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1
Fong, Ching-to Solomon, and 方正道. "Metamorphosis of city: art space." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B3198387X.
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Fong, Ching-to Solomon. "Metamorphosis of city : art space /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25946262.
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Green, Georgina. "Our own beds : a tale of metamorphosis." Thesis, Federation University Australia, 2004. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/164957.
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"This research project visually explores the concept of "living story" through an installation. Entitled "Our own beds", the installation uses narrative with an emphasis on personal perspective and lived experience in the manner of Jack Kerouac's writings."Master of Arts
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Wissman, Jeffery S. "CONTEMPORARY DEFINITIONS OF ART AND THE METAMORPHOSIS OF ORDINARY OBJECTS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997893495.
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Yuen, Jessica Michelle. "Metamorphosis Journey: Voices of Asian Domestic Violence Survivors Through Art Exploration." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/77.
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Using a qualitative, narrative based, and art based approach, this study explored the experiences of Asian domestic violence survivors living in an Asian-based domestic violence transitional shelter, and how their cultural identity as an Asian immigrant woman played a role in their experiences. The participants were two out of six women living at the domestic violence shelter provided by the Asian Pacific Women’s Center. Three overarching themes were formed after the analysis of all the emergent categories: The women experienced isolation that were influenced from their marginalized cultural values, the shelter was viewed as a foundation for growth, and the art was useful as a means for communication.
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Richardson, Milda B. "The metamorphosis of the Lithuanian wayside shrine, 1850–1990." Thesis, Boston University, 2003. https://hdl.handle.net/2144/41405.
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This dissertation examines the wooden wayside shrines of Lithuania and the unique role they played in the religious, social and political history of Lithuania from the end of World War II to the 1990s. Two manifestations of performance are discussed: (1) the development of the wayside shrine tradition in the territory of Lithuania itself, and (2) the radicalization of the tradition among émigré artists rebuilding a sense of community in the West. With the annexation of Lithuania into the Soviet Union following World War II, the Communist government aggressively repressed but never completely eradicated the religiously-based wayside shrine tradition. Beginning in the 1970s, the Folk Art Society in Lithuania vigorously generated a renaissance in the folk heritage. Society members turned to the arts and crafts tradition and created over thirty, large-scale ensembles of woodcarvings throughout the countryside. As part of a struggle to assert Lithuanian cultural identity, the ubiquitous wayside shrines composed of roofed poles with chapels containing free-standing religious figures evolved into totemic carvings, which combine religious and secular figures fully engaged on the trunk of the totem pole. In North America, the Lithuanian diaspora recreated the shrines predominantly in miniature form, often using a greater variety of materials and tools. In this radicalized form they became the symbol of the Lithuanian community's identity in all aspects of its visual culture. The dissertation is organized into three sections: (1) an examination of the historical tradition, 1850–1940; (2) an analysis of the metamorphosis of the tradition in Lithuania, 1940–1990; (3) a comparative analysis of production in North America. Extensive fieldwork and interviews in Lithuania and North America, and research in previously unexplored archives inform the dissertation. Prior scholarship on the wayside shrine tradition has remained largely descriptive. This study seeks a broader cultural analysis, including the North American production which has not been documented until now. The contribution of this dissertation is to synthesize the significance of this art form by applying a variety of scholarly disciplines: art history, religion, anthropology, history, material culture, and immigration studies.
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Miller, Melissa Anne, and mel miller@gmx com. "Persuasions of Memory: The Metamorphosis of Memory in the Precious Object." RMIT University. Art, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091014.103429.
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This project takes the portrayal of memory in wearable jewellery and jewellery object making in two directions. The relationship between memory and the experiences it represents is revealed within the singular jewellery object through structural, iconographical, or material relationships among elements of the object. Reinterpretations of the original primary jewellery object result in series of jewellery objects and wearable jewellery that express ideas about the altering of memory. Jewellery objects with removable wearable jewellery components act as memory models, revealing ideas about memory processes through the relationships among their elements. The juxtaposition of soft and hard materials is used as a metaphor of memory. The result of the project is a body of work consisting of wearable jewellery and jewellery objects1 which manifest ideas about memory; specifically, the relationship between memory and the experiences it represents. The work draws on traditions in the gold- and silversmithing field of creating objects to be used as signifiers of memories3 and mnemonic devices. The primary aim of the project is not to create direct representations of personal memories or collections of found objects that represent cultural histories. Instead, the work engages in a visual and tactile exploration of memory itself: the processes of remembering experiences and the alteration of memory over time. Series of jewellery objects and wearable jewellery reveal ideas about the relationship between memory and experience both within singular objects and among altered objects in series.
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Petreikis, Martynas. "METAMORFOZĖS Trijų tapybos darbų ciklas." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100907_095013-99127.
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Šiuolaikinio meno pasaulyje vis labiau ryškėja socialinėje atskirtyje atstumtojo, keistuolio personažas, jo būties problema visuomenėje. Daugeliui meno kūrėjų tokių personažų gyvenimo būdo ar paties, kaip asmenybės analizavimas tampa įkvėpimo šaltiniu kūrybai. Metamorfozė mano darbe – žmogaus virsmas atstumtuoju visuomenėje. Ryškėjanti socialinė atskirtis ir socialinių sluoksnių gradacija, taip pat šiandieninėje visuomenėje išskiriama silpnųjų ir atstumtųjų grupė. Šio darbo nagrinėjama problema padeda pastebėti ir išskirti vieną iš aktualiausių šiandieninių temų – kodėl žmogus tampa visuomenės atstumtuoju. Darbo objektas. Trijų tapybos darbų ciklas, paremtas Francio Kafkos novelės „Metamorfozė“ motyvais. Novelė „Metamorfozė“ ir jo herojaus Gregoro Zamsos istorija, mane įkvėpė kūrybai ir tapo pagrindiniu diplominio darbo atspirties tašku. Nesiimu iliustruoti pačios novelės ar kaip nors grupuoti savo darbus suskirstant kūrinį į tam tikrus segmentus, tiesiog ši novelė mane įkvėpia kūrybai, sukelia vidinius jausmus, vaizdinius.Contemporary art in the world are becoming increasingly apparent in the social exclusion, eccentric character, it being a problem in society. Many artists these characters or the same lifestyle as the analysis of personality is a source of inspiration creation. Metamorphosis of my work – the human transformation in outcast society. Becoming visible social exclusion and social backgrounds, graduation, and identifies weaknesses in today society and outcasts group. This work examines the problem helps detect and identify one of the most pressing issues today - why a person becomes a public outcast. The object: three series of paintings based on the novels of Francis Kafka “Metamorphosis” motives. Work focused on the environment, as well as an existing human being marginalized as the character Gregor bequest identify with the environment. Therefore, my work in the respective places and spots in the line help, with some emphasis on the human body parts. Hands, feet, facial fragments only as a hint indicating that this man abandoned in the environment exists. Earlier consideration of outcasts who live in their created world adapts itself to accept the environment, these two segments are inherent in public.
