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Florian, Sara <1981>. "Contemporary West Indian poetry: a "Creole" aesthetics?" Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/975.
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La mia tesi verte su un’indagine dei più ricorrenti principi di un’estetica “creola” nella poesia contemporanea dei Caraibi anglofoni, includendo un’analisi dei testi letterari scelti e dei loro contesti. Ho studiato l’opera poetica (che in alcuni casi abbraccia anche arte e musica) di Earl McKenzie e Joan Andrea Hutchinson (Giamaica), di Lasana Sekou (St. Martin), di Shake Keane (St. Vincent), di Kendel Hippolyte (St. Lucia), di Adisa Jelani Andwele (a.k.a. AJA) e del defunto Bruce St. John (Barbados), di Merle Collins (Grenada), di David Rudder e LeRoy Clarke (Trinidad), e di altri due poeti defunti, Eric Roach (Tobago) e Martin Carter (Guyana). I dodici poeti studiati sono stati scelti sulla base di uguaglianza, provenienza geografica e quindi rispettiva variante regionale del Creolo. La mia ricerca cerca di aggiustare la struttura teorica di un’estetica “creola” ad uno scenario letterario caraibico per verificare se sia possibile delineare un’estetica comune nei Caraibi anglofoni.My thesis deals with an investigation into the most recurrent “Creole” aesthetic principles in contemporary West Indian poetry, including an analysis of the literary texts chosen and their contexts. I have studied the poetic oeuvre – which, in some cases, also incorporates paintings and music – of Earl McKenzie and Joan Andrea Hutchinson (Jamaica), Lasana Sekou (St. Martin), Shake Keane (St. Vincent), Kendel Hippolyte (St. Lucia), Adisa Jelani Andwele (a.k.a. AJA) and the late Bruce St. John (Barbados), Merle Collins (Grenada), David Rudder and LeRoy Clarke (Trinidad), and two other deceased poets, Eric Roach (Tobago) and Martin Carter (Guyana). The twelve poets analysed were chosen on the basis of equality, geographical provenance and thus respective regional variety of the Creole. My research tries to apply a “Creole” aesthetic theoretical framework to selected Caribbean literary works and verify whether it is possible to outline a common West Indian aesthetics out of that process.
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Shope, Suzanne Alene. "American Indian artist, Angel Decora aesthetics, power, and transcultural pedagogy in the progressive era /." Diss., [Missoula, Mont.] : University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-10132009-112300.
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Guégan, Xavier. "Samuel Bourne and Indian natives : aesthetics, exoticism and imperialism." Thesis, Northumbria University, 2009. http://nrl.northumbria.ac.uk/2218/.
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Samuel Bourne (1834-1912), one of the most prestigious Victorian English commercial photographers to have worked in British India, is best known for his photographs of the Himalayas. Bourne's work features in general studies of photography of the period; his representations of the Indian landscape have been the object of studies and several exhibitions. Bourne was in India initially from 1863 to 1870 thereby establishing his career as a professional photographer. Soon after his arrival he started a business with the experienced photographer Charles Shepherd. Within a few years, the firm of Bourne & Shepherd became recognised as being a directing influence over British-Indian photography. The photographs were taken either in studio or on location, and included individual and group portraits of both the British and Indians, topographical images in which peoples were incidental, as well as a range of representations of Indian life, customs and types. These images were informed by, and in turn contributed to, an expanding body of photographic practice that mixed, to varying degrees, authenticity and aesthetic style. Whilst Bourne's work was significant and influential in the representation of Indian peoples, no substantial study has been undertaken until now. The aim of this thesis is to redress this imbalance. The central focus highlights the specific character of the images portraying Indian people. This specificity was determined by a combination of technical and 'authorial' factors, by the audience to which they were addressed — ranging from the general public in Britain to the family circle of wealthy Indians — by commercial considerations, and by current and evolving notions of authority, race and gender. The first two chapters seek to frame Bourne's work by first examining the political and cultural context of photography in India during the mid-nineteenth century, then by focusing on the context of the photographer's own production. The following three chapters are concerned with the study of the photographs themselves regarding what they depict and the questions they raise such as gender, racial identities and imperialism. The last chapter is an attempt to assess the significance of these photographs by comparing them with the work of Lala Deen Dayal, and highlighting different perspectives on Bourne's work regarding British India and Western societies. Placed in the context of the development of photography as a medium of record and representation, this thesis aims to show that Bourne's work is a significant historical source for understanding British cultural presence in post-Mutiny India.
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Wright, Neelam Sidhar. "Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2360/.
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This thesis uses postmodern theory to explore aesthetic shifts in post-millennial Bollywood cinema, with a particular focus on films produced by the Bombay film industry over the past nine years (2000-2009) and the recent boom of Hindi cross-cultural and self-remakes. My research investigates reasons behind the lack of appeal of Bollywood films in the West (particularly in their contemporary form), revealing how our understanding and appreciation of them is restricted or misinformed by a long history of censure from critics, scholars, educators and ambassadors of the Indian cinema. Through my analysis of the function and effects of cultural appropriation and postmodern traits in several recent popular Indian films, I expose Bollywood's unique film language in order to raise our appreciation of this cinema and suggest ways in which it can be better incorporated into future film studies courses. My analysis is based on a study of over a hundred contemporary Bollywood remakes and includes close textual analysis and case studies of a wide variety of popular Bollywood films, including: Dil Chahta Hai (2001), Abhay (2001), Kaante (2002), Devdas (2002), Koi…Mil Gaya (2003), Sarkar (2005), Krrish (2006) and Om Shanti Om (2007). In my conclusion, I offer a redefinition of contemporary Bollywood and I consider postmodernism's usefulness as a tool for teaching Indian cinema and its value as an international cultural phenomenon.
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Roy, Piyush. "Aesthetics of emotional acting : an argument for a Rasa-based criticism of Indian cinema and television." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22910.
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The thesis explores elements of Sanskrit drama studies, its philosophy of aesthetics, Hindu theology and Indian cinema studies. It seeks to identify and appreciate the continual influence of a pioneering and influential idea from the Indian subcontinent’s cultural memory and history – the ‘theory of aesthetics’, also known as the ‘Rasa Theory’. The rasa theory is a seminal contribution of the ancient Indian Sanskrit drama textbook, the Natyashastra, whose postulates have provided a definitive template for appreciating and analysing all major fine arts in the Indian sub-continent for over two millennia. No criticism of an art form in India is more devastating than the allegation that it is devoid of rasa. Though ‘rasa’ has many literal meanings like taste, essence and ultimately bliss, in Natyashastra it is used to signify the “essence of emotion” or the final emotional state of ‘relish/reaction/aesthetic experience’ achieved by a spectator while watching a performing art. The thesis uses this fundamental aesthetic influence from India’s cultural memory and heritage to understand its working in the shaping of emotive performances, and the structuring of multiple genre mixing narrative styles in Indian cinema. It identifies and explains how the story telling attributes in Indian cinema, still preserve, transmit and represent, drama and performance aesthetics established 2000 years ago. The chapters are divided into two sections – evidence-led correlation confirming the direct influence of Natyashastra guidelines on Indian filmmaking practices, and arguments-driven proposals on how to use the rasa theory for appreciating cinematic aesthetics. Section One, comprising of the first three chapters, engages with direct evidence of the influence and use of Natyashastra prescriptions and rasa theory expectations in the early years of Indian cinema, when the movie industry was intimately tied to theatre for creative guidance. Section Two, comprising of chapters four to six, goes beyond these conscious engagements to explore the continuing relevance of the concepts of bhava and rasa for studies and methods in film appreciation, and their potential usage in discussing alternate modes of cinematic expression, like melodrama. In this section, recommendations are made on how to re-read and review influential and representative cinematic achievements from different eras, regions and genres of Indian on-screen entertainment, using the rasa theory for better understanding of foundational cinematic attributes like plot construction, performances and directorial achievement in non-realism prioritising on-screen narrations. The thesis shows how to appreciate expressive acting, song and dance performances and melodramatic narratives/ movies using the rasa theory’s prescriptions on good acting in a navarasa exploring drama. It calls for a greater engagement with the theory’s aesthetic appreciation ideas, beyond its current peripheral acknowledgement in academic scholarship as an exotic and ancient review model with doubtful contemporary relevance. My conclusions offer a valuable guide for a fair and better appreciation of dramatic, stylistic and stereotypical acting in cinema that Western models of film criticism privileging the realistic form have been inadequate in comprehending. These findings propose a mode of inclusive aesthetic criticism that enjoys broad application across a wide range of cinematic art genres and national cinema styles using non-Euro/American modes of storytelling, towards the establishment of a humanist film education.
