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Romaniko, Pavel. "Nostalgia /." Online version of thesis, 2009. http://hdl.handle.net/1850/11216.
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Welch, Allison Pearl Snow. "Necessity and nostalgia." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1107.
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Why do we keep things? To remember.
Bedside tables are our modern-day altars, places where habit, respect, mystery, and love collide. Our physical materials wait while we travel through dreams, coaxing us back into activity come morning. Books and remote controls summon sleep, alarm clocks and written reminders startle the mind into a wakeful state. But not all objects are directly linked to sleeping or waking; some things simply exist to comfort us, reflecting our need to gather, collect, and nest.
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Alencar, Filipe Henrique Bezerra Matos de. "Pixel Art & Low Poly Art : catalisação criativa e a poética da nostalgia." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/24541.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2017.Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-07-31T14:12:16Z No. of bitstreams: 1 2017_FilipeHenriqueBezerraMatosdeAlencar.pdf: 5672661 bytes, checksum: 9bd8eebdda4155d14983007746a9fd85 (MD5)
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Este trabalho apresenta reflexões a respeito dos recursos gráficos de videogames em Pixel Art e Low Poly Art, e os seus desdobramentos estéticos e poéticos. Nesse processo, levantam-se questões sobre a relação dessas imagens com o jogador e com o artista e desenvolvedor. As principais questões tratam do processo criativo e do sentimento de nostalgia que envolve essas imagens. Chega-se então, a partir de conceitos da psicologia cognitiva sobre criatividade e memória, e de informações disponibilizadas em entrevistas pelos artistas, aos termos Catalisação Criativa e Poética da Nostalgia. Expõe-se o percurso histórico das imagens em Pixel Art, desde a popularização de PONG, o primeiro videogame de grande sucesso comercial. Em seguida traça-se um paralelo histórico entre o fenômeno da Pixel Art e Low Poly Art. Com isso, procura-se aproximar as duas técnicas e discutir os processos de catalisação criativa e nostalgia que as envolve. A partir dessa linha do tempo e da análise das imagens de alguns jogos, percebe-se o efeito do avanço sobre uma obsolescência gráfica, levando ao descarte as imagens mais antigas dos videogames. Esse ciclo passa a ser questionado com a popularização dos Indie Games – também objeto de discussão desta pesquisa –, que retomam o uso de recursos gráficos considerados ultrapassados e os ressignificam.
This dissertation presents reflections on Pixel Art and Low Poly Art graphic resources and its poetics and aesthetics developments. In this process some concerns have been raised on the relation of the player, the artist and the developer to these images. The main issues refer to the creative process of these artists and the feeling of nostalgia that is about these images. From some concepts of cognitive psychology about creativity and memory, and from information gathered in interviews, the terms Creativity Catalysis and Poetics of Nostalgia are presented. The historical path of the Pixel Art images is exposed, since the popularization of PONG, the first great success commercial videogame. Then it is outlined an historical parallel between the Pixel Art and Low Poly Art graphics. Henceforth it is intended to approximate both techniques and discuss the creativity catalysis and nostalgia process that implicate them. From the presentation of this timeline and the analysis of some game images, it becomes clear the industry stimulus for a graphic obsolescence, leading the more antique videogame images to be discarded. The popularization of the Indie Games – also discussed in this research –questions that obsolescence cycle. They take up graphical resources considered out-of-date and give them a new meaning.
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Zhu, Chenlu (Cindy). "Searching For A Graspable Past: Landscapes, Nostalgia, And Chinese Contemporary Art." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1311.
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Landscape art reinvents itself throughout history, along with changes in relationships between humans and nature. During unprecedented processes of urbanization, industrialization, and globalization, the past two hundred years witnessed shifts in global landscapes. The idea of using art to cope with a sense of loss becomes the departure point for my art project. To contextualize my work, I will discuss art scenes in urbanizing Europe and contemporary China and explore the powerlessness of individuals under the formidable trend of development reflected in landscape art.
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Reeves, Hannah Stealey Josephine M. "Home-made home creating in the face of the nostalgic impulse /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5634.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 12, 2008) Vita. Includes bibliographical references.
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Ng, Yan-chak Grace, and 吳恩澤. "Nostalgia in Hong Kong cinema: when the insipid becomes Tantalizing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29782892.
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Kientzel, Paula. "Artifacts and fantasy." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4895.
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Thesis (M.F.A)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on March 28, 2008) Includes bibliographical references.
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LaManna, Kathleen. "Power and Nostalgia in Eras of Cultural Rebirth: The Timeless Allure of the Farnese Antinous." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/176.