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Smith, Sandra A. "Uli metamorphosis of a tradition into contemporary aesthetics /." [Kent, Ohio] : Kent State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1267478083.
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Thesis (M.A.)--Kent State University, 2010.Title from PDF t.p. (viewed Apr. 28, 2010). Advisor: Fred Smith. Keywords: Uli; Igbo; Nigeria; body painting; wall painting; Nsukka; traditional women painters. Includes bibliographical references (p.101-105).
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James, P. "Unity in diversity : A study of Apuleius' Metamorphoses with particular reference to the narrator's art of transformation and the metamorphosis motif in the tale of Cupid and Psyche." Thesis, University of Southampton, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356848.
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Etolia-Ekaterini, Martinis. "The Sphinx in Symbolist art : the metamorphosis of the myth and its intertextual reading." Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442516.
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James, Paula. "Unity in diversity a study of Apuleius' Metamorphoses : with particular reference to the narrator's art of transformation and the metamorphosis motif in the Tale of Cupid and Psyche /." Hildesheim ; New York : Olms-Weidmann, 1987. http://catalog.hathitrust.org/api/volumes/oclc/15604421.html.
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Garner, Aubry C. "Transmutation and Metamorphosis through the Work of Bartholomeus Spranger and the Patronage of Rudolf II." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1462534898.
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Banks, Bryan John. "The metamorphosis of painting : an examination of the changes in the use of oil paint in the 19th century and its replacement in the 20th century by non-art materials and three-dimensional objects." Thesis, University of Liverpool, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433773.
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Floriano, Aline Tosta. "O nascimento da dança dramática: narrativa de uma experiência de teatro-dança com alunos do ensino fundamental." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2048.
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Previous issue date: 2010-02-10Fundo Mackenzie de Pesquisa
The trajectory covered in this research had as a starting point a previous project developed, by the researcher herself, in a Public School, located in the city of Bertioga, northern coastline of São Paulo state. Taking as the starting point the education through the art, more specifically the theater education , an investigation concerning the developed processes among students including the teenager age (from 10 to 15 years old) was proposed trying to approach the spontaneity in the classroom and the theoretical research. From this point, the awareness of the artistic process took important directions for the involved teachers, especially for the author of the research, as well for the students participants of the project. The object of this research was in construction during all the route of the paper through theories that dialogued among themselves with authors like Augusto Boal, Viola Spolin and my action as an educator based on Paulo Freire‟s purposes. The surprising aspect in this research was given in the daily perception that, gradually, the theater we looked for overcame itself getting to the dance. The dance appeared for the group as a process of freedom into the theater and, to better investigate what has happened. I went deeper into my investigation in theoretical of the area theater dance, giving more emphasis in aspects of theater dance of Pina Bausch . A long time before the investigation, in our spontaneous aspects, we used to call our action of Dramatic Dance, in the context of the group. The dramatic dance intimately related, by affinity, with the theater dance, ended up in choreography, elaborated by me and the involved students. The choreography is entitled metamorphose and it intends to demonstrate through the Theater Dance that the transformations wanted were achieved.
O caminho percorrido nesta pesquisa teve como ponto de partida um projeto anterior desenvolvido, pela própria pesquisadora, em uma Escola Estadual, situada na cidade de Bertioga, no litoral Norte do Estado de São Paulo. Tomando como base a educação por meio da arte, mais especificamente o Teatro-Educação, propôs-se uma investigação acerca de processos desenvolvidos entre alunos na faixa etária adolescente (entre 10 a 15 anos) buscando aproximar a espontaneidade dos processos em sala de aula e a pesquisa teórica. A partir daí a tomada de consciência do processo artístico tomou rumos importantes para os professores envolvidos, sobretudo para a autora da pesquisa, bem como os alunos participantes do projeto. O objeto de pesquisa esteve em construção durante todo o percurso do trabalho por meio de teorias que dialogam entre si com autores como Augusto Boal, Viola Spolin e minha ação como educadora balizada nas propostas de Paulo Freire. O aspecto surpreendente desta pesquisa deu-se na percepção cotidiana de que, aos poucos, o teatro que buscávamos transcendia a si mesmo, chegando à dança. A dança apareceu para o grupo como um processo de liberdade dentro do teatro e, para investigar melhor o que acontecia, aprofundei minha investigação em teóricos do campo do teatro-dança, dando maior ênfase a aspectos do teatro-dança de Pina Bausch. Muito antes da investigação, em nossos processos espontâneos, chamávamos nossa ação de Dança Dramática, no contexto do grupo. A Dança Dramática intimamente relacionada, por afinidade, com o Teatro-Dança, culminou em uma coreografia, elaborada por mim e pelos estudantes envolvidos. A coreografia intitula-se Metamorfose e pretende demonstrar por meio do teatro-dança que as transformações almejadas foram alcançadas.
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Ravenhill-Johnson, Anne Elizabeth. "The metamorphoses of Hephaistos/Vulcan in Renaissance and baroque art." Thesis, Birmingham City University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421808.
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Lecomte, Sophie. "Le fard comme médium, objet d'étude et d'expérimentation plastique." Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10065/document.
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Le fard est une composition dont l’application sur la peau donne à celle-ci plus d’éclat ou masque un défaut physique. Accusé de tromper, instrument futile ou diabolique auquel fut comparée la peinture, le fard se définit par sa fonction mais ne s’y réduit pas. L’observation de trois vidéos permet d’étudier le fard en tant qu’il est matière colorée et conduit à déterminer ses propriétés spécifiques et les possibilités plastiques qu’elles véhiculent.Cette recherche vise à établir les modalités d’une relation entre le fard, la couleur, et le corps support au travers d’expériences plastiques filmées pour le caractériser ensuite comme médium à partir d’une pratique personnelleMakeup is a composition which when applied to the skin gives it more brightness or hides a physical defect. Accused of cheating, a futile or diabolical instrument, which paint has been compared, make-up is defined by its function but has lost nothing through this.The plastic arts experience allows study of make-up because it is colored and this helps determine its specific properties and plastic possibilities.This research aims to establish the details of a relationship between makeup, color and the body, using several videos to characterize it as a medium based on personal practice
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Costa, José Márcio da Silva. "As contribuições da formação em teatro para a construção da identidade de professores: um estudo de caso na rede municipal de educação de Guarulhos." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16366.
