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Fisher, James. "'I came here a stranger, as a stranger I depart' : an investigation into the relationship between drawing and narrative of place." Thesis, University of Gloucestershire, 2009. http://eprints.glos.ac.uk/1242/.
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This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.
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Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.
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Koert, Bernadine Wisniewski. "Relationships of light and the spirit /." Online version of thesis, 1987. http://hdl.handle.net/1850/10308.
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Kac, Juliet. "The painting of music - the music of painting : the relationships between music and painting, with special reference to Kupka and my personal practice." Thesis, University of Brighton, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399047.
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This thesis seeks to examine, through a combination of practical and theoretical research, some of the chief implications or consequences of the point of view asserted by Walter Pater, in his 1877 essay on the School of Giorgione that All art aspires to the condition of music'. Both the practical and theoretical aspects are based on the postulate that it is indeed fruitful to consider to what extent, or if, relationships can be posited between the practices of painting and music. The personal work consists of a painted frieze with music by J. S. Bach as the generative subject matter. The written part initially establishes a broad but selective historical overview of key issues concerning the relationship of the visual language of painting to that of music. Subsequently, related sketches and studies by Frantisek Kupka, which resulted in the first purely abstract painting to be recorded as being exhibited in Paris in 1912, are analysed and arranged in order to clarify the thinking and stylistic development behind his creative process. These are placed within their historical context and are seen to reflect the general artistic concerns and technological developments that affected practising artists of the day. Examination of further congruent examples of paintings by Duncan Grant and Paul Klee serves as an appropriate link to an investigation of my own practical work. Key aspects of my intentions and achievements, and arguments for and against the validity of the overarching idea of the thesis, i. e. that it is possible to posit the sort of relationship between the language of music and painting that can withstand thorough analysis, form the basis of the concluding critical analysis and annotations. The thesis will be produced in conjunction with an exhibition of the practical work, and providing copyright matters are not infringed, a tape provided for purposes of examination.
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Willsdon, Clare Annabella Paton. "Aspects of mural painting in London, 1890-1930." Thesis, University of Cambridge, 1988. https://www.repository.cam.ac.uk/handle/1810/283657.
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Normand, Thomas Andrew. "Political trajectories in the painting of P. Wyndham Lewis." Thesis, Durham University, 1989. http://etheses.dur.ac.uk/6736/.
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This thesis presents an analysis of the political dimension to the paintings of Percy Wyndham Lewis (1882-1957). Through an exegesis of the discreet and latent "voices" in Lewis's paintings the ideological parameters of his thought world are disclosed. These imperatives are examined for their display of political predispositions, for values and attitudes, which reveal a loading towards specific socio-cultural standards. In so far as these standards can be identified with historically relevant political programmes they become manifestos for political actions. Or, at the very least, they can be seen to exist as critical and prescriptive social insights. Importantly, the focus of this examination and interpretation remains the visual image and its related texts. A key aspect of both the methodology and argument within this thesis, insists that the visual image is the bearer of meaning in both its subject matter and technique. Values are communicated not only in reference to the thing displayed, but, in the manner of the display. Hence, an analysis of the intellectual and formal strategies employed by Lewis in his painting becomes a central concern of the thesis. Finally, the thesis rounds on the actual nature of Lewis's politics as revealed in his approach to art. While it is accepted that the mediation from the political to the painted throws up many and substantial barriers, the thesis insists that a political reading of Lewis's creative work is not only appropriate but necessary. In offering just such a reading the author hopes to transcend the boundaries between the disciplines of Art History and Sociology.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.<br>This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Roberts, Claudette M. "Presence, absence, and the interface in twentieth-century literature and painting /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687175432.
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Sakoda, Maho. "George Eliot and Pre-Raphaelitism : literature, painting, sculpture and photography." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/64074/.