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Little did Hadrian know in 130 A.D. that when he deified his beloved departed Antinous, in order to provide a unifying symbol of worship for his diverse empire, that he was instead creating a lasting symbol of the antique world. This thesis examines the power of nostalgia and its successful use by two formidable men from different eras in Rome: The Emperor Hadrian and the extravagantly wealthy Renaissance merchant Agostino Chigi. Though separated by centuries, each man used the nostalgic allure of the beautiful youthful male figure of Antinous to gain power and influence in his own time and to leave a lasting impact on generations to come. Using the statue known as the Farnese Antinous I will show that these very different men were not so different after all: each understood the human tendency to romanticize the past, and each attempted to evoke a feeling of nostalgia for the past from those they sought to “conquer.” Hadrian used portraits of Antinous to unite an empire and cement his place in history; Agostino used one of those very same portraits in commissioned artworks by Raphael to earn his place among the nobility of his day, and to leave a lasting legacy for his descendants.
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Bauman, Emily. "Die Kunst in der Photographie: Nostalgia and Modernity in the German Art Photography Journal, 1897–1908." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459438626.
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Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.
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My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.
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Stire, James B. "Armchair Tourist." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2002.
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The contemporary experience is profoundly rooted in the processes of remembering and recalling, recording and playing back. My work employs image and installation to speak of memory, nostalgia, and the integration of media and representation into experience. The rapid advancement of media technologies provides new immersive opportunities for the armchair traveler. Viewers may now be effortlessly transported across distances of time and space.
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Smith, Christopher E. "Timeless /." Online version of thesis, 2007. http://hdl.handle.net/1850/8016.
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Tada, Erika. "Recollection /." Online version of thesis, 2008. http://hdl.handle.net/1850/7795.
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Morton, Mary G. "Naturalism and nostalgia : Hippolyte Taine's lectures on art history at the Ecole des beaux-arts, 1865-1869 /." View online version; access limited to Brown University users, 1998. http://wwwlib.umi.com/dissertations/fullcit/9830497.
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Carmody, Jessica. "The lure of memory: Embodying and reconstructing fragmented narratives through contemporary art." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/212350/1/Jessica_Carmody_Thesis.pdf.
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This practice-led research explores methods of memory-keeping, including embodiment and preservation, that have been identified in women’s artistic practices within contemporary art, including my own gendered art practice. Deploying the creative methods of reconstruction and re-enactment this project investigates the instability of memory, in which affects and intentions can become confused, as reflected in my moving-image works and installations. The research is framed by theoretical considerations of nostalgia, women’s memory, and affect informed through critical texts by Iris Marion Young, Marianne Hirsch, Brian Massumi, and Susan Best, and is contextualised by contemporary artists Roni Horn, Sophie Calle and Fiona Banner.
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Metzger, Ginger. "Piecing." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2777.
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My thesis is part story telling, part exploration of research and part narrative of my experience in graduate school that culminated with my thesis work Piecing. My work explores how memory and history are connected to objects and the role they play in our ability to feel ‘at home’ at a moment when that is challenged in many ways. I extensively explore recent literature on the topic of nostalgia that is described as a reaction to the fragmentation and dislocation of our current moment, nostalgia as mal du siecle.
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Kauff, Rachel. "Not a country at all." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5530.
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Flagg, Tracy Claire. "In Ruins: Nostalgia and Melancholia in the Photographs of Yves Marchand and Romain Meffre, 2005-2013." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1396533009.
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Fiorentino, Pavel. "With everyone’s imagination atrophied, no one will ever be a threat to the world : Work in progress. An essay by Pavel Fiorentino." Thesis, Konstfack, Institutionen för Konst (K), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3604.
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Barone, Ryan. "Private viewing /." Online version of thesis, 2009. http://hdl.handle.net/1850/9746.
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Hansen, James Paul. "Nostalgic Media: Histories and Memories of Domestic Technology in the Moving Image." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492451165107021.
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Arnold, Gretchen L. "re:collection /." Online version of thesis, 2010. http://hdl.handle.net/1850/11876.
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Asimenou, Monika. "L’art à Chypre de 1974 à 2014 : de l’espace fractionné au lieu symbolique." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100028.
