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Dissertations / Theses on the topic 'Literature and Painting'
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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Willsdon, Clare Annabella Paton. "Aspects of mural painting in London, 1890-1930." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283657.
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Roberts, Claudette M. "Presence, absence, and the interface in twentieth-century literature and painting /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687175432.
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L'Clerc, Lee. "Painting and visual imagery in literature, three contemporary Latin American novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ41201.pdf.
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Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.
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Normand, Thomas Andrew. "Political trajectories in the painting of P. Wyndham Lewis." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6736/.
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This thesis presents an analysis of the political dimension to the paintings of Percy Wyndham Lewis (1882-1957). Through an exegesis of the discreet and latent "voices" in Lewis's paintings the ideological parameters of his thought world are disclosed. These imperatives are examined for their display of political predispositions, for values and attitudes, which reveal a loading towards specific socio-cultural standards. In so far as these standards can be identified with historically relevant political programmes they become manifestos for political actions. Or, at the very least, they can be seen to exist as critical and prescriptive social insights. Importantly, the focus of this examination and interpretation remains the visual image and its related texts. A key aspect of both the methodology and argument within this thesis, insists that the visual image is the bearer of meaning in both its subject matter and technique. Values are communicated not only in reference to the thing displayed, but, in the manner of the display. Hence, an analysis of the intellectual and formal strategies employed by Lewis in his painting becomes a central concern of the thesis. Finally, the thesis rounds on the actual nature of Lewis's politics as revealed in his approach to art. While it is accepted that the mediation from the political to the painted throws up many and substantial barriers, the thesis insists that a political reading of Lewis's creative work is not only appropriate but necessary. In offering just such a reading the author hopes to transcend the boundaries between the disciplines of Art History and Sociology.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Vargas, Elisa. "Surrealism and painting within the context of the Argentine avant-garde : 1921-1987." Thesis, University of Essex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306197.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.
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Keck, Michaela. "Walking in the wilderness the peripatetic tradition in nineteenth century American literature and painting." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2811163&prov=M&dok_var=1&dok_ext=htm.
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Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in early Greek vase-painting and literature." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405416.
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Bellon, Liana. "Wilde's decorative arts : a study of painting, clothing, and home décor in the writings of Oscar Wilde." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79285.
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This project explores Oscar Wilde's work on painting, the art of dress, and home decor, referred to collectively in his lectures as the 'decorative arts.' While it has become commonplace to assert that Wilde's plays and essays subvert the status quo, few scholars have studied Wilde's work on the decorative arts to substantiate his status as a writer arguing for social and political change. Through an analysis of Wilde's North American lecture tour and his editorship of The Woman's World, as well as his approach to painting, clothing, and home decor in his more well-known work, I argue that Wilde conceives of the decorative arts as a means of expressing and inciting dissatisfaction with the social and political realities of Victorian England.<br>As I show, Wilde subtly presents avant-garde art, sartorial details, and home decor items as functional ornaments. The formal elements of a painting foster receptivity and, by extension, sensitivity and compassion. Unconventional attire functions as a visual symbol of discontent with social and physical conformity. In light of Wilde's published support of women's emancipation, his writings on home decor imply that the well-decorated house, rather than the Victorian wife, should be responsible for creating domestic harmony.<br>Wilde's penchant for the decorative arts has long remained the domain of anecdote; the following study instead positions Wilde's interest in the decorative arts as a defining, and insightful, aspect of his oeuvre .
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Sierra, Nicole Marquita. "Literature, architecture, and postmodernity : Donald Barthelme and J.G. Ballard." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:909bff3c-6eea-46a6-9c7f-72d52b9d43ee.
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Focusing on works between the 1960s and the early ’80s, this thesis sets the literature of Donald Barthelme (1931–1989) and J.G. Ballard (1930–2009) within the context of twentieth-century architectural theory and history (written), design (drawn), productions (built), professional practice (managed), and pedagogy (taught). The primary aim of this study is to explore the discursive exchange between literature and architecture, while probing the putative association between postmodernity and architecture. By introducing a broader set of social phenomena into debates about postmodernity, my thesis enables a revaluation of how the architectural idiom is interpreted in literature. Using textual and visual analysis, this thesis argues that Barthelme’s and Ballard’s literary works operate at an intersection of the visual arts and mass media. Responding to American and European twentieth-century visual avant-gardes and socio-cultural transformations, architecture participates in the formulation of avant-garde conceptual frameworks. Critically, architecture is not only an aesthetic discipline; it is also a social discourse. Through the discipline’s alignment with ‘new’ and ‘old’ avant-gardes, Barthelme and Ballard use architecture as a point of creative departure to undertake formal and thematic literary experiments. For both authors, contact with the architectural avant-garde has literary consequences. This thesis considers four interconnecting ways literature and architecture ‘speak’ to each other: representation, discourse, formal comparisons, and influence or inspiration. Within my study these topics are examined through critical meditations on architecture from geographical (Fredric Jameson, David Harvey), architectural (Robert Venturi, Charles Jencks) and visual cultural (W. J. T. Mitchell, Marshall McLuhan) sources. Also figuring prominently are epitextual materials, especially archival documentation from the Donald Barthelme Literary Papers at the University of Houston and the Papers of J. G. Ballard collection at the British Library. This thesis opens up new ways of understanding the interart pluralism that characterises the postmodern.
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Meacock, Joanna. "Saintly ecstasies : the appropriation and secularisation of saintly imagery in the paintings and poems of Dante Gabriel Rossetti." Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/1596/.