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Guha-Thakurta, Tapati. "Art, artists and aesthetics in Bengal, c.1850-1920 : westernising trends and nationalist concerns in the making of a new 'Indian' art." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.352933.
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Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.
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This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
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Perez, Junior José Abílio. "Estados emocionais (Bhāva) e experiência estética (Rasa): os conceitos centrais da filosofia da arte indiana e alguns de seus desdobramentos." Universidade Federal de Juiz de Fora (UFJF), 2015. https://repositorio.ufjf.br/jspui/handle/ufjf/3783.
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Iniciamos apresentando, em nosso primeiro capítulo, o texto inaugural da filosofia da arte indiana, o Nāṭyaśāstra de Bharatamuni, com nossa atenção voltada aos capítulos I, VI, VII e XXXVI, os quais constituem, ao nosso ver, o núcleo da doutrina central da estética indiana, no que tange às artes performáticas em geral, incluindo dança, teatro e música, assim como implicações no campo da poesia, escultura e artes visuais. Tal núcleo pode ser relacionado aos conceitos de estados emocionais (bhāva), experiência estética (rasa), planos expressivos (abhinaya) e mímese (anukīrtana) influência se exerce tanto no campo especulativo, quanto no âmbito das formas e estilos artísticos. Em nosso segundo capítulo, abordamos duas vertentes medievais que retomam o pensamento de Bharata e desenvolvem doutrinas especulativas, em estreita conexão a dimensão da soteriologia, central para o pensamento indiano como um todo. Temos, assim, o que chamamos de poética da paz, no xivaísmo de Abhinavagupta, em contraste com a poética do amor, do vaixinavismo de Rūpa Gosvāmin. Em nosso terceiro capítulo, dirigimos nossa atenção ao âmbito mais concreto das poéticas, formas e movimentos artísticos. Sob esse escopo, desenvolvemos três tópicos: i) a aplicação da poética de Bharata no poema Xacuntalá Reconhecida de Kalidasa (poeta de corte do século IV d.e.c) e o contraste que se pode estabelecer com a poética grega de Aristóteles; ii) o processo de classicalização de alguns estilos de danças indianas, em meio às transformações sociais que tomam lugar no período pré-independência (segunda metade do século XIX e primeira do século XX d.e.c), marcado pelo nacionalismo e pela absorção do vitorianismo; iii) a centralidade da poética de Bharata no processo intensamente assimilacionista que resulta na linguagem comercial do cinema de entretenimento de Bollywood. Nesses três tópicos de nosso último capítulo, fica constatada a abrangência e centralidade dos conceitos empregados por Bharatamuni no âmbito da produção e compreensão da arte indiana.
On the first chapter, we explore the foundational text of Indian Aesthetics, the Nāṭyaśāstra, attributed to Bharatamuni (sec. II B.C.E to II C.E.). Our attention is on chapters I, VI, VII and XXXVI from the treatise, where one can find some of the main concepts of Indian philosophy of arts, namely: emotional state (bhāva), aesthetic experience (rasa), expression planes (abhinaya) and mimesis (anukīrtana). Such conceptual framework extends its influence over both the speculative and practical fields related to Indian arts. The second chapter is dedicated to two medieval developments of speculative thought, named, the aesthetics of peace, based on śanti-rasa, that characterizes the doctrine of the Kashmirian and shaivist philosopher Abhinavagupta; in contrast to the aesthetics of love, centered on śṛṅgāra-rasa, from the eastern vaishnava theologian, Rūpa Gosvāmin. On the third chapter, the focus is on more concrete applications of the poetics of rasa, including three topics: i) the perfect congruence between the poetics of Bharata and the artistic creation of Kālidāsa (court poet from the IV C.E.). Also we can contrast this congruence to what would be expected from an artwork that followed the Greek poetics described by Aristotle. ii) the second topic is an exposition about the classicalization process that takes place inside the intense Indian social reformism of the second half of XIX and the first half of XX centuries of the C.E., deeply marked by Nationalism and Victorianism. Inside this context, we can notice the centrality of the concept of aesthetic experience (rasa) on different discourses on art, even from the opposite points of view represented by Rukmini Devi and Balasaraswati. iii) finally, we focus on the entertainment industry of Bollywood, which idiosyncratic language among world cinemas can be explained by the centrality of the concept of mood – a common parlance word for aesthetic experience (rasa) and emotional state (bhāva) – largely used by technicians and artists from the cinema métier.
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Reimer, Anna Maria [Verfasser], Dirk [Akademischer Betreuer] Wiemann, and Lars [Akademischer Betreuer] Eckstein. "The poetics of the real and aesthetics of the reel : medial visuality in the contemporary Indian English novel / Anna Maria Reimer ; Dirk Wiemann, Lars Eckstein." Potsdam : Universität Potsdam, 2015. http://d-nb.info/1218400919/34.
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Beitmen, Logan R. "Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1198.
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Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.
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Decker-Smith, Jessica Lindsay. "A Blending of Purpose: The Juxtaposition of Functional and Aesthetic Qualities in Pots of Use." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1112104-100842/unrestricted/DeckerSmithJ112904f.pdf.
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Thesis (M.F.A.)--East Tennessee State University, 2004.Title from electronic submission form. ETSU ETD database URN: etd-1112104-100842 Includes bibliographical references. Also available via Internet at the UMI web site.
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Sen, Swapan Kumar. "Development of aesthetic sensitivity among Indian students at secondary level through painting." Thesis, University of North Bengal, 1996. http://hdl.handle.net/123456789/1152.
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Rocton, Julie. "Modes d’existence et d’appropriation de l’Abhinayadarpana de Nandikesvara : étude du texte, de son édition et de son usage dans le milieu du bharatanatyam." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0657.
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Cette thèse propose une étude sur l’Abhinayadarpaṇa, « le Miroir du Geste », de Nandikeśvara, traité sanskrit médiéval traitant de l’art de l’expression au moyen des gestes. Ce texte est aujourd’hui une référence théorique particulièrement populaire dans la pratique du bharatanāṭyam, la danse « classique » du Tamil-Nadu (Sud-Est de l’Inde), notamment depuis le tournant dit « revivaliste » dans les années 1930. Conjuguant les approches philologique et ethnographique, cette étude propose une analyse des différentes formes et modes d’appropriation de ce texte. L’étude et la traduction du texte sanskrit, l’analyse des phénomènes d’intertextualité avec d’autres traités sanskrits et des différentes « éditions-traductions » anglaises, ainsi que la présentation de l’usage actuel de ce texte par les praticiens de bharatanāṭyam (d’après les données d’un terrain d’un an à Chennai et à Pondichéry, trois séjours de 2013 à 2016) permettront, d’une part, d’appréhender le caractère polymorphe et dynamique de ce traité dont les formes reflètent les pratiques autant qu’elles les normalisent, et, d’autre part, de dégager une pratique du texte, de l’Inde ancienne à l’Inde actuelle, prenant la forme de commentaires discursifs et gestuelsThis study focuses on Nandikeśvara’s Abhinayadarpaṇa, « The Mirror of Gesture », a medieval Sanskrit treatise about the art of gestural expression. Today this text is a very popular theoretical reference in the bharatanāṭyam milieu, the classical dance of Tamil Nadu (South-East India), since the so-called 1930s revivalism. Through philological and ethnographic approaches, this study aims at analysing the various forms and ways of appropriation of this text. The study and translation of the Sanskrit text, the analysis of intertextuality with other Sanskrit treatises and of various English « edition-translations », and the study of the contemporary use of the text by bharatanāṭyam practitioners (using original data from one year of fieldwork in Chennai and Pondicherry, 2013 to 2016) will make it possible, on the one hand, to explore the polymorphic and dynamic aspects of this treatise, whose forms both reflect and normalise practices - and, on the other hand, to distinguish a text-practice, from Ancient India to the present day, which takes the shape of a discursive and gestural commentaries
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Shaw, Timothy. "A master plan for Cardinal Creek : a blending of aesthetics & ecology in the restoration of an urban stream." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1117813.
