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Valcourt-Blouin, Maxime. "Primitivité et subjectivité chez Sören Kierkegaard : étude sur la logique d'un discours philosophique." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/27316.
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Le présent travail aborde l'oeuvre de Kierkegaard sous l'angle de deux notions qui y sont présentes, la primitivité et la subjectivité. Pour ce faire, une analyse de l'imagination et de la passion, de leurs diverses fonctions et de leurs rapports mutuels s'avère nécessaire dans la mesure où la primitivité et la subjectivité sont reliées dans le corpus kierkegaardien à ces deux facultés humaines. Prenant pour point d'appui notre analyse de ces deux notions, nous chercherons à rendre compte de leur présence dans trois facettes complémentaires de la création philosophique de Kierkegaard : sa conception des stades de l'existence, sa théorie de la communication et la mise en oeuvre de cette théorie dans ses écrits. Puisque la primitivité et la subjectivité sont « possibilités de l'esprit », qu'elles rendent possible l'existence spirituelle, notre travail se veut donc une analyse du discours kierkegaardien dans sa manière de comprendre l'être humain comme un être à la fois cognitif et affectif, ces deux dimensions de l'être humain étant cruciaux pour comprendre comment celui-ci atteint l'existence humaine et chrétienne authentiques.The present work addresses Kierkegaard's oeuvre from the angle of two notions present in it, primitivity and subjectivity. To do so, an analysis of imagination and passion, of their various functions and of their mutual relations proves itself necessary to the extent that primitivity and subjectivity are linked in the kierkegaardian corpus to these two human faculties. Taking as fulcrum our analysis of these two notions, we shall seek to give an account of their presence in three complementary facets of Kierkegaard's philosophical creation : his conception of the stages of existence, his theory of communication and the application of this theory in his writings. Since primitivity and subjectivity are "possibilities of spirit", since they make spiritual existence possible, our work seeks to be an analysis of the kierkegaardian discourse in its way of understanding humans as both cognitive and affective, these two dimensions of humans being crucial for understanding how they access authentic human and Christian existence.
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Su, Xiaobei. "L’invention de la Chine par Victor Segalen : une expérience interculturelle." Brest, 2010. http://www.theses.fr/2010BRES1011.
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Victor Segalen n’a pas été seulement le decouvreur, l’inventeur comme dit le langage du droit, des tresors de la chine ancienne. Mais son invention de la Chine nécessite aussi un engagement personnel profond et l’intervention de toute sa personnalité, de son imagination, de sa sensibilité et de ses interrogations. La Chine sous sa plume montre à la fois l’image des dégradations modernes d’un vieil empire et l’image d’une nature préservée; ses paysages naturels, sa civilisation ancienne et son passé culturel qui permettent un mouvement de retour aux origines. Parallèlement, sa découverte de la Chine lui a fourni des expériences intimes et a entretenu chez lui des visions profondes et poétiques qui répondaient à sa quêete de soi. La Chine joue un rôle de révélateur dans l’expérience personnelle, culturelle et littéraire de l’écrivain. L’image que Victor Segalen donne de la Chine est une représentation codée, un portrait de la Chine qui reflète le monde intérieur de l’écrivainVictor Segalen is a “discoverer” as well as an “inventor” of the treasures of ancient China, with the latter literally meaning the former in French legalist language. He’s “discovery” of China is also an invention because he committed himself to it with all his personality, imagination, sensibility and questions. China, in Segalen’s writing, testifies the degradation of an old empire and the preservation of nature: natural landscapes, ancient civilization and fiistory which enabled possible his tracing the origins. In parallel, China is for Segalen a source of inner experiences and is discovery maintains him in a deep and poetic spirit, corresponding to his request for himself. China is crucial to Segalen’s personal, cultural and literary life and the image of China he created is such an encoded one that reflects the writer’s inner world
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O'Reilly, Séan A. (Séan Anthony). "Guy Davenport's literary primitivism." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23347.
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This thesis shows how literary primitivism is the pivot around which Davenport's literary designs spin. Thematically as well as technically the material in his first four collections of short stories is all derived from a desire to explore the beginnings, or the primitive wellsprings, of writing and art. The collage-like construction of picture and sentence will be shown to evolve from a knowledge of palaeolithic cave painting, humanity's first writing system, while Davenport's use of cataloguing and paratactic systems will be shown to evolve from ancient Greek. His primitivism also reveals itself in a Rousseau-like concern to highlight the advantages of primitive civilization on a modern industrial one and how the lessons learned from that are invaluable for present-day society.
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McGury, Susan. "Primitivism and cultural conversion." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309516.
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Etherington, Ben Karl. "Literary primitivism : essence, aesthetics, politics." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608758.
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Norton, Steven. "Primitivism and Contemporary Popular Cinema." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19678.
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This dissertation is a postcolonial analysis of four films: The Gods Must Be Crazy (1980), Dances with Wolves (1990), The Last Samurai (2003), and Avatar (2009). While previous scholarship has identified the Eurocentric worldview of early 20th-century ethnographic film, no book-length work has analyzed the time consciousness of turn-of-the-21st century films that feature portrayals of the colonial encounter. By harmonizing film theory with postcolonial theory, this dissertation explores how contemporary films reiterate colonial models of time in ways which validate colonial aggression. This dissertation concludes that the aesthetics of contemporary popular cinema collude with colonial models of time in such a way as to privilege whiteness vis-à-vis constructions of a primitive other. Contemporary primitivism works through the legacy of classical Hollywood style, nostalgia for the western film, the omnipotence of the white male gaze, and a reverence for technology.
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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism." Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.
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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Hill, Cecilia Fajardo. "In and out of 'the primitive' : postcolonialism and contemporary art practice : Jimmy Durham and Jose Bedia in context." Thesis, University of Essex, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272509.
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Jeffery, Celina. "Leon Underwood and primitivism in 20th century British art." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394120.
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Rhodes, Colin. "Primitivism reexamined : constructions of the 'primitive' in modernist visual art." Thesis, University of Essex, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333521.
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Peluso, Luis Alberto. "Primitivism and modernity : educational policies for critical rationality in Brazil." Thesis, University College London (University of London), 1987. http://discovery.ucl.ac.uk/10019642/.