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Using unpublished source material at Princeton University, the University of British Columbia, the British Library and the National Art Library in the V&A, this thesis aims to broaden current scholarly understanding regarding Rossetti's exposure to, interest in, and subsequent appropriation of aspects of monastic life and saintly legend in his religious and secular paintings and poems. The intention of part one of this thesis is to discuss and analyse Rossetti's early interest in monasticism and the legends of the saints. Rossetti's attraction to Catholic ritual and ceremony, both in terms of its aesthetic impact and the feelings of awe it engendered, will form the background to a discussion of his admiration for pre-Reformation art. The concern which he displayed in his own paintings and poems for saintly legend and theological mysteries will be shown to have its origins in early Christian art, as well as in the apocryphal lives of the saints and the writings of the Church Fathers, which had seen a resurgence in popularity in the wake of the Oxford Movement. Rossetti's growing fascination with art as a vehicle for the conveyance of religious ideas will be considered in relation to the early and mid-nineteenth century revival of interest in the medieval painter-monk and in the practice of illumination. Rossetti's 1856 watercolour Fra Pace will be examined in this context. The pertinence of the example of St Luke, who used his art as a preaching tool, will also be considered, Rossetti having returned to this concept directly, and obliquely, throughout his career in both his visual and poetic art. The influence of the quasi-monastic Nazarene painters, also called the German Brotherhood of St Luke, will be examined. Rossetti's suggestion of "Brotherhood" as an appendage to "Pre-Raphaelite" will be considered within a specifically monastic context, looking at the artist's family history, analogous artistic communities, and the revival of interest in ascetic institutions within the nineteenth century. The extent to which the works of the Pre-Raphaelite group showed a basis towards asceticism will be analysed, as will contemporary reactions to this.
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Porter-Salmon, Emily. "Textual cues, visual fictions : representations of homosexualities in the works of David Hockney." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1023/.
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This thesis is concerned with representations of homosexual themes and subjects in the works of David Hockney (b. 1937). A male, homosexual British artist, Hockney came of age during a period in which homosexual acts between males remained criminalised in both Britain and the United States. Openly homosexual since the early 1960s, Hockney began to produce images concerned with homosexual themes during his Royal College of Art student years. This thesis explores Hockney’s discovery of texts, languages, images and publications relating to homosexuality from the 1960s onwards, and his personal and creative responses to these sources. The concept of a homosexual creative ‘canon’ existed amongst homosexual men of this period, albeit in an unofficial capacity; this wider context of historical creative and cultural precedent within homosexual subcultures has not previously been the subject of sustained critical engagement in relation to Hockney. In addition to the artist’s works dealing with homosexual themes produced prior to the partial decriminalisation of homosexuality in Britain in 1967, this thesis looks beyond that period, and also considers Hockney’s personal self-fashioning and media engagements. Far from an anomalous maverick, Hockney and his works are shown to fit within a continuum of homosexual creative and cultural endeavour.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Chambost, Blandine. "Female figures of excess in French painting and literature in the second half of the nineteenth century." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620506.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Albuquerque, Mariana Ferraz de. "Breve espaço entre cor e sombra: literatura e artes plásticas." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2098.
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Previous issue date: 2010-08-11<br>The present work aims to analyze the novel Breve espaço entre cor e sombra (Brief space between color and shade) by Cristovão Tezza. The work transits between the literature and the plastic arts, becoming, therefore, essential to conceptualize what art is, understand the paths that it has been covering since early times and to highlight some present marks in the modernity artists artwork. Once the thread of the story revolves around a false head sculptured by the Italian Amedeo Modigliani, through Walter Benjamin s theoretical assumptions, questions as technical reproduction and manual reproduction will be understood. Knowing that the concepts of art permeate the whole novel, the present work has, as reference sources, the works of Mario Praz, Paulo Menezes, Jorge Coli, Alfredo Bosi and Aguinaldo Gonçalves. It will be analyzed not only the concepts of art, but also, the description of the paintings that correspond to the "narrative paintings", present in the novel, paintings these that transform the words into images.<br>O presente trabalho tem por objetivo analisar o romance Breve espaço entre cor e sombra, de Cristovão Tezza, seguindo os preceitos da literatura comparada. A obra transita entre a literatura e as artes plásticas, tornando-se, portanto, imprescindível conceituar o que é arte, entender os caminhos que ela vem percorrendo desde os primórdios e destacar algumas marcas presentes nas obras de artistas da modernidade. Uma vez que o fio condutor do romance gira em torno de uma falsa cabeça esculpida pelo italiano Amedeo Modigliani, por meio dos pressupostos teóricos de Walter Benjamin, entender-se-ão questões como a reprodutibilidade técnica e a reprodutibilidade manual. Sabido que os conceitos de arte perpassam todo o romance, o presente estudo tem, como fontes de referência, as obras de Mario Praz, Paulo Menezes, Jorge Coli, Alfredo Bosi e Aguinaldo Gonçalves. Analisar-se-ão não somente os conceitos de arte, mas, também, as descrições das telas que correspondem aos "quadros narrativos" presentes no romance, quadros estes que transformam as palavras em imagens.
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Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.
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Mitchell, Alexandre G. "Comic pictures in Greek vase painting : humour in the polis and the Dionysian world in the sixth and fifth centuries B.C." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248968.
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Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
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Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.<br>Romance Languages and Literatures
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Christensen, Ashley Mae. "First Psalm: Poems and Paintings." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3062.
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This collection of poems and paintings seeks to find the places where visual and written communication intersects, and the places where those two media diverge. The collection consists of poems and paintings juxtaposed, as if in conversation with one another throughout the pages. The collection treats each painting and poem as a separate attempt at prayer. As a reader turns the pages, similar questions are asked again and again, but in different settings and with different outcomes. This collection focuses on finding reconciliation between the oral culture of storytelling and the written culture of ideas, all within the context of prayer.
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Robertson, Sarah M. "L'art et l'amour à Travers un Amour de Swann de Marcel Proust." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/882.
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The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.
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Garcia, Rangel Sherezade. "The Wounded Me : a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7355/.
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Ennis-Chambers, Sarah. "Birth and After Birth and Painting Churches: Tina Howe's Examination of Love and Savagery in the American Family." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/865.