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Previous issue date: 2008-05-14Conselho Nacional de Desenvolvimento Científico e Tecnológico
The objective of this research is to understand the contributions of a formation in theater, as an element wich is part of a general program of permanent teacher s formation, to the constitution of the identity of the teacher. Identity is considered as it is proposed on Ciampa s theory, in wich identity is constitued through social relations, and definied as metamorphosis. It was opted to a qualitative theoric-methodologic aproach. The way it was done was a no-directive interview with two teachers, based on their life histories, one of them analysed in this research. It was done an analysis of the life story of a teacher that participates of a formation in theater in Guarulho s Municipal Education. It was concluded that this formation helps the teacher to improve himself in a total way, conecting his body, his way of acting and thinking, and to change his way to be as a teacher/educator and as a human being in his life
O objetivo desta pesquisa é compreender as contribuições da formação em teatro, como elemento que faz parte de um programa geral de formação permanente de professores, para a construção da identidade do professor. A identidade é tratada a partir da teoria proposta por Ciampa, na qual a identidade é construída nas relações sociais e definida como metamorfose. Para tal, optou-se por uma abordagem teórico-metodológica qualitativa. O procedimento adotado foi a entrevista não-diretiva com duas professoras, uma delas aqui analisada, com base na narrativa da história de vida. Foi feita a análise da história de vida de uma professora que participa da formação em teatro na Rede Municipal de Educação de Guarulhos. Percebeu-se que essa formação possibilita ao professor desenvolver-se de forma integral, entrando em contato com aspectos ligados a seu corpo, sua forma de agir e de pensar. Ao ter a oportunidade de atuar em teatro, o professor produz transformações em seu modo de ser professor/educador e em sua vida como um todo
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Hartman, Bridget Alison. "Peripheral Glial Cell Layers are Differentially Remodeled during Adult Nerve Formation in Drosophila." Miami University Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1272048032.
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Loughlin, Dana. "The entomology of ornament : 'essai de papillonneries humaines' and the metamorphoses of eighteenth-century decorative art." Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/42931.
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A unique collection of French ornament prints entitled Essai de papillonneries humaines
was executed by the royal embroiderer of King Louis XV, Charles-Germain de Saint-Aubin in
the mid-eighteenth century (c. 1748-1756). Intended as design models for transfer onto a wide
range of decorative art objects, the etchings depict witty vignettes of anthropomorphized
butterflies performing activities exclusive to the elite classes. Through a consideration of the
designs’ material translations and subsequent social and spatial contexts, my thesis explores the
interrelated issues of class relations, intellectual history, salon practices, the culture of
appearances, and various forms of ornamentation, especially of domestic interiors. Indeed, an
unprecedented fervor for butterflies in the decoration of new private spaces emerged in the
eighteenth century, coinciding with a fashion for entomology (the study of insects) in the cultural
and intellectual projects of the period known as the Enlightenment. Drawing from changing
concepts on the relationship between humans and insects expressed in entomological,
philosophical, and literary natural history publications of the mid-century, I examine the ways in
which insects were increasingly referenced as a source of metaphor for the social, political, and
individual self as the century progressed. I suggest that there was a cultural language of
entomology, one that would have been particularly familiar to the educated nobility and newly
wealthy bourgeoisie and drawn upon in the practices of salon sociability. Butterflies were the
host of an array of specific associations that would have been activated by the intellectual
conversation and games of wit practiced in salon spaces. As such, through the example of the
papillonneries designs, my project endeavors to intervene in the discourse of ornament, positing
that ornamentation was a dynamic social actor, rather than mere decoration in eighteenth-century
France.
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Meggiato, Andrea <1992>. "“Ovidio Metamorphoseos vulgare” 1497: storia, intrecci e fortuna di un incunabolo veneziano." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17453.
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La mia tesi di laurea magistrale si prefigge di affrontare un tema centrale all’interno degli studi storico artisti e letterari del Rinascimento, la riscoperta – prima – e la fortuna – poi – di un testo antico a classico come le “Metamorfosi” di Ovidio, che, soprattutto a Venezia, grazie alle realtà editoriali e artistiche cittadine, visse una seconda e nuova vita, estremamente più viva, lunga e articolata rispetto a quella creatasi attorno allo stesso testo nelle altre città italiane ed europee dell’epoca.
La pubblicazione della prima edizione volgare italiana e illustrata delle Metamorfosi di Ovidio stampata da Giovanni Rosso da Vercelli per Lucantonio Giunta il 10 aprile 1497 rappresenterà l’oggetto principale di questo studio. L’incunabolo verrà dapprima contestualizzato all’interno della storia del libro tipografico veneziano delle origini, e in seguito verrà analizzato il suo importante apparato illustrativo attraverso l’opera di alcuni possibili disegnatori e intagliatori di xilografie attivi a Venezia a quel tempo.
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Pfirter-Kern, Jane-Ann. "Aspects of Ovid's "Metamorphoses" : its literary legacy /." [Zürich] : Juris Druck + Verl. Dietikon, 1993. http://catalogue.bnf.fr/ark:/12148/cb36669378d.
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Poovey, Christopher 1993. "Music as a Woven Narrative to an Absurd Tale in Act One of The Metamorphosis." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157611/.
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Act one of The Metamorphosis is based on the novella by Franza Kafka of the same title. In the writing of the act, George Benjamin's Into the Little Hill and Oliver Knussen's Where the Wild Things Are provide a model of using musical material as a storytelling device. Benjamin emphasizes the parallel nature of Crimp's text through the manipulation of similar music between the acts. Knussen uses form and color to emphasize Max's childlike energy and his desire to return home. In act one of The Metamorphosis these approaches are combined to enhance Kafka's absurd narrative through a rapid collage of texture and form that is influenced by both events and characters in the opera.
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Pellegrin, Sofia. "Uno Sguardo Dalle Radici. Gli Scritti D'Arte di Leonardo Sciascia." Doctoral thesis, Università degli studi di Padova, 2015. http://hdl.handle.net/11577/3424171.