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Ecological restoration techniques are increasingly employed along urban stream corridors. In the past, flood-control projects had negative impacts upon our urban streams and many of these streams suffer from degradation. Cardinal Creek, a stream that flows through Ball State University's campus is one such example. With an increase in urbanization, and subsequent loss of habitat, the stream has become nothing more than an open drain, often carrying bacteria that pose a serious health risk. Following a review of stream restoration principles and "aesthetics of care" principles, the application of these ideas is explored. This project will incorporate, both stream restoration principles and "aesthetic of care" principles in order to produce a potentially ecologically healthy and visually appealing community amenity.Department of Architecture
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de, Oliveira Adolfo. "Of life and happines : morality, aesthetics, and social life among the southeastern Amazonian Mebengokré (Kayapó), as seen from the margins of ritual." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/2665.
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This thesis deals with different aspects of the processes of production of sociability among the Xikrin-Mebengokre of the Catete River, central Brazil. I focus on ceremonies and their performance, as ways of access to Mebengokre conceptions concerning the morality and aesthetics of social life. I analyse the semiotics of 'kin'-ship production, the performative aspects of emotion as a sociability tool, the use of song and dance for the co-ordination of collective technical tasks, and a Mebengokre 'theory of language' as social agency. In the conclusion I focus on the criticism of some of the key theoretical aspects of Ge ethnology, in the light of my previous analysis.
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Willcock, Sean. "The aesthetics of imperial crisis : image making and intervention in British India, c.1857-1919." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/6381/.
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This thesis examines the visual cultures that developed in tandem with the violent crises of power that were endemic to Victorian imperialism. It looks primarily at the colonial artists and photographers who were working in British India and its borderlands from around the time of the 1857 Indian Uprising up until the Amritsar Massacre of 1919, arguing that image making was increasingly instrumental not only in mediating imperial violence, but also in moulding it. Of particular concern is the martial resonance of British aesthetic discourse in moments of crisis, as well as the entanglement of artistic and military imperatives that was characteristic of the photographing- and sketching-in-the-field that took place during episodes of unrest and their traumatic aftermaths. The case studies all lay great emphasis on how the formal conventions of aesthetic practices could affect the nature of the engagement of Briton and Indian alike with imperial violence, encouraging ways of looking and acting within a crisis that were consonant with established visual tropes. While the central focus of this thesis is the aesthetics of colonialism in South Asia, the arguments that are developed intersect with broader histories of illustrated journalism, international exhibitions, and atrocity photography. The material includes everything from draughtsmanship to oil painting, but a particular stress is placed on the agency of photographers as they operated in ways that could stage interventions in the processes of imperial conquest and counterinsurgency. Ultimately, I argue that violent colonial crises functioned to shift the terms in which wide-ranging areas of visual media were viewed and used by the British throughout the Victorian period.
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Botchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.
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The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources.
The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences.
The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity.
The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.History of Art and Architecture
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Clark, Imogen Rose. "Is home where the heart is? : landscape, materiality and aesthetics in Tibetan exile." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:78eb4180-b461-411b-be60-6fbdbdc66f6f.
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In 2000, Tim Ingold argued: 'people do not import their ideas, plans or mental representations into the world, since that very world ... is the homeland of their thoughts. Only because they already dwell therein can they think the thoughts they do' (2000: 186). He thus stressed the importance of place in the construction and reproduction of culture. How does this play out, however, among refugees who by virtue of their displacement must 'import' cultural concepts into alien environments? For those outside a 'homeland' how do they make sense of the world? In this thesis I examine the relationship between Tibetan refugees, the landscapes of their exile and their wider material environment. Drawing on theory in material anthropology and thirteen months' ethnographic fieldwork conducted in two contrasting Tibetan refugee settlements in northwest India, I analyse how Tibetan refugees are affected by, and in turn exert agency over their material world. Through this discussion, I reflect on the multiple and mutable meanings of home for Tibetan refugees, many of whom were born and/or raised in India. Few scholarly discussions of home encompass both its affective and imaginary dimensions; this thesis achieves this by focusing on the material and aesthetic aspects of home. Through this lens, I explore how refugees both work hard to develop a sense of home in exile, yet simultaneously destabilise this by orienting themselves towards an imagined home in a future 'free Tibet'. The discussion unfolds thematically, through chapters focusing on several material categories: landscape, the built environment, dress and objects. I develop my analysis via existing theoretical literature in material anthropology and its sub-disciplines, transnational and migration studies, and area-specialist literature in Tibetology.
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Jamroonjamroenpit, Ploy. "THE RUINS OF EMPIRE: British Responses to Ruins in Colonial India." Thesis, Department of History, 2011. http://hdl.handle.net/2123/7981.
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The different and changing meanings of the ruined form in the European consciousness point to its position as a discursive space, expressed in ideas of a ‘ruin motif’. However, most historical investigations into ruins have been concerned with classical structures in the European context. This thesis examines the operations of the ruin motif in the setting of nineteenth century-century colonial India through a study of John Benjamin Seely’s travel text The Wonders of Elora (1824) and James Fergusson’s The History of Architecture in All Countries (1874). It argues that the ruin motif was an important means by which the aims, difficulties and tensions in colonial discourses were articulated.
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Eaton, Natasha Jane. "Imaging Empire : the trafficking of art and aesthetics in British India c.1772 to c.1795." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/34755/.
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This dissertation explores the complex entanglements of an artistic traffic between two distinct 'visual economies' in eastern India, c.1772-c.1795. Both late Mughal and early colonial cultures were undergoing transformation, to the extent that during this era the nascent colonial artistic diaspora collapsed. Three inter-related areas will be interrogated: the prestation and commercial circulation of imagery between London, Calcutta and Murshidabad, the dichotomies of political and aesthetic spheres, and colonial representations of late Mughal culture as embroiled by such frameworks. Chapter one examines India-painted subjects in a metropolitan aesthetic sphere, thus acting as crucial juxtaposition for the refiguration of British art in Calcutta, which is the subject of the following section. Hastings' regime wielded British art as part of an intensely spectacular colonial governmentality, but his successor Cornwallis, took a tougher line with devastating effect. A diversity of competing, derivative idioms ousted professional colonial painting forever; its artistic schema penetrated to 'grass-roots' level through the creation of a 'Company School' which transposed the practice of the patua caste. Chapters five to seven investigate nawabi perceptions of British imagery. Hastings introduced the gifting of large-scale portraits; artefacts ill-suited to Indian interiors and aesthetic interiority - perhaps not even viewed as 'art'. The final chapter, through representations of the nawabs of Murshidabad and Lucknow, traces the evolution of British pictures as accoutrements of Mughal sovereignty. By 1795 both courts possessed permanent if 'hybrid' expositions of colonial imagery which transgressed established Indian and British classifications, as well as indicating more profound redefinitions of Indian comportment, consumption and taste. The intersection of 'visual economies' by way of an exploration of diverse zones of transculturation and processes of translation, provides a vital lens for recovering Indian and British agency - both elite and subaltern, in the oft-uneasy formation of a colonial aesthetic forum.
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Wren, Toby Christopher. "Improvising Culture: Discursive Interculturality as a Critical Tool, Aesthetic, and Methodology for Intercultural Music." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/367035.
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This research considers musicians from different cultural backgrounds, improvising together, and ‘improvising’ new musical contexts. It springs from my practice as a composer and improvising guitarist, exploring the borders between South Indian Carnatic music and jazz. The process of collaborating with musicians from different traditions raises questions about the ways that musicians draw on their acquired knowledge in the production of intercultural music: How do musicians from different cultures interpret each others’ musical gestures and negotiate a cohesive performance? At play throughout the dissertation are the conflicting notions of individual expression, and culturally derived archetypal models of expression. The relationship between musicians and cultures is explored through an ethnographic methodology.