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This thesis explores the multi‐layered inter-relationships between the works of George Eliot and those of the Pre‐Raphaelites. Taking up the very different mediums of painting, sculpture, and photography as they emerge in Pre‐Raphaelitism, it assesses their relation to Eliot's novels as reinforcing a web of Victorian visual art and literature. The discussion begins by examining proximities between the paintings of Dante Gabriel Rossetti and Eliot's Adam Bede and Daniel Deronda. I explore, in particular, their shared interest in dichotomies of female representation in the nineteenth century, and ways in which the opposing traits of the sacred and sexual are interwoven. The second chapter reads Eliot in the context of writings by Walter Pater. Reassessing the prevalent perspective that Eliot was opposed to the ideas of Pater, I argue that, like him, Eliot passionately sought to elucidate the relationship between life and art through studies of the early Renaissance. In Pater's Studies in the History of the Renaissance and Eliot's Romola the authors are linked by their use of web imagery and their interest in the effects of music within the realms of literature and art. In the third chapter, exploring elements of the New Sculpture movement in the late nineteenth century together with the writings of Johann Joachim Winckelmann, I analyse ways in which sculptural representations are rendered in Eliot's, Middlemarch, and the paintings of Edward Burne‐Jones. The final chapter focuses on the nascent medium of nineteenth century, photography. By considering photographs by Julia Margaret Cameron in relation to The Mill on the Floss, I explore the way in which both Cameron's and Eliot's works embody a particular conception of childhood and the memory of childhood. My study concludes by re-visiting the phenomenon of the interweave of image and the text during the nineteenth century.
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Neat, Helen Lilian Mary. "Mother-son relationships in Arthurian literature." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555608.
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This thesis examines mothers and motherhood in Arthurian literature, and in particular explores the relationship between maternal characters and Arthurian heroes, focusing on scenes from both childhood and adult adventures. A number of Arthurian romances provide detailed descriptions of the education and childhood adventures of a particular hero, with the child often raised in a secluded setting solely by a mother-figure. Based on a selection of texts, the thesis explores and compares the ways in which Arthurian heroes interact with their mothers or substitute mothers, and examines the shape and extent of maternal significance within the narratives. The corpus consists of a range of texts: Chretien de Troyes' Conte du Graal and the anonymous lai de Tyolet, whose heroes share the same isolated upbringing with their mother in a forest; Ulrich von Zatzikhoven's Lanzelet and the anonymous Prose Lancelot, each recounting the childhood of Lance lot with his foster-mother in an aquatic realm; and the anonymous verse romance Floriant et Florete and anonymous chanson de geste Maugis d 'Aigremont, in which the heroes are raised by Morgain la fee in her Sicilian abode ofMongibel. The first part of the study is structured around the comparative analysis of these thematically and stylistically distinct works, with particular regard to the influence of mother-figures on the hero and their position within the narrative. This is followed by a closer examination of the maternal characters highlighted during the first chapters, exploring their characterisations, their roles and functions within the narratives, and their influence on the heroes. Particularly significant themes considered in this final section are identity, nature, nurture and the supernatural, each of which are demonstrated to be consistently key elements of the Arthurian mother-son relationship.
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L'Clerc, Lee. "Painting and visual imagery in literature, three contemporary Latin American novels." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ41201.pdf.
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Piper, Jennifer Ann. "White, Carey and Nolan : national myth in Australian literature and painting." Thesis, Open University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446272.
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Vargas, Elisa. "Surrealism and painting within the context of the Argentine avant-garde : 1921-1987." Thesis, University of Essex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306197.
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Iepson, Sarah M. "Postmortem Relationships: Death and the Child in Antebellum American Visual Culture." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236801.
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Art History<br>Ph.D.<br>Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in post- mortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the post- mortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.<br>Temple University--Theses
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in Greek vase-painting and literature /." Verona : Fiorini, 2009. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9788887082937.
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Keck, Michaela. "Walking in the wilderness the peripatetic tradition in nineteenth century American literature and painting." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2811163&prov=M&dok_var=1&dok_ext=htm.
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Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bellon, Liana. "Wilde's decorative arts : a study of painting, clothing, and home décor in the writings of Oscar Wilde." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79285.
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This project explores Oscar Wilde's work on painting, the art of dress, and home decor, referred to collectively in his lectures as the 'decorative arts.' While it has become commonplace to assert that Wilde's plays and essays subvert the status quo, few scholars have studied Wilde's work on the decorative arts to substantiate his status as a writer arguing for social and political change. Through an analysis of Wilde's North American lecture tour and his editorship of The Woman's World, as well as his approach to painting, clothing, and home decor in his more well-known work, I argue that Wilde conceives of the decorative arts as a means of expressing and inciting dissatisfaction with the social and political realities of Victorian England.<br>As I show, Wilde subtly presents avant-garde art, sartorial details, and home decor items as functional ornaments. The formal elements of a painting foster receptivity and, by extension, sensitivity and compassion. Unconventional attire functions as a visual symbol of discontent with social and physical conformity. In light of Wilde's published support of women's emancipation, his writings on home decor imply that the well-decorated house, rather than the Victorian wife, should be responsible for creating domestic harmony.<br>Wilde's penchant for the decorative arts has long remained the domain of anecdote; the following study instead positions Wilde's interest in the decorative arts as a defining, and insightful, aspect of his oeuvre .