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Bergvall, Jonsson Linda. "Modernitet eller primitivitet - en jämförande analys av läroböcker i geografi." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36581.
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Människors världsuppfattning formas bland annat av grundskolans läroböcker. Många gånger är beskrivningarna av länder och kulturer schablonmässiga. Syftet med denna studie är att analysera hur geografiska läroböcker riktade till år 4-6, framställer USA respektive Afrika. Vilka aspekter lyfts fram när det handlar om befolkning, bebyggelse och ekonomi? Vilka skillnader syns i språk och ordval samt vilka kulturella normer och värderingar speglas i framställningarna av USA och Afrika. Jag har analyserat tre geografiska läroböcker med utgångspunkt i diskurs- och kulturanalys. Tidigare forskning visar att bilden av Afrika och västvärlden bygger på kolonialismens ideologi. Denna analys påvisar att diskurserna Afrika och USA lever kvar. USA skildras utifrån ett storstadsperspektiv där effektiviteten är stor. Afrika skildras utifrån dess motsats, landsbygden, där människorna lever ett primitivt liv med många svårigheter som fattigdom och svält. Risken finns att främlingsfientlighet och fördomsfulla schablonbilder formas när barn i skolan läser om världens länder.
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Fechter, John. "Primitivism, transgression, and other myths the philosophical anthropology of Georges Bataille /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/999.
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Sweeney, Carole. "Modernism, imperialism and primitivism : negrophilie in inter-war France 1919-1935." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340794.
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Horigan, S. D. "Nature and culture in western discourses : Wildness, primitivism and feral children." Thesis, University of Essex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.374719.
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Gagnon, Donald P. "Pipe Dreams and Primitivism: Eugene O'Neill and the Rhetoric of Ethnicity." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000122.
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Mackenzie, Verity Amelia. "Nature, primitivism and food : Eileen Agar's engagement with Surrealism, 1921-1940." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648736.
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Mattar, Sinead Garrigan. "Primitivism and the writers of the Irish dramatic movement to 1910." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389562.
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Woodbridge, David Owen. "Missionary primitivism and Chinese modernity : the Brethren in twentieth-century China." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/missionary-primitivism-and-chinese-modernity-the-brethren-in-twentiethcentury-china(f9573467-66b1-4836-b352-bc93036a34aa).html.
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Using previously undocumented archival material, this dissertation examines missionaries from the Brethren agency Echoes of Service. A consideration of missionary primitivism provides a more complex picture of the mission engagement with China. The Brethren are a radical evangelical group that originated in Britain in the nineteenth century. They looked backwards to an original ideal of Christian faith and church organisation, which they sought to revive in the modern world. This was a reaction against modernity, but it should also be seen as part of modernity. The Brethren attempt to take missionary primitivism to China demonstrates how Christianity in the West and in China during this period were mutually constitutive, with influences circulating freely and unpredictably between the two. The thesis is organised into five chapters which develop these themes. Chapter one focuses on changes taking place in Britain at the start of the twentieth century, and shows how the promotion of missionary primitivism abroad was seen as essential for the health of the Brethren movement at home. In particular, missionary supporters elevated the individual missionary who operated according to simple, scriptural principles. Accordingly, the remainder of the thesis focuses on a number of individuals who sought to enact this model in different ways and in a variety of settings. Chapter two examines Watchman Nee, the founder of the Little Flock movement. Nee appropriated missionary primitivism as a means of establishing a truly independent Chinese Christianity, and his success provoked extreme and contrasting responses from Christians in the West. In addition, although Nee emphasised the primitive character of his movement, its immediate context was the cosmopolitan, bourgeois world of China’s treaty-ports. Chapters three and four examine the work of Brethren missionaries on China’s margins, specifically on the Sino-Mongolian and Sino-Tibetan borders. Missionary primitivism lauded its pioneers in these ‘regions beyond’, which were seen as arenas where a Brethren missionary could truly fulfil their calling. The remoteness of these places also meant that the modernity of a missionary became more pronounced. Through administering modern medicine or as a result of business or political contacts, missionaries would often become important figures in the mediation of modernity in these regions. Finally, chapter five examines missionary primitivism in the context of decolonisation. Two points of continuity are particularly noted: first, the survival and growth of the Little Flock in communist China has led to it becoming a significant feature of the landscape of popular religion in contemporary China. The memorialisation of Watchman Nee has also left an enduring legacy among Christians in the West. Second, the Echoes missionary George Patterson, after being involved in the mission to Tibet, began reporting about and campaigning for the Tibetan cause. Though he saw this as a continuation of his missionary calling, it has led to him promoting causes at tension with his earlier convictions. These regional stories of missionary primitivism serve to challenge existing paradigms of modern Chinese history. They demonstrate that, rather than seeing the modern as superseding the primitive, the relationship between the two should be seen as a coterminous and symbiotic one. In addition, the emergence of modern and primitive forms should be seen as a product of the free movement of influences between China and the West, and of their mixing in a variety of contexts.
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Westbrook, Timothy Paul. "Lajos Csia an investigation of primitivism in the work of a modern Hungarian reformer /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.
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Madden, Deborah. "Pristine purity : primitivism and practical piety in John Wesley's art of physic." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397341.
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Millett, Stephen. "Divergence and disagreement in contemporay anarchist communism : social ecology and anarchist primitivism." Thesis, University of Central Lancashire, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272813.
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Faraut, Martine. "La Tentation primitiviste dans le roman utopique anglais de 1872 à 1962." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37605123h.
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Millet, Stephen. "Divergence and disagreement in contemporary anarchist communism : social ecology and anarchist primitivism." Thesis, University of Central Lancashire, 2002. http://clok.uclan.ac.uk/1749/.