The dissertation begins with a critical review of the literature on intercultural hybridity that reveals the way that power inequalities have historically characterised many of the exchanges between the West and its Others. In the course of analysing the products of interculture, the discussion also examines the inherent problem of hybridity’s reception, given the different cultural frames of reference of different audiences. From the analysis of hybridity, improvisation emerges as a key locus for examining the way in which musicians are heard to negotiate self and culture in intercultural hybridity.
A new understanding of improvisation is proposed based on an examination of the literature from diverse disciplines including cognitive psychology, complex adaptive systems, embodiment and ethnographic accounts of improvisers. Improvisation is situated as a dynamic process of developing preferences based on cultural acquisition, which enables us to understand the different approaches developed by improvisers and broader cultural differences between musical systems. The relationship between improvisation and culture necessitates a rethinking of the way that we listen to and analyse the products of interculture.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Thompson, Iva Marie. "Exploring The Influence of Burkean Aesthetics on Late Eighteenth-Century British Representations of India and North America." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/dissertations/765.
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This dissertation examines how several British novelists--Elizabeth Hamilton, Phebe Gibbes, Sydney Owenson, Frances Brooke, Unca Eliza Winkfield, Charlotte Smith, and Robert Bage--were actively redeveloping a political aesthetic theory for the late eighteenth-century by using the landscape of India and North America to discuss Britain, her policies, and her political leaders. These writers applied Edmund Burke's notions of the sublime and beautiful to India and North America as a way to discuss shifting social, cultural, and political views as well as watershed moments such as the Hastings trial. A comparative, multi-themed study of these writers' work is beneficial (if not necessary) to our understanding of the cultural complexities of British colonialism in this era. This dissertation offers new insights upon how colonial politics and Burkean aesthetics were rhetorically deployed in the late eighteenth century. It also actively participates in the recovery process for several novelists whose work has only recently begun to receive critical attention. My study does not focus on these novelists as marginal writers, but as authors (much like Burke, Mary Wollstonecraft, and Thomas Paine) who were actively involved in the politics of their time and whose novels serve as vehicles for dialogue on both domestic and foreign policy. The novels of Hamilton, Gibbes, Owenson, Winkfield, Brooke, Bage, and Smith contain numerous conflicting descriptions of India in which the landscape is described as both sublime (masculine) and beautiful (feminine). I contend that the conflicting nature of these descriptions reflects Burke's own varying portrayals of India, questions his rhetorical style, and employs his own aesthetic theory to mock his shifting political and cultural views. Nor is it only Burke's rhetorical style and strategies that these authors explore and critique, but the very nature of political oratory itself.
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Persson, Emma. "Bildskapandet i den indiska kulturen." Thesis, Karlstad University, Faculty of Arts and Education, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-285.
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This paper is built on a studytrip to north India i made under the autumn 2005. The purpose for this trip was to give me as a teatcher an experience and insight how to work with art in another culture. I´ve been in “Upper Dharamsala” even called Mcleod Ganj and visited art schools and a great artist . Too implement my investigation i have made interviews and observations in schools and i also hade the chance to spend a hole day with a great artist in India, my impresions was many, and i learned so mutch with this yourney. It is important to develop as a student such as a teatcher within the artistic in the free art such as in the steered art. That is my moust important question with my journey to India. I would like to know why the art in India is so steered and what the steered painting involves, even how they come closer to the free art. I want to give my future art students inspiration from many cultures. I want to feel that i am an inspiration for them, moustly for there imagination.
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Curda, Barbara. "Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar." Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.
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Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dans une école de danse émergente.Un examen des narrations historiques concernant les années de fondation de la danse ainsi que des éléments mythiques sur lesquels les protagonistes basent les représentations de celle-ci, permet d’identifier l’organisation sociale de la communauté des pratiquants, qui se manifeste notamment dans la généalogie officielle de l’Odissi. Dans le cadre de l’observation des pratiques de danse dans l’école, il apparaît que cet ordre social est réactivé discursivement par le maître aux moments des entraînements quotidiens des danseurs. Il use ainsi d’assignations identitaires dans le cadre de son activité pédagogique, tissant des liens dialectiques entre certaines valeurs morales, une éthique relationnelle entre pratiquants, et les pratiques. Ce mode d’action renforce certes la structure hiérarchique de l’école. Toutefois, du point de vue des pratiquants, cette instauration d’un sens moral de la situation se rapporte à certaines qualités esthétiques intrinsèques à la danse, qui apparaît alors comme une manière d’être plus qu’une manière de faireThis thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing
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Silva, Juliano Gonçalves da. "O indio no cinema brasileiro e o espelho recente." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285028.
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Orientador: Fernão Pessoa de Almeida RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-10T12:13:38Z (GMT). No. of bitstreams: 1 Silva_JulianoGoncalvesda_M.pdf: 1133169 bytes, checksum: a80fa3411446a287d242d5f971f3ff85 (MD5) Previous issue date: 2002
Resumo: O trabalho realiza uma análise da imagem do índio no cinema brasileiro, através do estudo de como o personagem indígena é por ele construído e veiculado através dos filmes de ficção. Realiza um levantamento da filmografia onde o personagem aparece e analisa, com profundidade, dois filmes recentes ¿ Brava Gente Brasileira (2000) e Caramuru, a Invenção do Brasil (2001) ¿ considerados paradigmáticos desta realização
Abstract: This work consists in an analysis of the indians image on the brazilian movie, achieved through the study of how the indian character is built and disseminated through the brazilian fiction films. It also consists in a filmography survey base don the appearance of the indian character, and analyses deeply two recent films ¿ Brava Gente Brasileira (2000) e Caramuru, a Invenção do Brasil (2001) ¿ considered paradigmatic of this accomplishment
Mestrado
Mestre em Multimeios
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Sunderason, S. "The nation and the everyday : the aesthetics and politics of modern art in India Bengal, c.1920-c.1960." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355959/.
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This thesis studies the practices and the polemics that structured the mid-twentieth century ‘field’ of modern art in India, as it registered shifts away from mythological classicism to new artistic imperatives of the everyday, the popular and the progressive. Concentrating on Bengal, this study follows the new agenda and anxieties around ‘formal’ autonomy and ‘social’ resonance of art that developed during the transitional decades of high nationalism, decolonisation and postcolonial nation-building in South Asia between the 1920s and the late-1950s. I argue that artists and art discourse in Bengal during this historical conjuncture invoked tropes of contextuality, habitation and socio-political experience in art-production, reinforcing the sensibility of realism within artistic modernism, of the everyday within modernist abstraction, and the locational within the national. Two themes map this mid-century ‘social turn’ in visual art: the first concentrates on institutional sites like the Government School of Art in Calcutta and the Kala Bhavan at Santiniketan, to follow the shifting registers of the ‘national-modern’ aesthetic, both in the elimination and re-figuration of orientalist classicism by new values of composition and contemporaneity, as well as in the pro-Gandhian rhetoric of the ‘local’ and the ‘popular’ that dominated cultural discourse during the interwar period. The second theme studies the left-wing intervention in formulating a socially-committed, politically conscious notion of ‘progressive’ art since the late-1930s. Resonating with anti-fascist cultural activism of the Popular Front period, and increasingly dominated by the Communist left, the progressive rhetoric became the site for ideological conflict between realism and modernism in the 1940s, with contesting values of socialist idealism and formalist progress of art. I close with the recurrence of the social as metaphor in postcolonial art production in Calcutta in the 1950s-60s, as the city negotiated both marginal location within the nation’s modernity and a persisting memory of post-partition trauma.
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Dohmen, Renate. "The raw and the cooked in common places : art, anthropology and relational aesthetics between Thailand, Euro-America, India and Peru." Thesis, University of Newcastle Upon Tyne, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438324.
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Gan, Yuhong. "The involvement of nature : a study of the response and interaction between architecture and its surroundings in rural dwelling spaces." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/902491.
