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Dissertations / Theses on the topic 'Sculpture, Indic, in literature'
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Ramaswami, Siri. "Dance sculpture as a visual motif of the sacred and the secular: a comparative study of the BelurCennakesava and the Halebidu Hoysalesvara temples." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31240926.
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Wattenbarger, Melanie. "Reading Postcolonialism and Postmodernism in Contemporary Indian Literature." Ohio Dominican University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=odu1351102017.
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Balasubramanian, Ranganathan. "The Tirukkaḷiṟṟuppaṭiyār : transition from Bhakti to Caiva Cittāntam philosophy." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99574.
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This thesis is a Tamil to English translation of Tirukkaḷirruppaṭiyar (TKP), composed by Uyyavanta Tevanayanar toward the end of the twelfth century C.E. The work contains one hundred quatrains of Tamil poetry composed in veṇpa meter. It is a poetic expansion of Tiruvuntiyar (TU), an earlier composition likely by the author's teacher's teacher. The TKP is a transitional text between the devotional religious bhakti(patti -Tamil) hymns of the nayanmar, who lived between the sixth century and the twelfth, and the Saiva-Siddhanta (Caiva Cittantam-Tamil) Theo-philosophical system, which developed between the thirteenth and the fourteenth centuries. TKP is the second work in the canon of fourteen texts called the Meykaṇṭa Sastra (Meykaṇṭa Cattiraṅkaḷ -Tamil), TU being the first. The introduction in the thesis discusses the date of the author, his position in the lineage of teachers, major themes found in the work such as the importance of a teacher, types of worship, miracles of the Saiva saints and final release from the cycle of births and deaths. TKP's similarities and differences with the TU, and how the TKP provides a foundation for later Saiva Siddhanta thought are addressed. Besides translation, each verse has a gloss and there are several appendices, tables and charts with additional information.
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Thapa, Anirudra. "The Indic Orient, nation, and transnationalism exploring the imperial outposts of nineteenth-century U.S. literary culture, 1840-1900 /." [Fort Worth, Tex.] : Texas Christian University, 2008. http://etd.tcu.edu/etdfiles/available/etd-12052008-162349/unrestricted/Thapa.pdf.
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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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Chaudhuri, Rosinka. "Orientalist themes and English verse in nineteenth-century India." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:737ba2e1-99f4-4abb-ac87-4e344be4d15c.
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This thesis demonstrates how a specific tradition of English poetry written by Indians in the nineteenth-century borrowed its subject matter from Orientalist research into Indian antiquity, and its style and forms from the English poetic tradition. After an examination of the political, historical and social motivations that resulted in the birth of colonial poetry in India, the poets dealt with comprise Henry Louis Vivian Derozio (1809-31), the first Indian poet writing in English ; Kasiprasad Ghosh (1809-73), the first Bengali Hindu to write English verse; and Michael Madhusudan Dutt (1824-73), who converted to Christianity in the hope of reaching England and becoming a great 'English' poet. A subsequent chapter examines the Dutt Family Album (London, 1870) in the changing political context of the latter half of the century. In the Conclusion it is shown how the advent of Modernism in England, and the birth of an active nationalism in India, finally brought about the end of all aspects of what is here called 'Orientalist' verse. This area has not been dealt with comprehensively by critics; only one book, Lotika Basu's Indian Writers of English Verse (1933), exists on this subject to date. This thesis, besides filling the gaps that exist in the knowledge available in this area, also brings an additional insight to bear on the current debate on colonialism and literature. After Said's Orientalism (1978), a spate of theoretical work has been published on literary studies and colonial power in British India. Without restricting the argument to the constraints of the Saidian model, this study addresses the issues raised by these works, showing that a subtler reading is possible, through the medium of this poetry, of the interaction that took place in India between the production of literature and colonialism. In particular, this thesis demonstrates that although Orientalist poetry was in many ways derivative, it also evinces an active and developing response to the imposition of British culture upon India.
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Reid, Joshua S. "Art Appreciation Lecture and Sculpture Walk Tour." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3167.
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Chanda, Geetanjali. "Indian women in the house of fiction : place, gender, and identity in post-independence Indo-English novels by women /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19736617.
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Hollis, Victoria Caroline Bolton Jonathan W. "Ambassadors of community the history and complicity of the family community in Midnight's Children and the God of Small Things /." Auburn, Ala, 2009. http://hdl.handle.net/10415/1668.
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Ross, Oliver Paul. "Same-sex desire and syncretism : 'homosexualities' in Indian literature and film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609810.
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Henry, Beulah. "L'expression de l'indianité chez les écrivains de la diaspora indienne de la Caraïbe." Villeneuve d'Asq : Presses universitaires du Septentrion, 2002. http://catalog.hathitrust.org/api/volumes/oclc/48112513.html.
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Yorke, Stephanie. "Disability, normalcy, and the failures of the nation : a reading of selected fiction by Salman Rushdie, Rohinton Mistry, Indra Sinha, and Firdaus Kanga." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:50a3e631-419f-490a-9995-f0fa511e5688.