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En 1974, l’île de Chypre s’est vue contrainte à la partition suite à une intervention militaire turque. Plus d’un tiers du territoire chypriote est encore occupé – en 2014 – par l’armée turque tandis qu’une ligne de démarcation, dite zone morte, protégée par les Casques bleus des Nations Unies, sépare les habitants de l’île entre d’un côté – au sud – les chypriotes grecs et de l’autre – au nord – les chypriotes turcs et les colons turcs.Le lieu symbolique que crée l’art à Chypre – ce territoire balafré – reproduit-il la dualité territoriale et les conséquences de la partition de l’île ? Objets de cette recherche sont les notions d’espace, de mémoire et d’histoire telles qu’elles apparaissent à travers le prisme artistique. Dans la perspective de l’histoire de l’art, cette thèse propose ainsi une analyse d’œuvres d’artistes chypriotes à travers les relations que ceux-ci entretiennent avec l’espace fractionné – le sud, le nord et la zone morte – et telles que ces relations sont révélées par les œuvres.Les créations artistiques évoquées traitent de la particularité de cet espace qui ici constitue très souvent le point de départ de la création de l’œuvre : des souvenirs du lieu perdu situé de l’autre côté de la ligne, de l’expérience de l’espace présent et de l’appropriation – concrète et métaphorique – de la zone morte. Elles mettent également en évidence la nostalgie tout en engendrant de nouvelles cartographies et en ouvrant – en vue d’une réconciliation – le champ des possibles. Chaque œuvre transgresse à sa manière – artistique, poétique et esthétique – la frontière. C’est ainsi que cet espace fractionné est susceptible de devenir « habitable »In 1974 the island of Cyprus was forcibly divided by a Turkish military intervention. Over a third of Cyprus' territory is still, in 2014, under occupation by the Turkish army. A demarcation line, known as the dead zone, manned by United Nations peacekeepers, separates the inhabitants of the island between on one side, the Greek Cypriots in the South, and on the other side, the Turkish Cypriots together with settlers from Turkey, in the North.Does this symbolic place that art creates, this scarred territory, reproduce the territorial duality and the consequences of the division of Cyprus? The object of this research is the notions of space, memory and history as they appear through the artistic view. From the perspective of the history of art, this thesis presents an analysis of the works of Cypriot artists through the relationships they maintain with the fragmented space – the South, the North and the dead zone – as these are revealed through the works of art.The artistic creations in question deal with the particularity of this fragmented space that often constitutes the starting point of the creation of the work of art : the memories of the lost place situated on the other side of the line, the experience of the present space and the appropriation, real and metaphorical, of the dead zone. They demonstrate the nostalgia by creating new cartographies and by opening, with a view to reconciliation, the field of possibilities. Each work of art transcends in its way –artistic, poetic and aesthetic – the border. It is in this way that this fragmented space is likely to become “habitable”
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Romano, Cara L. "Gallery 66 selling the Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1194999497.
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Brunious, Wendell J. "Maturation of Practices." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1855.
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The disparate concepts of Pop Art and abstract painting heavily influence the scope of my work. Finding a link between these two concepts has been the focal point of my studio practices. The apex of my process is the focus on commercial imagery as abstract form. The merging of these two concepts presents a complex composition of balance, color and information.
This thesis explores the various concepts as well as influences that have propelled the evolution of my work. It chronicles the steps I have taken in my quest to articulate my conceptual ideas. By describing the works and defining their characteristics, this analysis gives further insight to my perception as well as process.
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Cetin, Idil. "Israel And Palestine Face2face." Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/12610825/index.pdf.
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Face2Face is a photographic project realized by JR, an undercover photographer and Marco, a technology consultant, in 2007 in the Middle East context. It consisted of taking the portraits of Israeli and Palestinian people who were doing the same job, printing them in huge formats and putting them on various unavoidable places in Israeli and Palestinian cities. The project was based on the idea that Israeli and Palestinian people were so much similar to each other, as if they were &lsquotwin brothers raised in different families&rsquo
but that they were not aware of that. Therefore, the artists decided to provide them with images of the other side which would make people be surprised, laugh, stop for a while and think about the other side once again. The artists hoped that such a reworking of the ideas about the other side would hopefully motivate people to enter into dialogue with each other, which would eventually end up in peaceful co-existence. This thesis sets this photographic project as its starting point. It focuses upon its conceptualization of dialogue, which is based on the idea of seeing the other from a new perspective, and compares it with Mikhail Bakhtin&rsquo
s concept of dialogue and Emmanuel Levinas&rsquo
s concept of face-to-face, which are based on the idea of disrupting the self. It then criticizes the project for its neglect of various dimensions which shape Israeli and Palestinian identities, such as diaspora, nostalgia and home and of the heavy burden of the past on these two communities&rsquo
present. As a result, the thesis focuses upon the concept of collective memory at length and then discusses photography at the service of collective memory. Another section is devoted to the analysis of Israeli and Palestinian collective memories. The photographic project Face2Face is discussed all throughout the thesis in terms of its failure to spot the crucial dimensions in Israeli-Palestinian context, no matter how well intended it was.