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The involvement of nature happens at the edge of architecture, influencing the space of man from the outside and the inside. This design is intended to open man's space to his surroundings, and for establishing a new relationship between man and nature.Peter Noever writes in Architecture in Transition: "In order to become an autonomous subject, man distances himself from nature. This process of distance helps men to learn increasingly to control himself and nature. However, this origin of subjectivity becomes hybrid and turns against man himself: he falls prey to his natural need to dominate, and the dominator of nature becomes the prey of nature."The idea of dominating nature is strongly reflected in the American rural dwellings. Like an "icon of individualism," "operating objectively in their relationship to the landscape,"2 the houses appear isolated from the surroundings. Man might control himself by building this isolated relationship with his surroundings, but it does not have to be like this. Because man not only needs to control himself but also needs to live healthily. The energy of the natural world is an essential part of a healthy human life. Especially in the living environment, natural elements-(defined as "a creative and controlling force in the universe")--are indispensable. For a healthy life, in balance with nature, man should be receptive to his surroundings.The Involvement of Nature is a study of dwelling space, using the language of architecture to improve and cultivate a harmonious relationship between man and nature. This project will focus on the connection between the dwelling space and its natural surroundings. It will create a contextual connection by the interactions between human perceptions of space inside the dwelling and the natural or cultural landscapes which is the outdoor environmental phenomena and features; the sun, the wind and the changing landscape.Department of Architecture
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Ghimire, Bishnu. "Imagining India from the Margins: Liberalism and Hybridity in Late Colonial India." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1334344362.
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Carr, Harriet Christian. "Sweet Briar, 1800-1900: Palladian Plantation House, Italianate Villa, Aesthetic Retreat." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/91.
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Sweet Briar House is one of the best documented sites in Virginia, with sources ranging from architectural drawings and extensive archives to original furnishings. Sweet Briar House was purchased by Elijah Fletcher, a prominent figure in Lynchburg, Virginia, in 1830. Thirty years later it passed into the possession of his daughter Indiana Fletcher Williams, and remained her home until her death in 1900. In her will, Williams left instructions for the founding of Sweet Briar Institute, an educational institution for women that exists today as Sweet Briar College. This dissertation examines Sweet Briar House in three distinct phases, while advancing three theses. The first thesis proposes that the double portico motif introduced by Palladio at the Villa Cornaro in the sixteenth century became the fundamental motif of Palladianism in Virginia architecture, generating a line of offspring that proliferated in the eighteenth century and beyond. The Palladian plantation (Sweet Briar House I, c. 1800) featured this double portico. In 1851, following the return of the Fletcher children from an extended Grand Tour of Europe, the house was remodeled as an Italianate villa (Sweet Briar House II, 1851-52). The second thesis advances the contention that by renovating their Palladian house into an asymmetrical Italianate villa, the Fletcher family implemented an ideal solution between the balanced façade that characterized the Palladian Sweet Briar House I and the fashion for the Picturesque that dominated American building in the second half of the nineteenth century. In 1876, the Williams family traveled to the Centennial Exhibition in Philadelphia, where visitors were presented with an unimaginable array of artistic possibilities from countless eras and nations, exactly the conditions that the Aesthetic Movement needed to flourish in America. The third thesis maintains that the Williams family’s decision to transform Sweet Briar House into an Aesthetic Movement retreat was inspired by their reaction to the Centennial, and in particular by their appreciation for the Japanese objects presented there.
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Marsh, Kimberly. "Paintings & palanquins : the language of visual aesthetics and the picturesque in accounts of British women's travels in India from 1822 to 1846." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:c87b9841-a322-4dad-95a8-44831e8ab2cd.
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This thesis explores the Picturesque as a visual aesthetic that is often self-consciously employed in the travel accounts of British women in India in the first half of the nineteenth century. It addresses how three women - Fanny Parks, Marianne Postans, and Emily Eden - made use of the language of aesthetics, in particular that of the Picturesque (a style deemed especially appropriate for women travellers) in a variety of ways: first, to help them understand and relate to their experiences in this foreign land; second, to convey these experiences to their audiences back home; and, third to carve out what frequently becomes a feminised space within the established (and predominantly masculine) field of travel writing. The approach is largely historicist in order to situate the authors (and artists) within their contemporary cultural, social, and political context. My work builds upon that of literary scholars Elizabeth Bohls, Nigel Leask, and Sara Suleri in its interweaving of historical research and visual aesthetics with a literary analysis of travel writing and colonialism, bringing to bear their insights on authors previously little or not at all addressed in critical literature. Expanding on the notion of the 'Indian picturesque', which Leask begins to shape in his work, I bring Parks, Postans, and Eden into dialogue with the suggestions of Bohls and Suleri that women travel writers adapt the traditionally masculine ideal of the Picturesque aesthetic. After an introduction and two chapters which explore the broader themes concerning the development of the Picturesque and its influence on British artistic representations of India, I briefly summarise how this visual aesthetic came to be applied to written texts about travels in the region, beginning with the texts produced by male travellers, and with a specific focus on the travel narrative of Captain Godfrey Charles Mundy, whose accounts are referenced in Fanny Parks' work. My thesis then offers three case studies considering each writer in order of their arrival in India - starting with Fanny Parks' autobiography of her travels (published in 1850), followed by the published works of Marianne Postans in the 1830s, and through to those of Emily Eden, relating to her travels in the same decade and published in 1866. Aside from drawing on the aesthetics of visual art, the discussion of each author also addresses the importance of other sources to which they allude that enable aesthetic responses to India's landscape and peoples.
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Hobson, Daphne Louise. "The domestic architecture of the earliest British colonies in the American tropics a study of the houses of the Caribbean Leeward Islands of St. Christopher, Nevis, Antigua and Montserrat : 1624-1726 /." Atlanta, Ga. : Georgia Institute of Technology, 2007. http://hdl.handle.net/1853/26661.
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Thesis (Ph.D)--Architecture, Georgia Institute of Technology, 2008.Committee Chair: Lewcock, Ronald; Committee Member: Bafna, Sonit; Committee Member: Dowling, Elizabeth; Committee Member: Edwards, Jay D.; Committee Member: Nelson, Louis. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Azevedo, Amandine d'. "Cinéma indien, mythes anciens, mythes modernes : résurgences, motifs esthétiques et mutations des mythes dans le film populaire hindi contemporain." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030126.
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Le cinéma populaire indien est à la fois un lieu de création de mythes filmiques puissants et un univers qui interagit avec un autre corpus, celui des mythes et des épopées classiques, plus particulièrement le Ramayana et le Mahabharata. Si ces derniers ont souvent été l’objet d’adaptations, surtout dans les premières décennies du cinéma indien, le cinéma contemporain compose des rapports complexes et singuliers vis-à-vis des héros et de leurs hauts faits. Les mythes traditionnels surgissent au détour d’un plan, à la manière d’une résurgence morale, narrative et/ou formelle, tout comme – dans un mouvement inverse – le cinéma cherche ces mêmes mythes pour consolider son imaginaire. Ce travail sur les relations entre mythe et cinéma croise le champ de la politique et de l’Histoire. Les mouvements pour l’Indépendance, la Partition, les tensions intercommunautaires s’insinuent dans le cinéma populaire. La présence des mythes dans les films peut devenir une fixation esthétique des traumatismes historico-politiques. La difficulté de représenter certains actes de violence fait qu’ils viennent parfois se positionner de manière déguisée dans les images, modifiant irrémédiablement la présence et le sens des références mythologiques. Les mythes ne disent ainsi pas tout le temps la même chose. Ces résurgences mythologiques, qui produisent des mutations et des formes hybrides entre les champs politique, historique, mythique et filmique, invitent par ailleurs à un décloisonnement dans l’analyse de la nature et des supports des images. Ainsi, des remarques sur la peinture s’invitent dans le cours de la recherche aussi naturellement que des œuvres d’art contemporain, des photographies ou l’art populaire du bazar. Un champ visuel indien, large et métissé, remet en scène constamment des combinaisons entre l’arrière-plan et l’avant-plan, entre la planéité et la profondeur de champ, entre l’ornementation d’un décor et son abandon. Le cinéma populaire, traversé par la mémoire des mythes et des formes, devient le creuset d’un renouveau esthétiqueIndian popular cinema is both a place of filmic mythical creation and a universe interacting with previous bodies of work; the classical myths and epics, and especially the Ramayana and the Mahabharata. Although the latter have often been adapted, especially in the early decades of Indian cinema, contemporary cinema builds complex and attitudes towards heroes and their achievements. Traditional myths appear in a shot, in the manner of a moral, narrative and/or formal resurgence. In an opposite movement, this cinema seeks those same myths to strengthen its imagination. Working on the relations between myth and cinema, one has to cross the political and historical field, for Independence movements, Partition and inter-community tensions pervade popular cinema. Myths in movies can become an aesthetic fixation of historical-political traumas. The challenge of some representation of violent acts explain that they sometimes hide themselves in images, irreversibly altering the presence and meaning of mythological references. Therefore, myths don't always tell the same story. Those mythological resurgences, producing mutations and hybrid forms between the political, historical, mythical and film-making fields, also invite a de-compartmentalisation when we analyse the nature of the images and the mediums that welcome them. Our study naturally convenes notes on painting, as well as contemporary art, photography or bazaar popular art. A broad and mixed Indian visual field constantly recombines background and foreground, flatness and depth of field and ornemented and neglected sets. Popular cinema, moved by the memory of myths and forms, becomes the breeding ground of an aesthetic revival
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Chetty, Raj G. "Versions of America : reading American literature for identity and difference /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1528.pdf.