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Parks, David R. "Textual Relationships and the Problem of Authority." University of Toledo / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1333756807.
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Meacock, Joanna. "Saintly ecstasies : the appropriation and secularisation of saintly imagery in the paintings and poems of Dante Gabriel Rossetti." Thesis, University of Glasgow, 2001. http://theses.gla.ac.uk/1596/.
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Using unpublished source material at Princeton University, the University of British Columbia, the British Library and the National Art Library in the V&A, this thesis aims to broaden current scholarly understanding regarding Rossetti's exposure to, interest in, and subsequent appropriation of aspects of monastic life and saintly legend in his religious and secular paintings and poems. The intention of part one of this thesis is to discuss and analyse Rossetti's early interest in monasticism and the legends of the saints. Rossetti's attraction to Catholic ritual and ceremony, both in terms of its aesthetic impact and the feelings of awe it engendered, will form the background to a discussion of his admiration for pre-Reformation art. The concern which he displayed in his own paintings and poems for saintly legend and theological mysteries will be shown to have its origins in early Christian art, as well as in the apocryphal lives of the saints and the writings of the Church Fathers, which had seen a resurgence in popularity in the wake of the Oxford Movement. Rossetti's growing fascination with art as a vehicle for the conveyance of religious ideas will be considered in relation to the early and mid-nineteenth century revival of interest in the medieval painter-monk and in the practice of illumination. Rossetti's 1856 watercolour Fra Pace will be examined in this context. The pertinence of the example of St Luke, who used his art as a preaching tool, will also be considered, Rossetti having returned to this concept directly, and obliquely, throughout his career in both his visual and poetic art. The influence of the quasi-monastic Nazarene painters, also called the German Brotherhood of St Luke, will be examined. Rossetti's suggestion of "Brotherhood" as an appendage to "Pre-Raphaelite" will be considered within a specifically monastic context, looking at the artist's family history, analogous artistic communities, and the revival of interest in ascetic institutions within the nineteenth century. The extent to which the works of the Pre-Raphaelite group showed a basis towards asceticism will be analysed, as will contemporary reactions to this.
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Porter-Salmon, Emily. "Textual cues, visual fictions : representations of homosexualities in the works of David Hockney." Thesis, University of Birmingham, 2011. http://etheses.bham.ac.uk//id/eprint/1023/.
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This thesis is concerned with representations of homosexual themes and subjects in the works of David Hockney (b. 1937). A male, homosexual British artist, Hockney came of age during a period in which homosexual acts between males remained criminalised in both Britain and the United States. Openly homosexual since the early 1960s, Hockney began to produce images concerned with homosexual themes during his Royal College of Art student years. This thesis explores Hockney’s discovery of texts, languages, images and publications relating to homosexuality from the 1960s onwards, and his personal and creative responses to these sources. The concept of a homosexual creative ‘canon’ existed amongst homosexual men of this period, albeit in an unofficial capacity; this wider context of historical creative and cultural precedent within homosexual subcultures has not previously been the subject of sustained critical engagement in relation to Hockney. In addition to the artist’s works dealing with homosexual themes produced prior to the partial decriminalisation of homosexuality in Britain in 1967, this thesis looks beyond that period, and also considers Hockney’s personal self-fashioning and media engagements. Far from an anomalous maverick, Hockney and his works are shown to fit within a continuum of homosexual creative and cultural endeavour.
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Slobtseva, Yelena. "DRAWING IN THE MARGINS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1162849860.
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Zardini, Francesca. "The myth of Herakles and Kyknos : a study in early Greek vase-painting and literature." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405416.
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McNeill, Malcolm L. S. "Narrative agency in thirteenth-fourteenth century Chan figure painting : a study of hagiography-iconography text-image relationships." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24335/.