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Vaughters, Amy Lillian. "Delineated Space." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/58.
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This document is a detailed description of the work produced throughout my graduate study in the Department of Photography and Film at VCU. Topics discussed in relation my photographic process include: stage, memory, character, the forgotten, and nostalgia.
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Violet, Alexandra Violet. "the violet realm." Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1524840602107801.
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Aigner, Scott J. "The Power and Influence of Movies." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243793843.
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Huang, Stephanie M. "Nostos: On Recollecting Loss and the Physical Manifestation of Loss." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/760.
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This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.
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Maixner, Miroslav. "Ambivalence identity: kulturní tradice jako téma v současném českém a slovenském umění." Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2020. http://www.nusl.cz/ntk/nusl-432632.
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The dissertation focuses on the phenomenon of a new presence of references to traditional folk culture in contemporary Czech and Slovak art. Emphasis is placed on the period from the year 2000 to the present. The core of the work consists of chapters devoted to artists who in this period significantly thematized various aspects of traditional folk culture, either as a partial element of specific projects or in the form of continuous interest in the field. The essence of this part is to show the breadth and heterogeneity of the examined manifestations across the media spectrum. The main purpose of the work is to analyze and place the researched phenomena in a relevant context within the theory and history of art. The reason is their different nature from thematically similar manifestations in the 19th and 20th centuries. In addition, when compared with current trends abroad, a number of connections are shown, such as links to environmental issues, criticism of the state of society and, above all, to new issues related to personal and collective identification. Therefore, I base the analysis of these phenomena on a hybrid interdisciplinary basis using theoretical approaches to identity in the social sciences and humanities. I do so in the introductory theoretical chapters, but the main focus is on the final analytical synthesis. To a large extent, it also builds on data obtained from interviews with artists, the transcripts of which the reader will find in the appendix. Finally, the documentation of curatorial projects and exhibitions realized as a practical part of the dissertation project is attached.
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Baker, Sarah Lindsey, and Sarah Lindsey Baker. "Constructing the Contemporary Nostalgic Image." Thesis, The University of Arizona, 2016. http://hdl.handle.net/10150/621843.
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This thesis focuses on the intrinsic relationship between nostalgia and vernacular photography, with specific attention to the networked vernacular photograph. Through an examination of early Kodak advertising and current in-phone digital editing and smartphone photography-sharing apps, this paper demonstrates the role of constructed aesthetic nostalgia in contemporary vernacular photography. This research argues that contemporary vernacular photography is a product of contemporary nostalgia, as evidenced through photographs born digital and shared publicly via social media sites such as Instagram and Snapchat, among others.
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Gustafsson, Henrik. "Out of Site : Landscape and Cultural Reflexivity in New Hollywood Cinema 1969-1974." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6790.
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This dissertation examines landscape as a concept for analysis and interpretation in film studies by considering the New Hollywood cinema in the late 1960s and early 1970s. Contextualized within the contested notion of nationhood at the time as well as the concern among filmmakers to probe the properties, practices and traditions of American cinema, this was also a period when landscape underwent widespread redefinition as a field of artistic and academic practice. From the outset an aesthetic and pictorial concept, landscape is understood as consisting of a number of interacting ideas and systems of representation which are addressed in terms of intermedial relations. Not something to be encountered or discovered and fixed on canvas or film, landscape involves an ongoing process of construction, appropriation and transformation. Departing from a discussion of the historical role landscape has played in cultural practices of self-representation and self-definition, this study is concerned with how it can be turned against itself and used as a point of departure for adversary and antagonistic views of national myths and media. The organization is roughly chronological, based around a series of reconsiderations of key films, mainly focusing on road movies and genre-revisionist work of the period. Rather than a repository of stable identities and values, each chapter shows how landscape can be advanced in a process of reflecting on attempts to impose meaning, order and linearity. Taken together, Out of Site argues that an engagement with the surfaces and depths of landscape enables new perspectives on the interrelations between the highbrow and the popular, aesthetics and ideology. Bringing attention to how story patterns and audience expectations are displaced, landscape is examined for the questions it raises regarding representational and narrative strategies, the formation of identity and memory, and our own habits of reading.
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Su, John J. "Ethics and nostalgia in the contemporary novel /." Cambridge : Cambridge university press, 2005. http://catalogue.bnf.fr/ark:/12148/cb40102937z.