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This research deals with the Leonardo Sciascia’s writings on art, which are been collected and examined here in order to understand the complex posture of the Sicilian writer as art reviewer. Even tough he used to confront himself with the work and the reflections of the main contemporary critics and essayists in art matters, he was able to elaborate a very personal way to approach the artistic expressions. So, if on one hand he carefully paid attention to Roberto Longhi’s masterly lesson on the necessity of a literary way in the art criticism exercise, and thus he transfused in his reviews his own system of stylistic solutions and themes experienced in his narrative production, on the other hand he never aimed to a verbal restitution of the work of art, as Longhi did. Sciascia instead chose to write about arts as another declination of his intellectual engagement, an effort to take consciousness of the context in which he lived in by the recognition of the relationships that connected the reality. The work of art seems in this sense exceptionally capable to show this kind of structure of the reality, while it shows at the same time a new order of that. For this reason Sciascia’s writings are built by the proceeding of digressions in order to capture the synonymic substance of the thought and the reality. But the digression are also the natural expression of a passionate gaze upon its loved object, as such art is for the stendhalian «happy few». As art reviewer Sciascia experimented a critical discourse deeply formed by a rational and pragmatic thought as much as by a empathetic participation, according to the legacy of his elective models, Montaigne and Stendhal.La presente ricerca si è occupata di raccogliere e analizzare le pagine che Leonardo Sciascia, nel corso del proprio lungo e articolato impegno intellettuale ha voluto dedicare alla riflessione sulle arti figurative. In questa sede ci si è proposti di incrociare alcuni dei dati di ordine sia categoriale che cronologico messi a disposizione dai dettagliati inventari per voci bibliografiche realizzati da Francesco Izzo e da Antonio Motta, per cercare di mettere maggiormente in rilievo le peculiarità dei diversi scritti, e realizzare così la nostra istanza prima, ossia critica, su di essi. Per rendere meglio conto dei contributi sciasciani sull’arte nella singolarità di ogni caso e nella loro specificità testuale, si è proceduto alla descrizione degli interventi ad uno ad uno, restituendone la vicenda editoriale ed evidenziandone i nuclei tematici e interpretativi. Al contempo si è voluta costruire una mappatura del corpus degli scritti che isolasse, complessivamente, linee di continuità prospettica, segnalate con un sistema di rimandi in nota. Al fine di articolare le ‘metodiche’ di ordine generale e la postura d’insieme tenuta da Sciascia nei riguardi dell’esperienza artistica, si è allestita una zona preliminare intitolata Fantasie di avvicinamento in cui si è provato a far reagire alcuni dei consolidati paradigmi della critica d’arte (l’idealismo, il purovisibilismo, il (neo) realismo, ecc.) con l’esercizio riflessivo, a-metodico e dilettante, di Sciascia, tenendo presente, in particolare, la dimensione scritturale e testuale in cui si svolge, la tensione ‘longhianemente’ letteraria che lo anima. Assumendo questo punto di vista, si è fatto del magistero di Longhi un modello ‘a contrasto’ attraverso cui disporsi alla possibilità di guardare alla scrittura di argomento artistico per il tramite delle categorie stilistiche continiane coniate proprio sulla sua scorta. La forte identità autoriale di Sciascia tale per cui in queste pagine viene riversato un riconoscibile sistema di temi e figure ha permesso di elaborare una linea interpretativa unitaria in cui primario è il riconoscimento di una processualità critico-inventiva trasformativa e metamorfica in costante controcanto con un principio di arresto. Il concetto di metamorfosi risulta utile in termini tanto di dispositivo simbolico quanto di struttura cognitiva che descrive una modalità gnoseologica non dialettica fondata su un movimento a legare più che a contrapporre. In questo senso, esso risulta solidale all’influenza che il materiale iconico evocato esercita sul flusso argomentativo e sulle strutturazioni sintattiche. L’impostazione divagante delle riflessioni sciasciane, con il loro apparente non soffermarsi sulla fisionomia materiale delle opere, costituisce la modalità attraverso cui la critica sciasciana realizza la propria tensione conoscitiva e appropriativa: l’incontro con i manufatti artistici diviene così vera esperienza di alterità intesa sia come epoché fenomenologica sia come dimensione che permette di rappresentare la dinamica dell’interazione con la realtà, con la sua struttura. L’articolazione in due parti del capitolo ha inteso a riguardo mostrare da un lato, in Scrittura d’arte come critica, il modo in cui le strutture inventive profonde della critica d’arte sciasciana siano indistricabilmente intrecciate con la coeva ricerca che l’autore porta avanti sul fronte creativo della propria produzione, caratterizzata da un ricorso mescidante dei generi e da una ispirazione saggistica che sperimenta in particolare sulla possibilità rivelativa e ri-cosrtuttiva della parola attraverso il modello della commistione tra documento e finzione, proprio già del romanzo storico; dall’altro, in Una scrittura allo specchio: in funzione d’altro?, verificare quanto l’«astanza» delle opere di cui si parla costituisca un modificatore importante nello statuto della scrittura che in questo senso, continianamente, tende alla messa in opera di un particolare equilibrio di «diligenza e voluttà». Per Sciascia, amatore d’arte, si tratta allora di disporre le proprie considerazioni e divagazioni come nella successione di una catena di specchi che rimandi immagini di gesti critici ‘vicendevoli’: da tale reciprocità emerge quel carattere di approssimazione che li rende trasparente figura di un rapporto con la verità mai esauribile, di uno spazio ‘aperto’ a costituire una scena praticabile di interpretazione. Rispetto alla giacitura complessiva dell’esercizio critico sciasciano si è ritenuto che l’evidente influenza di alcuni modelli autoriali (quello moralista di Montaigne, e quello ‘dilettante’ di Stendhal) andasse problematizzato in relazione alla forma-saggio cui si riferiscono gli scritti. Si è così predisposta una zona successiva intitolata I maestri del «diletto»: una critica in dialogo, in cui ripensare quelle fonti ‘stilistiche’ in rapporto alla presenza-assenza limite che in queste pagine, a ragione dei termini elusivi (non ekphrastici, quindi) in cui viene evocata, è la ricorrenza iconica. L’interazione tra scrittura immagine che vi si delinea è invero fortemente improntata dalle dinamiche scetticamente esplorative e ‘amorosamente’ divaganti proprie di quei maestri elettivi. Si è quindi cercato di accertare come il linguaggio realizzi le potenzialità ‘significative’ dell’immagine a livello logico-sintattico e semantico semiologico, come la ‘lettura’ associativa, proliferante e inventiva del dato iconico arrivi a figurare una ‘lettura’ del reale nella sua essenza sincronica e simultanea. Dal particolare statuto ibrido di critica e invenzione che ne risulta, scaturisce infatti una singolare restituzione di realtà, una forma di ‘realismo’ inteso come codice espressivo che salva sia dalla dispersione affastellante sia dal regresso erudito. Sciascia sembra insomma voler scoprire la vocazione al ‘senso’ di ogni immagine, ricostruendola come storia, come forma-tempo che ferma e realizza il potenziale trasformativo insito nella sua costituzione. Una simile attenzione all’essenza metamorfica della messa in forma - naturalmente ossimorica nel tenere insieme movimento e stabilizzazione - trova un precipitato diretto anche in alcune ricorrenti costruzioni sintattiche, ed è, soprattutto, foriera di una estensiva interpretazione del fenomeno artistico tout-court (cfr. Un’idea di metamorfosi). Ma, ancora più importante, l’ottica trasformativa assume in termini ‘visuali’ la misura intimamente pragmatica che connota la postura intellettuale di Sciascia. Se le espressioni dell’arte si legano tipicamente alla possibilità di prefiguare l’a-venire ricollocando il dato percettivo, lo spazio della critica fa posto al «diverso», articolando la dimensione visiva e intera dell’opera, ‘linguisticamente’ e ‘sintatticamente’. Per questa via Sciascia sembra poter scommettere su una di-fferente promessa di senso, grazie ad un sforzo di contestualizzazione su base genealogica e filologia che svelando l’impronta informante delle radici (geografico-sociali) ne libera al contempo le possibilità generative. Nel porsi dunque fuori da un canonico esercizio di critica d’arte Sciascia riscuote ancora una volta il potenziale ermeneutico celato nel decentramento prospettico, nella marginalità fisica e ideale rispetto ai centri di elaborazione culturale. Per tale ragione si occupa di preferenza di pittori, incisori, scultori locali: oltre a saperne, appunto, ben comprendere ‘le radici’, condivide con essi quello stesso pervasivo sentimento di confine. Così impostata la riflessione di Sciascia si pone ‘fuori’ anche riguardo al mercato dell’arte, alle sue tendenze e ai suoi interessi. L’avvicinamento, l’attenzione a un artista scatta infatti quasi sempre come un interesse alla persona, nel riconoscimento di una comunione emotiva. Lo slancio empatico che dunque presiede alla scrittura delle pagine sciasciane ridimensiona se non annulla la necessità di stabilire gerarchie di valore o di fondare ‘letture’ complessive (e conclusive) di un’esperienza artistica. Gli stessi scritti del resto possono avvalersi della loro posizione liminare rispetto al resto dell’opera per interrogarla e tentarne una comprensione differente: verificando e approfondendo, per esempio, il valore di quella impostazione complessivamente «galileiana» della scrittura sciasciana emersa dalla loro analisi. Endogena agli scritti la prospettiva dal ‘margine’ si rivela allora altrettanto feconda come modello per una critica su Sciascia, che non potrebbe non beneficiare di uno spostamento dai propri consueti punti di partenza. Affrontare trasversalmente l’opera sciasciana alla luce delle categorie della «presenza» e dell’«astanza» che informano le pagine d’arte potrebbe forse permettere di riscoprirla nella sua più autentica dimensione critica, ovvero partecipativa, aprendo simmetricamente ad un tentativo valutativo che la metta in relazione con ogni aspetto di quella partecipazione, attraverso tutto quanto è dato sapere del pensiero.