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This thesis examines the relationships between image and text in paintings of Chan Buddhist figural subjects from thirteenth and fourteenth century China. Its central contention is that the visual qualities of these paintings, and the lexical content of the inscriptions upon them, made complex allusions to narrative prototypes recorded in hagiographies, as part of the pedagogical practice of the Chan tradition. These narrative allusions communicated religious teachings to the viewer, mediating their relationship to the Chan pantheon of exemplars and eccentrics. This thesis' analysis of the connections between painters, inscribers, subjects and viewers of Chan figure paintings addresses an under researched dimension of thirteenth and fourteenth century Chinese visual culture. By focusing on the Chinese context for the creation and reception of Chan figure paintings, the following discussion offers an alternative to the recurrent framing of these works as precursors to Japanese Zen painting. Instead, this thesis focuses on the distinctive agency of narrative in the reception of these works in a thirteenth and fourteenth century Chinese context. This is explored in six chapters, outlined below. Chapter one surveys modern scholarship on Chan figure painting, problematising its frequent conflation with Japanese Zen art. Chapters two, three and four examine three different narrative themes in Chan figure painting: transitions, interactions, and awakenings. These three chapters show how these visual narrative themes respectively reflected and reinforced the legitimacy, authority and efficacy of Chan's lineages and teachings. The fifth chapter explores the role of inscriptions upon paintings in shaping the Song and Yuan ideal of a Chan abbot, through a case study encomia on Chan figure paintings by Yanxi Guanwen (1189-1263). The final chapter examines the idealisation of the preeminent painter of Chan figural subjects, Liang Kai (late 12-early 13th century), distinguishing between the historic receptions of his attributions in Chinese and Japanese collections.
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Scholes, Lucy A. "Sibling relationships in mid-twentieth-century literature and psychoanalytic theory." Thesis, Birkbeck (University of London), 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.754805.
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This thesis considers the extent to which mid-twentieth-century literature can be recontextualised through recent developments in sibling-specific psychoanalytic theory, drawing in particular on the work of Juliet Mitchell and Prophecy Coles. Chapter one re-examines Freud’s early work; tracing his positioning of the Oedipus complex at the heart of psychoanalytic theory while also analysing his early omission of the significance of sibling, and other lateral relations, in his own self-analysis and two of his case studies; ’Analysis of a Phobia in a Five-Year-Old Boy’ and ’History of an Infantile Neurosis’. This chapter then continues with an explication of Juliet Mitchell’s and Prophecy Coles’ re-examination of sibling relationships in psychoanalysis. Chapters two and three each trace further developments in Freud’s work, set against more recent theoretical material which, when read together, illuminate analyses of mid-twentieth-century novels; chapter two explores the figure of the hysterical sibling in Henry Green’s wartime novels Caught (1943) and Back (1946), while chapter three analyses Rosamond Lehmann’s novel Dusty Answer (1927) as a primal fantasy indicating a sibling family romance. Chapter four looks at the lived sibling experience, setting examples of sibling relationships from the clinical work of child psychoanalysts, Hermine Hug-Hellmuth and Melanie Klein, against Nina Warner Hooke’s literary trilogy. The final chapter then considers representations of the figure of the sibling double in Daphne du Maurier’s narrative of sibling incest, The Parasites (1949), and the androgynous sibling pairs that can be consistently found in the novels of Rose Macaulay.
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Kao, Yi-Li. "Chinese poetry and painting in postwar Taiwan : angst and transformation in the negotiation between tradition and modernity /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170230.
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Balic, Iva Foertsch Jacqueline. "Always painting the future utopian desire and the women's movement in selected works by United States female writers at the turn of the twentieth century /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-11060.
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Blackmore, Jacqueline Hilary. "Teacher-Student Relationships and Student Writing Achievement." Thesis, Walden University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3604330.
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<p>Past research has shown that learner-centered environments can improve students' self-esteem and increase their academic skills. The purpose of this study was to determine whether teaching the core curriculum within a caring classroom environment increases students ability to communicate effectively and perform at higher achievement levels in writing. The study addressed the experiences of teachers in implementing a new writing program with a strong emphasis on social skill development as a precursor to good writing. Guided by the social learning theories of Dewey, Rogers, and Vygotsky, who contended that social interaction is vital to the development of cognition, a qualitative case study was undertaken consisting of individual interviews with 15 teachers at 6 elementary schools in southwestern Connecticut. Data were collected to address the extent to which a caring community of students can foster positive academic outcomes. Data were analyzed and coded to discover common themes. Results showed that teachers perceived that the social skills taught through the program did increase students writing skills. In addition, students had better listening skills and were more comfortable taking academic risks. This finding supports past social learning theories. Based on these findings, 3 days of professional learning workshops were created with the goals of building student-teacher relationships, creating learner-centered environments, and curtailing bullying. Equipping teachers with this resource will help to create social change by helping students become better communicators in a diverse society, increasing their graduation rates, and preparing them to enter the global workforce of the 21st century. </p>
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Andersen, Elisabeth Ann. "The patterning of relationships in the Middle High German prose 'Lancelot'." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/19638.
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Powici, Christopher. "The wolf and literature." Thesis, University of Stirling, 2002. http://hdl.handle.net/1893/24386.