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Frawley, Oona. "Irish pastoral : nostalgia and twentieth-century Irish literature /." Dublin : Irish academic press, 2005. http://catalogue.bnf.fr/ark:/12148/cb400138598.
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Ponzetto, Valentina. "Musset ou La nostalgie libertine /." Genève : Droz, 2007. http://catalogue.bnf.fr/ark:/12148/cb41096119m.
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Dempsey, Adrienne M. "To Market: Representations of the Marketplace by New Zealand Expatriate Artists 1900-1939." Thesis, University of Canterbury. Centre for Fine Arts, Music and Theatre, 2012. http://hdl.handle.net/10092/7277.
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New Zealand expatriate artists working in England, Europe and North Africa in the early twentieth century painted a wide variety of market scenes. The subject features in the oeuvre of Frances Hodgkins, Maud Sherwood, Sydney Lough Thompson, Maude Burge, Owen Merton, Robert Procter and John Weeks and made a significant contribution to their artistic development. Like their contemporaries in the artists’ colonies and sketching grounds of England and Europe, New Zealand artists were often drawn to traditional rural and fishing villages and sought to capture the nostalgia of the ‘old world.’
Early exploratory works by New Zealand expatriates have often been dismissed merely as nostalgic visions of colonials, without any real artistic merit. This research offers a re-evaluation of these works, recognising their value as transitional works which illustrate New Zealand expatriate artists experimenting with early modernist trends, as well as revealing prevalent contemporary tastes among the New Zealand public. This study offers a comprehensive examination of the market theme and highlights the aspirations and achievements of New Zealand expatriate artists. This is reflected in both their choice of subjects and in the way in which these were depicted. A key finding of this research is that New Zealand expatriate artists developed a distinctive response towards the market subject.
The vibrant atmosphere and activity of the market and colourful views of canvas booths, awnings and costume provided the perfect means of expression for these artists to explore a variety of painterly concerns and techniques, among them plein-air and impressionist painting, watercolour techniques and a modern treatment of colour and light. The hypothesis of a ‘female gaze’ is explored with specific reference to depiction of the market subjects by Frances Hodgkins and Maud Sherwood. Placed within a wider art historical context of images of female market vendors, their market works offer an original interpretation of the female milieu of the European market. Finally, the expatriates’ vision of the exotic and colourful markets in North Africa and Egypt is investigated. They offered an alternative response to more traditional Orientalist interpretations and their Maghrebian explorations were the catalyst for key stylistic developments in colour and form.
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Lin, Rey-Hong. "Vertiges du temps repassé : se perdre, se retrouver, s’inventer : image, récit, errance." Paris 8, 2010. http://www.theses.fr/2010PA083317.
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Lorsque le temps repasse, quelle est notre réaction ? Pourquoi revient-il à nous ? Quel est l’intérêt pour nous de revoir ce passé ? Dans cette thèse, je vise à montrer le fonctionnement de la mémoire et son caractère intangible et éphémère. En m’appuyant sur des hypothèses ou des découvertes de nombreuses disciplines, j’essaie de représenter mes souvenirs en images et en récits ou en nouvelles. Cette thèse est donc une recherche sur l’esthétique du travail sur la mémoire personnelle, elle est aussi une recherche sur moi et ma propre personnalité. En plus de sauvegarder des passés précieux, j’organise mon avenir en les prenant en considération et construis petit à petit une vie meilleure. Cette thèse se répartit en trois sphères (Cinéma, Littérature, Voyage) qui donnent différents accès menant à l’univers de ma création. À travers le processus de travail en forme de spirale ascendante tournée vers le futur : … errance (se perdre, se retrouver) s’inventer (image, récit) errance (se perdre, se retrouver) s’inventer (image, récit) errance … j’obtiens de plus en plus d’expériences qui composent ainsi ma richesse personnelle et ma source de création. Quand le passé nous rend visite, en éprouvant une sensation de vertige, on a l’impression d’avoir appris quelque chose et l’on se sent reconnaissantWhen time passes, what is our reaction? Why does it return to us? What is the interest in seeing it again? In my thesis, I aim to show the operation of the memory and its intangible and short-lived character. In relying upon hypotheses or discoveries from many disciplines, I try to present my souvenirs in images, narrations or in news. This thesis examines the aesthetic work of my personal memory, and also an examination of my personality and myself. Furthermore, in saving passed precious memories, I organize my future by taking them into account to gradually build a better life. This thesis divides into three spheres (Cinema, Literature and Traveling) which give different access leading into the universe of my creation. Through the work process in the shape of an ascending spiral turned towards the future:. . . Wandering (to lose oneself and to find oneself); to reinvent oneself (image and narration); wandering (to lose oneself and to find oneself); to reinvent oneself (image and narration); wandering. . . I continually obtain more experience which forms my self-enrichment and source of creation. When the past visits us, as a grueling vertigo sensation, we have the impression of having learned something and we feel grateful from it
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McMillan, Luke. "All of Your Base are Belong to Us? Shmups as a Source for Better Game Design." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/366727.
