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Kang, Eem Yun. "'Floating mind' : art, nature and myth." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1860/.
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During my three years of this doctorate programme, I have explored the notion of the 'floating mind'. In Art Anthropology, Japanese philosopher Nakazawa Shinichi describes the term 'floating mind' as something that does not have any specific form, colour or direction. Rather, it is something free to move which contains multidimensional shapes or forms. Shinichi (2006, p.39) points out that this 'floating mind' originates from the beginning of creative thinking. In Shinichi's practice, myth related to the idea of 'floating mind' starts with questioning natural phenomena and requires a creative way of thinking about nature and human existence. In this report I will explore the various definitions of 'myth'. Through the process of research, I will define how I use the concept of myth in the final project of my doctorate programme. I will also look into the relationship between myth, Shinichi's 'floating mind' and Deleuze's idea of 'becoming'. In the section related to the research on artists, I will investigate Cy Twombly's use of classical myth in relation to poetry and Palaeolithic art. I will analyse the Korean artist Jong Mok Lee and his interpretation of nature in his visual language; I will also investigate the relationship of nature to his work. In addition to these two artists, I will refer to the British painter Katy Moran in comparison to my creative practice. I have combined the ideas of myth and nature in order to be able to visualise the idea of the 'floating mind'. In every myth, the vital part of the story contains different forms of transformation or metamorphosis. Metamorphosis can be seen as the climax of the myth. In metamorphosis, nature can be the location of a mythical story or simply a landscape where myth can exist. This concept of metamorphosis in myth intrigued me to the point 2 that I asked myself how to capture transformation within my painting practice, as transformation contains time-based elements. During the first year of my doctorate programme I explored the concept of myth through painting. I questioned how to capture the moment when metamorphosis happens and how the duration of the transformation can be explored through the process of drawing. The paintings resulting from this introspection appeared to be ambiguous and became abstract and expressive. It was difficult to point out what kind of transformation I would be able to capture. This led me to experiment with ceramic clay during the second year of my doctorate programme. During the process of firing the ceramic work, transformation happened as the clay changed its chemical characteristics. During this process I could not witness or take control while the transformation took place. I could only see before and after the process of firing. Whereas in the process of painting, I could always witness the transformation while I worked and therefore I could better control the result of my work at each given stage. Throughout this doctorate programme, the elements of nature, transformation and myth have permeated into my practice. The idea of nature in relation to myth and endless transformation will be expanded in my final project 'Hidden'. This will consist of a large-scale (18m) series of continuous paintings representing mystic landscapes containing poetic moments and narrative, in particular the story of a whale in a mountain.
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Maeorg, Michael. "Art, myth and history in the Parthenon /." Title page, contents and introduction only, 1986. http://web4.library.adelaide.edu.au/theses/09AR/09arm185.pdf.
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Kendall, Lee Ronald. "Titanic : art into myth : the art-history of an unnatural disaster - 1862-1912." Thesis, Liverpool John Moores University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436558.
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Hulshoff, Amy Catherine, and Amy Catherine Hulshoff. "Aztec Stone Boxes: Myth, Metaphor, and History." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621178.
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This essay is study of Aztec stone boxes from the pre-conquest Aztec empire. My study focuses on the interpretation of carvings on the surfaces, as well as the interiors and lids when applicable. The study includes not only traditionally functional boxes, but also altars (blocks or basins) and offering chambers, as comparative examples. The thesis focuses on three specific stone boxes located in museums in Mexico, Germany, and Great Britain: the Islas y Bustamante Box (Museo Nacional de Anthropologia, Mexico), the Hackmack Box (Museum fur Volkerkunde, Hamburg), and the Ahuitzotl Box (British Museum, London, and Museum fur Volkerkunde, Berlin). I am studying the iconographic programs, with a focus on themes of auto-sacrifice and creation, carved on the art objects themselves and their function as story-telling devices, with or without the contents that the box may have contained. In their forms, the objects themselves are metaphors for space, time, Aztec history, and Aztec creation myths. The Hackmack Box depicts the creation god, Quetzalcoatl (feathered serpent), and refers to the creation myth of mankind saved from the underworld and resurrected from the ashes of bones, using Quetzalcoatl's own blood. The box bears Montezuma's name glyph and is likely a tribute to his birth, his ascension and success as a ruler, and his piety. The Islas y Bustamante Box depicts the god of caves, Tepeyolotl, and refers to the myth that man ascended from caves, as all of life originated from the mouth of a cave that was also a natural spring. The box itself is a metaphor for this type of cave. The Ahuitzotl Box depicts the god of water Tlaloc, and refers to the myth of the tlaloques (helpers) discovery of "food-mountain", in other words, the discovery of maize that nourished the Aztec people. It has been linked to the dedication of the aqueduct built under the Aztec ruler Ahuitzotl, and serves as a tribute to this historical event. The cosmic arrangement of the motifs on these boxes reveal the object as a metaphor for space and time itself as they comply with the Aztec's earthly orientation of the heavens, the earth, an the underworld.
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Epley, Veronica H. "MYTH, METAPHOR, AND IMAGINATION: FRAMING HOMELAND SECURITY AS ART AND ARCHETYPE." Monterey California. Naval Postgraduate School, 2013. http://hdl.handle.net/10945/32814.
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CHDS State/Local<br>Art, myth, metaphors and archetypes can foster divergent thinking and serve as channels for integrating imagination and evocative ambiguity into traditional analysis and problem solving. New ways of representing ideas about homeland security not only provide vehicles for communication, but also expand and improve our ability to contemplate and understand this complex, emerging discipline. Through this paper and three original artworks, I argue for admitting art, imagination and the searching attitude of humanism into the domain of homeland security. I use the myth of Perseus and Medusa to focus on the mirrored shield as a metaphor for seeing ourselves as part of the predicament and for regarding the response not simply as solution, but as creative evolution. The metaphors we choose, consciously or unconsciously, to tell the story of homeland security will frame not only what we think but how we act and how we are perceived. Art is not frivolous. It is both mirror and shield, and allows us to move, stretch, and reach to transform reality. Art is forward leaning and operates in a non-linear or supra-linear process whose edges, mass, margins, and shadows expand the universe of possibilities and pre-suppose the existence of new forms.
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Hu, Hsin-Yu. "Delineating the Gawain-poet : myth, desire, and visuality." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1ef66f50-3914-4cbc-96e5-2d4acc3b647e.
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This thesis adopts an interdisciplinary approach, drawing on literary, art historical and textual sources to examine how the act of looking, images, and artistic and textual creation are both dramatized and problematized in the works of the Gawain-poet: Pearl, Cleanness, Patience, and Sir Gawain and the Green Knight (with some discussion of St Erkenwald, a work often attributed to the same author). Analyzing in detail the texts and illustrations in the Gawain-manuscript (British Library, Cotton MS Nero A.x), the thesis argues that the poet weaves together classical and biblical narratives, along with exegetical and iconographic traditions, in shaping his distinctive reflections on the use and making of images, body and performance, in response to late fourteenth-century religious controversies. The thesis starts by tracing a network of ideas about gaze, sin, body and text through late-medieval biblical and mythographical texts and images. Working text-by-text through the poet’s oeuvre, it then discusses the use of Ovidian materials and the motif of metamorphosis in his complex meditation on ethical and specifically gendered practices of reading, writing and looking. It concludes by assessing the poet’s idea of poetic creation and his own role as a creative artist. In doing so, it suggests that the poet’s self-conscious artistry works together with a consistent emphasis on humility in human’s relations with the divine. The thesis contributes to a growing scholarly interest in the Gawain-illustrations, and a developing focus on visuality in studies of late-medieval devotional and literary works. By linking the analysis of classical/biblical intertexts, visual traditions and the manuscript’s own illustrated texts, it suggests a fresh area of study for the Gawain-poet and his milieux.