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Playwright Tina Howe has been quoted as saying that "family life has been over-romanticized; the savagery has not been seen enough in the theatre and in movies . . ." (Moore 101). In two of her plays, Birth and After Birth (1973) and Painting Churches (1983), that savagery appears in the form of name-calling, jealousy, apathy, disregard, and physical and mental abuse. A juxtaposition of the similarities in Birth and After Birth and Painting Churches will explain the "savagery" Howe is examining. The earlier play is written in the surrealistic style of lonesco and Beckett, playwrights who have been a major influence on Howe. The later work is a much more realistic, conventional play. Both center around three-member families (a set of parents and an only child) and take place at a time of significant change. The main focus is Painting Churches and the abuse that lies at the heart of the play. Mags Church (short for Margaret) has come home to help her parents, Fanny and Gardner, pack their things; they are moving from Boston to their summer cottage in Concuit. A promising young artist on the rise, she is also going to paint a portrait of them. But the painting of this portrait will be much more than the creating of a new piece of art for Mags; it will be a very personal and very trying test. Throughout the play, Howe reveals Mags' multifaceted mental and emotional problems and how her mother, while essentially a loving parent, contributed greatly to her daughter's lack of self-esteem and need to mask herself behind her work. She may even be responsible, and this thesis proves that Fanny Church subjected her only child to continuous psychological abuse, creating in her a deep-rooted psychosis. Birth and After Birth, written a decade earlier, examines some of the issues addressed in Painting Churches, and is basically used as backup evidence to help prove my theory.
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Mercado, Leticia. ""Habla, bulto animado": El problema del silencio en la poesía ecfrástica de la España barroca." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104156.
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Thesis advisor: Elizabeth Rhodes<br>This dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation<br>Thesis (PhD) — Boston College, 2015<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Romance Languages and Literatures
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Sundkvist, Luis. "Turgenev and the question of the Russian artist." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/228706.
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This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Ingram, Seth. "The Extraordinary Double Body: Images in Literature, Art, and on the Sideshow Stage." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1323292411.
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Fisher, James. "'I came here a stranger, as a stranger I depart' : an investigation into the relationship between drawing and narrative of place." Thesis, University of Gloucestershire, 2009. http://eprints.glos.ac.uk/1242/.
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This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.
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Balic, Iva. "Always Painting the Future: Utopian Desire and the Women's Movement in Selected Works by United States Female Writers at the Turn of the Twentieth Century." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc11060/.
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This study explores six utopias by female authors written at the turn of the twentieth century: Mary Bradley Lane's Mizora (1881), Alice Ilgenfritz Jones and Ella Merchant's Unveiling Parallel (1893), Eloise O. Richberg's Reinstern (1900), Lena J. Fry's Other Worlds (1905), Charlotte Perkins Gilman's Herland (1915), and Martha Bensley Bruère's Mildred Carver, USA (1919). While the right to vote had become the central, most important point of the movement, women were concerned with many other issues affecting their lives. Positioned within the context of the late nineteenth century women's rights movement, this study examines these "sideline" concerns of the movement such as home and gender-determined spheres, motherhood, work, marriage, independence, and self-sufficiency and relates them to the transforming character of female identity at the time. The study focuses primarily on analyzing the expression of female historical desire through utopian genre and on explicating the contradictory nature of utopian production.
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Cristovão, Maria Lucia Claro. "Descrição pictórica: a influência da pintura impressionista na literatura francesa do século XIX." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-09122009-151952/.
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Desde Horácio e sua célebre expressão Ut pictura poesis, diversos autores tentaram estabelecer um paralelo entre a literatura e a pintura ao longo dos séculos. Vários são os exemplos de obras literárias e pictóricas unidas por temas e inspirações em comum, que se desenvolveram em caminhos paralelos durante uma determinada época, numa determinada sociedade. Menos freqüentes, porém, são as ocorrências de elementos que configurem um verdadeiro diálogo, uma convergência ou uma interferência entre as artes visuais e a arte literária. Neste trabalho, pretendemos identificar uma influência do olhar impressionista na literatura francesa da segunda metade do século XIX. Para isso, analisaremos seqüências descritivas de obras de Gustave Flaubert e de Émile Zola. Através da análise da construção das pinturas impressionistas e da construção das seqüências descritivas na literatura, pretendemos demonstrar que esses dois sistemas de representação não estão unidos apenas por temas e inspirações em comum, como havia sido o caso até então, mas também pelas técnicas e metodologias utilizadas e pelas reações que essas mesmas técnicas provocaram e provocam até hoje no espectador e no leitor.<br>From the time of Horace and his famous phrase Ut pictura poesis, several authors have attempted to draw a parallel between literature and painting. There are many examples of literary and pictorial works linked by common topics and inspirations that have taken parallel paths across time and across societies. Less frequent, however, are the examples of a real dialogue, a convergence or interference between the visual and the literary arts. In this study, we aim at identifying an influence of the impressionist view in the French literature of the second half of the 19th century. For this purpose, we will examine descriptive sequences of the works of Gustave Flaubert and Émile Zola. By analysing the process through which Impressionist paintings were made and the descriptive sequences were written, we aim at demonstrating that these two systems of representation are not united only by common topics and inspirations, as had been the case to date, but also by common techniques and methodologies, in addition to being united by the reactions that these same techniques provoked and still provoke today in the spectator and the reader.
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Manion, Deborah Maria. "The ekphrastic fantastic: gazing at magic portraits in Victorian fiction." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/1360.
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While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction.
Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.
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Pires, Leicina Alves Xavier. "CONTRASTE ENTRE PERSISTÊNCIA E FLUIDEZ SENSITIVA." Pontifícia Universidade Católica de Goiás, 2017. http://tede2.pucgoias.edu.br:8080/handle/tede/3863.
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Previous issue date: 2017-11-21<br>This work intends to make a relational study of some Salvador Dalí’s paintings and
Fernando Pessoa 's writing in “ Na Floresta do Alheamento” under the perspective of
the aesthetics, persistence and fluidity. We aim to prove that both pictorial and poetic
language are fluid, fragmented, wistful, paradoxical, sensitive and full of drunkenness.