Full textAbstract:
This study sought to examine the development of video games between 1987 and 2005
to ascertain, on an emotive level, whether video games have changed in that time. It is
the contention of this study to demonstrate that video games have remained largely
unchanged, bar graphical and other 'aesthetic' updates. Based on this, it is apparent that
the emotive traits defining effective video games of the past are still valid in the
contemporary market.
Another aspect of the study is to demonstrate that nostalgia is one of the most
significant reasons why gamers are drawn to certain types of game purchases. The study
contends that gamers are getting older and carrying significant gaming experience, and
that nostalgia impacted on their purchasing selections, hence informing game design. To
support this aspect of the study, two small survey studies have been created.
Disseminated and used in 2004 and 2008 these studies are used to support the main
contention of the study and also prove the importance of modes of representation when
it comes to the consumption habits of consumers. The findings of this aspect of the
study demonstrate a pattern between year of birth, and specific nostalgic preferences of
gamers.
The study compares the development of mainstream games to that of the Shmup genre,
the longest and most prolific genre of gaming. Shmups, a contraction of the term
'Shoot-em-up', are epitomized by games such as Raiden and Ikaruga, which are top
down, third person shooting games with fixed scrolling systems. Shmup games are the
most appropriate game genre for this study as they are the only commercial game genre
to have changed little on both an aesthetic and mechanical level since their inception.
The study undertakes an extensive literature review in order to determine the emotions
most commonly associated with effective game design, and how these types of
emotions could be produced within game creation using specific heuristics. These
heuristics form the basis of a theoretical framework which is then used to compare the
development of Shmups against other forms of commercial gaming from 1987 until
2005.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music
Arts, Education and Law
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Pupil, François. "Le Style troubadour ou la Nostalgie du bon vieux temps /." Nancy : Presses universitaires de Nancy, 1985. http://catalogue.bnf.fr/ark:/12148/cb34836102b.
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Saint-Saëns, Alain. "La Nostalgie du désert : l'idéal érémitique en Castille au siècle d'or." Toulouse 2, 1990. http://www.theses.fr/1990TOU20009.
Full textAbstract:
Le but premier de cette thèse est d’évaluer ce qui a pu subsister de l'idéal érémitique défendu par les pères du désert à l'origine et ce que cela peut bien signifier dans la Castille du siècle d'or. La première partie, basée surtout sur des sources iconographiques et littéraires, s'attache à définir le modèle érémitique. Celui-ci apparait profondément pense et parfaitement codifie. La seconde partie étudie la place, le rôle et le sens de ce modèle érémitique dans un contexte religieux post tridentin. Désormais dogmatiquement fonde le modèle original est totalement revivifie par l'église issue de trente qui trouve en lui le parfait support pour faire comprendre des fidèles le sens obvie du pèche et la nécessité de la pénitence et du repentir. Cet idéal érémitique repensé est aussi une arme spirituelle maniée par l'église catholique dans sa lutte contre les idées de la réforme. Dans la troisième et dernière partie, l’auteur essaie de comprendre comment la société de l’Espagne moderne sans exception du roi au plus humble de ses sujets se situe par rapport à cet idéal érémitique soit en en faisant une apologie vibrante soit en le dénonçant avec véhémence. Les sources inquisitoriales procès et relations de causes ainsi que les livres de visites pastorales sont ici un matériau inestimable et irremplaçable pour cerner attitudes et mentalités devant cet idéal érémitiqueThis doctoral thesis tries to understand what could have survived from the original hermitic ideal promoted by the fathers of the desert and afterwards what it could mean in castile during the golden age. In the first part of his thesis, the author defines the hermitic model, basing his study above all on iconographical and literary sources. This model is deeply thought and perfectly codified. In the second part of his thesis, the author shows the place, the role and the sense of this specific hermitic model in a post-tridentine religious contest. Dogmatically ly inspired, the original model receives a real revival from the church after the council of Trent. It actually becomes the best support to help ordinary Christians understand what the sin is and why they need to do penance for their sins. This revisited hermitic ideal is also an important spiritual weapon used by the roman catholic church to struggle against the reformation views. In the third and last part of his work, the author explains how the Spanish society, and all the society from the king the most humble subject used to deal with the hermitic ideal either to emphasize it or to criticize it. Here inquisition trials, pastoral books of visits are the sources used by the author
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Ruin, Otto. "Den svenske samtidskritikern : Historicitet, nationalism och svenskhet i Richard Berghs måleri och konstteoretiska skrifter." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182783.