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Gimenez, Patricia. "“I’m Holding the Brush”: Myth and Memory in the Paintings of Linda Anderson." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1291000532.
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Uecker, Jeffry Lloyd. "From Promised Lands to Promised Landfill: The Iconography of Oregon's Twentieth-Century Utopian Myth." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5026.
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The state of Oregon often has been viewed as a utopia. Figures of speech borrowed from the romantic sublime, biblical pilgrimage, economic boosterism, and millenialist fatalism have been used to characterize it. The visual arts also have responded to Oregon's utopian myth. During the nineteenth century, the landscape was a primary focus for utopian art. In the twentieth century, past human achievements, recreation, agriculture, and industry have joined the environment as themes which inspire utopian imagery. The objective of this study is to demonstrate that twentieth-century art that responds to Oregon's utopian myth has given rise to an iconography which both energizes and reflects the development of that myth and which informs an important component of the state's identity. Using as a criteria that which idealizes Oregon as a place, an inventory of utopian art was compiled. It includes over 300 works of visual art, plus a number of artists for whom utopian subjects served as a consistent element. From this information, dominant themes were identified which demonstrate the existence of iconography, or visual symbolism, that expresses Oregon's utopian myth. Through the themes of natural environment, heroic images of Oregon's human past, and interaction between humans and the environment-plus numerous sub-themes-the artistic evidence demonstrates that visual imagery and symbols play an important role in how Oregonians define themselves and their history. It also suggests what form the state's utopian myth, identity' and the decisions made by its people may take in the next century.
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Dipla, Anthi. "Images of revolt : women of myth in the art of classical Athens." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297329.
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Rawson, P. B. "The myth of Marsyas in the Roman visual arts." Thesis, University of Manchester, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377677.
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Luckman, Rachel Anne. "Desiring myth : history, mythos and art in the work of Flaubert and Proust." Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/526/.
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Previous comparative and parallel ‘genetic criticisms’ of Flaubert and Proust have ignored the different historical underpinnings that circumscribe the act of writing. This work examines the logos of Flaubert and Proust’s work. I examine the historical specificity of A la recherche du temps perdu, in respect of the gender inflections and class-struggles of the Third French Republic. I also put forward a poetics of Flaubertian history relative to L’Education sentimentale. His historical sense and changes in historiographic methodologies all obliged Flaubert to think history differently. Flaubert problematises both history and psychology, as his characterisations repeatedly show an interrupted duality. This characterization is explicated using René Girard’s theories of psychology, action theory and mediation. Metonymic substitution perpetually prevents the satisfaction of desire and turns life into a series of failures. Mediation is taken further in Proust, and characters are sacrificed to preserve the harmony of the salon. Culture is composed not only of logos but of mythos as well: Poetry, Art, History and Religion are all analysed in this study. Flaubert’s works enact a repeated invocation and repression of the visual, most evident in the Tentation de Saint Antoine, where the symbol is occluded and the logos is lost, whilst Proust’s itinerary as a writer involves resurrecting the soul of John Ruskin and culminates in his protagonist’s initiation into the Arts. Proust culminates a series of attempts since the Realists to analyse the predicament of post-revolutionary Man. The works of the two authors show a flight from the exterior world to one of interiority, but there is no solace to be had in either Flaubert’s world of the logos or Proust’s of the mythos.
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Fürstenow-Khositashvili, Lily. "Anselm Kiefer – myth versus history." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16637.
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Eine der wichtigsten Aufgaben der Kunst ist es, unser kulturelles Gedächtnis zu aktivieren, zu errinnern was ist vergessen oder absichtlich in die Vergessenheit gezwungen wurde, selbst wenn das alte Wunde bluten lasst und traumatisch erscheint. Jedes Mal ist das Element der Kritik die ausschlaggebende Komponente der künstlerischen Arbeit, sie charakterisiert nicht nur den Künstler, und die Zeit in der er/sie lebt, sondern auch den Zuschauer, genauer: wie weit ist der Künstler bereit zu gehen und wie weit sind die Zuschauer bereit ihm zu folgen, im Rückblick manchmal mehr ersteres als letzteres. In meiner Arbeit analysiere ich die Aspekte von Mythologie, Geschichte und deren sozio-politische Relevanz in den Arbeiten von Anselm Kiefer, der Künstler der mit seinen Werken unsere Wahrnehmung der Geschichte, vor allem der deutschen Geschichte, beeinflust und in Frage gestellt hat.<br>It is one of the major tasks of art to revive our cultural memory and to sharpen our senses, to remind whatever has been forgotten or is being purposefully given to oblivion and to predict whatever the future might have in store even if it causes old wounds bleed anew. Each time the element of critique, being one of the crucial components of artistic work, characterises not only the artist, the time he/she lives in, but also the spectator: precisely, how far the artist is prepared to go and how much the spectator is prepared to accept, in retrospect more the latter than the former. My work analyses the problems of mythology, history and their socio-political relevance on the examples of works by Anselm Kiefer, the artist whose work is irrevocably related to history, German history in the first place, the artistic means of remembrance as well as the role of mythology in our collective memory.
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Gilchrist, Katie E. "Penelope : a study in the manipulation of myth." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:ace5d5e9-520e-455a-a737-0f2ee162e1e1.
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Mythological figures play a number of roles in literature: they may, of course, appear in person as developed characters, but they may also contribute more indirectly, as part of the substratum from which rhetorical argument or literary characterisation are constructed, or as a background against which other literary strategies (for example, the rewriting of epic or the appropriation of Greek culture by the Romans) can be marked out. This thesis sets out to examine the way in which the figure of Penelope emerges from unknown origins, acquires portrayal in almost canonical form in Homer's Odyssey, and then takes part in the subsequent interplay of Homeric and other literary allusions throughout later Classical literature (with chapters focusing particularly on fifth-century Greek tragedy, Hellenistic poetry, and Augustan poetry). In particular, it focuses on the manner in which, despite the potential complexities of the character and the possible variants in her story, she became quintessentially a stereotypical figure. In addition to considering example where Penelope is evoked by name, a case is also made for the thesis that allusion, or intertextual reference, could also evoke Penelope for an ancient audience. A central point of discussion is what perception of Penelope would be called to mind by intertextual reference. The importance of approaching relationships between ancient texts in intertextual terms rather terms of strict "allusion" is thus demonstrated. The formation of the simplified picture is considered in the light of folk-tale motifs, rhetorical simplification of myth, and favoured story patterns. The appendices include a summary of the myth of Penelope with all attested variants, and a comprehensive list of explicit references to her in classical literature.
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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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Sorotou, Styliani. "The Art of Myth and Intercultural Pedagogy Teaching Greek, as Second or Foreign Language." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/19891.