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This thesis explores how wolves, and other animals, are represented in a variety of literary texts. At stake in these explorations is the shifting and problematic border between the human and the animal, culture and nature, civilisation and the wild. Because of its biological proximity to the domestic dog, as well as the ways in which it has been figured as both the ultimate expression of wild savagery and of maternal love, the wolf is an exemplary guide to this border. The wolf traces the ways in which the human/animal border has been constructed, sustained and transgressed. These border crossings take on a special resonance given the widespread sense of a contemporary environmental crisis. In this respect this thesis amounts to a contribution to the field of ecocriticism and pays special attention to the claim that the environmental crisis is also a 'crisis of the imagination', of our ideational and aesthetic relationship to the nonhuman world. With this in mind I look closely at some of the main currents of ecocriticism with a view to showing how certain psychoanalytic and poststructuralust approaches can enhance an overall ecocritical stance. It is an analysis which will also show how the sense of environmental emergency cannot be divorced from other critical and political concerns, including those concerns highlighted by feminist and postcolonial critics. In the words of a much favoured environmentalist slogan, 'everything connects to everything else'. Ultimately this thesis shows that how we imagine the wolf, and nature in general, in literary texts, is inextricably bound up with our relationship to, and treatment of, the natural world and the animals, including human beings, for whom that world is home.
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Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
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Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.<br>Romance Languages and Literatures
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Mitchell, Alexandre G. "Comic pictures in Greek vase painting : humour in the polis and the Dionysian world in the sixth and fifth centuries B.C." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248968.
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Woolf, Paul Jonathan. "Special relationships : Anglo-American love affairs, courtships and marriages in fiction, 1821-1914." Thesis, University of Birmingham, 2007. http://etheses.bham.ac.uk//id/eprint/73/.
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Special Relationships examines depictions of love affairs, courtships and marriages between British and American characters in nineteenth-century and early twentieth-century American short stories and novels. I argue that these transatlantic love stories respond to shifting Anglo-American cultural, political, and economic exchanges during the period. In some cases, texts under consideration actually helped shape those interactions. I also suggest that many authors found such transnational encounters a useful way to define ideal versions of American national identity, and to endorse or challenge prevalent attitudes regarding class, race, and gender. Special Relationships begins with Cooper’s The Spy (1821), which I discuss in the Introduction. Part One examines works published by Cooper, Irving, Frances Trollope, Lippard, Warner, and Melville during the 1820s, 30s and 40s, and traces the emergence of the “fairytale” of the American woman who marries into English aristocracy. Part Two places works by Henry James, Burnett, and several other writers in the context of a real-life phenomenon: the plethora of American women who between 1870 and 1914 married into European nobility. I conclude by discussing the Anglo-American political rapprochement of the 1890s and the use by Jack London and Edgar Rice Burroughs of Anglo-American love stories to promote racial ‘Anglo-Saxonism.’
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Robertson, Sarah M. "L'art et l'amour à Travers un Amour de Swann de Marcel Proust." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/882.
Full textAbstract:
The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.
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Tyler, Lisa Lynne. "Our mothers' gardens : mother-daughter relationships and myth in twentieth-century British women's literature /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1335473469.
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Ennis-Chambers, Sarah. "Birth and After Birth and Painting Churches: Tina Howe's Examination of Love and Savagery in the American Family." TopSCHOLAR®, 1995. http://digitalcommons.wku.edu/theses/865.
Full textAbstract:
Playwright Tina Howe has been quoted as saying that "family life has been over-romanticized; the savagery has not been seen enough in the theatre and in movies . . ." (Moore 101). In two of her plays, Birth and After Birth (1973) and Painting Churches (1983), that savagery appears in the form of name-calling, jealousy, apathy, disregard, and physical and mental abuse. A juxtaposition of the similarities in Birth and After Birth and Painting Churches will explain the "savagery" Howe is examining. The earlier play is written in the surrealistic style of lonesco and Beckett, playwrights who have been a major influence on Howe. The later work is a much more realistic, conventional play. Both center around three-member families (a set of parents and an only child) and take place at a time of significant change. The main focus is Painting Churches and the abuse that lies at the heart of the play. Mags Church (short for Margaret) has come home to help her parents, Fanny and Gardner, pack their things; they are moving from Boston to their summer cottage in Concuit. A promising young artist on the rise, she is also going to paint a portrait of them. But the painting of this portrait will be much more than the creating of a new piece of art for Mags; it will be a very personal and very trying test. Throughout the play, Howe reveals Mags' multifaceted mental and emotional problems and how her mother, while essentially a loving parent, contributed greatly to her daughter's lack of self-esteem and need to mask herself behind her work. She may even be responsible, and this thesis proves that Fanny Church subjected her only child to continuous psychological abuse, creating in her a deep-rooted psychosis. Birth and After Birth, written a decade earlier, examines some of the issues addressed in Painting Churches, and is basically used as backup evidence to help prove my theory.