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The strand of Nineteenth-Century Anarchism known as Anarchist-Communism conceived of the abolition of both state and market, and their replacement by a system of free distribution of goods organized through federated communes. While briefly this was the most developed and sophisticated strand of anarchism, it suffered an eclipse in the face of both the failure of the Russian Revolution, and the rise of the essentially a-theoretical industrial syndicalism that blossomed in many countries during the early decades of the twentieth century. With the expansion of the state and capitalism after WWII new forms of contestation appeared, most notably, in terms of Anarchist Communist theory, in the United States. In the 1960s and 1970s two currents emerged which represented the first significant development in anarchist communist theory for fifty years. These were the Social Ecology of Murray Bookchin, and a current which grew up around the Detroit underground paper Fifth Estate, later known as "Anarchist Primitivism". It is these two strands that are the subject of this research. Not surprisingly these two perspectives, appearing around a decade apart, and both in the same country, dealt with many of the same issues. What is more surprising is that in virtually every area, the conclusions they arrive at are completely different. In this research I locate these two strands historically as developments of Anarchist Communist theory, and examine their theories in four key areas: The Primitive, History, Reason and Rationality, and Technology. Examination of these areas serves to define the projects themselves, as well as highlighting how they disagree. To explain why they disagree, this work uses a methodological approach suggested Quentin Skinner. Skinner argued that in order to fully understand a text in the history of ideas, it is necessary to understand the author's intention in writing it. The study therefore examines not only the texts, but also the backgrounds of the writers concerned, their aims in producing it, and their approaches to debate with other theorists and perspectives. Through a combination of textual analysis and recovering the intentions of the writers, the high levels of disagreement can be accounted for.
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Duez, Bernard. "La Primitivité symbolique pour une psychanalyse de l'anti-socialité dans les sciences humaines /." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376132496.
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Cattabriga, Ilaria. "Il Progetto di Scarpa, Michelucci e Gardella per le Sale dei Primitivi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/12266/.
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Questo lavoro nasce dall’interesse di cimentarsi nella ricerca storica e, in particolare di fare un’indagine su un progetto molto noto ma non oggetto di studi monografici. La ricerca parte quindi dalla consapevolezza dell’esistenza di non molti, anche se significativi, documenti d’archivio riguardanti il progetto per le Sale dei Primitivi di Ignazio Gardella, Giovanni Michelucci e Carlo Scarpa e dunque dalla volontà di portare a termine un’indagine più approfondita su ciò che finora non è stato ricostruito.
La parte iniziale del lavoro ha previsto la ricerca bibliografica per temi, sul progetto per le Sale dei Primitivi e sulla critica dell’opera, sugli autori, sull’allestimento e museografia nel secondo dopoguerra e sui progetti coevi, sul contesto storico-culturale, sui danni di guerra a Firenze, sulla fabbrica vasariana e sulle riaperture degli Uffizi.
Il lavoro è continuato con la restituzione del regesto dell’opera e, dallo studio dei documenti ed elaborati grafici disponibili, si è rivelata necessaria la ricostruzione delle motivazioni che indussero il Ministero della Pubblica Istruzione, quindi la Direzione Generale alle Belle Arti, che al tempo ne faceva parte, a convocare tre progettisti così diversi per personalità e metodo, e per quali ragioni viene scelto singolarmente ognuno di loro. La ricerca storica è l’unico strumento che spiega le ragioni per cui vengono scelti proprio questi tre grandi architetti e fornisce così la possibilità di ricostruire un’analisi critica non solo sugli aspetti progettuali e meramente architettonici, ma anche sulla storia vera e propria del progetto e sulle persone che a questa hanno preso parte. Il lavoro prevede un'analisi critica del progetto, che delinea i contributi dei progettisti.
Il ridisegno è stato utilizzato come strumento conoscitivo del progetto preliminare, mentre il rilievo è servito per restituire graficamente il progetto realizzato, che non viene presentato nella letteratura che lo riguarda.
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Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.
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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.
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Dacey, Katherine. ""Gershwin Gone Native!": The Influence of Primitivism and Folk Music on "Porgy and Bess"." W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539626290.
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York, Christopher W. (Christopher Warren) 1972. "Anthropology of nostalgia : primitivism and the antimodern vision in the American Southwest, 1880-1930." Thesis, Massachusetts Institute of Technology, 2001. http://hdl.handle.net/1721.1/39224.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2001.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Includes bibliographical references (leaves 120-123).
Introduction: Zoo, garden, arcade--three places emblematic of European society's pleasure in and subjugation of animal and plant nature, of the texture of civilized life in a world created by Industry and Progress. This triad, it seems, would stand in opposition to Lummis' oft-repeated formula of "sun, silence, and adobe," and the vision of stillness in the Southwestern hinterland that it evokes. Indeed, few other regions of the United States have so consistently nurtured the cult of the primitive and the peasant that inheres in Lummis' simple paean to adobe. Indian and Hispano both build from adobe; and it, being earth, absorbs these populations back into the land, wedding artisanal, agrarian, and pastoral lives into an integrated vision of ethnicity and region, a spirit of the desert and of the sky. Here only, the modernist regional aesthete would argue, could the authentic American pastoral be found: "there is that genuineness of unfettered simplicity; the closeness to elemental realities in peasant life, which only in New Mexico, of all states, is indigenous." Hence the modernist Southwest was manifestly not a place of Victorian zoos, picturesque gardens, or Parisian shopping arcades. And yet, I would like to argue, the evanescent afterimages of these places--the ways of being and relating that they nurtured and expressed--appear before and behind the crystalline pictures of snow-blanketed desert and azure sky, the lines of Pueblo dancers, the Hispano santero with his wood and his knife, distorting and fragmenting any purely localist vision of Southwestern regionalism. The scent of piñon smoke mingled in the nose of the newly-arrived traveler with smog from factories in New York, Chicago, or Boston, and smelled all the more pungent because of this mixture.
by Christopher W. York.
S.M.
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Hartle, Brett David. "Long Branch Nature Center - modern primitivism and the constructed dialogue of being within nature." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/50961.
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The Architect's first drawn line marks a significant moment where alteration to the site is conceived and intervention with nature is beset. Equilibrium of the natural order; vegetative, habitat, hydrology, and geology are all in a vulnerable state. Rarely do these develop into harmonious balances. More often they are imposed instances.