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"Lesser harm is illiteracy, rather than poor and non-formal education. It is certain that among the illiterates easier one finds a virtuous person, rather than among those who have been trained without the right method. " Adamantios Korais The goal of this study is to illustrate the pedagogical value of using myths in teaching Greek as a second language. Its starting point is Carl Jung’s , view that religion and myth reflect our inner reality: "The mythology of a race is its living religion ...... Myths have a vital meaning, they are not simply represented, but they are the mental life of the primitive race. Religion is a living link with mental processes that operate independently and beyond consciousness, within the dark depths of the soul." Precisely because myths encapsulate the deeper aspects of the human psyche, they can form an attractive, an engaging tool for the teaching of languages for all levels of education. The thesis starts in Chapter one [A’] with a summary of the main ideas, theories and views on the benefit of the art of myth in the teaching of Greek, as a second or foreign language. Chapter two [B’] provides the contextual framework of Intercultural Pedagogy. It critically presents intercultural pedagogy, as a field that creates new educational models and ways of approaching pupils from different cultural backgrounds. It identifies the main reasons behind its appeal and the changes it necessitates in the educational system. The chapter demonstrates that one of the key issues facing modern societies and education systems at the global level relates to the integration and acceptance of migrants and refugees in the monolingual school and society. Within this context, we argue that the intercultural model can have multiple benefits especially for multicultural societies like Australia. These benefits include: the reciprocal acceptance of different cultures, the development of cultural competency and by extension increased levels of harmonious living conditions. Chapter three [C’], develops a model of intercultural, mythological methods of approaching thematic units of the teaching of Greek, as a second or foreign language. It examines the possible teaching resources that can be used and demonstrates their connection to the teaching of Greek as a second or foreign language. Finally, Chapter four [D’] provides an example of the practical application of the methodology developed in the previous chapters. It provides examples of the use of myths in engaging students by using all modalities of learning a language: writing, speaking, listening, comprehending. The ulterior purposes of our study are to outline the complexity of Intercultural Education, the teaching methodology of Greek, as second or foreign language and the profound theoretical documentation of them through the Art of Myth. The resetting of the political authorities for new fundamental attitudes in Education, maybe, should break the passive acceptance of multiculturality, which represents the existing global situation, starting to be based on the interculturality, which includes the aforementioned concept and represents the continuous interaction of cultures, aiming at making peoples going along with each other in a prosperous and peaceful way. Intercultural education is not a lesson, it overtakes all the lessons. Its values are taught only in practice through the intercourse of children with minority children and it leads to the opening of their spirit, based on the exploitation of the "different" as a source of knowledge. The way of teaching through the art of myth does not penetrate deeper the thorn of diversity and can be a pole of attraction and love for the language of the country being taught or offering hospitality and permanence applying not only to theory but also to the practice of pedagogy! The teaching of the Greek language, through Myth, bypasses religious references and differences, so that a friendly and familiar environment is developed, necessary for the acceptance of the culture and the axis of values that govern this "new" language! In the analysis of our research we focus on the value of the diachronicity of myths and the irreproachableness of their content, which we think transcends the people of a country or nation and can harmonize and embrace teaching each student of different ethnicity! Our research, in bilingual programs, led us to the conclusion that Greek language is taught and learnt in a pleasant, constructive and creative way through all forms of “The art of myth”!!!
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Roth, Isabel L. "From the Attic to the Cosmos: Myth in the Art of Anselm Kiefer 1973-2007." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/122.
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Anselm Kiefer was born in Germany, 1945—the year of Adolf Hitler’s suicide, and subsequently, the end of World War II. His own beginnings were shrouded by a national “repression” of history. This repression was at odds with Kiefer’s needs to establish his own origin. For this reason, the spirituality in his earlier work is often overshadowed by its subject—Nazi Germany. This thesis will look back on Kiefer’s work through the lens of mythology in an effort to re-evaluate his earlier art within the context of his works since 1990. From the 1970s to the present, Kiefer has drawn from mythology to find links between personal and universal human experience. We begin by examining Kiefer’s controversial Attic Paintings of 1973. In the Attic Paintings, German and Christian mythology helped Kiefer understand his origin as a post-war German artist. Kiefer then turned his attention to myths from outside cultures throughout the 1980s. We will look closely at three paintings from the 1980s that incorporate Greek, Judaic, and Egyptian mythology in an effort to understand Kiefer’s larger goals in broadening his mythological base. Following this discussion, we will examine two paintings from the 1990s and his 2007 permanent installation at the Louvre Museum. These selected works serve to illustrate how Kiefer presented his own cultivated, personal mythology under the stars in his still ongoing cosmic series. The 1990s mark Kiefer’s broadest expansion yet; in a sense, he went from “the attic to the universe” over the course of three decades.
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Bartlett, Voon Pow. "Spectacle as myth : Guanxi, the relational and the urban quotidian in contemporary Chinese art (2005-2008)." Thesis, University of the Arts London, 2008. http://ualresearchonline.arts.ac.uk/2311/.
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This thesis is an interrogation of the spectacle of Chinese contemporary art and the concept of a Chinese modernity, in terms of the legacy from the Communist era, China's social fabric and its urban quotidian. It contributes to knowledge in a way of understanding Chinese contemporary art that is firmly rooted in both Chinese and Western historical and cultural theories and from the point of view of a Chinese from the diaspora. Its originality also derives from the manner in which it questions the validity of imposing a Western modernity on a Chinese context and its identification of a more complex causal framework influencing fine art discourses globally. The principle has been to reconstitute the idea of the Orient, in this case China, as a significant Other, not at the periphery of Western culture but with equal stature in terms of hegemony, history and heritage. This has necessitated an interdisciplinary interrogation that accounts for a range of influences such as the Chinese political, social and cultural elements within China's dynamic economic growth and alongside influences of globalisation and Western modernism. The research is built on the author's academic scholarship in western art theory and practice, Chinese art history and culture and a particular personal connection with China. The first is an undergraduate First Class Honours degree in Fine Art from Central St. Martins and subsequent professional practice as an artist and lecturer, the second a Masters degree in Chinese Art and Archaeology from the School of Oriental and African Studies, University of London, and the third as a Chinese from the diaspora, born in a Beijing hutong and whose father's early professional life was inextricably linked to that of Mao.
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Uzelac, Gregory Ross. "Harnessing the Myths of Now: Restoring Social Harmony Through Mythic Art." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27724.
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This thesis explores contemporary art’s role in the rejuvenation of mythic storytelling, which enables societal cohesion and progress. I investigate Joseph Campbell’s concept of mythic dissociation and outline the industrial, academic, and ideological factors that have stifled myth in modernity. Synthesising the mythological scholarship of Campbell and Alexander Eliot with Japanese artist Takashi Murakami’s Superflat Theory, I examine the unique position the contemporary artist now holds in digital-age society as cultivator of myth. I posit that Superflat’s emphasis on narrative interpretation, viewer agency, and opposition to formal, temporal, and stylistic limitations allows for artwork that executes the functions of myth put forward by Campbell and Eliot. I provide evidence of key, practical methodology that allows for contemporary mythic artwork.
Ultimately this thesis advocates for the restoration of mythic narrative to its crucial societal role as a mechanism for social harmony via the production and dissemination of mythic art.