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Garcia, Rangel Sherezade. "The Wounded Me : a novel and critical essay on Hugo Simberg's oeuvre and the literary engagement with his painting The Wounded Angel." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7355/.
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Chambost, Blandine. "Female figures of excess in French painting and literature in the second half of the nineteenth century." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620506.
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Dobosiewicz, Ilona Harris Victoria Frenkel. "Redefining womanhood multiple roles of female relationships in Jane Austin's novels /." Normal, Ill. Illinois State University, 1993. http://wwwlib.umi.com/cr/ilstu/fullcit?p9323731.
Full textAbstract:
Thesis (D.A.)--Illinois State University, 1993.<br>Title from title page screen, viewed February 9, 2006. Dissertation Committee: Victoria Frenkel Harris (chair), Richard Dammers, Charles Harris, William Morgan. Includes bibliographical references (leaves 244-255) and abstract. Also available in print.
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Savoie, Tracy Ann. "Cosmopolitanism and Twentieth-Century American Modernism: Writing Intercultural Relationships through the Trope of Interracial Romance." Miami University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=miami1217981585.
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Eachus, Jacqueline. "D.H. Lawrence's Philosophy of Human Relationships as Seen in Four Novels." TopSCHOLAR®, 1987. https://digitalcommons.wku.edu/theses/2276.
Full textAbstract:
The growth of an individual into mature selfhood is the primary basis of the Lawrentian relationship. Lawrence describes a mystical kind of rebirth of the self into a deeper level of the unconscious. He says that one should explore the impulses and desires of the unconscious in order to find a deeper, more fulfilled self. Ursula of The Rainbow and Paul of Sons and Lovers are the characters who most successfully begin this growth into separate selfhood.
According to Lawrence the journey into the unconscious is to be accomplished through sensual experiences. He mistrusts the intellect because he feels that the mind distorts reality. The bodily sensations are more concrete, and therefore more real. Lawrence demonstrates in Walter Morel of Sons and Lovers, Birkin and Ursula of Women in Love, and Connie and Mellors of Lady Chatterley's Lover that spontaneous, sensual experiences are necessary to live a fully sensual life.
For Lawrence, the failure to discover the deepest, sensual self results in the need to control others. Characters who embrace abstract intellectualism and modern industrialism are the ones who attempt to force every living thing into submission to their egos. The compulsion to dominate others gives the characters a temporary feeling of fulfillment but is ultimately destructive. Gertrude, Miriam, Gerald, and Hermione are destructive characters who strive to control others. They are weak and dependent, needing another person's strength of self to feel complete.
The acknowledgement of a separate self is crucial to Lawrence's philosophy of relationships. According to his philosophy a person discovers the separate, fundamental self at the unconscious level through sensual experiences. Abstract intellectualism and industrialism are responsible for causing man's alienation from himself; his failure to discover and acknowledge a deeper self generates destructiveness which is manifested in his domination of other living beings.
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Huffman, Ashley S. "Editor and Author Relationships in the Evolving World of Publishing." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1431033725.
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Mercado, Leticia. ""Habla, bulto animado": El problema del silencio en la poesía ecfrástica de la España barroca." Thesis, Boston College, 2015. http://hdl.handle.net/2345/bc-ir:104156.
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Thesis advisor: Elizabeth Rhodes<br>This dissertation studies the uses of silence in a corpus of Baroque poems about portraits and funerary monuments. I explore silence as a dynamic, dialogic space where poetic voice, implicit reader and work of art interact. Within these poetic texts --written between 1599 and 1650 by poets from Francisco de Rioja to Quevedo or Góngora-- I focus on the question of representation: how, in ekphrastic texts, silence--whether the silence of the poet or that if the object he is describing--reveals certain anxieties about representation. Using enargeia --lifelike vividness--the Baroque poet searches for a new poetic art in which the `speech' of the portrayed breaks the ultimate silence of death. My critical discussion is rooted in an extensive corpus of seventeenth-century poems, an awareness of the moral implications of silence in Spanish Baroque philosophy, and in recent theoretical discussion of intermediality and ekphrasis, such as Mitchell's theory of ekphrasis and otherness (1994), and Foucault's concept of heterotopy (1986). My dissertation also examines the role of silence in its relation to the ideas of presence and absence in funerary ekphrasis, which includes the poetical description of tombs, as well as in the genre of laudatory ekphrasis and the poetical epitaph. I analyze the relationship between these instances of ekphrasis and the visual representations of silence in several books of emblems by Alciato, Kircher, and Vaenius, published in Europe between the sixteenth and seventeenth centuries. My dissertation demonstrates how silence is a central concept of Baroque aesthetics that identifies fictional representation with a "teacher of truth," and functions as a vehicle for the acquisition of moral knowledge in the context of the Baroque idea of desengaño, thus siding with the objectives of the Spanish Counter-Reformation<br>Thesis (PhD) — Boston College, 2015<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Romance Languages and Literatures
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Sundkvist, Luis. "Turgenev and the question of the Russian artist." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/228706.