The Industrial Revolution forever changed the relationship between humans and nature, tilting the weight of power towards man. While humans capacity for innovation and destruction have grown enormously, our dependence on the natural cycles and resources of the planet remain and grow more voracious. Yet simultaneously, modern progress has facilitated the physical and psychological detachment of that interdependence. The fundamental elements of our existence are veiled through the efficiency of urbanization and its derivatives of specialization, mass-production, and globalization.
This project is an examination of the interrelationship between humans and nature through the lens of civic architecture within a naturalistic setting. The fundamental thesis of this project is that there is a primal biological thread that connects human beings to the natural order, whether on a visceral or conscious level. This project explores the belief that humans intrinsically yearn to reinforce that bond - awakening primordial instincts developed over millions of years of evolutionary survival that have been suppressed by the artifice of modern life. Through a process of retreat and contemplation, this project offers the opportunity of individuals to evaluate and rebalance their own scales with nature and find their own accord and harmony.Master of Architecture
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Demian, Nevine Nabil. "Modernist primitivism: seeking the lost primitive other in works of Georges Bataille, Michel Leiris, and René Char." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1069906630.
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Mitrani, Alex. "Joan Brotat y los avatares de la figuración primitivista en la segunda vanguardia en Cataluña." Doctoral thesis, Universitat de Barcelona, 2012. http://hdl.handle.net/10803/97287.
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Joan Brotat (Barcelona, 1920-1990) fue un artista destacado en el proceso de recuperación de la modernidad pictórica durante los años de la postguerra española, aunque luego cayó progresivamente en el olvido. Esta tesis estudia y establece su trayectoria profesional vinculada a su biografía personal (contexto familiar y social), a los factores inducidos por el sistema artístico local y en relación con en el contexto nacional e internacional (fortuna crítica, evolución artística y comercial). Brotat fue uno de los máximos exponentes de una tendencia que podríamos denominar como figuración primitivista. Definimos aquí las características de esta tendencia, su lugar frente a otras opciones de vanguardia de la época como la abstracción y apuntamos sus variantes y principales representantes. Abordamos también las razones de su declive a partir del análisis de la carrera profesional de Brotat.
Descubrimos, gracias al estudio de su archivo familiar, la participación de Brotat en la guerra civil como parte de la Quinta del biberón republicana, hecho que escondió toda su vida y cuyo trauma influyó de toda evidencia en su obra. El análisis iconográfico y evolutivo del ingenuismo nos muestra una dimensión trágica y existencial. Así, su etapa expresionista, singular síntesis entre ingenuismo e informalismo, parece responder a una genuina necesidad psicológica. La comparación de su obra artística son sus proyectos profesionales en el campo de la ilustración infantil nos permiten hacer la diferencia entre naif el ingenuismo, que tanto preocupó a la crítica de la época. Un aspecto fundamental es el descubrimiento de una etapa abstracta a finales de los años cuarenta que contradice la jerarquía evolucionista que explica la figuración esquemática como un paso previo a la abstracción. El primitivismo ingenuista fue una opción consciente y deliberada. En su período de madurez, la obra de Brotat muestra una tendencia al amaneramiento y entra en decadencia, que se puede describir por la perdida de refinamiento y el estancamiento de los argumentos críticos que la apoyaron. La relación con los marchantes (Maurice Bonnefoy y Agustín Rodríguez Sahagún particularmente) se revela ambivalente en sus resultados. Lo mismo sucede con el aprovechamiento de la política artística franquista, dirigida por Luis González Robles.
El primitivismo figurativo catalán de postguerra es una combinación coherente (aunque intuitiva y sin programa militante) de medievalismo e ingenuismo. El ingenuismo de vanguardia de postguerra tiene dos manifestaciones, a veces coincidentes y otras divergentes: la radical y la nostálgica. El primitivismo se apoyó en un discurso crítico específico y ocupó un lugar, móvil, en el debate artístico. Estudiamos las diversas fuentes de este primitivismo y constatamos la influencia fundamental de Joan Miró. De entre los referentes internacionales destaca Massimo Campigli. Asimismo, se encuentran paralelos y vínculos con artistas españoles como Rafael Zabaleta, Benjamín Palencia y el núcleo valenciano con Manuel Gil y Salvador Faus. Un caso especialmente interesante es el de Manolo Millares, quien tuvo una relación significativa con Cataluña en esos años. Entre los artistas catalanes, el primitivismo tuvo gran protagonismo y adoptó diversas formas. De Sucre o Joan Ponç representan la vertiente más radical y atormentada, Albert Ràfols Casamada o Joan Vilacasas la opción más ingenua y afrancesada. Se observa una clara tendencia a la politización (Francesc Todó, Josep Guinovart, Estampa Popular). La opción lírica o poética, representada especialmente por Brotat, fue dejada progresivamente de lado. A menudo teñido de nostalgia y religiosidad, coincidente con cierta moda franciscanista, el discurso teórico al respecto del primitivismo fue ambivalente y pasó de la modernidad al conservadurismo.
La constatación de una corriente primitivista, de la cual Brotat sería la figura paradigmática en su éxito y su fracaso, obliga a repensar el canon del arte catalán de postguerra. El primitivismo no fue un estadio inmaduro de la modernidad en el camino hacia la abstracción sino que responde al contexto histórico particular de la España de postguerra con soluciones originales.Joan Brotat (Barcelona, 1920-1990) was a prominente artist in the process of recovery of pictorial modernity in Spain after the Civil War, but then his work gradually fell into oblivion. This thesis studies his professional career, in relation to his personal biography (family and social context), the local art system, and the national and international context (critical fortune, artistic and commercial development). The thesis proposes that Brotat was in fact a paradigmatic figure of a primitivist tendency. Primitivism was not an immature stage of modernity on the way toward abstraction, but responded to the particular historical context of Postwar Spain with original solutions. The success and then failure of Brotat and Primitivism invites to reconsider the canon of Postwar Catalan art. Untill his death, Brotat did hide his involvement in the Civil War, a trauma that marked his work and existence. The iconographic analysis and the evolution of his modern naif style shows a tragic and existential undertones. A key aspect is the discovery of an abstract stage in the late forties contradicting the evolutionary hierarchy that explains schematic figuration as a step toward abstraction. On the contrary, naive primitivism was a conscious and deliberate option. Postwar Catalan Figurative Primitivism was a coherent mix of medievalism and naiveté(although without a declarated program). The naiveté of postwar art has two aspects : the radical and nostalgic, which sometimes appear together and sometimes separately. Among Catalan artists, primitivism had great prominence and took various forms. De Sucre or Joan Ponç represent the more radical and tormented side, Albert Rafols Casamada or Joan Vilacasas the most naive and influenced by French modernism. There is, later, a clear trend towards politization (Francesc Todó Josep Guinovart, Estampa Popular). We studied the various sources of this primitivism and found the fundamental influence of Joan Miró and Massimo Campigli. Likewise, there are links to Spanish artists such as Rafael Zabaleta, Benjamín Palencia, the valencians Manuel Gil and Salvador Faus or Manuel Millares. Often tinged with nostalgia and religiosity, in sinthony with a Franciscan fashion, the theoretical discourse about primitivism was ambivalent and evolved from modernity to conservatism.