Studio Work:
My body of work entitled Song of @Merica consists of mixed media artworks that depict a modern mythic saga. The exhibition was installed at the University of Sydney in December 2021.
I created works on canvas, plastic, and paper using a variety of materials including acrylic paint, oil pastels, ink, pencil, and watercolour. Aesthetically, my artwork connects to abstract expressionist and surrealist lineages, but my technique also derives from screenwriting, adjoining metaphorical and narrative elements to colour, contour, material, and text. Conceptually integral, my use of nonlinear narrative, repurposed materials, as well as the mixing of media, language, and reappropriated cultural references, illustrates the effectiveness of Takashi Murakami’s Superflat Theory, which explodes defined aesthetic and temporal boundaries, enabling myth to be conveyed fully and accessible to all.
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Le, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
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New technologies, such as virtual reality, often draw to itself myths from other fields of interest and discourses. One such myth that has attached itself to virtual reality is the notion that virtual reality can provide a utopia for the mind, or true self, if the body can be cast off. It is this discarding of the body that my thesis aims to investigate in terms of Girardian sacrifice. Girard?s notion of sacrifice is built upon the observation of various cultures throughout history. It stands to reason that in our contemporary, digitally influenced, society, sacrifice, in some form, still persists. I argue that the body, when viewed as disposable, through the use of virtual reality, exhibits the same traits as the selected sacrificial victim. As the myth of a utopia for the mind, or true self, exists prior to the advent of virtual reality, traces of it, as well as the sacrifice I argue it entails, can be found in other texts as well. One such a text is The Chrysalids (Wyndham 1955). This text presents the reader with characters which I argue represent both the mind and body separately. The Chrysalids culminates in the characters representing the mind leaving for a utopian city whilst the character who, I argue, is most strongly associated with the body, Sophie Wender, is killed. It is also argued here in that the notion of abandoning the body is simply a myth since the inability to abandon the body is also discussed in terms of phenomenology, pointing out that the body can ultimately not be completely removed from the making of meaning. This phenomenological acknowledgement of the body, along with a critique The Chrysalids and cyber-utopia?s view of the body, forms the basis of my practical body of work.<br>Dissertation (MA)--University of Pretoria, 2016.<br>Visual Arts<br>MA<br>Unrestricted
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Moore, Kristen. "The Grim Reaper, working stiff the man, the myth, the everyday /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151353213.
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Nader, Myrna. "Visual poetics : the art of perception in the poetry of Elizabeth Bishop and Sylvia Plath." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5439.
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This study of the poetry of Elizabeth Bishop and Sylvia Plath goes beyond the usual practice of labelling these writers either as reticent or Confessional. Instead, it places greater emphasis on their visual poetics which privileges the process of creativity – the different modes of seeing – over ethical and political considerations. I begin by discussing what each knew of the other and proceed to examine their common interest in perception and interpretation. Bishop and Plath seek to understand the depiction of ‘reality’ and the various forms that this takes: the concrete fact, the object or the authentic experience modulated by historical data, whether symbols, mythical forms or religious conventions. In their poetry the self objectifies the world, discovering and simultaneously defining observed phenomena. Alternatively, personal identity is determined as part of a symbolic order because the present is deemed inadequate in itself and, therefore, frames of reference need to be expanded, analogies drawn, historical parallels established, myths invoked. This historicised art is complex, stylistic and culturally established. Bishop’s poetry, for instance, distinguishes between customary ways of seeing; the symbolism of medieval painting and the untrained eye of individualism (Primitive art). Her poetic ‘transparency’, language which corresponds faithfully to actual experience, calls attention, by its very directness and apparent simplicity, to the various parts of a synthesising imagination that could, potentially, infringe upon pure vision. The analysis of Bishop’s language and its development is based upon her published and unpublished material. Bishop and Plath underscore differences between description and meditation, empirical enquiry and symbolic transformation, the tangible and the abstract. They further consider religious beliefs ephemeral and place their faith in the primacy of the material world. Bishop is especially distrusting of symbolism in Christian imagery. Plath admired Bishop‘s poetry for being ‘real’, that is intimate, but not self-obsessed, concerned with aestheticism and ‘pleasure-giving’. This was the type of poetry she aspired to write. The reading of Plath uses autobiography sparingly, while arguing that her work – including poems in Ariel – demonstrates the creative strategies of, what she termed, a ‘pseudo-reality’. This precludes the automatic designation of her poetry as fully Confessional. Visual poetics is broadly defined to include a discussion on surrealism. Bishop was fascinated by the movement‘s expression of the numinous and transcendent but recoiled from its illogical thinking. Plath was equally drawn and repelled by male surrealists’ portrayal of the woman subject. In her poetry the misogyny of this art is countered by the appropriation of more positive imagery found in female surrealists such as Leonor Fini.
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Opperman, Susan. "Transmuting the mundane into transcendence : migrations of myth and its connection to contemporary comic books." Thesis, Stellenbosch : University of Stellenbosch, 2011. http://hdl.handle.net/10019.1/6823.
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Thesis (MPhil)--University of Stellenbosch, 2011.<br>ENGLISH ABSTRACT: This thesis investigates the human capacity of modifying established myth in the light of
new circumstances. It focuses on the changing status of myth and mythical cosmologies in
Western culture as advances in telematics and techno-culture has led to the abundant
proliferation of mythic content in modern society. The rise of scientific, secular and rational
tendencies in the Occident has resulted in the demystification and negation of some myths
and the cultural realities they once supported. Mythical symbols, however, do exhibit a
certain degree of independence from their original set ontologies, growing and
transforming continuously within contemporary culture as they are communicated to all
social spheres. A particular focus is placed on the demystification of myth and its ability to
be appropriated within other discourses, most notably fiction. As such, myth tends to
exhibit certain migratory and conservational qualities that this study investigates. This
serves as background for this thesis that is primarily located within the broader theoretical
argument of myth as a system of world-representation in society, the main point of
discussion is the re-appropriation of myth within the narrower field of visual signification,
specifically the comics medium, as exemplified in the works of Neil Gaiman and Conrad
Botes, as well as in my own work.<br>AFRIKAANSE OPSOMMING: Die tesis ondersoek die menslike kapasiteit om gevestigde mites te wysig in die lig van
nuwe omstandighede. Dit fokus op die veranderlike status van mites en mitiese
kosmologieë in die Westerse kultuur, aangesien vooruitgang in die telematiek en tegnokultuur
gelei het tot ’n ryk proliferasie van mitiese inhoud in die moderne samelewing. Die
opkoms van wetenskaplike, sekulêre en rasionele tendense in die Weste het die
demistifikasie en negasie van sommige mites en kulturele realiteite wat hulle eens
ondersteun het, tot gevolg gehad. Mitiese simbole vertoon egter ’n sekere graad van
onafhanklikheid van hul oorspronklike vasgestelde ontologieë en groei wild binne die
kontemporêre kultuur, aangesien hulle deurlopend gekommunikeer word aan verskillende
sosiale sfere. Daar word veral gefokus op die demistifikasie van die mite en sy vermoë om
geapproprieer te word binne ander diskoerse, veral in fiksie. As sodanig is mites geneig
tot migrasie en die vertoon van konserverende kwaliteite, soos ondersoek in hierdie studie.