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Hobson, Daphne Louise. "The domestic architecture of the earliest British colonies in the American tropics:a study of the houses of the Caribbean Leeward Islands of St. Christopher, Nevis, Antigua and Montserrat. 1624-1726." Diss., Georgia Institute of Technology, 2007. http://hdl.handle.net/1853/26661.
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This study delineates the domestic architecture of the early colonial period in the American tropics in the first group of British colonies that survived. In 1624, the English made their first permanent settlement on St. Christopher in the Caribbean, then expanded to the neighboring islands of Nevis, Antigua and Montserrat. Of particular interest to this research was what the architecture would reveal regarding how the first settlers adapted to the new island environment, its geography, resources, climate, and people, in the first 100 years. The research involved the examination of manuscripts of the period in archives and collections in the UK, USA and Caribbean. The historical data accumulated was primarily inventories and brief descriptions of houses, business correspondence and a small number of official maps. A key resource was a document listing the losses of buildings and possessions suffered as a result of French raids in 1705-1706. The study views the recorded items not as losses, but instead as proof of what once existed, almost as newly found "treasure", and analyzes the items both qualitatively and quantitatively in order to reveal a clearer picture of daily life for the settlers, from modest farmers to wealthier land owners. The study identified house types, stylistic trends in the houses and their furnishing, patterns of use, and construction methods. The architecture recorded the British colonists' process of adaptation to the unfamiliar environment. The study found that Leeward Islands, in the settler period of English colonization (1624-1726) there was a significant degree of interaction and exchange between the Amerindian and British peoples. In addition, it found correlations with rural houses in the wider American tropical region.
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Wallenius, Sandra. "Vad innebär den tibetanska konsttraditionen Thanka och på vilka sätt varierar den?" Thesis, Karlstad University, Division for Culture and Communication, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-184.
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Thanka är en tibetansk konsttradition som består av religiösa bilder föreställande en rad gudar och heliga personer ur den buddhistiska tron. Motiven är starkt symbolistiska och strängt traditionsbetingade. Detta arbete beskriver denna företeelse i tre delar där den första är hämtad ur litteratur, jag redogör här för uppkomsten, motiven, tekniken, de religiösa aspekterna och dagens plats. Den andra parten består av intervjuer och den tredje delen sammanfattar processen i den tavlan jag själv målat. Slutsatsen blir att denna konst är mycket komplex och tidskrävande, samt att den i sin lugna precision kontrasterar till den västerländska stressen. Kunskapen om thanka går att applicera i flera av skolans ämnen, så som Historia, Religion och Bild, på grund av sin av tradition befästa plats i det tibetanska samhället.
Thanka is a Tibetan art tradition which consists of religious pictures that portrays several gods, goddesses and holy individuals from the Buddhist faith. The motives are strongly symbolist and strictly traditional. This work describes this occurrence in three parts were the first is taken from literature; I give here an account of the origin, the motives, the technique, the religious aspects and its place today. The second part includes interviews and the third part summarizes the working process in my self-made painting. The conclusion is that this art is very complex and time-demanding, and that its calm precision is contrasting to the Western stress. The knowledge about Thanka is possible to apply in several school subjects such as History, Religion and Art, because of its traditional emplacement in the Tibetan society.
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Krishnan, Sarasa. "Beyond the architecture of sensing: An investigation of the role and function of the observer in a staged performance, with particular reference to the Indian aesthetic theory of Rasa, and its effect on what we mean by conciousness." Thesis, Krishnan, Sarasa (2015) Beyond the architecture of sensing: An investigation of the role and function of the observer in a staged performance, with particular reference to the Indian aesthetic theory of Rasa, and its effect on what we mean by conciousness. PhD thesis, Murdoch University, 2015. https://researchrepository.murdoch.edu.au/id/eprint/30504/.
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Sage Bharata’s ancient Indian aesthetic theory of “Rasa” has for many years been the subject of research and intercultural exploration in global theatre and performance studies. While this dissertation focuses on the role of observer in performance, it more importantly explores the larger notion of consciousness. Illuminated by “Rasa” theory, this research sifts through the understanding of broader philosophical, spiritual and aesthetic issues that are so often not cohesively examined within the context of performance studies. European and Asian philosophies are linked to once again examine consciousness in our human existence in the physical universe. Ancient Indian aesthetics and modern scientific theories, and their understanding of sound and visual perception are scrutinised to help in understanding the nature of performance, experience and consciousness. The ‘Rasa’ theory that stems from Bharata’s thesis, The NatyaShastra, a compendium on theatre, performance and technique, pivots upon both a spiritual and an aesthetic axis. In this dissertation, the observer/the self is taken through a journey around this axis. I will align the aspect of ‘Self’ as the observer within consciousness, with the observing principle of Quantum theory and a discussion of the theatre spectator, as catalysts in creating transformation. Elucidated by global theories of phenomenology and philosophies, both ancient and contemporary, and cultured through the insights of theoretical physics, coherence is established. The lived artistic experience of ‘the dancer Sarasa’ and ‘the visual artist Sarasa’, the mutual interplay of this expression of experience, from the physical to psychical states is explored; the dancer through her movement in space aligns with the artist whose movement is captured on canvas. This experience of expression is beyond the architecture of ‘sensing’. It communicates to the observing entity, an integral vision from that ‘Self-space’, that transcends space, time and locality. This communication is ‘Rasa’. The spiritual, the aesthetic and theatrical significance converge. Philosophies are surpassed. Consciousness is transformed. The work is done.
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Krishnamurthy, Thanmayee. "Sing Rāga, Embody Bhāva: The Way of Being Rasa." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505144/.
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The rasa theory of Indian aesthetics is concerned with the nature of the genesis of emotions and their corresponding experiences, as well as the condition of being in and experiencing the aesthetic world. According to the Indian aesthetic theory, rasa ("juice" or "essence," something that is savored, that is tasted) is an embodied aesthetic experienced through an artistic performance. In this thesis, I have investigated how the aesthetics of rasa philosophy account for creative presence and its experiences in Karnatik vocal performances. Beyond the facets of grammar, Karnatik rāga performance signifies a deeper ontological meaning as a way to experience rasa, idiomatically termed as rāga-rasa by South Indian rāga practitioners. A vocal performance of a rāga ideally depends on a singer's embodied experience of rāga and rāga-bhāva (emotive expression of rāga), as much as it does on his/her theoretical knowledge and skillset of a rāga's svaras (scale degrees), gamakas (ornamentation), lakṣhaṇās (emblematic phrases), and so on. Reflecting on my own experience of being a Karnatik student and performer for the last two decades, participant observation, interviews, and analysis of Indian aesthetic theory of rasa, I propose a way of understanding that to sing rāga is to embody bhāva opening the space that brings rasa into being. Reflecting on the epistemology of rāga theory, particularly its smaller entities of svaras and gamakas, and through a phenomenological description of the process through which a vocalist embodies rāga (including how a guru transmits this musical embodiment to his shishya [disciple]), I argue that the notion of rāga-rasa itself has agency in determining the nature of svaras and its gamakas in a rāga performance. Additionally, focusing on the relationship between performers and rasikas (drinkers of the juice), this thesis examines how the embodiment of rāga-bhāva and the experience of rasa open the possibility for musicians and audiences to live rāga-rasa in a performance.