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Carr, Helen. "The poetics and politics of primitivism : some United States interpretations of native American literary traditions." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.290613.
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Galassi, Marzia <1983>. "Aspetti diagnostici, strategie terapeutiche ed esito clinico dei tumori primitivi colangiocellulari insorti su cirrosi." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/4654/.
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Background: The recent increasing incidence of intrahepatic cholangiocellular carcinoma (ICC) in cirrhosis increased the problem of noninvasive differential diagnosis between ICC and hepatocellular carcinoma (HCC) in cirrhosis. In literature there isn’t data about treatment and prognosis of ICC in cirrhosis.
Aim: To investigate the role of the different imaging techniques in the diagnosis of ICC in cirrhosis; to analyze treatments and prognosis with particular attention to factors associated with survival.
Methods: The data of 30 cirrhotic patients with ICC were retrospectively collected; patients were referred to Liver Units (S.Orsola-Malpighi and S.Matteo Hospitals) between 2005 and 2011. The results of contrast-enhanced ultrasound (CEUS), computed tomography (CT) and magnetic resonance (MR) were evaluated; the enhancement pattern at different imaging techniques were analysed, with particular attention to misdiagnosis of HCC.
We evaluated the different treatments and survival of the study group and then we performed the survival analysis of different clinico-pathologic factors.
Results: Twenty-five patients underwent CEUS, 27 CT and 10 MR. In 3 cases (12%) CEUS misdiagnosed ICC for HCC, in 7 cases (26%) CT misdiagnosed ICC and in 1 case (10%) MR misdiagnosed ICC.
Patient were followed for a mean of 30 months (range:4-86), with a mean survival of 30 months. Twenty-four out of 30 patients were treated with curative approach, while the other 6 underwent TACE (n=4), radioembolization (n=1) or systemic treatment with Gemcitabine (n=1).
The univariate analysis revealed that CA19-9 levels, surveillance program and nodule size were significantly related with survival. By multivariate analysis only nodule size £ 40mm was significant (p=0,004).
Conclusion: Diagnosis of ICC in cirrhosis remains difficult because there isn’t a typical enhancement pattern and in some cases it cannot be distinguished from HCC by the different imaging techniques. The study of survival related factors shows that nodule size ≤ 40mm is correlated with improved survival.
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Richter, Victoria. "Literary primitivism, its function in the early works of Vladimir Mayakovsky and other Russian cubo-futurists." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0010/NQ41494.pdf.
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Dann, Robert Bernard. "The primitivist missiology of Anthony Norris Groves (1795-1853) : a radical influence on nineteenth-century Protestant mission." Thesis, University of Chester, 2006. http://hdl.handle.net/10034/76196.
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With the publication of his tract Christian Devotedness in 1825, Anthony Morris Groves joined a growing network of Protestants in the United Kingdom who aspired to follow the teaching of Christ and the example of his apostles in a more literal fashion than was common in the churches of their day. Seceding from the Anglican communion in 1828, he adopted a consciously non-denominational identity. With little interest in buildings, services, finances, organisation, training or ceremony, he developed an essentially primitivist ecclesiology, regarding the principles and practice of the early churches in the New Testament as a model to be followed by every generation. A number of Groves's closest friends became leading figures in circles soon to be known as Brethren, or Plymouth Brethren. After leaving Britain in 1829, his ongoing influence in this movement was mediated largely through his brother-in-law George Mtiller, and is reflected in the principles adopted by the latter in his church leadership and in his support of missionaries for more than half a century. One of those influenced by Miiller was the young Hudson Taylor, whose financial support during his early years came almost entirely from Groves's personal friends among the Brethren. It was overseas that Groves himself spent most of his adult life, and in India that we see the clearest practical outworking of his ecclesiology in a cross-cultural context. Identifying weaknesses in existing missionary institutions, he offered an alternative strategy for appointing missionaries, creating churches, maintaining practical unity and stimulating indigenous leadership. His missiological ideas stand in contrast to the consensus of his day, and also to the methods of indigenisation advocated some fourteen years later by Henry Venn and Rufus Anderson. Indeed, he might be described as the first major primitivist among mission strategists, and as such was an early forerunner of Roland Alien. Groves encouraged young Indian Christians to ignore Western church tradition and to follow, as closely as possible, the teaching and practice of Christ and his apostles. He advocated the liberty of indigenous Christians to take responsibility without reference to foreign organisations, the freedom of missionaries and Indian believers to seek guidance and provision directly from God, the sending of evangelists by congregations, the gathering of converts into new congregations, the development of local leadership in the course of active Christian service, and the partnership of industrialist and evangelist in frugal living "by faith" for the extension of the gospel. He viewed education, commerce and medicine as aids to evangelising rather than civilising. Above all, Groves wished to simplify the missionary task of the Church. Where his contemporaries envisaged the creation by one institution (a foreign mission) of another institution (a national church), he drew no distinction between mission and church. And rather than projecting an eventual shift from foreign government, support and propagation to self-government, support and propagation, he would start with no organised government, support or propagation at all, expecting these to develop naturally as local believers helped one another develop their own spiritual abilities and ministries. With no organisation to oversee, no buildings to maintain, no salaries to pay, his emphasis from the start was on the freedom of local converts to meet together without foreign supervision, and to preach the gospel to their own people without being trained, authorised or paid to do so. The influence of Groves on his own and subsequent generations has been seriously underrated. This may be attributable partly to the opposition he encountered during his own lifetime, partly to the commercial failures that clouded his final years, and partly to the inaccessibility of his own writings and works about him. Described twenty years ago as a "neglected missiologist", and largely unknown today, his significance might seem somewhat negligible, but to Groves we can trace back ideas that stimulated the birth of a new generation of missions following what have been called "faith principles". These included Brethren initiatives in many countries in addition to numerous interdenominational "faith missions" inspired by the example of Hudson Taylor. With some justification, Groves has been called the "father of faith missions". Nevertheless, his idea of using the New Testament as a practical manual of missionary methods was taken up with greatest effect not by Anglo-American missionaries but by the leaders of some remarkable indigenous movements. Notable among these was his own disciple John Christian Arulappan and, at a later date, Bakht Singh and Watchman Nee, all of whom had direct or indirect links with him. Our research concludes that the primitivist missiology of Anthony Norris Groves exerted a significant radical influence on Protestant mission in the nineteenth century, and indeed to the present day, for his ideas find many points of contact with current missiological thinking.