Alhoewel die tesis eerstens gelokaliseer is binne die breër teoretiese argumentasie
rondom mite as ’n sisteem van wêreldrepresentasie in die samelewing, is die kern van
diskussie die re-appropriasie van die mite binne die smaller veld van visuele
betekenisgewing, spesifiek in strippe as medium, soos uitgelig in die werke van Neil
Gaiman en Conrad Botes, asook in my eie werk.
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Wentzel, Andrieta. "The four cycles of Herakles : towards the visual articulation of myth as psychological process." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/642.
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My research involves the reassertion of mythic experience in a manner considered contemporaneously relevant. The relevancy resides in the Jungian assumption that myth structures psychic experience to the benefit of the individual and ultimately, society. To this end, I have taken the hero myth of Heracles, and, by filtering it through Jung’s system promoting psychological maturation, that is what he called the individuation process, I have reconfigured it in fine art form
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Hagglund, Sarah. "The Myth of Bologna? Women's Cultural Production during the Seventeenth Century." Kent State University Honors College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1620502410389001.
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Hay, Trevor Thomas. "China's Proletarian Myth: The Revolutionary Narrative and Model Theatre of the Cultural Revolution." Thesis, Griffith University, 2000. http://hdl.handle.net/10072/366202.
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China's model works, the so-called `eight great model works' are rarely thought of as `literature', not only because they are of course, performance works, but because they are not thought of in the normative sense as a form of dramatic literature, but as a form of propaganda. This thesis investigates the relationship between propaganda and art by concentrating on the texts of these works and, in particular, by analysing the structure of a narrative type which is not just a blueprint for dramatic texts but a design for the Chinese revolutionary narrative, as embodied in Mao Zedong's key utterances on literature and art, and `told' or enacted, by the campaign to reform Beijing opera undertaken by his wife, Jiang Qing.
In order to understand the precise nature of this narrative, and its relationship with theatre and the broader political arena of the Cultural Revolution, an analysis is undertaken of literary theory in both the Soviet Union and China, followed by an analysis of the aesthetic at work in the particular combinations of realism and romanticism which were discussed and implemented in each country. After a detailed examination of the way the campaign to reform Beijing opera was conducted, including the promulgation and `display' of key documents and speeches by Mao and Jiang Qing, sample texts are analysed according to a method which illustrates the design of the narrative. These texts, and the model works in general, are then considered in relation to some general observations about genres of mythology and their relationship with folklore. Finally, a particular `dramatic' relationship is suggested between the narrative design of the models, and the conduct of the Cultural Revolution itself. In the course of this, the notion of mythology is discussed in the context of its complex relationship with ideology and popular culture, as identified by Roland Barthes in particular, with his often enigmatic emphasis on the `semiology' of myth. The complex blend of cultural theories which may be brought to bear on this discussion is re-visited, with a view to understanding the model works as a genre of `proletarian' mythology which might yet survive the Cultural Revolution as a substantive dramatic genre. In conclusion, the relationship between theatre, narrative and semiotics is pursued, in attempting to establish a key difference between the aesthetic `method' employed in the model works and that of socialist realism. This difference, it is argued, is the product of a basic approach to mythic romanticism which preserves the essential traditions of Beijing opera, and makes the models legitimate heir to this tradition, in spite of the bitter memories of the Cultural Revolution and its tragic campaigns.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Asian and International Studies<br>Full Text
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HIRSH, JACOB. "Wild Country: Australian masculinity from the frontier to the social front." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20105.
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Sheffield, Katelyn McKenzie. "Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3723.
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In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891-1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska's female voice in representing a national vocabulary was unprecedented and deserves closer examination. I assert that Poland's history of oppression created a unique environment where women as archetypal figures often took on masculine roles. These 'transgressive types' were visible in the literature and art of the 19th and 20th centuries. Stryjeńska's art, as well as her behavior, capitalized on these transgressive traditions. Women played an important role as visual and ideological figures within the national mythologies of Poland, and while these mythologies situated women as authorities in protecting, cultivating, and renewing the land, and by extension the nation, few women actually achieved the status of shaping them. Zofia Stryjeńska was an example of one who did. At the age of twenty-one Zofia cut her hair, dressed as her brother, and, as a boy, enrolled in the academy of fine art in Munich. This act found precedence in the years of Polish imagery and it ultimately allowed her to create a space for herself and her art. This thesis pays particular attention to Stryjeńska's part in the 1928 renovation of the Warsaw town square. Like many other artists at this time, she worked in many mediums and employed folk-art motifs and styles in the quest to create a truly "Polish" style. Stryjeńska's art drew on national images of Polish women as the Virgin Mary, the good Polish Mother, and Pagan Goddess. Idealized tropes, such as these, often represented a disconnect between everyday social norms and the greater ideals of a national identity. Zofia Stryjeńska embodied this juxtaposition. Her art drew on national images of Polish women filled with blurred gender boundaries. These images, prominent for centuries, at once empowered Polish women while also being relegated safely to the abstract realm of legend and myth. These female ideals, therefore, served as less of a threat to the rigid gender expectations that were a part of everyday Polish life. Zofia Stryjeńska was an example of a woman who laid claim to the female ideals of Polish culture. She used myth to define her behavior; her studies in Munich, and by doing so launched her life into the realm of myth, creating a sensationalized image more legend than reality.
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Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.
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English<br>Ph.D.<br>Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers.
The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed.
Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter.
Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.<br>Temple University--Theses
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Seaton, Melynda. "Texas Cowboy as Myth: Visual Representations from the Late Twentieth Century." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5599/.
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The working cowboy remains part of the contemporary culture of Texas. A visual record of him appeared early in the state's history, in daguerreotypes, followed by representations in contemporary black and white as well as color photographs, film and video. Although the way of life for the Texas cowboy has changed, it remains a thriving part of the Texas economy, society, and culture. Moreover, the image of the cowboy has permeated popular culture and fine art. This paper explores what late twentieth century popular culture and fine art images of the cowboy signify, emphasizing aspects of how they signify in relation to an existing tradition of photographic representations. Using Barthes' "Myth Today," it considers how the documentary aspect of early photographic representations of cowboys is transformed in contemporary popular culture and fine art to become mythology, for example, by the exaggeration of features of dress to connote ideals allegorically.
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Birch, Robert A. C. "Myth in the heroic comic-book : a reading of archetypes from The number one game and its models." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1781.
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Thesis (MPhil (Visual Arts))--Stellenbosch University, 2008.<br>This thesis considers the author's project submission, a comic-book entitled The Number One
Game, as production of a local heroic myth. The author will show how this project attempts to
engage with mythic and archetypal material to produce an entertaining narrative that has relevance
to contemporary Cape Town. The narrative adapts previous incarnations of the hero, with reference
to theories of archetypes and mythic patterning devices that are derived from the concept of the
“mono-myth”. Joseph Campbell's conception of myth as expressing internal psychic processes will
be compared to Roland Barthes' reading of myth as a special inflection of speech that forms a
semiotic “metalanguage”. The comic-book is a specific form of the language of comics, a
combination of image and text that is highly structured and that can produce a rich graphic text.
Using the Judge Dredd and Batman comic-books as models it will be shown how The Number One
Game adapts traditions of representation, such as in genre references, to local perspective to create a
novel interplay of archetypes. It will be shown that this interplay in the author's project work and
the rich potential of the comic-book as a site for mythic speech makes the mythic a useful paradigm
for considering the expression of ideology in the heroic comic-book.
