
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12

Beeston, Rob. "The intrigue of travelogue : sound and the social imagination." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250429.

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Mamatsachvili, Atinati. "Le jaune : de l'histoire à l'évènement." Aix-Marseille 1, 2006. http://www.theses.fr/2006AIX10099.

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Le jaune. De l'histoire à l'évènement représente une étude comparatiste sur la couleur jaune à travers les oeuvres littéraires suivant les différentes époques. Dans la perspective d'une étude interdisciplinaire, les études théoriques et scientifiques des peintres et des téhoriciens de l'art ainsi que les exemples picturaux cernent la couleur jaune dans l'aspect philosophique et psychologique afin de retracer son histoire de l'Antiquité jusqu'à nos jours. Une telle recherche vise à suivre le développement du concept de la couleur jaune au cours des siècles dans l'objectif de dégager une systéma
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Hahn, Monica Anke. "Go-Between Portraits and the Imperial Imagination circa 1800." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/508898.

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Art History<br>Ph.D.<br>This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnogr
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Smick, Rebekah. "Interview with Richard Kearney (Art Talks, October 13, 2012)." Institute for Christian Studies, 2012. http://hdl.handle.net/10756/294312.

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Epley, Veronica H. "MYTH, METAPHOR, AND IMAGINATION: FRAMING HOMELAND SECURITY AS ART AND ARCHETYPE." Monterey California. Naval Postgraduate School, 2013. http://hdl.handle.net/10945/32814.

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CHDS State/Local<br>Art, myth, metaphors and archetypes can foster divergent thinking and serve as channels for integrating imagination and evocative ambiguity into traditional analysis and problem solving. New ways of representing ideas about homeland security not only provide vehicles for communication, but also expand and improve our ability to contemplate and understand this complex, emerging discipline. Through this paper and three original artworks, I argue for admitting art, imagination and the searching attitude of humanism into the domain of homeland security. I use the myth of Perseu
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Ventrella, Francesco. "The body of art history : writing, embodiment, and the connoisseurial imagination." Thesis, University of Leeds, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.713879.

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This doctoral dissertation is concentrated around a series of primary texts by Giovanni Morelli, Bernard Berenson and Vernon Lee and, rather than articulating a monographic account of_their methods, it favours the outline of a constellation of problematics capable of interrogating the representation of the body in art historical writing by focusing on connoisseurship. Connoisseurship is based on the physical examination of paintings. Although connoisseurship is based on the reading of anatomical details (mainly) in painting, the textual accounts of the connoisseurs demonstrate that the body is
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Büscher, Monika. "Ideas in the making : talk, vision, objects and embodied action in multi media art and landscape architecture." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289004.

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19

Drapalo, Kamila. "The art of imagining: Martha Nussbaum between vulnerability and autonomy." Phd thesis, Australian Catholic University, 2021. https://acuresearchbank.acu.edu.au/download/bda7ab9706e342c9809583ef0a0bae31e49458445d2eef380721267b999ef9b9/2131122/Drapa%C5%82o_2021_The_art_of_imagining_martha_nussbaum_%5BREDACTED%5D.pdf.

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Vulnerability is one of the key notions in contemporary sciences and humanities, as well as in the self-understanding of a human being. It encompasses our ontological fragility and the existential mutability and unpredictability of the world, our relationships, and ourselves. The multidimensionality of the notion is a subject of intense academic research. In this thesis, I discuss whether vulnerability should assume more importance in philosophical anthropology than autonomy, or whether they are equally important. The writings of Martha Nussbaum offer a particularly rich perspective from which
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Iglesias, Janelle Ann. "FACTS OF THE IMAGINATION (FROM THE INSIDE OUT)." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1148.

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Growing up in a bicultural household, navigating the F train as well as mountain creeks, studying culture and then participating in its production, these are some of the idiosyncrasies that I bring to my work. My investigations are rooted in combining a rediscovery of the sensuousness of the natural world and an investigation of the poetics of everyday life. Choosing materials and situations within the realm of the everyday, I'm interested in a transformation that suggests the infinite potential and worth in all things. The resulting objects have identities as complex as my own. They are ridic
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Wiesemueller, Cornelia Francesca. "Vapour trails of imagination : the metaphysics of virtual reality : the deepest seat of creativity." Thesis, The University of Sydney, 2002. https://hdl.handle.net/2123/29234.