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Beinhauer-Köhler, Bärbel. "Fāṭimah bint Muḥammad : Metamorphosen einer frühislamischen Frauengestalt /." Wiesbaden : Harrassowitz, 2002. http://catalogue.bnf.fr/ark:/12148/cb39060015w.
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au, c. ward@curtin edu, and Catherine Hall Ward. "Migration, metamorphosis and the residual link : resources of British women to re-invent themselves." Murdoch University, 2000. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20070905.85058.
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Migration can cause disruption to the normal functioning of the family; especially
women and mothers. In this study a cross sectional approach, using both quantitative
and qualitative methodologies was undertaken to establish the impact of migration
on women fiom the United Kingdom (UK) and Eire (N=154) now living in
Australia; from these participants 40 were selected for in-depth interview. Women
were asked about their experiences of migration and the strategies used to 'settle' in
a new country. The researcher postulated that the process of settlement requires a reinvention
of the self through building new perceptions of culture, country, friends,
and family and the re-definition of the self in relation to these aspects of the
environment. A conceptual model was developed and used to determine and
examine the relationships amongst who and what influenced the decision and
motivation to migrate, the impact of exposure to a new culture, assault on the old
identity and the possible grieving response to the impact of multiple loss (loss of
home, major attachment figure, family, community, culture and social networks).
Bowlby's attachment theory and grieving process was used as a theoretical
framework for the study. Data analysis inQcated that the majority of the women
experienced at least some of the characteristics associated with the stages of the
grieving process and the time-scale and pathway through the process differed
amongst individuals. Women who successfully reached the final stage (reorganisation) of the grieving process were able to "re-invent" themselves using pre
and post-migration strategies (social, cultural and country activities). Participants
who were less able in this transformation or re-invention used more solitary
strategies. Different levels of a sense of belonging and success in re-inventing the
self were linked to the different motivations for migrating. Inability to reach the
stage of re-organisation, even after residency of 20 years or more, resulted in
negative perceptions of the adopted country and continuing psychological distress.
However, even those participants who successfully re-invented themselves
continued to foster a residual link to the homeland. This is interpreted to be the
result of a form of imprinting. Furthermore, women with newborns or young
children identified that the impact of multiple loss, especially loss of a social support
system, had a detrimental impact on their childrearing experiences.
The study has implications for future migrants in assisting them to adjust and
survive in the new country. It also has implications for health professionals to
recognise that all mothers and perhaps especially migrant mothers require a social
support network. Further, the health professional needs to be a part of that network
and also assist the migrant to develop the appropriate shlls to extend their social
support. In addition, immigration and social services and the general population
should recognise and provide for the psychological and physical needs of migrants
of all origrns - English speaking as well as non-English speaking.
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Bukowski, Evelyn. "Metamorphosen der Verführung in der Novellistik der Frühmoderne /." Tübingen ; Basel : A. Francke, 2004. http://catalogue.bnf.fr/ark:/12148/cb38976828h.
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Sirsat, Sarah Goy. "Maturation of Endothermic Capacity within the Avian Developmental Spectrum: A Characterization of Thermoregulatory Metamorphosis." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862809/.
Full textAbstract:
An avian embryo is ectothermic, with body temperature determined by environmental temperature. Upon hatching, the neonate begins a conversion so that endothermic capacity becomes feasible and body temperature becomes independent of environment. Whole animal metabolic rate and ventilation response, cardiovascular development, and maturation of muscle mitochondrial flux were the focus of this dissertation because of the direct role in shivering thermogenesis. Precocial ducks and altricial Double-crested Cormorants exhibit increasing hematocrit and disproportionate increases in fractional heart mass resulting in greater oxygen delivery capacity and increased capacity of muscles to utilize oxygen compared with ectothermic American Alligator and Common Snapping turtles. By selecting for faster growth and higher meat yield in the domestic chicken, differences in whole-animal, tissue, cellular, and regulatory responses are evident between broiler and layer type birds. In the altricial red-winged blackbird, despite appearance of a whole animal endothermic response sometime after 7 dph, capacity of skeletal muscles involved in shivering thermogenesis peaks prior to that time. Thus, full development of endothermy is delayed in this species, allowing the altricial nestling to allocate energy towards growth rather than metabolic maintenance. Hypothyroidism in neonate red-winged blackbirds results in delayed maturation of the cardiovascular system and mitochondrial oxidative capacity of skeletal muscle. Such deficiencies were quickly recovered once the animals returned to a normothyroid state, apparently at the cost of increasing body mass. Insights into onset of thermoregulation provide a more thorough understanding of metabolic and physical transitions a hatchling bird must undergo to reach the adult endothermic phenotype. Endothermic capacity will continue to be at the forefront of physiological research because of the significance of changes between the energetic relations of an animal that must occur with its environment.
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Nicklas, Pascal. "Die Beständigkeit des Wandels : Metamorphosen in Literatur und Wissenschaft /." Hildesheim ; Zürich ; New York : G. Olms, 2002. http://catalogue.bnf.fr/ark:/12148/cb39925606h.
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Bohlender, Matthias. "Metamorphosen des liberalen Regierungsdenkens : politische Ökonomie, Polizei und Pauperismus /." Weilerswist : Velbrück Wissenschaft, 2007. http://catalogue.bnf.fr/ark:/12148/cb41242287q.
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Winter, Astrid. "Metamorphosen des Wortes : der Medienwechsel im Schaffen Jiří Kolářs /." Göttingen : Wallstein, 2006. http://catalogue.bnf.fr/ark:/12148/cb411427737.