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Smith, David R. "Nathanael Greene and the Myth of the Valiant Few." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062831/.
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Nathan Greene is the Revolutionary Warfare general most associated with unconventional warfare. The historiography of the southern campaign of the revolution uniformly agrees he was a guerrilla leader. Best evidence shows, however, that Nathanael Greene was completely conventional -- that his strategy, operations, tactics, and logistics all strongly resembled that of Washington in the northern theater and of the British commanders against whom he fought in the south. By establishing that Greene was within the mainstream of eighteenth-century military science this dissertation also challenges the prevailing historiography of the American Revolution in general, especially its military aspects. The historiography overwhelmingly argues the myth of the valiant few -- the notion that a minority of colonists persuaded an apathetic majority to follow them in overthrowing the royal government, eking out an improbable victory. Broad and thorough research indicates the Patriot faction in the American Revolution was a clear majority not only throughout the colonies but in each individual colony. Far from the miraculous victory current historiography postulates, American independence was based on the most prosaic of principles -- manpower advantage.
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HILL, Mathew J. K. "The Indigenismo of Emilio "El Indio" Fernández: Myth, Mestizaje, and Modern Mexico." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1915.
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As one of the major directors of Mexico's Golden Age of Cinema (1936-1956), Emilio “El Indio” Fernández (1904-1986) created films which for many came to express the official vision of Mexican identity. Part of this identity was based on the ideology of indigenismo, which posited that the pre-Columbian past held the basic kernel of Mexico's national essence while advocating the incorporation of modern Indian groups into mainstream society. El Indio's films reflect the paradox of indigenismo: praise for indigenous cultures and a simultaneous effort to make them disappear. The following study examines three of his indigenista films, María Candelaria, Río Escondido, and Maclovia, to see how Fernández created representations of Mexico's indigenous populations that contributed to and deviated from indigenista policies in post-Revolutionary Mexico. This representation relies on the formation of a national myth based on a static, aestheticized Indian which incorporates all Mexicans into official state history.
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Pihl, Lina. "IDENTITY : In search of identity construction through the narrative of the pearl necklace." Thesis, Konstfack, Ädellab/Metallformgivning, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3431.
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IDENTITY In search of identity construction through the narrative of the pearl necklace Lina Pihl Can one reach an understanding of identity through the narrative of the pearl necklace? The pearl necklace plays the role of the main character as well as the attribute in portraying identity in this dissertation. By looking at the pearl necklace as an object through its social context, it is possible to open it up for an understanding of its relation and impact on the individual. The world is not constructed of entities, but on relations. Thus it makes no sense to try to understand it through the notion of a predefined entity. Through the investigation of the pearl necklace as a signified, and myth in the modern Western society, its relation to and affect on the subject when worn and the creation of a new context within the performance – a system for how we can see and look upon identity takes form, in which they both, myth and signified, play a part in the construction of identities. The myth of the pearl necklace makes it into a strong, signified that is used to manifest social belonging: by wearing the pearl necklace one becomes a part of the myth and its signified, which creates a new form, where the subject-object is the signified in action, a performance that makes the myth present and an active, living part of a society. This proves that by taking an everyday object such as the pearl necklace and understanding it in a social context and in relation to the body and individuals, we can reach a deep and complex understanding of what identity is, how it is constructed and what potentials it possesses.
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Garubba, Keith. "Art/Science and a Blended Inquiry." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405436323.
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Bartlett, Allache Catherine. "Representations of the character of the Jew in the Nineteenth-Century French, German and English novel, and the Jewish response." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC010.
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Cette thèse examine les relations entre la littérature et la Bible à travers trois personnages mythiques qui représentent le Juif comme l’Autre, un concept à la fois effrayant et fascinant. Elle explore l’évolution des représentations des personnages juifs ainsi que leurs convergences et divergences dans le roman anglais, allemand et français du dix-neuvième siècle. Présupposant l’existence d’un inconscient collectif commun à toute l’humanité, nous avons démontré, en partie grâce à la mythocritique, que ces personnages juifs rejouent ces trois mythes, dont la présence également dans le domaine de la peinture témoigne de leur vitalité au dix-neuvième siècle. La dernière partie, consacrée à la littérature juive de l’époque en Europe constitue une réponse à ces trois mythes évoqués et met à jour un dialogue constructif entre les auteurs juifs et non juifs, ainsi qu’une introspection respective<br>This thesis examines the relations between literature and the Bible through the myth of three characters, who construct the collective of ‘the Jew’ as a dangerous and fascinating Other in the nineteenth-century European mind. It examines the evolution of the representations of these characters, and their convergences and divergences in French, English and German nineteenth-century novels. The mythocritique method, taking into account the collective unconscious, reveals that the chosen characters re-enact three major myths, which demonstrate their vitality, not only in literature and theology, but also in art. A response can be found in comparative Jewish literature to these myths, completing the study and revealing a constructive dialogue and self-examination
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Worley, Cassie. "Many are the deceivers /." Online version of the thesis, 2006. https://ritdml.rit.edu/dspace/handle/1850/3334.
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Huang, Qing. "Fashioning Modernity and Qipao in Republican Shanghai (1910s-1930s)." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1429701221.
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Kašinskaitė, Martyna. "MITINIS ŽMOGUS." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_150229-87056.
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Mitinis žmogus - šiuolaikinėje visuomenėje atspindintis senosios kultūros pasaulėžiūros suvokimą. Žmogus sąmonės lygmenyje laviruojantis tarp praeities kultūros dvasinių įsitikinimų ir šiuolaikinės visuomenės informacijos bei žinių.<br>The mythical man - in a modern society, reflecting the culture of the old world-perception. Man exists between the level of consciousness of the past culture and spiritual beliefs of modern society of information and knowledge.
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Batra-Wells, Puja. "Art/Work: Place-Making, Precarity, and the Performance of Artistic Occupational Identities in Columbus, Ohio." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471460370.
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McDonald, Timothy. "Mud and Ashes." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1013.
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The artist discusses the work in Mud and Ashes, his Master of Fine Arts exhibition held at Slocumb Galleries, East Tennessee State University, Johnson City, Tennessee, from March 28 to April 1, 2005. The exhibition marks a turning point in the artist’s work, occupying a beginning place as he completes his graduate career. The work consists of fifteen paintings and one sculptural installation. The paintings are on paper and employ local materials such as red clay, pollen, and beeswax along with traditional artist’s materials such as oil and charcoal. Fire and a power sander have also been used as drawing tools. Each painting is 22 x 22 inches square and hangs directly on the wall, unmounted and unframed.
Topics discussed include the artist’s development and work leading up to and including the exhibition works; the influences of Sung Dynasty Chinese landscape painting, Zen Buddhism, aboriginal art, nature, myth and ritual; the influences of artists Montien Boonma, Paul Cezanne, Jim Dine, Andy Goldsworthy, Morris Graves, Brice Marden, Georgio Morandi, Kiki Smith, Mark Tobey, and Cy Twombly; and the influences of composer John Cage and poet Gary Snyder.
Included are images of the artist’s early work as well as a catalogue of the Mud and Ashes exhibition.