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Denna uppsats undersöker hur svensk konst och den svenska konstnären formuleras i Richard Berghs konstteoretiska skrifter och måleri. Utgångspunkten är den mediala debatt som pågått under 2010-talet om svenska värden och deras innebörd. Blickarna har i denna debatt ofta riktat sig mot nationalromantiken som stilbildande för att kategorisera en reaktionär och nationalistisk föreställning om vad som är svenskt. Däremot har försvaret av nationalromantiken alltid problematiserat begreppet, mycket utifrån den väldokumenterade politiska radikalism som många av sekelskiftes konstnärer hade. Uppsatsen vill visa genom Ludmilla Jordanova begrepp periodic feel, att betraktelsen av nationalromantisk konst ofta görs utifrån vissa föreställda politiska värden. Genom att betrakta Berghs verk bortom denna diskursiva debatt vill uppsatsen visa hur Bergh formulerar det svenska som en djup form av samtidskritik. På så sätt intar det svenska en estetisk politisk form bortom reaktion och revolution och ser istället åt samtiden. Det svenska formuleras hos Bergh som något som måste ständigt omgestaltas mot tidens utveckling och måste anpassa sig därefter. När konsten är samtida och rotad i den nationella självkänslan, uppstår således sann och livskraftig konst enligt Bergh.
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Roke, Rebecca Christina, and rebecca roke@gmail com. "Bits and pieces: crafting architecture in a post-digital age." RMIT University. Architecture and Design, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100219.103357.
Full textAbstract:
This thesis examines how designs based on a conjunction between craft and digital techniques may offer new possibilities for an architect or designer in contemporary practice. How is it relevant that what initially appear to be two distinct approaches to designing and making can be introduced to each other and coalesce to form a constructive attitude of mutually borrowed logic? The thesis champions the crafting of innovative design and the incorporation of digitally derived procedures that allow for globally efficient dissemination and malleability. Such procedures have occupied the practice of architecture and design for some time, giving rise to the current sobriquet of a 'post-digital age'. I propose that at this point in time we can usefully speculate on the relationship between physical making and computer-based production. Too often the stylistic overtures popularly attached to the terms 'digital' and 'craft' narrow our perception of what each term may encompass and how they are likely to manifest. Traditionally, digitally derived design practice is attributed the efficiency of a mathematically precise mode of operation - an oscillation between zeroes and ones that produces a universal logic of smoothly rendered forms. By contrast, 'craft' is often cast into the realm of amateurish making, complete with mistakes, dropped stitches, fingerprints or other traces of human fault that are understood as being charming in the context of handmade human endeavour yet fall short when measured against 'serious' artistic categories that include architecture, design and fine art. This thesis seeks to move beyond such accepted and somewhat polarised positions. First, the thesis offers clearer and more dynamic definitions of the terms 'craft' and 'digital', seeking the ability for each to hold fast to the inherent merits of their particular logic while also finding productive opportunities to integrate with each other. Second, the thesis examines how crafted production can combine with digital tools to offer a useful direction for contemporary design practice. Case studies of contemporary architects' and designers' works are drawn on to illustrate and make observations on the different relationships that the selected practitioners have discovered in their projects, all of which conjoin the conception and manifestation of digital craft. The case studies vary in scale from fabric and furniture production to large-scale installations of significant spatial effect, to entire architectural projects. The range is useful in discussing how the concept of digital craft in architecture can be re ad from various perspectives. This reflects the numerous ways in which digitally created design is used to realise crafted results and is mindful of the fact that architectural processes often follow technological innovation first practiced at more intimate scales such as in industrial design. It is also interesting to compare the idea of the more intimately scaled relationship that craft has traditionally held with architectural practice. Finally, the thesis will speculate upon future developments for the conjunction of digital craft in architecture and design, and will pose several questions for further discussion.
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Horton, James Colby. "The External Conflict of Modern War Correspondents: Technology's Inevitable Impact on the Extinction of Nostalgic Combat Reporting." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3247/.