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This thesis is concerned with the thoughts of the Russian writer Ivan Turgenev (1818-83) on the development of the arts in his native country and the specific problems facing the Russian artist. It starts by considering the state of the creative arts in Russia in the early nineteenth century and suggests why even towards the end of his life Turgenev still had some misgivings as to whether painting and music had become a real necessity for Russian society in the same way that literature clearly had. A re-appraisal of "On the Eve" (1860) then follows, indicating how the young sculptor Shubin in this novel acts as the author's alter ego in a number of respects, in particular by reflecting Turgenev's views on heroism and tragedy. The change in Shubin's attitude towards Insarov, whom the sculptor at first tries to belittle before eventually comparing him to the noble Brutus in Shakespeare's "Julius Caesar", can be said to anticipate Turgenev's own feelings about Bazarov in "Fathers and Children" (1862) and the way that this 'nihilist' attained the stature of a true tragic hero. In this chapter, too, the clichéd notion of Turgenev's alleged affinity with Schopenhauer is firmly challenged - an issue that is taken up again later on in the discussion of "Phantoms" (1864) and "Enough!" (1865). Other aspects of Turgenev's portrayal of Shubin are used to introduce the remaining chapters, where the problems of dilettantism, originality, nationalism and Slavophilism - among the most acute problems which Russian artists had to contend with in Turgenev's eyes - are explored through various works of his, especially the novel "Smoke" (1867), as well as by reference to his observations of such contemporaries as Glinka, the painter Ivanov, Tolstoi, and the composers of the 'Mighty Handful'. The springboard for the final chapter on the tragic fate befalling so many Russian artists is once again Shubin, whose voluntary exile in Rome at the end of the novel allows for certain parallels to be drawn with Gogol'. Despite Turgenev's own 'absenteeism' from Russia, for which he was much reproached, it is emphasized in the conclusion that healways remained devoted to the cause of Russia's civic and cultural development, especially in the realm of the arts, whose national, and at the same time universal, value he upheld so compellingly in his Pushkin speech of 1880.
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Ellis, Jeanne. "Patriarchal structures of control and female homosocial relationships in the novels of Charlotte Brontë." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52396.
Full textAbstract:
Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: In Charlotte Bronte's novels, the importance accorded to female homosocial
relationships - such as friendship and the mother-daughter relationship -
challenges the conventional structure of the Victorian realist novel, in which the
focus of the female protagonist's development is almost exclusively on the
eventual achievement of heterosexual marriage Structurally. heterosexual
marriage at closure re-establishes the status quo that has been threatened or
destabilised during the unfolding of the plot. Yet what Bronte's novels reveal,
is that the status quo thus re-established also confirms patriarchy as a system
in which the bonds between men are consolidated to maintain social, political
and economic power as a male prerogative By contrast, the ideology that
promotes marriage as the sine qua non of women's existence positions women
as rivals and the representation of female homosocial relationships in the
nineteenth-century novel is either relegated to the margins of the text or erased
entirely. In Bronte's novels, the structural relationship between this
conventional displacement of female homosocial relationships and the silencing
and containment of female desire in heterosexual marriage at closure is
consistently explored and subverted.