They bring us a range of images, dreams and magical worlds of the unconscious,
leading us to the transaesthetic, which is a transspace, since works navigate in the
interlude, in the writing of the artistic imagination, in a state of liquidity. These works
lie outside the world of rationality, opening up to the world of onirism. The proposal has
as its motto the phenomenological approach with emphasis on the paradoxical contrast
relevant to contemporary aesthetics. This study is part of a line of research that deals
with contemporary criticism and seeks to find the theoretical features of art now. Thus,
it is expected that this dissertation can serve as a model of aesthetic relationships of
works in different forms and species. In this way, we will initially approach the work of
art as a process of sensitive fluidity, such as concealment, reverie, movement and
fragmentation. Subsequently, we will trace the person’s poetic art course, in the
interlude, moving from dissimulation to absurdity and from modernity to
contemporaneity. Finally, we will talk about the persistence and fluidity of Dalinian
paintings. We will focus on the unusual, the fragmentation, the saturn and the bizarre,
realizing a counterpoint with the person’s poetic prose.<br>Este trabalho pretende fazer um estudo relacional de algumas pinturas de Salvador Dalí
e da escrita de Fernando Pessoa em Na Floresta do Alheamento sob a perspectiva da
estética da persistência e fluidez. Almejamos comprovar que tanto a linguagem pictórica
quanto a poética mostram-se fluidas, fragmentadas, devaneantes, paradoxais, sensitivas
e de plena embriaguez. Elas nos trazem uma gama de imagens, de sonhos e de mundos
mágicos do inconsciente, nos conduzindo para o transestético, que é um transespaço,
pois que as obras navegam no entrelugar, na escrita do imaginário artístico, em estado
de liquidez. Essas obras encontram-se fora do mundo da racionalidade, abrindo-se para
o mundo do onirismo. A proposta tem como mote a abordagem fenomenológica com
ênfase no contraste paradoxal pertinente à estética contemporânea. Este estudo faz parte
de uma linha de pesquisa que trata da crítica contemporânea e que procura encontrar os
traços teóricos da arte de agora. Dessa forma, espera-se que esta dissertação possa servir
como modelo de relações estéticas de obras em formas e espécies diferentes. Desse
modo, inicialmente, abordaremos a obra de arte como processo de fluidez sensitiva,
como dissimulação, devaneio, movimento e como fragmentação. Posteriormente,
traçaremos o percurso da arte poética pessoana que se encontra no entrelugar,
transitando da dissimulação ao absurdo, e da modernidade à contemporaneidade. Por
último, discorreremos sobre a persistência e fluidez nas pinturas dalinianas.
Enfocaremos o insólito, a fragmentação, o saturno e o bizarro, realizando um
contraponto com a prosa poética pessoana.
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Hegenberg, Ivan Alexander. "Clarice Lispector e os limites da linguagem: uma leitura interdisciplinar do romance Água viva." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26082016-125348/.
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O presente estudo volta-se ao romance Água Viva, publicado em 1973 por Clarice Lispector, compreendido como exercício de radicalização da linguagem sob influência do pensamento pictórico, no qual o rastro material do processo e a possibilidade de uma expressão não-verbal entram em questão. Será desenvolvida uma discussão sobre o romance enquanto gênero literário, que se desdobrará em uma comparação entre as linguagens literária e pictórica, suscitada pelas constantes sugestões ao universo da pintura presentes em Água Viva. Ao se estabelecer um embate entre crítica literária e crítica de arte visual, serão analisadas as tensões entre arte e realidade nos projetos estéticos da contemporaneidade, por meio de uma comparação entre o romance de nosso recorte e expressões artísticas consolidadas na década de 70, como o minimalismo, a arte-processo e a arte conceitual, que, ao colocar a pintura em xeque, desencadearam um amplo ataque ao ilusionismo. A análise do objeto deverá nos mostrar de que maneira os debates em torno da chamada morte da pintura auxiliam a compreender os movimentos dialéticos de Clarice Lispector, alternando afirmação e negação da arte em uma de suas obras de maior experimentação. É nesse contexto que será lido Água Viva, romance que se dispõe a refletir com complexidade sobre a crise das representações.<br>The present study is an approach to the novel Água Viva, published in 1973 by Clarice Lispector; it is understood as a radicalization of language under the influence of pictorial thought, in which the material trace of the process and the possibility of nonverbal expression are at stake. A discussion about novel as a literary genre will be developed; this will unfold into a comparison between literary and pictorial languages, implied by the constant suggestions regarding the universe of painting present in Água Viva. The confrontation of literary critic and visual arts critic settles an analysis of the tension between art and reality in the contemporary aesthetics projects, by means of a comparison between the novel in view and the consolidated art expressions from the 70s, like minimalism, process-art and conceptual art, which, challenging painting, triggered a comprehensive attack upon illusionism. The analysis of the object may show us how the debates about the so called death of the painting can aid in the understanding of Clarice Lispectors dialectic movements, in which art acceptance and denial take turns in one of her major works of experimentation. It is within this context that Agua Viva will be read, a novel that is willing to plunge with high complexity upon the crisis of representation.
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Pereira, Franciane de Souza. "TENSÕES INVENTIVAS NA OBRA MANUAL DE PINTURA E CALIGRAFIA, DE JOSÉ SARAMAGO." Pontifícia Universidade Católica de Goiás, 2016. http://localhost:8080/tede/handle/tede/3259.