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Djoumbé, Thoueïbat. "Un autre aspect de la francophonie, la littérature comorienne : société, histoire, culture et création." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030039.
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Cette thèse interroge les origines, les interférences et la production de la littérature comorienne d’expression française. Au confluent entre critique littéraire, historiographie anthropologique des sources et analyse des thématiques dans la création, elle questionne aussi la notion de réception dans un contexte éditorial minimaliste et où langue d’écriture et langue vernaculaire s’interfèrent. En près de 30 ans, les quelques 160 ouvrages publiés de 1985 à nos jours, laissent percer des débuts lents et difficiles. Une réalité qui sera contredite à la fin des années 90 où des maisons d’éditions, même éphémères, naissent avec pour mot d’ordre, promouvoir la littérature comorienne. Va alors s’amorcer une dynamique nouvelle inscrite par le nombre et la variété des genres édités, la multiplicité des thématiques abordées et par l’orientation des revendications littéraires d’ordre esthétique en écho à des revendications identitaires. Parallèlement, transparaît une forme de tâtonnement textuel qui laisse apparaître une dualité narrative sous-tendue dans l’organisation fictionnelle et narratologique des œuvres et mettant en place un type de personnage-pensée à l’origine d’une hybridité textuelle. Par conséquent, cette thèse procède à une forme de bilan de ces trente années d’écriture suivant deux axes d’analyse. Un axe chronologique qui fait coïncider des éléments liés à l’histoire du peuplement avec l’établissement d’une écriture pour les îles afin d’appréhender le contexte originel de production ; un axe analytique et herméneutique recoupant faits historiques et sociaux en rapport avec les objets ou motifs de production et révélant la source des interrogations des écrivains comoriens francophonesThis thesis questions the origins, interferences and the production of French-speaking Comorian literature. At the junction of literary criticism, anthropologic historiography of the source documents and thematic analysis within the creation, it also investigates the notion of reception in a minimalist editorial context where the written and the vernacular languages interfere with each other. For the past 30 years, the 160 publications that have been published, since 1985 to date, have shown slow and difficult beginnings. A trend that would be reversed from the late 1990s, where many publishing houses have emerged, even if it was quite briefly for some of them, with a shared goal: to promote Comorian literature. A new trend will then begin as proven by the number and variety of genres being published, the diversity of the themes discussed, and the direction of the literary assertions of an aesthetic angle in response to identity assertions. At the same time, a form of textual hesitation transpired, shedding a light on a narrative duality, from a narratologic and fictional organisation of the publications, highlighting a type of character-thought creating a form of literal hybridity. Therefore, As a consequence, this thesis proceeds a kind of statement from thirty years of writing according to two axis of analysis. A chronological axis matches elements which are linked to the peopling History with the establishment of a writing for the islands in order to grasp the original context of production; an analytic and hermeneutic axis matching historical and social facts related to subjects or sources of production and revealing the sources of French-speaking Comorian writers’ questionings
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Séguineau, de Préval Jitka. "Le mélodrame de l'incompréhension dans le cinéma de Raj Kapoor (1924-1988), Inde." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA084/document.
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Parmi les réalisateurs, producteurs et acteurs de Bombay, Raj Kapoor (1924-1988) est certainement l’un des plus célèbres et des plus originaux, qu’il s’agisse de son œuvre ou de sa personnalité. Sa vaste filmographie qui rassemble quelques-uns des plus beaux mélodrames du cinéma populaire hindi reste méconnue en France. Proches du peuple, ces mélodrames révèlent un phénomène présent dans différentes situations et sous différents aspects : le sentiment d’incompréhension.Ce travail de recherche, inspiré par la lecture de Peter Brooks et Stanley Cavell sur le mélodrame, se donne pour but de montrer que les mélodrames de Kapoor sont porteurs d’un concept particulier qui les unit et les définit comme un genre cinématographique propre que nous appellerons « mélodrame de l’incompréhension ». Le sentiment de ne pas comprendre ou d’être « mal compris » qui hante ces mélodrames se cristallise non seulement à partir des enjeux esthétiques, historiques, politiques et culturels mais aussi des événements personnels.S’appuyant sur l’esthétique du mélodrame, Kapoor multiplie la présence métaphorique du héros aveugle qui pointe la difficulté ou l’impossibilité de communiquer et fait grief à la société de ne pas le comprendre. Inscrivant sa souffrance dans un contexte plus large, le mélodrame kapoorien dépasse les frontières du drame intimiste pour s’élever au niveau du peuple, voire de la nation, selon certains auteurs. Pour amplifier le phénomène d’incompréhension, le mélodrame utilise le malentendu, la méprise, l’ignorance, la confusion, l’illusion, etc. au point que ces difficultés de communication paraissent très clairement représenter des éléments structurels marqués par la réflexion de Kapoor sur l’incompréhension, teintée de mélancolie et de tristesseAmong Bombay’s directors, producers and actors, Raj Kapoor (1924-1988) is certainly one of the best known and most original both for his work and for his personality. His vast filmography which constitutes a collection of some of the most beautiful melodramas of Hindi popular cinema remains virtually unknown in France. Close to the people, these melodramas reveal a theme which is universally present, illustrated in a variety of situations and different lights. It is the phenomenon of incomprehension.The present work, inspired by a reading of Peter Brooks and Stanley Cavell on the subject of melodrama, aims to show that Kapoor’s melodramas treat this specific theme which unites them and allows them to be defined as a distinct cinematic genre here termed "melodrama of incomprehension." The feeling of inability to understand or of being misunderstood which haunts these melodramas is gleaned not only from aesthetic, historical, political and cultural subjects but also from personal experience.Drawing on the aesthetics of melodrama, Kapoor multiplies the metaphorical presence of the blind hero illustrating the overwhelming difficulty of communication, and blames society for a lack of understanding. Extending the resulting suffering to a wider context, Kapoor’s melodrama transcends the bounds of individual drama, reaching out to the level of the people as a whole, indeed to the entire nation according to some authors. To amplify the phenomenon of incomprehension, his melodrama uses misunderstanding, scorn, ignorance, confusion, illusion, and more. Kapoor does this to a point at which these difficulties of communication clearly represent identifiable structural elements in his portrayal of incomprehension imbued with melancholy and sadness
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Yang, Chiao-Ssu, and 楊蕎思. "A Study of Indian Fashion Aesthetics." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/12481446454658315274.
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碩士國立臺灣藝術大學
圖文傳播藝術學系碩士班
101
India, a collection of ancient, conservative, such as poverty, backwardness and "fashion" runs counter to the name of the country, after the rise of BRICs, not only has become the world's major economies, on the soft power of culture, India clothing also in important global chic take corners. As the economy took off, India clothing retail market in 2012 years estimated was worth about 15 billion dollars, however, Taiwan India costume related understanding and research in the field has been neglected. This study aims at Deconstructing India dress forms, expressive, symbolic three fashion aesthetics-oriented, semiotic theory to analysis of India costume, and works in an international Boutique of Hermès and Chanel, for example, analysis India traditional clothing style aesthetic with Western culture for mainstream fashion. Study on the mining method of in-depth interviews, field visiting India interview three have a historical tradition, and are moving into the world of India fashion brands, so as to understand India application in fashion aesthetics, and design changes. Research results show that India aesthetics in traditional dress in the clothing show strong national style, India fashion semiotics application show the perfection of human imagination.
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G, Ganesh Das. "Role of aesthetics in marketing:a study in the Indian context." Thesis, 2005. http://localhost:8080/iit/handle/2074/4632.
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Prakash, Brahma, and 白宇光. "Between Natya and Yue [Natya-Yue, God-Nature, Saudarya-Mei, Rasa-Jingjie, Lila-You, Bhakti and Prema-Damei and other Indian and Chinese aesthetics elements in comparison]: A comparative study of Indian and Chinese Aesthetics." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/x2a9u6.