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Schmitzer, Ulrich. "Zeitgeschichte in Ovids "Metamorphosen" Mythologische Dichtung unter politischem Anspruch /." Stuttgart : B. G. Teubner, 1990. http://catalogue.bnf.fr/ark:/12148/cb35488106p.
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Albrecht, Michael von. "Die Parenthese in Ovids Metamorphosen und ihre dichterische Funktion." Hildesheim ; Zürich ; New Yok : G. Olms Verl, 1994. http://catalogue.bnf.fr/ark:/12148/cb41096300r.
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Spahlinger, Lothar. "Ars latet arte sua : Untersuchungen zur Poetologie in den Metamorphosen Ovids /." Stuttgart ; Leipzig : B.G. Teubner, 1996. http://catalogue.bnf.fr/ark:/12148/cb37096728z.
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Hollenburger-Rusch, Caroline. "Liquitur in lacrimas zur Verwendung des Tränenmotivs in den Metamorphosen Ovids /." Hildesheim : Olms-Weidmann, 2001. http://catalogue.bnf.fr/ark:/12148/cb39090160m.
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Vollstedt, Barbara. "Ovids "Metamorphoses", "Tristia" und "Epistulae ex Ponto" in Christoph Ransmayrs Roman "Die letzte Welt." Paderborn ; Müchen ; Wien [etc.] : F. Schöningh, 1998. http://catalogue.bnf.fr/ark:/12148/cb38998125f.
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Müller-Reineke, Hendrik. "Liebesbeziehungen in Ovids Metamorphosen und ihr Einfluss auf den Roman des Apuleius /." Göttingen : Hainholz, 2000. http://catalogue.bnf.fr/ark:/12148/cb37198711w.
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Gorski, Jacquelle, and jacquelle gorski@epa vic gov au. "The Effects of Trace Metals on the Australian Abalone, Haliotis rubra." RMIT University. Biotechnology and Environmental Biology, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080212.153333.
Full textAbstract:
This thesis focussed on the effects of a range of trace metals on various stages of Haliotis rubra development. The trace metals assessed in this thesis were the essential metals Cu, Zn and Fe; and, the non-essential metals Hg, Cd and Pb. Copper and Hg proved to be the two most toxic metals to the life stages of H. rubra studied. The concentrations affecting normal development of the fertilised egg exposed for 48h showed a decreasing order of toxicity with 48hEC50 recorded at 7µg Cu/L, 20µg Hg/L, 42µg Zn/L, 4,102µg Fe/L, 4,515µg Cd/L, and 5,111µg Pb/L. Settlement and metamorphosis occur in normal larvae when aged 5 days, and exposure of the 5 day old larvae to the metals for 48h resulted in impaired crawling success at 128µg/L Cu and Hg, and 1250µg Cd/L. Settlement was inhibited after exposure to 128µg Cu/L, 32µg Hg/L, and 1250 Cd/L. Metamorphosis of larvae 96h after exposure was inhibited by 32µg Cu/L, 512µg Zn/L, 32µg Hg/L and 625µg Cd/L. The rate of meta morphosis was enhanced after exposure to Cu and Hg at 0.5µg/L and 64 - 256µg Zn/L. Exposure to Zn at concentrations 64, 128 and 256 µg Zn/L caused an increased rate of settlement and metamorphosis. Juvenile H. rubra exposed to the six metals for 96h were most sensitive to Cu, which produced a 96hLC50 of 87µg Cu/L compared to Hg with a 96hLC50 of 173µg Hg/L. Juvenile H. rubra were relatively insensitive to Zn and Cd with the 96h LC50 of 1730µg Zn/L and 3700µg Cd/L, respectively. Exposure to individual solutions of Cu, Zn, and Cd for 28 days resulted in juvenile H. rubra bioaccumulating significant concentrations of metals in the visceramantleedible foot muscle. Accumulation of Hg was greater in the mantle-viscera-edible foot muscle. Following exposure, depuration in clean seawater for 28 days produced varying decreases in metal concentrations for each tissue compartment. Sodium-potassium activated ATPase (Na+,K+-ATPase) activity in the gills of juvenile H. rubra was significantly affected following expos ure to the trace metals for 28 days, with a decreasing order of effect on enzyme activity of Hg-Cu-Cd-Zn. Depuration of H. rubra in clean seawater for 28 days resulted in the recovery of Na+,K+-ATPase activity to varying degrees. The recovery of ATPase activity was more efficient following exposure to Cd-Zn-Cu-Hg. The overall results of this thesis provide initial baseline information to evaluate the sensitivity of H. rubra to trace metal toxicants, and these results may be utilised by regulators for establishing marine water quality guidelines to protect H. rubra and other abalone species in their natural habitats.
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Plank, Birgit. "Johann Sieders Übersetzung des "Goldenen Esels" und die frühe deutschsprachige "Metamorphosen"-Rezeption : ein Beitrag zur Wirkungsgeschichte von Apuleius' Roman /." Tübingen : M. Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb39218975g.
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Salvo, Giulia. "Miti ovidiani nel repertorio funerario romano: la produzione di sarcofagi." Doctoral thesis, Università degli studi di Padova, 2014. http://hdl.handle.net/11577/3423577.