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Previous issue date: 2016-02-23<br>The literature based on the book Manual of painting and calligraphy by José
Saramago (1977), aims to analyze existing homological procedures between this
work and various painting trends, comparing the selected narrative with the convent
Memorial works (2002), Blindness (2003) and The flashes of death (2009), by the
same author, pointing out the manual singularities, great allegory of the others books
and the composition of the artistic plans. The aim is also to point out the features in
the novel, their main elements as characters, time and space. The process of
creating the frame inside the work allows viewing the resources used by the author
and how the work can be observed. The fact that the narrative is a work of literary art
allows more detailed observation about the function and use of literary discourse and
still speaking of this painting in the tables created by the painter in the narrative. Still
pointing the artistic factor present in the work, the facts in José Saramago s work for
the periods experienced by the art itself, its painters, the open studio driving process,
the meta-language that is part of the work and even the use of simulation for the
construction of the narrative can be observed. They are marked the several levels of
existing simulation throughout the book and even a possible approach to the same
work In search of lost time (1988), by Marcel Proust, through the book Moving
museum (2004). It is concluded that the studies on the relationship between
branches arts are very recent, so the approach that brings literature and painting
allows contemplating a new path for these two artworks.<br>A pesquisa bibliográfica baseada no livro Manual de pintura e caligrafia, de José
Saramago (1977), tem por objetivo analisar as relações de semelhança existentes
entre essa obra e as várias tendências da pintura. Comparando a narrativa
selecionada com as obras Memorial do convento (2002), Ensaio sobre a cegueira
(2003) e As intermitências da morte (2009), do mesmo autor, apontando as
singularidades do Manual de pintura e caligrafia (1977) e a vasta alegoria das
demais obras e a composição dos planos artísticos. Visa-se ainda apontar as
características presentes no romance e seus principais elementos como
personagens, tempo e espaço. O processo de criação da moldura no interior da obra
permite observar os recursos utilizados pelo autor e o modo como a obra pode ser
observada. O fato de a narrativa ser uma obra de arte literária permite um olhar mais
minucioso sobre a função e o uso do discurso literário e ainda o discurso da pintura
presente nos quadros criados pelo pintor na narrativa. Ainda apontando o fator
artístico presente na obra é possível também observar os fatos em relação aos
períodos vividos pela própria arte, seus pintores, o processo de condução ao ateliê,
a metalinguagem que faz parte da obra e ainda o uso da simulação para a
construção da narrativa. São destacados os vários níveis de simulação existentes ao
longo da obra e ainda uma possível aproximação com a obra Em busca do tempo
perdido, de Marcel Proust (1988), por intermédio do livro Museu movente (2004).
Conclui-se que os estudos sobre as relações entre-artes são ramos muito recentes
e, portanto, a abordagem que aproxima a literatura e a pintura permite contemplar
um novo caminho para essas duas artes.
39
Cordy, Raven. "Making Christian Art in a Contemporary Setting." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
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Over the past 4 and a half years, I have studied contemporary art and seen countless artworks being made in an academic setting. In doing so, I have come to the realization that religious content is rare in today’s time. While it is not actively discouraged, the environment I am in and the current art community does not seem to be particularly interested in merging the two concepts. Without understanding why, I subconsciously kept art and my faith as separate entities for the first few years of my higher education. But as I matured and developed my own artwork, I began to feel as though my identity and my interests should be rooted in my relationship with God. Upon this reflection, I began looking for ways to make Christian art in a contemporary setting that could also be accepted by those who do not share my faith.
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Santos, Aline Magalhães dos. "O pintar literário nos Escritos sobre a arte, de Émile Zola." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-14032017-142624/.
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Emile Zola é conhecido por sua carreira como romancista, mas sua iniciação como escritor deu-se também como crítico de arte entre as décadas de 1860 a 1896, anos nos quais o escritor frequentou os ateliês de célebres pintores, cafés e os Salões. A partir da análise dos artigos de jornal presente na compilação Escritos sobre a arte, o trabalho tem por objetivo mostrar como a relação com os pintores impressionistas leva Zola a utilizar os procedimentos picturais desse movimento para descrever os quadros expostos nos Salões de 1866 a 1880. Na primeira parte do trabalho, será apresentado um panorama dos Salões e a gênese desse gênero novo por Denis Diderot, as questões levantadas por Charles Baudelaire em seus escritos sobre a arte e a influência de ambas as críticas para a construção do método de análise de Zola. A segunda parte do trabalho visa apresentar as questões levantadas pelo crítico no que diz respeito à escolha do júri que selecionava as obras, o momento artístico e sua teoria estética. A questão principal deste trabalho será discutida detalhadamente na terceira parte deste trabalho, em que o objetivo principal será identificar os procedimentos pictóricos impressionistas nas análises de Zola e os desdobramentos dessas técnicas na produção da sua crítica de arte.<br>Émile Zola is known for his novelist career, but his initiation happened as an art critic between the years 1860 and 1896, in which he attended renowned painters\' studios, cafés and the Salons. Starting from the analysis on newspapers articles, found in the compilation Writings on Art, this dissertation intends to show how Zolas relation with Impressionist painters made him use this movement\'s pictorial proceedings in order to analyze the pictures exposed in 1866 and 1880 Salons and create narratives from such descriptions. In the first part, an overview about these Salons shall be introduced, as well as this new genre\'s genesis by Denis Diderot, the matters discussed by Charles Baudelaire in his writings on art, and the weight of both these critical modes to Zola\'s own analysis method. The second part aims to introduce the issues he raised concerning the choosing of the jury responsible for selecting works, the artistic moment, and his aesthetic theory. This researchs main point shall be discussed minutely in the third part, whose main goal is to identify the Impressionists pictorial procedures in Zolas analysis and this techniques deployment in his making of critics on art.
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Field, Roger Michael. "Alex la Guma: a literary and political biography of the South African years." Thesis, University of the Western Cape, 2001. http://etd.uwc.ac.za/index.php?module=etd&.
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The South African years (1925-1966) of Alex la Guma is examined in this thesis. While La Guma's father was an important role model, most critics have overlooked his mother's contribution to his literary and political development. Throughout the thesis the same point is made about Blanche, La Guma's wife, who supported him in many ways. The researcher describes La Guma's infancy, childhood and adolescence, his father's political profile, how notions of race and writing, coloured identity and family and political experiences created the conditions that enabled him to become a story teller and political activist ...
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McAra, Catriona Fay. "'Some parallels in words and pictures' : Dorothea Tanning and visual intertextuality." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3722/.