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Villanova, Pâmella de Caprio 1988. "Feminilidade dissonante em cena : uma exploração andrógena e vadia do mito de Helena." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285304.
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Orientador: Verônica Fabrini Machado de Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-28T00:19:58Z (GMT). No. of bitstreams: 1
Villanova_PamelladeCaprio_M.pdf: 7167403 bytes, checksum: 2274b10ab2004d1c9b100d9da7892202 (MD5)
Previous issue date: 2014<br>Resumo: Uma atriz investiga as performatividades que envolvem os gêneros masculino e feminino. Como rata de laboratório e sujeito científico, experimenta em si e em corpos a seu redor a mitologia da mulher erótica, procurando ultrapassar dualidades em uma exploração andrógena. O mito grego de Helena foi escolhido como campo de provas, material poético estudado principalmente a partir da tragédia As Troianas, de Eurípedes; das pesquisas históricas de Bettany Hughes; das análises do Prof. Junito de Souza Brandão e do romance da francesa Sophie Chaveau. As questões de Helena serão problematizadas pelo viés dos estudos de gênero de Judith Butler e Beatriz Preciado; e da perspectiva do Imaginário, principalmente em Gaston Bachelard e CG Jung. Abordada a partir de suas subversões da feminilidade, como figura dissonante que permanece na arte ocidental desde Homero, a pesquisa busca a exploração andrógena porque os corpos procuram assumir o feminino e o masculino, se propondo a permanecer nas fronteiras, longe das universalizações, ali onde tudo parece confuso e caótico. Assume-se também uma exploração vadia porque a forma de organização das ideias permite o ir e vir entre teoria e prática sem pudores. Este trabalho é teórico-prático, interdisciplinar e autobiográfico<br>Abstract: An actress investigates performativities involving males and females roles. As a laboratory rat and scientific subject, experiences itself and the bodies around her with the mythology of the erotic woman, looking to overcome dualities in an androgeny exploration. The Greek myth of Helen is the field trials, an engaging poetic material studied mostly from the tragedy "The Trojan Women", by Euripides; the historical research of Bettany Hughes; the analysis of Prof. Junito de Souza Brandão and the novel of the French Sophie Chaveau. Helen's issues will be problematized from gender studies of Judith Butler and Beatriz Preciado; and the perspective of the Imaginary, especially in Gaston Bachelard and CG Jung. Approached from its subversions of femininity, as dissonant figure that remains in Western art from Homer, the research seeks to an androgeny exploration because the bodies seeking to assume the feminine and the masculine, proposing to remain at the border, away from universalizations, where there everything seems confused and chaotic. It is also assumed a slutty exploration because the organization of ideas allows the coming and going between theory and practice shamelessly. This work is theoretical and practical, interdisciplinary and autobiographical<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Karlsson, Gabriella. "The Social Media Muse." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23195.
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The social media influencer is becoming a prominent trope in contemporary media culture. In her Instagram performance artwork Excellences & Perfections, Amalia Ulman imitated the content and lifestyle of different types of influencers for five months in 2014, gaining attention and inciting controversy when she finally revealed her hoax. She captured problematic aspects of performativity online, examined how it related to tropes and myths in our culture, and ultimately to our sense of identity. By analysing images from her work and comments from her followers at the time, this thesis aims to understand how her art acts as a commentary on issues of digital labour and self-representation through images.
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Lindmark, Anna. "Linnelinjen och den moderna handduken." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-353310.
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This thesis focuses on a group of towels from the textile design program Linnelinjen (''the Linen-line'') from 1955. Linnelinjen was a collaboration between the department store Nordiska Kompaniet and the textile manufacturer Almedahl-Dalsjöfors. The first collection, renowned as a modern version of the traditional stock of linen, was created by textile designers Astrid Sampe and Marianne Nilson. The thesis is divided into three main parts. Firstly, through archive studies, the towel collection of Linnelinjen 1955 is mapped and described. This basic research throws new light on Linnelinjen, by emphasizing less known products in the collection. Secondly, the towel design is analysed to reveal in what aspects it can be considered modern. Through this analysis, the modern traits of the towel design are found to be connected to the towels' transformation from anonymous household articles to unique design products. Finally, the symbolic function of the towels in the modern home and household is analysed. The line of argument in this last part is based on the concept of myth, as used in the design theory of Adrian Forty. It illustrates how the modern Linnelinjen towels, thanks to their specific field of application, may reconcile the vision of the home as a haven of rest with the conflicting reality of household work.
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Nascimento, Jose de Ribamar. "I Bienal Latino-Americana de São Paulo, Mitos e Magia: Em busca de identidade artístico-cultural." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-11072012-131523/.
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A presente dissertação de mestrado propõe-se a analisar o processo de criação da primeira e única edição da Bienal Latino-Americana de São Paulo, que teve como título-tema Mitos e Magia, realizada no período de 3 de novembro a 17 de dezembro de 1978, na cidade de São Paulo. Os registros remanescentes, deste acontecimento, testemunham a importância do encontro entre críticos de arte, artistas e intelectuais das humanidades em debate sobre as questões polêmicas relativas às identidades culturais da América Latina, na sua produção artística contemporânea. O centro dessa discussão girou em torno do tema, sua expansão e seus limites. Observou a regulamentação da mostra e a análise do processo da I Bienal Latinoamericana de São Paulo, trouxe à luz a falta de um ideário capaz de abranger o universo plural das nossas culturas.<br>The remaining records of this event attest to the importance of this meeting among art critics, artists and intellectuals of humanities who debated about controversial issues related to cultural identities in Latin America, in its contemporary production. The focus of their discussion was the Biennials theme, its expansion and limits. The regulation of the display and the development of the process of the I São Paulo Latin American Biennial were analyzed in this research. It also raises issues concerning the lack of a body of ideas that comprises the plural universe of the Latin American continent.
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Eggler, Jurg. "Iconographic motifs from Palestine/Israel and Daniel 7:2-14." Thesis, Stellenbosch : University of Stellenbosch, 1998. http://hdl.handle.net/10019.1/1439.
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Thesis (DLitt (Ancient Studies))--University of Stellenbosch, 1998.<br>This is an iconographic study of the motifs of the sea, lion, wings, horns and the enthroned in the iconography of Palestine/Israel with reference to the vision of Dan 7:2-14
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Herculano, Josimar Rodrigues. "Arte como necessidade da existência na filosofia de Nietzsche." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/5603.