Full textAbstract:
The main aim of this work is to give a reading of the mythological narrative sarcophagi production in Roman Imperial period, in the light of Ovid’s Metamorphosis text. The work is part of a wider branch of research focused on the analysis of the value that literary texts assumes in the reconstruction of ancient world figurative culture. These themes have been given particular importance by the MArS project (“Ovid’s Metamorphosis: myth, art, society”). Aim of this project is the analysis of Roman first Imperial period figurative repertory (especially paintings and glyptic) in relation to Ovid’s poem. In particular, the purpose is to highlight and understand the existing points of contacts between these two narrative levels. Compared to these analyses, the specificity of the present work is to be focused on a specific category of materials – sarcophagi – whose production comes later than the poem. Through the comparison between Metamorphosis descriptions and depictions on sarcophagi, the work tries to identify the existence of an “Ovidian success” in funerary productions. Its specific purpose is to understand the ways of interaction between the two narrative levels (literature and images) belonging to different historical contexts. Another purpose is to understand the ways – including the ideological ones – that ratify the success or the oblivion of certain myths. A “figurative” analysis of Metamorphosis was made, in order to identify the passages characterized by descriptions. These passages were then compared with the reliefs on sarcophagi. For every myth, the analysis was supported by a careful re-examination of the literary tradition – in order to understand if and where Ovid acted as an innovator – and of the figurative repertory. In some cases, the work led to the identification of clear links between the two narrative levels. Depending on their characteristics, these links were classified as “Ovidian” markers, situations and iconographies. These relationships, rather than testifying the existence of an Ovidian influence in the creation of funerary figurative repertory, led to the identification of a common figurative tradition, that the poet knew and that later emerged into the funerary repertory. This unexpected situation gave the chance to deepen the understanding on the ways of circulation and formation of sarcophagi repertory.Il presente lavoro ha come scopo la rilettura della produzione di sarcofagi mitologici a carattere narrativo di età imperiale alla luce delle Metamorfosi di Ovidio. Esso si inserisce all’interno di un più ampio filone di studi volto a indagare la valenza che la letteratura assume nella ricostruzione della cultura figurativa del mondo antico. A questo tipo di ricerche ha dato ampio spazio il progetto MArS (“Le Metamorfosi di Ovidio: mito, arte, società”), volto a indagare il repertorio figurativo della prima età imperiale (con particolare attenzione alla pittura e alla glittica) in rapporto al poema, per evidenziare i punti di contatto tra i due piani narrativi e definirne le motivazioni. Rispetto alle analisi già avviate, il presente studio concentra l’attenzione su una classe di materiale, i sarcofagi, successiva all’edizione del poema, tentando di individuare, attraverso il confronto tra le descrizioni delle Metamorfosi e le raffigurazioni, l’esistenza di una “fortuna ovidiana” nella produzione funeraria. Lo scopo è chiarire le modalità di interazione tra due repertori (letteratura e immagini) appartenenti a contesti storici differenti e, di conseguenza, comprendere i meccanismi, anche ideologici, che decretano la fortuna o l’oblio di determinati miti. Si è dunque proceduto a un’analisi “figurativa” del testo del poeta, per isolare i passi a carattere descrittivo, e a un successivo raffronto con i rilievi dei sarcofagi. Per ogni mito le indagini sono supportate da un accurato riesame della tradizione letteraria che tratta di quella specifica storia, per capire se e dove Ovidio innovi, e del repertorio iconografico precedente. Le analisi così condotte hanno permesso in alcuni casi di riconoscere dei legami precisi tra i due piani narrativi, classificati, a seconda delle caratteristiche, come indicatori, situazioni e iconografie ovidiani. Tuttavia tali rapporti, più che recare testimonianza di un’influenza di Ovidio nella creazione delle iconografie legate al mondo della morte, hanno semmai permesso di riconoscere la presenza di una comune tradizione iconografica, nota al poeta e rifluita successivamente nel repertorio funerario. Questa inaspettata situazione ha offerto la possibilità di riflettere in maniera più ampia sulle modalità di circolazione e formazione del repertorio di sarcofagi.
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Küntzel, Kristina. "Von Nižnij Novgorod zu Gor'kij : Metamorphosen einer russischen Provinzstadt : die Entwicklung der Stadt von den 1890er bis zu den 1930er Jahren /." Stuttgart : F. Steiner, 2001. http://catalogue.bnf.fr/ark:/12148/cb377040502.
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Chavagnac, Valérie. "Behaviour of the Sm-Nd isotopic system during metamorphism : examples from the HT-LP metamorphic terrane of the Limpopo Belt, South Africa and the UHP metamorphic terrane of Dabieshan, Central China /." Rennes : Géosciences, Université de Rennes I, 1999. http://catalogue.bnf.fr/ark:/12148/cb370399598.
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Tourpin, Sylvie. "Perte des mémoires isotopiques, Nd-Sr-O, et géochimiques, REE, primaires des komatiites au cours du métamorphisme : exemple de la Finlande orientale /." Rennes : Centre armoricain d'étude structurale des socles, 1992. http://catalogue.bnf.fr/ark:/12148/cb355538644.
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Boquoi-Seifert, Sabine. "Metamorphosen der siebten Kunst : französische Romane des 19. Jahrhunderts in ihrer filmischen Umsetzung : Flaubert : "Madame Bovary", Claude Chabrol 1991, Zola : "Germinal", Claude Berri 1993 /." Bonn : Romanitischer Verl, 1998. http://catalogue.bnf.fr/ark:/12148/cb371167708.
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Tronchet, Gilles. "La métamorphose à l'oeuvre recherches sur la poétique d'Ovide dans les "Métamorphoses /." Louvain ; Paris : Peeters, 1998. http://catalogue.bnf.fr/ark:/12148/cb36709145t.
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Pesavento, Giulio. "Ovidio in bianco e nero: l'illustrazione delle Metamorfosi nelle prime edizioni a stampa." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3421941.
Full textAbstract:
The object of my work is the study of the illustration of Ovid's Metamorphoses in Italy between 1497 and 1553. The thesis is divided into two sections. In the first one the images of the Ovidio Metamorphoseos vulgare (Venice 1497) are investigated through multiple perspectives, aimed to highlight the role of the publisher Lucantonio Giunta, the contribution of the workers responsible for carrying out the illustrations (designers and woodcutters), and the influence of contemporary figurative culture. Particular attention is paid to the relationship between text and image, to the iconography of the Ovidian characters and to the phenomenon of the continuous reuse of wooden matrices, passed through the hands of various printers. A specific chapter is also dedicated to the influence exerted by the giuntine illustrations (1497) to the pictorial and graphic arts of the early decades of the sixteenth century, highlighting some unpublished cases. The second section examines the most significant illustrated editions of the Metamorphoses printed in the first half of the sixteenth century (Venice 1513, Perugia 1519, Venice 1522, Venice 1553). The xylographic apparatuses of these editions are examined from stylistic and iconographic point of view. New attributions are proposed and the creative process followed by the craftsmen in executing the images is analyzed, paying close attention to the reception of the previous illustrative models, to the contribution of certain iconographic traditions and to the problem of adaptation to the text.Il mio lavoro ha come oggetto lo studio e l’analisi dell’illustrazione delle Metamorfosi di Ovidio in Italia tra il 1497 e il 1553. La tesi è articolata in due sezioni. Nella prima le immagini dell’Ovidio Metamorphoseos vulgare (Venezia 1497) vengono indagate attraverso molteplici prospettive, volte a mettere in risalto il ruolo dell’editore Lucantonio Giunta, l’apporto delle maestranze incaricate di eseguire le illustrazioni (disegnatori e intagliatori), e l’influsso della cultura figurativa coeva. Particolare attenzione è stata posta al rapporto testo-immagine, all’iconografia dei personaggi ovidiani e al fenomeno del riutilizzo continuo delle matrici lignee, passate per le mani di diversi stampatori. Un capitolo specifico viene inoltre dedicato all’influenza esercitata dalle illustrazioni giuntine (1497) verso le arti pittoriche e grafiche dei primi decenni del Cinquecento, mettendo in luce alcuni casi inediti. Nella seconda sezione si esaminano le più significative edizioni illustrate delle Metamorfosi stampate nella prima metà del XVI secolo (Venezia 1513, Perugia 1519, Venezia 1522, Venezia 1553). Gli apparati xilografici di tali edizioni sono analizzati dal punto di vista stilistico e iconografico. Si propongono nuove attribuzioni e si riflette sul processo creativo seguito dagli artefici nell’eseguire le immagini, prestando molta attenzione alla ricezione dei modelli illustrativi precedenti, all’apporto di determinate tradizioni iconografiche e al problema dell’adattamento al testo.
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King, Marie Kumsher. "Evaluation of the Developmental Effects and Bioaccumulation Potential of Triclosan and Triclocarban Using the South African Clawed Frog, Xenopus Laevis." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc33178/.