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In 1989 the American Surrealist associated painter, sculptor, and writer Dorothea Tanning (1910-2012) suggested an intermedial dimension to her multifaceted œuvre in her essay ‘Some Parallels in Word and Pictures.’ Taking this essay as a critical point of departure, this thesis offers an intertextual theorisation of Tanning’s practice. It concerns the role of narrative in her work, and the way in which she borrows from the histories of art and literature as source materials. The thesis presented here is that Tanning’s work from the context of Surrealism and beyond makes reference to the fairy tales and other, more extensive works of literature which she read in her youth whilst at work in her public library in Galesburg, Illinois, whether implicitly in visual references or explicitly in her works’ titles. Throughout, the library is read as a key source of inspiration. This is true too of the impact which Tanning’s belated visit to the Louvre had on her post-Surrealist stylistic development. Broadly, this thesis aims to rethink the methodologies used to interpret Surrealism, and reunite the literary and visual aspects upon which the Surrealist movement was initially founded. This interdisciplinary approach contributes fresh perspectives by marrying the history of Surrealism with that of the fairy tale, including that of Lewis Carroll, Hans Christian Andersen, and the fairy tale illustrations of Gustave Doré, Maxfield Parrish, Arthur Rackham, and John Tenniel. The anti-fairy tale emerges as useful critical tool in defining the intertext which appears when Surrealism and the fairy tale are paired. The ‘demythologising’ project of Angela Carter is useful to call upon in the articulation of the anti-fairy tale, and her work is easily placed in dialogue with that of Tanning, especially in terms of its feminist leanings. The dialogic, intertextual theories of Mikhail Bakhtin, further developed by Julia Kristeva and Roland Barthes, support this reading of Tanning’s visual narratives. More recently such theories of intertextuality have manifested themselves in the work of Dutch narratologist Mieke Bal who proposes a model of ‘preposterous history’ in order to creatively re-read the relationship between source (or pre-text) and intertext. This research is primarily text-based and devotes long-awaited attention to Tanning’s literary works which are read visually, including her short story ‘Blind Date’ (1943), and her novel 'Abyss' (1977), later reworked and republished as 'Chasm: A Weekend' (2004). I argue that her novel provides textual continuity with her Surrealist visual narratives of the 1940s creating a more cyclical, ‘preposterous’ shape to her career than has previously been acknowledged.
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Abelin, Bruna Arozi. "A SIMPLICIDADE MORDENTE DE UM PROTAGONISTA-ESCRITOR OUTSIDER: ESTUDO DE ASK THE DUST E DREAMS FROM BUNKER HILL DE JOHN FANTE." Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/9934.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>In Ask the Dust (1939) and Dreams from Bunker Hill (1983), John Fante (1909-1983) represents the obliterated side of American life during the Great Depression by making use of an apparently simple narrative style. Besides focusing on the importance of the marginal side of the United States in the 1930s, Fante presents young Arturo Bandini as the protagonist who survives in Los Angeles during the economic crisis and aims at becoming a great writer that contends for space in the cultural market of the metropolis of entertainment. Through obscene vocabulary and scenes, Fante represents the most negative aspects experienced by those who live in a metropolis, such as isolation, solitude, vice, and madness. Therefore, Fante s fiction has thematic and formal aspects that allow us to establish relations with the New Realism, a movement of the Arts in the first half of the twentieth century, which also crudely explored the negative aspects of life in the United States. Thus, this study discusses the potential meaningfulness of thematic and aesthetic aspects of Ask the Dust and Dreams from Bunker Hill, two novels that present the relation established by the writer, who is an outsider, with the city, the people, and the craft of writing in modern times.<br>Em Ask the Dust (1939) e Dreams from Bunker Hill (1983), John Fante (1909-1983) representa o lado esquecido da vida estadunidense durante o período da Grande Depressão por meio de uma estética aparentemente simples. Além de dar enfoque e devida importância ao lado marginal dos Estados Unidos da década de 1930, Fante apresenta como protagonista o jovem Arturo Bandini que, durante a crise econômica, sobrevive em Los Angeles com a ambição de ser um grande escritor que disputa espaço em meio ao mercado cultural da metrópole do entretenimento. Por meio de vocabulário e cenas marcadas por obscenidade, Fante cria representações dos aspectos mais negativos que a vida na metrópole pode proporcionar aos sujeitos, tais como isolamento, solidão, vícios e loucura. Assim, sua obra apresenta aspectos temáticos e formais que permitem aproximá-la do Novo Realismo, movimento das artes plásticas da primeira metade do século XX que também explorou de forma crua os aspectos negativos da vida nos Estados Unidos. Desse modo, discutem-se neste estudo significados potenciais dos aspectos temático-estéticos de Ask the Dust e Dreams from Bunker Hill, romances que abordam a relação do escritor outsider com a cidade, as pessoas e o ofício da escrita nos tempos modernos.
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Mathias, Manon Hefin. "'Apprendre à voir' : the quest for insight in George Sand's novels." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2987dce0-0e41-4d32-9da8-35b3c8284703.
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This thesis examines the novels of George Sand (1804-1876) and analyses representative examples from her entire œuvre. Its overall aim is to re-evaluate Sand’s standing as a writer of intellectual interest and importance by demonstrating that she is engaging with a cultural and intellectual phenomenon of particular relevance to the nineteenth century: the link between different ways of seeing and knowledge or understanding, which I term ‘insight’. The visual dimension of Sand’s novels has so far been overlooked or reduced to a rose-tinted view of the world, and my study is the first to examine vision in her work. I argue that Sand demonstrates a continuous commitment to ways of engaging with the world in visual terms, incorporating conceptual seeing, prophetic vision, as well as physical eyesight. Contesting the prevailing critical view of Sand’s œuvre as one which declines into blandness and irrelevance after the 1850s, this thesis uncovers a model of expansion in her writing, as she moves from her focus on the personal in her early novels, privileging internal vision, to wider social concerns in her middle period in which she aims to reconfigure reality, to her final period in which she advocates the physical observation of the natural world. Rejecting the perception of Sand as a writer of sentiment at the expense of thought, this study argues that her writing constitutes a continuous quest for understanding, both of the physical world and the more abstract, eternal ‘vérité’. I show that Sand transcends binary divisions between science and art, the detail and the whole, the material and the abstract, and that she ultimately promotes a multidisciplinary approach to understanding the world. This also enables me to reassess Sand’s poetics by arguing that her rejection of the mimetic model is founded on her conception of the world as multiple and constantly evolving.