In an increasingly complex process of rewriting the Victorian novel from
a female perspective, Bronte's novels construct alternative plots that privilege
the representation of female homosocial relationships even as they imitate
conventional plot structure In so doing. the gendering of narrative voice as
female lays claim to a female discourse of desire. which is rooted in female
homosociality and inclusive of lesbian desire. Compulsory (female)
heterosexuality which is exclusively domestic and maternal. IS therefore
challenged by an alternative representation of female desire as defiant of the
ngid categories Imposed by heterosexuality. because it is fiurd and multiple in
Its expression
This thesis explores the process of recuperation through which Bronte
both places the representation of female hornosocial relationships at the centre
of her novels and reveals patriarchal structures of control at work<br>AFRIKAANSE OPSOMMING: In die romans van Charlotte Bronte konfronteer the sentraliteit van vroulike
homososiale verhoudings - soos vriendskap en die moeder-dogter verhouding
- die konvensionele struktuur van die Victoriaanse realistiese roman. Volgens
hierdie konvensionele struktuur is die fokus van die vroulike protagonis se
ontwikkeling bykans uitsluitlik gerig op haar uiteindelike toetrede tot 'n
heteroseksuele huwelik. Struktureel gesproke herstel die heteroseksuele
huwelik by die sluiting van die roman die status quo wat bedreig of
gedestabiliseer is gedurende die ontplooing van die roman. Wat Bronte se
romans egter aan die lig bring, is dat die status quo wat so herstel word, ook
die patriargale sisteem bevestig - waarbinne die bande tussen mans
gekonsolideer word ten einde sosiale politieke en ekonomiese mag as 'n
manlike prerogatief te waarborg Die ideologie wat die huwelik voorhou as die
sine qua non van die vrou se bestaan posisioneer vroue as mededingers, en
hierdeur word die uitbeelding van vroulike homososiale verhoudings in die
negentiende-eeuse roman verskuif na die buitewyke van die teks, of word dit
algeheel uitgewis. In Bronte se romans word die strukturele verwantskap
tussen hierdie konvensionele verplasing van vroulike homososiale verhoudings
en die demping of beheer van vroulike begeerte in die heteroseksuele huwelik
voortdurend in die roman se sluiting ondersoek en ondermyn
In 'n proses wat 'n toenemend ingewikkelde herskrywing van die
Victonaanse roman vanuit 'n vroulike qesiqspunt inhou. stel Bronte se romans
alternatiewc verwikkelinqsplanne saam wat voorrang gee aan die uitbeelding
van vroulike hornososiale verhoudings terwyl hierdie storieplanne
konvensionele struktuurplanne naboots. Ole manier waarop die verteller se
stem so vervroulik word gee uiting aan 'n vroulike diskoers van begeerte wat
gewortel IS In vroulike hornososialiteit en wat lesbiese begeerte insluit
Verpliqte (vroullke) heteroseksualiteit. wat uitsluitlik huislik en moederlik IS,
word dus gekonfronteer deur 'n alternatiewe uitbeeldinq van vroulike begeerte
wat die rigiede kateqoriee opqele deur heteroseksualiteit verwerp en meer
vloeibare en veelsoortiqe vorme van ultdrukklng daarstel
Hierdie tests ondersoek die herstellinqsprcses waardeur Bronte die
uitbeeldinq van vroulike hornososiale verhoudinqs sentraal plaas In haar romans, terwyl sy terselfdertyd die werkswyses van patriargale beheerstrukture
aan die lig bring.
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Kelsey, Nigel John. "D.H. Lawrence : a theoretical and comparative analysis of sexual relationships in the major novels." Thesis, London School of Economics and Political Science (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307736.
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Steffler, Micah. "La Mesure: Relationships of Love and Communication in the "Lais" of Marie de France." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28812.
Full textAbstract:
This project examines the Lais of Marie de France with specific focus on "Chevrefoil," "Laustic," "Milun," and "Eliduc." The view of the relationship between orality and textuality as a linear chronological development is called into question in the light of Marie's devotion to mesure. The association between the oral and written traditions of storytelling is shown to be based on mutual co-dependency instead of a hierarchy by which the written tradition is deemed a superior mode of communication. Mesure is crucial to the maintenance of balance in this relationship, and appears in further aspects of the Lais, including the language; the connections between writing, reading, and performance; and relationships between characters. To achieve the status of fine amur, the partners in a romantic relationship must possess mesure. Lovers must value each other as equals, or a hierarchy introduces demesure into the relationship. This project reveals Marie's dedication to the importance of sustaining mesure in the face of temptation to indulge in demesure.
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Marchant, Jennifer Esther Robertson Susina Jan. "Beauty and the beast the relationships between female protagonists and animals in children's and adolescent novels written by women /." Normal, Ill. Illinois State University, 2003. http://wwwlib.umi.com/cr/ilstu/fullcit?p3106758.
Full textAbstract:
Thesis (Ph. D.)--Illinois State University, 2003.<br>Title from title page screen, viewed October 17, 2005. Dissertation Committee: Jan C. Susina (chair), C. Anita Tarr, Cynthia A. Huff. Includes bibliographical references (leaves 171-184) and abstract. Also available in print.
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Funk, Amanda J. "Covering Faces." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1244227237.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
Full textAbstract:
Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.