Full textAbstract:
Triclosan (TCS) and triclocarban (TCC) are antimicrobials found in U.S. surface waters. This dissertation assessed the effects of TCS and TCC on early development and investigated their potential to bioaccumulate using Xenopus laevis as a model. The effects of TCS on metamorphosis were also investigated. For 0-week tadpoles, LC50 values for TCS and TCC were 0.87 mg/L and 4.22 mg/L, respectively, and both compounds caused a significant stunting of growth. For 4-week tadpoles, the LC50 values for TCS and TCC were 0.22 mg/L and 0.066 mg/L; and for 8-week tadpoles, the LC50 values were 0.46 mg/L and 0.13 mg/L. Both compounds accumulated in Xenopus. For TCS, wet weight bioaccumulation factors (BAFs) for 0-, 4- and 8-week old tadpoles were 23.6x, 1350x and 143x, respectively. Lipid weight BAFs were 83.5x, 19792x and 8548x. For TCC, wet weight BAFs for 0-, 4- and 8-week old tadpoles were 23.4x, 1156x and 1310x. Lipid weight BAFs were 101x, 8639x and 20942x. For the time-to-metamorphosis study, TCS showed an increase in weight and snout-vent length in all treatments. Exposed tadpoles metamorphosed approximately 10 days sooner than control tadpoles. For the hind limb study, although there was no difference in weight, snout-vent length, or hind limb length, the highest treatment was more developed compared to the control. There were no differences in tail resorption rates between the treatments and controls. At relevant concentrations, neither TCS nor TCC were lethal to Xenopus prior to metamorphosis. Exposure to relatively high doses of both compounds resulted in stunted growth, which would most likely not be evident at lower concentrations. TCS and TCC accumulated in Xenopus, indicating that the compound has the potential to bioaccumulate through trophic levels. Although TCS may increase the rate of metamorphosis in terms of developmental stage, it did not disrupt thyroid function and metamorphosis in regards to limb development and tail resorption.
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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.
Full textAbstract:
From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.
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Sweydan, Francois. "Recherches sur le système de représentations symboliques de l’art néolithique aux textes des pyramides- Origines et formation des éléments de la religion solaire de l’Egypte antique." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20009.
Full textAbstract:
Dès les premières dynasties, le pictogramme fut dans l’écriture le prolongement des représentations figuratives naturalistes, logogrammes dans les palettes funéraires décorées protodynastiques. Ce constat nous porte à les mettre en correspondance avec l’art pariétal du néolithique nubien, le prédynastique égyptien, et celui des aires culturelles périphériques. La reconsidération des pétroglyphes en tant que symboles et idéogrammes, c’est-à-dire des mythogrammes autant que des logogrammes-phonogrammes polysémiques permet de dégager un système structurel de représentations symboliques universel dans la vallée du Nil. Essentiellement funéraire, il est organisé autour d’une nouvelle lecture en relation aux mythes fondateurs de l’Œil d’Horus/solaire, s’exprime dans des rites primitifs de revivification, de renaissance, néolithiques et prédynastiques, explicités ensuite durant les premières dynasties sur des tablettes, des sceaux-cylindres votifs, et l’onction du mort avec les sept huiles canoniques et, enfin, dans les Textes des Pyramides. Contrairement à l’idée commune d’opposition des notions de Nature-Culture, il est question de les conjuguer, de réconcilier la dualité non binaire et de voir, par exemple, les fonctions héliotrope et/ou héliophore des animaux du bestiaire soudanien, avec Sokar le faucon funéraire, les garants bienveillants des métamorphoses et de renaissance du soleil/des défunts, par ailleurs, félidés, canidés, antilopes…, investis du numineux des divinités tutélaires. À la lueur d’une nouvelle lecture du mythe “osirien” primitif de métamorphose, nous reconsidérons les conceptions sur le sacrifice animal sur des bases d’anthropologie religieuse. Loin d’une maîtrise et soumission de la nature, et d’un diffusionnisme, l’interculturalité de la pensée mythique archaïque première dans la vallée nubiano-égyptienne et des régions périphériques multiethniques implique, vis-à-vis du monde naturel et des forces spirituelles numineuses, la transculturalité des conceptions solaires et le partage pluriculturel, transhistorique des croyances résurrectionnelles polycycliques. Ainsi, les pétroglyphes d’animaux, les scènes de chasse animale, les représentations de barques, de sandales, etc., sont de nature funéraire votive, apotropaïqueSince the beginning of the first dynasties, the pictogram in writing was the extension of naturalistic figurative representations, logograms in the decorated funerary protodynastic palettes. This statement carry us to link them with the parietal art of Neolithic Nubia, the egyptian Predynastic, and peripheral cultural areas. We have reconsidered the petroglyphs as polysemic symbols and ideograms, i.e. mythograms as well polysemic logograms-phonograms, allowing us to draw up a structural system of symbolic representations, universal in the Nile valley. Basically funerary, the system is organised around a new reading in connection with the founding of the ‘Eye of Horus’/solar myths, and express itself in primitive Neolithic and Predynastic rites of revivification, rebirth, more explicit afterwards during the first dynasties on labels, votive cylinder-seals, and anointing the deads with the seven holy canonical oils, finally in the Pyramid Texts. Contrary to the common idea which opposite the Nature-Culture notions, there is some question to combine them, to reconcile the non-binary duality and to see, for example, the heliotrope functions and/or heliophore animals of the sub-Saharan bestiary, with Sokar the funerary hawk, the benevolent guarantors for the rebirth and metamorphosis of the sun/deads; otherwise felids, canids, antelopes…, invested by the numinous of the protecting divinities. In consequence of a new reading of the primitive ‘osirian’ myth of metamorphosis, we have reconsidered the conceptions about animal sacrifice on the basis of religious anthropology. Far from bringing under control and submission of nature, and diffusionnism, the intercultural (cross-cultural) of the first archaic mythic thought in the multi-ethnic nubian-egyptian valley and associated neighbouring areas involves, towards the natural world and the numinous spiritual strengths, the cross-cultural of solar conceptions and multicultural, trans-historic sharing of the polycyclic resurrectional believes. Thus, the animal petroglyphs, cynegetic scenes, boats and sandals representations, etc., are of funerary votive, apotropaic nature
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Lin, Chun-Pei, and 林純珮. "Metamorphosis，Transformation The knight of art." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4x856c.
Full textAbstract:
碩士臺北市立大學
視覺藝術學系
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This is a self- narrative research, by way of expressive art therapy and psycho drama. The purpose of the research is connected emotions and memories which are broken. Chapter 2 and Chapter 3, the framework for these has discussed the research’s relationship about her family and friends, trying to understand the plight and impact in an unhealthy community for a long time. Following Chapter 4, focus on how to face the existing problems, re-organize bad experiences, find power from different perspectives, and give a new interpretation about relationships. Most important, Chapter 5, attempts to compile these new-found, for example: self-worth, self-affirmation and self-awareness.