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Previous issue date: 2011-10-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The art that in Nietzsche s philosophy goes through all his lifetime and beyond that stretches for all posterity, is in this paper approached as being, according to philosophical thinking, the highest of the existential forms. In a consequent way, this leads to the understanding and acknowledgement that art is, in all the forms that it can be expressed by its muses - and especially for Nietzsche regarding tragic art in ancient Greece -, much more than what it seems to be, that is, inversely, the very existence manifests itself, necessarily, through art, therefore it is impossible to think of each one in an unconnected manner. More than a simple connection,existence, that is, life and art in a Nietzschean sense, in other words, creation, appear as all the crystalized forms of that that has no absolute shape or as Nietzsche described them according to his interpretation of the myths of Dionysus and Apollo. The first as being the representation of the misshapen and the hollow, that is, of the chaos and the abyssal darkness; the latter, on the other hand, as being the one that represents the rising of the being that, from the abyssal darkness, appears on the surface of existence usually and through the perception of the beautiful forms, but also through the opposing perception of the ugliness that, however, even the latter when expressed aesthetically through artistic inebriation both Dionysian and Apollonian, only occur due to its subordination to the natural artistic creation of both forms, beautiful and ugly, that is, through a soothing pathos, in other words, resisting against the unavoidable Nietzschean will to be in any way that it becomes, and all that, beyond good and evil.<br>A arte que na filosofia de Nietzsche ocupa todo o tempo de sua vida e para além desta estendese por toda posteridade é aqui neste escrito abordada como sendo, segundo o pensamento do filósofo, a mais elevada das formas existenciais. Uma constatação que submete de modo
consequente ao entendimento e à compreensão de ser ela, a arte, sob todas as formas que suas musas a expressam - especialmente para Nietzsche no que refere à arte trágica na Grécia antiga-, muito mais do que parece, quer dizer, inversamente, que a própria existência se manifesta de
modo necessário através da arte, portanto, que é impossível pensar uma e outra de uma forma desconexa. Mais do que uma simples conexão a existência, isto é, vida e arte no sentido nietzschiano, ou seja, enquanto criação, é uma e mesma coisa e que assim sendo, aparecem sob todas as formas cristalizadas daquilo que no fundo, não possui forma definitiva alguma ou como Nietzsche as descreveu conforme sua visão e interpretação dos mitos de Dionísio e Apolo. O primeiro mito como sendo o representante do disforme e do sem fundo, isto é, do caos ou o nada abissal; o segundo como sendo aquele que por sua vez, representa o apaziguamento da irrupção criadora, artística do ente desde o nada abissal aparecendo na superfície do existir normalmente e através do sentimento das formas belas, mas também pelo
sentimento contrário do feio que, todavia, mesmo este último quando expresso esteticamente via embriaguez tanto dionisíaca quanto apolínea, só ocorre devido sua subordinação à criação artística natural das formas tanto belas quanto feias, isto é, por um pathos que possa apaziguar, ou seja, resistindo à inelutável vontade nietzschiana de ser de qualquer modo que venha a ser, e isto tudo, para além de bem e mal.
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Kiefer, Luísa Martins Waetge. "Jovem artista : a construção de um duplo mito." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97678.
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O presente trabalho investiga o papel e o lugar ocupados pelo jovem artista dentro do campo da arte hoje. Demonstra que esta figura passou por um processo de dupla mitificação: a de ser jovem e a de ser artista. Revela o processo da sua construção histórica e social, mostrando como este assumiu um papel central na arte do século XXI. A pesquisa foi realizada a partir de entrevistas com seis artistas nascidos na década de 1980 e 1990 – Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. O olhar dos entrevistados é representativo de uma geração e serve como fonte primária para esta análise.<br>This work seeks to investigate the role and place occupied by young artists in todays art field. It shows that this group has gone through two different mythification processes: being young and being an artist. Revealing the social-historical process that they went through and showing how they play this central role in the arts of XXI century. A research was made by interviewing six artists born on 1980 and 1990 decades - Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. The view of the interviewees is representative of this generation and serves as a primary source for this analysis.
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Röstorp, Vibeke. "Les artistes suédois et norvégiens en France de 1889 à 1908 : le mythe du retour." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040146.
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Cette thèse porte sur les artistes suédois et norvégiens en France de 1889 à 1908. Ces années ont traditionnellement été considérées comme une période de retour au pays et d’abandon de la France pour les artistes scandinaves qui se seraient tournés de nouveau vers Paris seulement en 1908 avec l’arrivée des élèves d’Henri Matisse. Une étude approfondie de leur présence aux Salons parisiens a été menée afin de constater que leur nombre ne baisse pas et que les départs des uns sont aussitôt comblés par l’arrivée d’autres artistes scandinaves. À travers l’examen de la taille et de l’activité de cette communauté d’artistes installés en France durant ces deux décennies, dites nationalistes, il s’avère que l’hypothèse du retour vers la Scandinavie dans les années 1890 est un mythe créé par une historiographie faussée. La plupart des artistes scandinaves expatriés en France de 1889 à 1908 menèrent des carrières couronnées de succès dans un environnement cosmopolite et international. Les raisons de la mauvaise interprétation de cette période de l’histoire de l’art scandinave ont été analysées à travers les ouvrages d’histoire de l’art anciens et actuels. D’autres investigations ont été entreprises, basées sur la correspondance de ces artistes principalement conservée à l’Académie Royale des Beaux-Arts de Suède et dans les archives d’Auguste Rodin, ainsi que sur l’étude de leur accueil critique en France. Elles démontrent que la colonie scandinave de Paris de ces années-là a été exclue des expositions organisées en France par leurs propres pays et que la carrière de ces artistes expatriés, ainsi que le rôle de la France, ont été minimisés dans l’histoire de l’art scandinave<br>This dissertation is about the presence of Swedish and Norwegian artists in France during the years 1889 to 1908. Traditionally these years have been considered as a period when Scandinavian artists left France to return to their homelands and according to this traditional view, they only returned to Paris and French influence with the arrival of Henri Matisse’s students around 1908. A thorough study of their presence in the Parisian Salons has been conducted which determines that their numbers do not decrease and that the departure of certain Scandinavian artists was balanced by the arrival of others. By examining the size and the activity of this artistic community in France during these two so-called nationalistic decades, it appears in fact that the hypothesis about the return to Scandinavia in the 1890’s is a myth created by a distorted historiography. Most Scandinavian expatriate artists living in France between 1889 and 1908 led successful careers in a cosmopolitan and international environment. The reasons for the misinterpretation of this period in Scandinavian art history have been analysed using historical and current texts and art history handbooks. Further investigation based on the correspondence of these artists, kept chiefly by the Royal Swedish Academy of Fine Arts and in the archives of Auguste Rodin, as well as the study of their critical reception in France, have shown that the Parisian colony of Scandinavian artists has often been excluded from exhibitions organized in France by their home countries and that the career of these expatriate artists as well as the role of France during this period has been minimized in Scandinavian art history
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DAZZI, ILARIA. "Elettra nel Novecento: frammenti di riscritture possibili." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/266.
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La tesi di dottorato indaga l'evoluzione del mito di Elettra dalla fine dell'Ottocento ai giorni nostri, attraverso una prospettiva prevalentemente drammaturgica, ma con attenzione anche verso la letteratura e il cinema: l'idea che domina la ricerca è quella di osservare le relazioni fra questa vicenda e, in particolare, questo personaggio, e il periodo storico in cui vengono rielaborate le sue riscritture, al fine di porre in rilievo la metastoricità del mito e le sue relazioni con l'antropologia e la psicologia. Il percorso prende in esame, complessivamente, trentacinque testi, tre pellicole cinematografiche e vari riferimenti culturali tesi a scoprire, almeno in parte, la funzione del mito nella contemporaneità.<br>The doctor degree thesis investigates the Elektra's myth evolution from the last years of the nineteenth century to our times, through a dramatic perspective, but also taking heed of literature and cinema: the prevailing idea of the research is observing the relationships between this myth and, above all, Elektra's character, and the historical period of re-writing. The analysis is on 35 texts, 3 films and many others cultural references to discover Elektra in the contemporaneity.