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In this dissertation I try to define the metaphysics of Virtual Reality, offer ideas on perception and the mind and look at philosophical notions of art and myth—making. I discuss a number of different artists (including myself) who go beyond the world of the tangible object and struggle with expression, composition, space, time and movement.
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22

Barth, Bernhard. "Schellings Philosophie der Kunst : göttliche Imagination und ästhetische Einbildungskraft /." Freiburg i. Br. : K. Alber, 1991. http://catalogue.bnf.fr/ark:/12148/cb356854858.

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23

Samet, Tehrani Mehrdad. "La philosophie de la couleur persane : du XVe siècle à nos jours." Paris 1, 2006. http://www.theses.fr/2006PA010543.

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A l'aube de la civilisation persane, la valorisation du Soleil accompagne celle de la lumière et de la vision. Dans le culte de Mehr (Mithra )l'ascension visionnaire mystique, est accompagnée de photismes colorés. Cette traduction" visuelle" des degrés ascensionnels se retrouve aussi dans la vision mystique de Najm Kobra et Semnani. Cette recherche met l'accent sur l'influence du manichéisme sur la formation et l'évolution de la miniature persane, en même temps que l'inspiration manichéenne de Sohrawardî (le concept de l'intermonde). Le cadre du XV· siècle nous procure les éléments esthétiques
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Golden, Lauren. "An historical enquiry concerning the imagination in philosophy, art history and evolutionary theory." Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249433.

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25

Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.

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Thesis (Ed.D)--Teachers College, Columbia University, 1991.<br>Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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Ausperk, Ryan. "Phenomenology, Imagination, and Aesthetic Experience." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398270498.

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Ivens, de Araujo Maria. "Le peuple-artiste, cet être monstrueux : la communauté des pairs face à la communauté des génies." Paris 8, 2000. http://www.theses.fr/2000PA081725.

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Motre ambition est d'apprendre a penser l'artiste. En effet, l'individu exceptionnel traditionnellement propose par l'histoire de l'art contredit les populations d'artistes dont temoignent les documents d'archives, ainsi s'opposent deux images; celle de l'artiste ordinaire et celle du genie, or, pour autant que le caractere exceptionnel de ce dernier empeche de comprendre une communaute des pairs, il oblitere les discours sur le "peupleartiste". Le retour aux sources de la modernite artistique retablit le lien legitime entre population et exception. A partir de la, nous contournons l'aporie pa
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Konoshima, Nanako. "Dickens and the Visual Arts: Literary Imagination and Painted Image." 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.

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Lindqvist, Ursula Anna Linnea. "The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /." view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.

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Thesis (Ph. D.)--University of Oregon, 2005.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
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Brown, Mikell Waters. "Divine Imagination: Correlations Between the Kabbalah and the Works of William Blake." VCU Scholars Compass, 1991. http://scholarscompass.vcu.edu/etd/4500.

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The intention of this thesis is to investigate correspondences which exist between the Kabbalah and the recondite world of William Blake's imagery. Particular attention will be paid to the symbiotic relationship or word and image and the dialectical approach to salvation which is common to both Blake and the Kabbalah. The attempt will be made to locate correlations between depictions or several or Blake's characters and components or the kabbalistic Tree of Life. In doing so, this writer hopes to show that Blake's familiarity with the Kabbalah was instrumental in enabling him to give form to t
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Tal, Guy. "Witches on top : magic, power, and imagination in the art of early modern Italy /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3230548.

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Thesis (Ph.D.)--Indiana University, Dept. of the History of Art, 2006.<br>Title from PDF t.p. (viewed Dec. 4, 2008). Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2790. Adviser: Bruce Cole.
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Macintyre, Alasdair. "Spectres in the studio : Time, memory and the artist's haunted imagination." Phd thesis, Australian Catholic University, 2022. https://acuresearchbank.acu.edu.au/download/1b352559bf33109aaf78ce86abeb5bbbbbd754c375b9b3ec71fb778bd891fb4e/16278474/Macintyre_2022_Spectres_in_the_studio_time_memory.pdf.

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I spent a week in a haunted house and that is what inspired this project. I then discovered hauntology. Hauntology is a concept that was developed by French philosopher Jacques Derrida and articulated in his 1993 lecture Specters of Marx. Hauntology is a theory reliant on time, where the historical past and the envisaged future bleed in to the present moment. A concept that recognises the ghosts of the past that are bound to return again and again to haunt the mind, as well as spectres that represent expectant futures that did not eventuate. While hauntology (also known as spectral studies) ha
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Johnston, John. "Critical visual arts education : a pedagogy of conflict transformation in search of the 'moral imagination'." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9661/.