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Andersson, Burnett Linda Carin Cecilia. "Northern noble savages? : Edward Daniel Clarke and British primitivist narratives on Scotland and Scandinavia, c.1760-1822." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6410.
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This thesis analyses a growing metropolitan British fascination with northern Scandinavia and Scotland towards the end of the eighteenth century. These two northern regions underwent a dramatic transformation, from being places people avoided to being realms writers considered worthy of visiting, observing and narrating. This thesis examines the importance of the primitivist discourse of northern noble savagery in that transformation. While encounters with the ‘noble savage’ were largely associated with the extra-European world, the fascination with the north was in observing Europe’s very own native examples of the breed. The Highlanders and Islanders of Scotland and the northern Scandinavians, the Sami people in particular, were often romanticised in this context. Despite the Sami being celebrated in British fiction and natural-history works at the time, there has been, in contrast with Scandinavia’s ‘Vikings’, little scholarly attention given to them in a British context. The origin and function of the northern-noble-savage discourse is anchorerd in naturalhistory texts. This study emphasises the importance of the Swedish botanist Carl Linnaeus (1707-1778), who travelled in Lapland in 1732, in constructing idealised depictions of the Sami. Linnaeus also provided a model of domestic exploration in which naturalists produced inventories of regions and their inhabitants previously relatively unmapped by the state. Although the image of the northern savage often bore little resemblance to reality, it had real application and effect. Such imagery allowed allegedly backward regions to be incorporated into the national narrative, and through this the national community sought to benefit from these peripheries and their communities. The thesis also studies the consequences of actual encounters between metropolitan observers and the local populations of these northern regions. The travelogues of the celebrated natural historian and traveller Edward Daniel Clarke (1769-1822), who sojourned in Scotland and Scandinavia in 1797-1799, is the focus of the investigation. In a comparative analysis of his Scottish and Scandinavian accounts, this study presents Clarke as an ambivalent primitivist who both praised and condemned the Highlanders and Sami. Clarke was, for example, critical of what he regarded as the superstitious beliefs of both peoples. His narrative on the Highlanders was, however, far more positive than that on the Sami because of Clarke's adherence to racial classifications, which paradoxically Linnaeus had instigated, which demoted the Sami to mere savages. After Clarke’s death in 1822, attitudes towards the Highlanders and Sami continued to diverge against a backdrop of increased racialisation in British thought. While the Highlander became firmly integrated into a British narrative, the Sami was displaced by growing interest in a Scandinavian invader of Britain, the Viking, whose image went on to provide a robust challenge to the romanticisation of the Celtic Highlander in the century that followed. Meanwhile, the optimism over the Highlands’ economic prospects that had permeated the Linnaean project of exploration in Scotland was now gone. Whereas the idealised gaze of the eighteenth-century explorer had surveyed Highland history in order to chart a course to the future, the focus of the nineteenth-century tourist tended to be firmly on the past.
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Even, Noa. "Examining François Rossé's Japanese-Influenced Chamber Music with Saxophone: Hybridity, Orality, and Primitivism as a Conceptual Framework." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1415549555.
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Valle, Cordero Alejandro Javier del. "Primitivismo en el Arte de Ana Mendieta." Doctoral thesis, Universitat Pompeu Fabra, 2015. http://hdl.handle.net/10803/387127.
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La carrera artística de Ana Mendieta se enmarca dentro de los movimientos estéticos de la segunda mitad del siglo XX. El primitivismo en el arte es uno de ellos. Esta investigación estudia en profundidad cómo fue su primitivismo, pasando por el análisis formal de algunas de sus obras con influencias directas del arte africano, hasta llegar a un desarrollo teórico sobre la performance ritual que amplía el primitivismo como un recurso del arte más allá del objeto estético. El contexto histórico durante la formación académica de Ana Mendieta y su paso por Nueva york son las claves que proporcionan una visión de sus obras hasta ahora inédita. La aplicación de una metodología comparativa ha permitido establecer conexiones entre el arte, la antropología, la arqueología, la historia colonial de España, la historia de las religiones y el feminismo.The career of Ana Mendieta is part of the aesthetic movements of the late twentieth century. Primitivism in art is one of them. This research examines in depth how her primitivism was, from the formal analysis of some of her artworks directly influenced by African art, to developing a theoretical rationale of the ritual performance that extends primitivism as an artistic resource beyond the aesthetic scope. The historical context behind the academic training of Ana Mendieta and the time she spent in New York are the keys that provide a glimpse into her hitherto unpublished works. The application of a comparative methodology has allowed to establish connections amongst art, anthropology, archeology, colonial history of Spain, the history of religion and feminism
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Klotz, Christian [Verfasser], and Karl [Akademischer Betreuer] Braun. ""Fraktales Fleisch"? - Körpermodifikationen und Modern Primitivism als Ausdrucksformen einer neuen (und alten) Körperlichkeit / Christian Klotz. Betreuer: Karl Braun." Marburg : Philipps-Universität Marburg, 2013. http://d-nb.info/1032312858/34.