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Carter, Laura. "Building Nest." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/english_theses/27.
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“What does it mean, to make a genuine generalization, to create an objective concrete abstraction of a phenomenon?”—Evald Ilyenkov. As Guy Debord writes in his Society of the Spectacle, “the lack of general historical life also means that individual life as yet has no history.” These poems are my process of coming to understand history, and many of them are critiques of histories per se. If, as Frank O’Hara writes, “these anxieties remain erect,” they also shape the poems that I have written here. I want to be in dialogue with the spectacle that shapes postmodernism. I want to live in communication with the memories of events that have shaped my speech over the years. The title is a struggle to regain a home while not forgetting the displacement of the proverbial poet, a poet to whom I am forever indebted and probably likely to become.
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Keresztély, Kata. "Peinture de fiction : une tradition arabe médiévale." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH180/document.
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Dans les ouvrages contemporains traitant des arts visuels dans la tradition artistique 'chrétienne' ou 'occidentale' les analyses des œuvres d'art sont souvent effectuées à l'appui d'une approche interdisciplinaire intégrant les méthodes de recherche et les questionnements des sciences sociales ainsi que d'autres disciplines, comme la littérature. Sur se modèle, je tente d’élaborer une méthode de recherche complexe pour l’appliquer dans l’étude de l’iconographie arabe médiévale. Les sources principales de mon travail sont les manuscrits iconographiés de deux 'bestsellers' de la littérature arabe médiévale : les Maqâmât d'al-Harîrî et la traduction arabe de Kalîla wa Dimna de Bîdpây, copiés et peints, pour les premiers au XIIIe siècle, et, pour les seconds, au XIVe siècle, respectivement en Irak, en Syrie et en Egypte. Pour étudier les manuscrits, je propose une approche dont le leitmotiv est l'observation de la relation entre les textes et les images en les considérant comme un ensemble et comme éléments qui constituent des œuvres d'art complexes. Les manuscrits médiévaux contenant des images deviennent ainsi, en tant qu'objets matériels mais aussi comme des produits intellectuels et artistiques, des sources primaires de l’histoire intellectuelle arabe médiévale<br>In contemporary studies dealing with visual art within the « Western » or « Christian » world, the artworks’ analysis are often proposed on the basis of an interdisciplinary approach integrating methods of different scientific fields such as social sciences, and literature. Following this model, I try to develop a complex method in order to study medieval Arabic iconography. My work’s principal sources are the illustrated manuscripts of the two « bestsellers » of medieval Arabic literature: al-Harîrî’s Maqâmât and the Arabic translation of Bîdpây’s tales, the Kalîla wa Dimna, copied and painted during the second half of the 13th and the first half of the 14th centuries in Irak, Syria and Egypt. In the analysis of the manuscripts, I concentrate on the relationship between text and images while I consider them as elements of a complex artwork, as a whole. While doing so, medieval manuscripts containing images become primary sources of Arabic intellectual history as material objects but also as intellectual products
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Mello, Sânderson Reginaldo de [UNESP]. "A poética interartes na tessitura de “O Ouvido” de José Saramago." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/103651.
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mello_sr_dr_assis.pdf: 5614714 bytes, checksum: 9524c2b2ccc34b0f6a267cfd2c114c09 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Considerando a perspectiva homológica que envolve as diferentes representações artísticas em Poética dos Cinco Sentidos – La Dame à La Licorne (1979), visamos tratar no presente estudo das correspondências interartísticas no processo de produção do texto O Ouvido, de José Saramago. A Livraria Bertrand (Lisboa) solicitou a contribuição de seis autores portugueses para que realizassem uma leitura de La Dame à la Licorne (séc. XV), série de seis tapeçarias francesas encontrada no século XIX no castelo de Boussac, e exposta no Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) desde 1882. Os painéis, reproduzidos junto aos textos do volume, sugerem representar a alegoria dos sentidos humanos, e cada autor solicitado abordou, de forma particular, uma das peças. Assim, consecutivamente, Maria Velho da Costa escreveu sobre a visão em A Vista; José Saramago, a audição em O Ouvido; Augusto Abelaira o olfato em O Olfacto; Nuno Bragança o paladar em O Gosto; Ana Hatherly o tato em O Tacto; e, por sua vez, Isabel da Nóbrega, em A sexta, tratou sobre À Mon Seul Désir, título dado à tapeçaria que realiza o fechamento da série e ilustra a capa do livro. Diante desse contexto, passamos a investigar inicialmente a origem das questões interartísticas nas poéticas da Antiguidade Clássica, bem como o contiuum desses pressupostos teóricos nas reflexões e gêneros artísticos na Idade Média, na Idade Moderna e na Contemporaneidade. Em seguida, delineamos como a herança da tradição especulativa em torno da fraternidade entre as artes incide na arte decorativa da tapeçaria, e, posteriormente, refletimos sobre a tessitura poética dos painéis...<br>Taking into consideration the homological perspective that involves the different artistic representations in Poética dos Cinco Sentidos / La Dame à La Licorne (1979), in this study we aim to deal with the interartistic correspondences in the text production process O Ouvido, by José Saramago. The Livraria Bertrand (Lisboa) requested the contribution of six Portuguese writers to perform a reading of La Dame à la Licorne (Sec. XV), a series of six French tapestries found in Boussac castle in the nineteenth century, and exposed in Musée National du Moyen Age - Thermes et Hôtel de Cluny (Paris) since 1882. The panels, reproduced along with the texts of the volume, suggest to represent the allegory of human senses, and each author invited approached, in his particularly way, one of the tapestries. Thus, consecutively, Maria Velho da Costa wrote about the sight in A Vista; José Saramago, the hearing in O Ouvido; Augusto Abelaira, the smell in O Olfacto; Nuno Bragança, the taste in O Gosto; Ana Hatherly, the touch in O Tacto; and Isabel da Nóbrega, in A sexta, wrote about À Mon Seul Désir, title given to the tapestry that ends the series and illustrates the cover of the book. In this context, we started by investigating the origin of interartistic matters in poetry of Classical Antiquity, as well as the continuum of these theoretical purposes in the reflection and artistic genres in Middle Age, Modern Age and Contemporaneity. Then, we outlined how the heritage of speculative tradition around fraternity among arts falls on tapestry decorative art. Later, we pondered over the poetical tessitura of La Dame à La Licorne’s panels... (Complete abstract click electronic access below)
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Gervais, de Lafond Delphine. "Shakespeare et les peintres français au XIXè siècle." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3105.