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The following portfolio is representative of my own artistic practice that combines the role of artist, educator, peace worker and researcher into one entity. The works are drawn from a back catalogue of fifty plus collaborative arts projects that has engaged with individuals and communities in different locations over the past twenty years. These works have been delivered within formal and informal educational settings. While each piece can be read as an individual artwork – collectively they talk to common issues related to visual art practice, public pedagogy and conflict transformation. I
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Parzuchowski, Kimberley. "The Enchantment of Ethics: Empathy, Character, and the Art of Moral Living." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19722.

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My dissertation explores the role of narrative in the cultivation of empathy for ethical attitudes and behaviors. I begin by exploring an uncommon view of human nature, concluding that we are not autonomously individualistic rational deciders but ultrasocial moral intuitionists. Our intuitions are developed through our social engagements and the moral imagination. Intersubjective relations run deep in our psychology and provide the basis by which we shape the meaning of our lives as individuals in communities. It is because of this that we need to reconsider and redesign our moral cultivat
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Arroyo, John C. (John Christopher). "Culture in concrete : art and the re-imagination of the Los Angeles River as civic space." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59727.

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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 237-245).<br>The Los Angeles River is the common physical, social, and cultural thread that connects many of Los Angeles' most diverse and under-represented communities, the majority of which comprise its downstream corridor. It is a valuable resource that crosses boundaries of race, class, geography, and culture. Once a natural and alluvial river, a series of devastating floods led the Army Corps of Engineers to
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Benedetto, Giuseppe. "La colonne à travers l'espace-temps et/ou l'imaginaire de la durée /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1994. http://theses.uqac.ca.

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Emanuelsson, Viktor. "In the Mood for Knowledge : How We Get Knowledge from Moods Expressed in Art." Thesis, Uppsala universitet, Filosofiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-453407.

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This thesis is about moods in works of art, and how moods expressed in art can change how we view the world. Among those who speak of the value of discussing moods in philosophical aesthetics, it is normally assumed that the value of moods is in the way they are induced in the viewer of the work. In this thesis, I will argue that such an argument is not the best. Those who think moods are not relevant to aesthetics have only to argue either that being induced with emotions is not an ideal way of approaching art, or that such reactions as being induced with mood belong to the more rare cases of
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Marron, Christophe. "Masques Dan de Côte d'Ivoire et imagination symbolique : de l'idéel au matériel." Paris 8, 2004. http://www.theses.fr/2004PA082475.

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Les Dan, au nombre de 270 000 dans le nord-ouest de la Côte d'Ivoire, sont organisés en société de masques. Ces derniers régissent, avec les chefs de villages, l'ensemble de la société. Plus qu'objet“ d'art pour l'art” comme pour les Occidentaux, le masque Dan est un objet profondément religieux et symbolique. Il a pour rôle de maintenir l'équilibre idéal, voulut par les ancêtres et Zran le Dieu suprême, lorsqu'il incarne les forces du cosmos, les ancêtres et les génies. Il est alors esprit et lié au système de pensée Dan. Le masque est dépendant d'une matrice imaginaire de création et de perc
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Baines, Lorena. "The artist's devices Illusionism and imagination in Gerrit Dou's 'Painter with a Pipe and Book' (Netherlands) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.90 Mb, 52 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428198.

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Gramling, Glen. "MY MIND IS A HOLE IN THE UNIVERSE." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4062.

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Today, science and creative fiction are closer than ever. The current unified theory of physics is bringing parallel worlds and infinite realities into the light of truth, proving that we have the creative power to build worlds with grandiose landscapes, uncanny characters, and miraculous events that exists throughout the vast plane of reality. My life experiences become a skewed alternate reality absorbing all of my thoughts, fears, and fascinations without control. As I glimpse into my own mind, I record the imagery of my imagined worlds and chronicle its events. I am not conceptualizing; I'
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Urlich, Lennon Gabriel. "Making the Imaginary : Worldbuilders, and the Art of Ontogenous Play." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194801.