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Foxton, Nicholas. "Finding the space in the heart : primitivism, Zen Buddhism and deep ecology in the works of Gary Snyder." Thesis, University of Nottingham, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363688.
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AUGUSTO, LEONARDO DE CARVALHO. "PRIMITIVISM ON OSWALD DE ANDRADE S PAU-BRASIL: NATIVE ORIGINALITY AS A MESSAGE OF NEW SPIRIT (1917-1925)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15430@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
O primitivismo no Pau-Brasil de Oswald de Andrade: originalidade nativa como mensagem do espírito novo (1917-1925) é uma Dissertação animada pela vontade de investigar o desenvolvimento da idéia do primitivismo na controversa obra de Oswald de Andrade. E neste sentido, a tentativa de compreender a natureza histórica deste conceito lida de perto com uma reconfiguração sofrida pelas noções de modernismo e vanguarda na América Latina. Composto por dois capítulos, o estudo pretende no primeiro movimento avaliar a participação do escritor no grupo dos jovens artistas de São Paulo, que durante a Semana de Arte Moderna se insurgiu contra a inteligentsia nacional; e no segundo, analisar como se deu a sua redescoberta do Brasil, depois de um contato estreito com as vanguardas históricas sediadas em Paris.
Primitivism on Oswald de Andrade`s Pau-Brasil: native originality as a message of new spirit (1917-1925) is an attempt to analyze the development of the idea of primitivism on Oswald de Andrade`s work. Thus, the effort of comprehension the historicity of this concept needs to understand a reconfiguration suffered by notions as High Modernism and Avant-guard in Latin-America. In two parts, this paper aims at, in first, to evaluate Andrade`s participation inside the group of modernists in São Paulo before the Modern Art Week in 1922; and then, investigate how was possible his rediscovery of Brazil after kept close relationships with the foremost artists in Paris.
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Kramer, Cheryl Ann. "Natalia Goncharova and Mikhail Larionov's neo-primitivist depictions of social outcasts in their thematic series of 1907-14." Thesis, University of St Andrews, 2000. http://hdl.handle.net/10023/16496.
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This study addresses the contemporary political and social issues raised by the subject matter of Natalia Sergeevna Goncharova (1881-1962) and Mikhail Fedorovich Larionov's (1881-1964) Neo-primitivist series of 1907-14. The ideological implications of the themes are explored, and it is argued that their development of anti-heroes challenged the mores celebrated by the status quo within Tsarist Russia. Chapter I investigates the prevailing ideological climate and provides a cultural and political contextual framework for the development of Neo-primitivism and the choice of subject matter. The subsequent chapters focus upon specific thematic cycles. Chapter II argues that Larionov and Goncharova's paintings on low-life and hooligan subject matter are anti-social works that undermine the affectations of the civilized behaviour advanced by polite, urban society. Chapter III examines Larionov's prostitute paintings and argues that the artist's unorthodox treatment of the nude challenged the viewer's conception of the classical nude, prostitution and sexuality, as well as the role of women within the Russian patriarchy. Chapter IV argues that the cycle of paintings Goncharova devoted to labouring peasants highlights the traditional way of rural life as a call for the regeneration of contemporary society. Chapter V explores Larionov's soldier series and argues that the artist debased traditionally revered sources to produce coarse paintings that mock the soldier as a symbol of patriotism, thereby satirizing the Tsarist regime. Chapter VI argues that Goncharova's body of work on Jewish themes incorporate both anti-establishment and anti-assimilation statements. This choice of themes countered established values, and this was enhanced by their Neo-primitivist style. The artists confronted the viewer with images grounded upon various contradictions that call the seemingly disparate subject matter, the means of representation and the symbolism into question. The anti-establishment ethos that underpins these works is central to the understanding of Goncharova and Larionov's series of 1907-14.
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Sakalauskaitė, Jurgita. "Vaikų ir dailininkų kūrybos sąsajos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050531_183923-13163.
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The aim of the work is comparison of the primitivists’ art and the children’s art (6 – 11 years old), with the purpose to point theirs similarities in different artistically aspects.
Looking at the child like at the artist is not a new attitude, but the attitude, that the children’s art is an aesthetical value came just at XX c. Till our days the children’s art was researched by psychology, pedagogy, philosophy even medicine attitude, but not art.
Then adults are looking at children’s drawings they seem imperfect, naïve and primitive. Such naïve, spontaneous, playful attitude to the world, a childish slant and rendering of reality is very similar to primitivism artists.
The children’s pictorial activity and primitivists art was researched like two different art’s districts. So I think this subject is actual and important.
The creation of primitivism artists is a proof that we can see and treat the world not even by academic art rules. The original viewpoint which comes from subconsciousness to objects, surrounding covers the new opportunity to interpret the nature.
The children’s pictorial activity is the important game form during it child reveals his physical development, moral condition, outlook. It is a natural child’s dependence which comes from subconsciousness. Each child’s individual, creative conception of reality and reflection in works, drawings has right to exist.
Questionnaires’ materials show that teachers of primary classes are conversant... [to full text]
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Ristenstrand, Anders, and Anders Fryksborn. "Hiphop kontra jazz : En jämförande studie i framställningen av ”den." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-11947.
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Genom postkolonial teoribildning har vi valt att göra en diskursanalys av hiphop i svensk media. Syftet är att urskilja om och hur media placerar in hiphop i schablonen ”de Andra”. Samtidigt gör vi en jämförelse med hur jazzen en gång framställdes, för att sätta det i en
historisk kontext. Det empiriska materialet består av artiklar ur ett svenskt hiphopmagasin samt två hiphopvideor. Undersökningens resultat visar att det är en stereotyp bild av ”den Andre” som framställs. I jämförelsen med jazz framkommer dock att de rasistiska fördomarna
i hiphop är mer subtila än de explicita uttalanden som en gång gjordes när man skrev och talade om jazz.