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碩士國立中央大學
哲學研究所
96
With a basic postulation that aesthetics is a study of the state of fundamental human capacity; a state of non-alienated condition of the senses, the thesis provides an outcome of a comparative study of Indian and Chinese aesthetics with special reference to their inter-generic art and aesthetic concept of the Natya and the Yue. Both Natya and Yue, in Indian and Chinese context, stand for a broader meaning of art, aesthetics and philosophy and envision the idea of artistic life. For instance, the Natyashastra claims that there is no art, no knowledge, no yoga, no action that is not found in Natya; in Yuelun (樂論) it is said that Yue is the harmonious way to deal with all changes. My basic hypothesis is that the differences on superficial aspect of cultural performativity may not signify the differences on fundamental of aesthetic conception. Thus any attempt to draw a comparison between aesthetics primarily does not stand for the differences on aesthetic or beauty as such but on performativity of aesthetic elements, where aesthetic represents an invariable value. In a comparative aesthetics we don’t compare the essence of aesthetics as such rather elements of aesthetic and also their relation with other elements of philosophy; ethics, rationality, metaphysics, religion etc. The thesis begins with the dilemma of aesthetics, art and philosophy; reason behind dependency of aesthetic on art and philosophy; their interconnections and diversions mainly in context of divergent schools of Indian and Chinese aesthetics and philosophy. I argue that Indian and Chinese aesthetics can not be apprehended with very established notion of philosophical aesthetics, but we also need to see the other aspect where aesthetic also implied as a methodology. For this I have taken two points of departures: aesthetics as a part of philosophy where aesthetics has been conferred as a “philosophical aesthetics”, and second “aesthetic as an emanatory of philosophy of artistic life.” But the later does not advocates the idea of “pure aesthetic”, but only entails primacy of aesthetic elements in study of aesthetics. It also argues that Comparative study between Indian and Chinese aesthetics, unlike East- West compartmental comparisons , need not only aims to macro perspectives rather its pervasiveness of similar macro characteristics inclined us to see its intrinsic micro aspects too. First chapter of my thesis provides a general outline of my study, methodology etc. The second chapter provides a critical outline as well as significant debates concerning Indian aesthetics which includes debates on Natya (concept of art), Rasa (aesthetic experience), Leela (concept of play), ananda/ sahaja/ sahajia (aesthetic delight), concept of sphota/dhvani (suggestiveness), Bhakti/Prema (Grand Love) etc. In a similar way third chapter outlines Chinese aesthetic and critically discusses their elements like; Yue (concept of art), Jing-jie (aesthetic experience), You (wandering/play), Damei (concept of grand beauty), Yin-yang/Tian-di (concept of harmony) and anshi (suggestiveness) etc. In Fourth chapter, I have selected and compared five important characteristics of Indian and Chinese aesthetics which do not only imbibes the traditional as such but also invites contemporary debates towards making of world aesthetics. This comparative category includes Natya and Yue, Rasa and Jing-jie, Lila and You, Brahman and Dao, and their spiritualistic and naturalistic meaning. The result shows a lot of similarities and differences: making of encompassing, embodying and differentiating matrix.
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Bruce, Gregory Maxwell. "The aesthetics of sppropriation : Ghalib's Persian Ghazal poetry and its critics." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1245.
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This thesis examines the Persian ghazal poetry of Mirza Ghalib. It does so in the light of the corpus of critical literature in Urdu, Persian, and English that concerns both the poetry of Ghalib as well as the poetry of the so-called “Indian Style” of Persian poetry. Poems by Ghalib and his literary forebears, including Fighani, Naziri, ‘Urfi, Zuhuri, Sa’ib, and Bedil are offered in translation; critical commentary follows each text. The thesis explicates the ways in which each of these authors engaged in an intertextual dialogue, here called javaab-go’ii, or appropriative response-writing, with his forebears, and argues that the dynamics of this intertextual dialogue contribute significantly to the poetry’s aesthetics. These “aesthetics of appropriation” are discussed, analyzed, and evaluated both in the light of Ghalib’s writings on literary influence and Persian poetics, as well as in the light of the aforementioned corpus of critical literature.text
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Khanduri, Ritu Gairola. "Routes of caricature : cartooning and the making of a moral aesthetic in Colonial and Postcolonial India." Thesis, 2007. http://hdl.handle.net/2152/29615.
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This dissertation is a historical- anthropological account of political cartooning in colonial and postcolonial India. Through a focus on representational politics and biography I have situated the history and practice of cartooning in India to unfold the link between politics, the making of a moral aesthetic and modernity. I am attentive to the shifts in this link by tracing the movement in three historical phases: colonial, nationalist, and postcolonial. These three interconnected parts of my dissertation span a period from the 1870s when vernacular versions of the British Punch began to be produced in colonial India and contemporary neo- liberal India that is seeing a profusion of pocket cartoons in local newspaper editions. In organizing the narrative in three political frameworks - the colonial, nationalist, and postcolonial I discuss the circuits of global interconnectedness through which a shifting moral aesthetic of the cartoon came to be formulated at different times and places in Indian politics. As an everyday cultural production, a focus on the cartoon in terms of "what the cultural consumer makes" as "a production of poiesis - but a hidden one" (de Certeau 1984) illuminates the liminal (Turner) dimension of the cartoon. Additionally, by situating the cartoon as a discursive site (Terdiman 1985) I want to draw attention to new analytical spaces it generates for the discussion and construction of democracy, secularism, minority rights and the modern state. In order to grasp the generative and interpretive dimension of the cartoon I point to three concepts: liminal form, moral aesthetic, and tactical modernity. These concepts open a space to think through the hegemonic processes that come into play at the cultural site of the cartoon and enable and analysis of the cartoon as a site generative of hegemonic processes. This attention to the cartoon as a discursive site in the public sphere highlights the transformative circuit from laughter to debate, from visual to written, and a moral aesthetic that gets switched on through the interpretive dilemmas and representational practices of the cartoon.text
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Banasik, Barbara. "Aesthetics of Visual Art of the Brahmanic tradition in Classical India. Analysis of the theory of art based on selected Sanskrit treatises." Doctoral thesis, 2019. https://depotuw.ceon.pl/handle/item/3574.
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This dissertation describes and analysis four of the main problems of
Aesthetics, i.e. concept of art, origins of art, author, and beholde as described in four
Sanskrit art-treatises – the Nāṭya-śāstra, the Viṣṇu-dharmôttara-purāṇa, the Mayamata, the Abhinaya-darpaṇa. The treatises describe the rules of theatre, dance, plastic
arts, and construction.
Chapter 1 discusses selected problems of the concept of art that are
fundamental for the understanding of the notion as it was in Classical India. The first
problem is the classification of arts that sets the frame for further discussion in the
dissertation. The second subject discusses the most important element of art, i.e. its
sacred dimension. At last, various strategies to defining the concept of art are
employed.
Chapter 2 describes and analysis the stories of the origins of art as told by the
art-treatises. The stories are analysed from the point of view of four notions: time,
space, agents, and ritual. These four notions serve as the framework for the analysis
of other concepts discussed in subsequent Chapters.
Chapter 3 discusses the first type of agent – the art-person, i.e. author of srtwork. The role and position of art-person is discussed through the analysis of the terminology: names of professions, epithets, name of roles, organisation. Next, the
requirements for art-person are presented and his/her role in the process of art
making. The analyse is organised around the three notions: time, space, and ritual.
The last part discusses social position of art-persons.
Chapter 4 describes the role and position of the second type of agent – the
beholder. All types of beholders are analysed, their role and position in an art
situation, personal requirements and motivations for participating in artworld, as well
as the consequences from the contact with art.
Appendixes 1-4 present selected fragments of analysed Sanskrit texts – the
Nāṭya-śāstra, the Viṣṇu-dharmôttara-purāṇa, the Maya-mata, the Abhinaya-darpaṇa
respectively – with their translations and additionally comparative edition of various
published versions.
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Hobson, Daphne. "The domestic architecture of the earliest British colonies in the American tropics : a study of the houses of the Caribbean Leeward Islands of St. Christopher, Nevis, Antigua and Montserrat, 1624-1726 /." 2007. http://smartech.gatech.edu/bitstream/1853/26661/1/hobson_daphne_l_200712_phd.pdf.
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Rivers, Olivia Skipper. "The changes in composition, function, and aesthetic criteria as a result of acculturation found in five traditional dances of the Eastern Band of Cherokee Indians in North Carolina." 1990. http://catalog.hathitrust.org/api/volumes/oclc/23358141.html.
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Thesis (Ph. D.)--University of Wisconsin--Madison, 1990.Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 289-293).