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How we imagine and the potency of alternative imaginings to socio-political concerns are vital questions for social science, and worldbuilding is a particular and understudied method of doing so. It is the creative making of fictional, imaginative worlds, offering a potential alternative method to imagine otherwise. This paper ethnographically explicates this craft through detailing how creators, known as worldbuilders, make their worlds, demonstrating how it is generative and impactful for them emotionally, intellectually, and politically. It is based of three months of online ethnographic/ne
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McAdoo, Nicholas Arnold. "Aesthetic experience and education : an examination of Roger Scruton's 'Art and imagination' and its implications for aesthetic education." Thesis, University College London (University of London), 1986. http://discovery.ucl.ac.uk/10006535/.

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Bargo, Julia Robinson. "FOSTERING IMAGINATIVE EXPRESSION IN ELEMENTARY ART STUDENTS: A DESCRIPTIVE STUDY OF TEACHER STRATEGIES." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1627.

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Vallor, Honor Penelope. "How Gothic Influences and Eidetic Imagery in Eight Color Plates and Key Poems by William Blake Figuratively Unite Body and Soul by Dramatizing the Visionary Imagination." PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4659.

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A study of Gothic influences and eidetic imagery evident in eight Blake color plates to demonstrate that, when interpreted together with key Blake poems, unity of body and soul can be accomplished by means of the visionary imagination.
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Statulevičiūtė-Kaučikienė, Rūta. "Lietuvos architektūros ikonografija XIX a. II pusėje - XX a. I pusėje: dailės dokumentiškumo aspektas." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090316_092714-68955.

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Architektūros ikonografija – vienas svarbiausių architektūros istorijos šaltinių, atskleidžiantis miestų ir atskirų pastatų kaitą, atveriantis urbanizacijos dar nepakeistas miestų panoramas ir pristatantis nebeegzistuojančius statinius. Kiek grafikos ir tapybos technikomis sukurtuose architektūriniuose peizažuose ir pastatų „portretuose“ tiesos ir kiek pačių kūrėjų išmonės? Ar išties piešti ir tapyti atvaizdai gali būti patikimi istorijos šaltiniai? Į šiuos klausimus ir stengiamasi atsakyti analizuojant XIX a. II p.-XX a. I p. Lietuvos architektūros vaizdus. Pirmuosiuose disertacijos skyriuos
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Fiorentino, Pavel. "With everyone’s imagination atrophied, no one will ever be a threat to the world : Work in progress. An essay by Pavel Fiorentino." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3604.

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47

Knoe, Victor M. "Art in the light of knowing a cognitive approach to the creative process." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/451.

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Art can be an elusive concept. Neither an outsider nor a professional artist is immune to abstractions in the attempt to describe it. Every individual must necessarily come from their own, unique perspective. The obstacles that we experience in defining the essence of art can be better understood if we see them as a gauge for our historical period. Given the limits of our contemporary conditions, it seems impossible that we may ever overcome the vast chasms that imprison us. We are discouraged to build bridges, at almost every turn, by the suggestive hopelessness of the abysmal distances betwe
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Rabier, Amandine. "Henry Fuseli ou le spectacle de la peinture d’histoire (1768-1825)." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100164.

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L’enjeu de cette thèse sur Henry Fuseli est de tenter de montrer la façon dont cet artiste a conçu sa pratique de la peinture d’histoire comme un véritable spectacle. En nous appuyant notamment sur l’analyse du corpus d’œuvres shakespeariennes peintes, dessinées et gravées par l’artiste entre 1768 et 1825, nous avons essayé de mettre au jour les processus de « spectacularisation » à l’œuvre chez Fuseli. L’étude de la participation de l’artiste à la société anglaise et à ses divertissements - spectacles privés, fréquentation des théâtres publics et d’attractions plus populaires - a permis de me
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Bonney, Geoffrey, and Peter Alan Widmer. "Cherbourg time : young black and deadly art 2003-2007." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/34407/1/Geoffrey_Bonney_%26_Peter_Widmer_Thesis.pdf.

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Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual’s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are
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Dowd, Ron. "An inquiry into an imaginal landscape." Thesis, View thesis View thesis, 2001. http://handle.uws.edu.au:8081/1959.7/25791.

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This thesis describes an inquiry taken into the nature and genesis of landscapes experienced imaginally. The inquiry proceeds by introspection, by art making, and by exploring related writings. The terms pre-conceptual and pre-imaginal are used to refer to an unknowable dimension from which the conceptual and the imaginal rise, and attempts are made to confirm the conceptual and the imaginal as expressions and effects of this dimension. The possibilities of a continual interplay between the imaginal and the pre-imaginal in the inner life of writers and artists are explored.
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