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Through historical and content analyses of war coverage, this study qualitatively addresses emotional quality, use of sources, and implied use of technology to better understand the tension between Vietnam and Afghanistan war correspondents and their military counterparts. Early American democracy aspired to give total freedom to its people. But the American military, in its quest to uphold the ideas of democracy, has often challenged the freedom of press clause set forth by the United States Constitution. Since the Vietnam era, the relationship between the military and the media has been plagued by questions of censorship, assertions of falsehood, and threats to national security. But it is the technological advancements in both reporting and combat techniques that have caused a disappearance of the nostalgic war coverage that American correspondents once prospered from. The possibility of returning to journalists' vision of unrestricted press access is all but lost due to such advancements.
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Pugh, Marie Reine. "“There is no God and we are his prophets”: The Visionary Potential of Memory and Nostalgia in Cormac McCarthy's No Country for Old Men and The Road." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5803.
Full textAbstract:
Memory and nostalgia work in complex, paradoxical ways in Cormac McCarthy's No Country for Old Men and The Road, both haunting the main protagonists, Sheriff Ed Tom Bell and the father, as well as bringing them to crucial realizations. These men give up the traditional hero role for the more meaningful and generative image of “carrying the fire,” which unites these two novels. Carrying the fire represents a memorial and nostalgic longing for home and family. Bell and the father attain this vision because of their obsession with the past, and because of their struggle with memory and nostalgia. Memory, for these characters, has both personal and collective dimensions. Nostalgia, likewise, has a dual function, following Svetlana Boym's definition of nostalgics as being capable of restorative and reflective longing for the past. Family, or Paul Ricœur’s theory of close relations, bridges the gap between the conflicts of memory and nostalgia, acting as the means by which they understand this vision of carrying the fire while also embodying it. Additionally, the duality of both memory and nostalgia drive Bell and the father to seek for a prophetic vision, for stability in the past to deal with the threats in the present, which appears in the narrative structures of each novel.
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Collins, Ryan William. "It's All Coming Back to You: 1980s Retro Film Culture and the Masculinity of Cult." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011874/.
Full textAbstract:
The 1980s is a formative decade in American history. America sought to reestablish itself as a global power and to reassert the dominant ideology of white, patriarchal capitalism. Likewise, media producers in the 1980s sought to reassert the dominance of the white, male, muscled body in filmic representations. The identity politics of the 1980s and the depictions of the white, muscled body once prominent in the 1980s have been the site of conservative nostalgia for a young, male-dominated, cult audience that is a subset of a larger cultural trend known as retro film culture. This thesis provides historical context behind the populist 1980s B-action films from Cannon Group, Inc that celebrate violent masculinity in filmic representations with white, male action heroes. Equally important is the revival of VHS collecting and how this 1980s-inspired subculture reinforces white, patriarchal capitalism through the cult films they valorize and their capitalistic trading practices despite their claims of oppositionality against mainstream taste and Hollywood films. Lastly, this thesis reveals how a new cycle of contemporary films primarily produced outside of Hollywood reasserts and celebrates the dominance of the white, male, muscled body in filmic representations despite a postmodern and hyperconscious exterior. Overall, I argue how these areas of nostalgia are distinct, yet not unrelated, because they reassert white, patriarchal capitalism through the revival of conservative nostalgia for the 1980s.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
Full textAbstract:
This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
Full textAbstract:
This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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"Revival: Memory and Nostalgia in Contemporary Art." Master's thesis, 2020. http://hdl.handle.net/2286/R.I.62719.
Full textAbstract:
abstract: Many contemporary artists have turned to the past in order to negotiate and make sense of their relationship with the present. Similarly, museums have begun to look back in order to push forward and through a revisionist lens they scrutinize their collections and reveal ignored object histories. A prominent method some museums implement is allowing contemporary artists to comb through the vaults and present new relationships between their objects to their visitors. Through a psychological analysis of memory, and theorists’ dissection of nostalgia, object agency, and contemporaneity, I argue that artists Spencer Finch, Do Ho Suh, Newsha Tavakolian, Solmaz Daryani, Malekeh Nayiny, Mitra Tabrizian, Mark Dion, Fred Wilson, and Gala Porras-Kim function as revivalists – or artists whose works use memory and nostalgia to bring the past back to life. By attempting to retrieve memories, create nostalgic experiences, and question histories, they make their works tools for remembrance, reconciliation, and renegotiation with the past and present. The concerns these artists bring to the surface through their works build an understanding of how memory and nostalgia function as devices for personal meaning-making, trauma processing, and human-object relationship building.Dissertation/Thesis
Masters Thesis Art History 2020