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Shakespeare est partout en ce XIXe siècle. Il inspire la littérature, la musique, les arts plastiques. Il est dans l'accomplissement d'un nouveau théâtre et dans le rêve d'une génération d'artistes qui se jette à corps perdu dans un nouvel idéal. Que cherchent-ils alors dans l'infamie des sorcières, les procrastinations d'un jeune prince, le désarroi d'un vieux roi, l'interdit de l'amour ? Ils s'en vont rêver à d'autres univers, peuplés de créatures fantastiques, d'hommes au cœur vrai et de folles passions. Et dans ce début de siècle comme le dit Stendhal au détour d'une pensée dédiée au dramaturge anglais : « il faut sentir et non savoir ! ». L'objectif de la présente étude est de poser les bases d'une réflexion approfondie sur l'inspiration shakespearienne française en peinture au XIXe siècle. Nous nous sommes attachés à en déterminer les causes et en identifier les manifestations, mais aussi à l'englober dans une histoire plus générale de l'art à travers la remise en question d'un genre pictural menacé, la peinture d'histoire. C'est pourquoi notre travail s'articule autour de cinq grandes parties afin d'offrir un examen complet et synthétique du sujet. La première partie a pour but d'initier le lecteur à cette inspiration littéraire. Les trois parties suivantes sont consacrées à l'étude approfondie des différentes sources d'inspiration des peintres (textuelles, visuelles et iconographiques). Enfin, après la mise en place contextuelle, l'exploration iconographique et iconologique de notre sujet, notre dernière partie tend à analyser le rôle qu'a joué en France l'inspiration shakespearienne en peinture à travers plusieurs approches : esthétique, critique et idéologique<br>The name of Shakespeare overhangs the 19th century. The English playwright inspires literature, music and fine arts. He is closely associated with theatre renewal and becomes a model for a generation of artists. What are they looking for in the witches' infamy, the procrastination of a young prince, the distress of an old king, forbidden romances? They dream of other universes crowded with fantastic creatures and passionate human beings. In the beginning of this century, as Stendhal pointed out in a note dedicated to The Bard : “We need to feel rather than to know”. The aim of the research herein is to analyse the Shakespearean inspiration on French painting over the 19th century through a discussion which deals with iconographical and aesthetic concerns as well. To be as relevant as possible, we chose to organize our work in five parts in order to offer a global and complete view of the subject. Thus, the first part of our dissertation tends to initiate the reader to the Shakespearean iconography in general, while the following third parts explore the painter's different sources of inspiration (textual, visual and iconographical). Finally, the fifth part is devoted to the examination of the role played by this literary inspiration on French painting through intellectual, critical and ideological approaches
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Ireson, Lucinda. "Cracked mirrors and petrifying vision : negotiating femininity as spectacle within the Victorian cultural sphere." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4796/.
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Taking as it basis the longstanding alignment of men with an active, eroticised gaze and women with visual spectacle within Western culture, this thesis demonstrates the prevalence of this model during the Victorian era, adopting an interdisciplinary approach so as to convey the varied means by which the gendering of vision was propagated and encouraged. Chapter One provides an overview of gender and visual politics in the Victorian age, subsequently analysing a selection of texts that highlight this gendered dichotomy of vision. Chapter Two focuses on the theoretical and developmental underpinnings of this dichotomy, drawing upon both Freudian and object relations theory. Chapters Three and Four centre on women’s poetic responses to this imbalance, beginning by discussing texts that convey awareness and discontent before moving on to examine more complex portrayals of psychological trauma. Chapter Five unites these interdisciplinary threads to explore women’s attempts to break away from their status as objects of vision, referring to poetic and artistic texts as well as women’s real life experiences. The thesis concludes that, though women were not wholly oppressed, they were subject to significant strictures; principally, the enduring, pervasive presence of an objectifying mode of vision aligned with the male.
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Asif, Noor A. "Women Surrealists: Muses or Seekers?" Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/826.
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Surrealism has often been labeled as a misogynistic movement that sought to provide man with an avenue into a higher reality at the expense of the humanity of women. By perceiving the opposite sex as their muses, Surrealist men rendered women as mysterious sources of the marvelous, the name given to the higher realm, which they desired to attain. I propose that Surrealist women were empowered by the fact that ‘woman’, as an abstract concept, and femininity were synonymous with the marvelous. This entailed that Surrealist women had the advantage of being “sources of revelation, as provokers of wonder, dreams, and freedom,” whose intellectual agency allowed them to delve into their own femininity in order to attain the higher reality that Surrealism was devoted to unlocking. In contrast from Surrealist men who relied on the image of woman to lead them to this superior realm, Surrealist women were able to look within themselves in order to comprehend the marvelous. Conversely, Surrealist women often reversed the idea of the muse, by exploring their feminine unconscious through the objectification of men.