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Brlecic, Maja. "Old and New Directions in Stravinsky’s Les Noces: Venturing into Neoclassicism through the Avenues of Eurasianism, Exoticism, and Primitivism." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1592137262344743.
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Hugues, Henri. "1914-2014, un siècle d’anthropophagie féminine dans l’art brésilien : pertinence et actualité ?" Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0766/document.
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Au début du vingtième siècle, une rupture radicale et fondatrice de modernité artistique eut lieu au Brésil. Cette modernité se démarque de celle d’Europe par la prise de conscience des distances géographiques, culturelles et politiques vis à vis de l’Europe et surtout de l’ancienne puissance coloniale, le Portugal, par la recherche de son identité à travers la multiplicité des métissages du Nouveau Monde, ses mythes et son histoire réelle décolonisée. L’avant-garde brésilienne émerge autour de 1928, à travers les Manifestes anthropophages d’Oswald de Andrade (1890-1954) qui est donc le fondateur des anthropophagies, que l’on peut définir comme un indianisme à rebours. Le ″mauvais sauvage″ exerce sa critique contre les impostures du monde. « La ″Descente anthropophagique″ n’est pas une révolution littéraire, ni sociale, ni politique, ni religieuse. Elle est tout cela à la fois ! Sa loi est simple : Ne m’intéresse que ce qui n’est pas à moi ! Loi de l’homme, loi de l’anthropophagie ! » . Elle prescrit donc la dévoration des modèles importés et leur digestion dans l’hybridation au nom de l’identité brésilienne, par déplacement de concepts freudiens : « L’anthropophagie c’est la transformation permanente du Tabou (manger de l’homme) en Totem (de l’identité brésilienne) ! » . Ici l’influence notable de la psychanalyse et de l’anthropologie est à resituer : le déplacement du tabou anthropophage demeure une transgression symbolique, une métaphore, mais la référence anthropophagique ne concerne pas que la période précolombienne, car elle se réactualise. Nous nous proposons d’étudier ce phénomène à travers quatre questions : 1°- Quelles relations existent entre l’anthropophagie, l’histoire, l’esthétique et l’idéologie ? 2°- Quelle est la place des femmes artistes brésiliennes dans l’émergence de ce mouvement, compte tenu de leur présence décisive dès l’origine ?3°- Compte tenu de la résurgence rhizomique de l’anthropophagie dans la 2e moitié du XXe siècle, y compris jusqu’à aujourd’hui, quelle est la place des femmes artistes dans ce phénomène ? Y a-t-il continuité avec l’époque fondatrice ?4°- Etant donné ce qui précède, peut-on déduire qu’il existe un courant spécifiquement féminin dans l’anthropophagie d’hier et d’aujourd’hui ? Quelle est son importance réelle ? Quelles sont ses relations et postures par rapport à la postmodernité et à la mondialisation de l’art contemporain ?At the beginning of the twentieth century, in Brazil, a radical artistic rupture took place, which marked the beginning of a new era. The resulting modernity differed from its European counterpart by the awareness of geographical, cultural and political distances that alienated Brazil from Europe and more specifically from its former colonial owner, Portugal. Brazilian modernity sought to define its identity through important basic elements that constitute the stuff that the New World is made of: cross-breeding, mythology and post-colonialism. The Brazilian avant-garde emerged around 1928 with the publication of The Anthropophagy Manifesto by Oswald de Andrade (1890-1954), who is thus the founder of the Anthropophagy, that we can define as a backward step into a reinvented form of ″Amerindianness″. The ″bad savage″ voices his criticism against impostures of the world. « Anthropophagy art is not a literary revolution, nor is it a social plea, nor a political pamphlet, nor a religious tract. It is all these things at the same time. Its law is simple: everything that is not me is of interest to me. The law of men is the law of Anthropophagy ». It thus prescribes eating up imported models and digesting them through the process of hybridization in the name of Brazilian identity. By displacing Freudian concepts, «Anthropophagy is the permanent transformation of the Taboo (man-eating) into a Totem (Brazilian identity) ». The permeating influences of psychoanalysis and anthropology need to be put in perspective: the displacement of the anthropophagous taboo remains a symbolic act of transgression, a metaphor, but the anthropophagic reference does not concern the pre-Columbian period, because it is updated. We propose to study this phenomenon through four questions: 1°- What are the relations between Anthropophagy, history, esthetics and ideology? 2°- What is the place of women Brazilian artists in the emergence of this movement, taking into account their decisive presence right from the start? 3°- Taking into account the resurgence of Anthropophagy from the second half of the 20th century onwards, what is the place of women artists in this phenomenon? Are they pursuing the same interests as the founders of the movement?4°- Can we deduce that there exists a specifically female genre within the anthropophagic movement of yesterday and of today? If so, what is its relevance? Where does it stand with respect to the contemporary concepts of post-modernity and globalization in the present-day art world?
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Emmerson, Colbey Lani. "Careless of correctness : Modernism and the mistake from Henry James to the Harlem Renaissance /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/9416.
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Luduvice, Ruy Lewgoy. "Espelhos e abismos: autoria, erotismo e primitivismo em Louise Bourgeois." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-14022014-123340/.
Full textAbstract:
O presente estudo pretende abrir três caminhos possíveis para a compreensão da obra da artista franco-americana Louise Bourgeois (1911-2010). Para isso, primeiramente aborda a relação entre vida e obra em seu trabalho, percorrendo escritos, obras visuais e retratos, rediscutindo o estatuto da noção de autoria em seu trabalho. Em seguida, busca mostrar a peculiaridade da erótica da artista, elemento chave para o estabelecimento entre público e obra. Por fim, examina a inserção de Bourgeois na vaga primitivista presente na implantação do modernismo em solo norte-americano.This study intends to open three possible approaches to the understanding of the work of the French-American artist Louise Bourgeois (1911-2010). To do this, first it discusses the relationship between life and art in her work, traversing her writtens, visual works and portraits, revisiting the status of the of authorship in her work. Then seeks to show the peculiarity of the artist s erotica, key to her comprehension of the relacionship between art and public. Finally, it examines her integration in the deploying of primitivist modernism in United States.