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This thesis is a study of representations of disability in a selection of Anglophone Indian literature written between 1981 and 2006. In this thesis, I argue that, in fiction by Salman Rushdie, Rohinton Mistry, Indra Sinha, and Firdaus Kanga, disability often takes on positive symbolic value as it represents the potential for the postcolonial polis to survive and thrive, but that the ultimate death or medical normalisation of disabled characters in many of these narratives is tied to a loss of political optimism. While these texts in many instances disturb norms surrounding able-bodiedness and disability, they often ultimately narrate a pessimistic conformity to scripts of normalization, and in so doing, map the unjust triumph of a prescriptive national or international politics onto a prescriptive politics of the body. As disability is eliminated, so is the potential for resistance to latent colonial or hegemonic forms. On the other hand, those fictions that narrate a sustainable disabled presence suggest the potential for the community or nation to emerge from oppressive social structures unscathed. I focus on applying literary disability scholarship to Indian novels which demand scrutiny through a disability studies lens, given their dependence upon the disabled body as a metaphoric object and the continuities in their disability representation and the representation of history. While the focus of my work is upon the nuances of disability representation as it is used to parallel the rise (and sometimes fall) of political optimism in these examples of Anglophone Indian literature, I also read toward an understanding of how the postcolonial perspective of these fictions may inflect and complicate disability representations, and investigate Western notions of normalcy as they are represented as intruding upon this literature and as disciplining the body in these texts. This disciplining is further explored through an ancillary reading of how medical apparatus and infrastructure, such as hospitals, ambulances, and especially doctors, are represented in this group of novels, as it is often in conjunction with the medical establishment that disabled characters are subjected to (neo) colonial violence. In the first chapter, which takes the form of a critical introduction, I discuss the terms of my argument within the development of disability studies, and position myself within the debates and concerns of literary disability studies in particular. I consider the antecedents and development of what is now called the cultural model of disability, and discuss how literary disability scholarship, which began its development with a focus on Western texts and contexts, has begun to extend its range of inquiry to become global in scope. I consider examples of the interplay of contemporary Indian history with biopolitical ideals and the paradigm of normalcy as it has been articulated by Lennard Davis and his intellectual predecessors including Canguillheim and Foucault. In the second chapter, which is entitled "The Medical and the Monstrous: Disability in Salman Rushdie's Midnight's Children, Shame, and The Moor's Last Sigh," I consider how the disabled body is created as an object of competition in an ideological agon between a violent, globalized modernity and a sometimes-idealized fictive past. While Rushdie often represents the disabled body in a very simplified and rather bigoted register, he also to some extent engages with the more complex potentialities of disability to represent the failure of the state. The normalizing perpetration of a Westernized medical apparatus against disabled people becomes the proof and of political disintegration and the dissolution of hope for the emergent nation, whether in Rushdie's fictional version of India or Pakistan. In the third chapter, "Disability and the Realization of Metaphor in Rohinton Mistry's Such a Long Journey and A Fine Balance," I consider Rohinton Mistry's disability representations in relation to his engagement with the tradition of European realism. While Mistry attempts to re-locate the normal type articulated by the European novel, and subverts the conventions of European fiction even as he employs them, he still depends upon a largely uncontested tradition of disability representation. While he re-locates the norm in many demographic respects, he does not fully manage to rescue disability from an ancillary and symbolic role in the fiction. Mistry uses disabled characters symbolically to imagine political upheaval from a disadvantaged and sometimes from a subaltern position, creating in disabled characters their symbolic correlates. In my fourth chapter, "Collective Disability and the Dis-located Norm in Indra Sinha's Animal's People," I consider the ways in which this novel effaces paradigms of normalcy by imagining an environment in which disability is the unifying commonality of community life. While Mistry and Rushdie ultimately write disability as narrative anomaly in the ways described by Mitchell and Snyder, Sinha inverts the paradigm of the anomalous body in his fictional representation of the Bhopal disaster. The failure of the Indian state to protect its citizenry results in collective disability identification, while those able-bodied individuals who might be treated as normal in another fiction become suspicious outsiders. In my fifth chapter, "Unaccommodating Fictions: Disability, Authorship, and the Politics of Failure in Firdaus Kanga's Trying to Grow," I consider the ways in which gay, disabled, Parsi writer Firdaus Kanga represents failure and dependency as character weakness. Kanga validates neoliberal competition by re-imagining the potential for economic and social attainment as properties of mind at the exclusion of the body, and, in so doing, inaugurates an adaption of paradigms of normalcy. Kanga's imaginary valorises the economically competitive individual, but simply removes the constraint of bodily normalcy from this ideal marketable man. For Kanga, economic freedom from parental, societal, or governmental intervention is edifying, as masculinity is achieved through uninhibited competition. In my conclusion, "Good Doctors and Bad Doctors in Rushdie, Mistry, Sinha, and Kanga," I consider the representation of the clinic and of physicians in addition to the representation of disabled people in the novels included in this thesis. Doctors and medical apparatus become symbolic correlates for different political impositions and political strategies, often representing the abuses and failures of government or of public policy. I will frame my discussion within Foucault's concept of the clinic, and will consider the ways in which traditional and Western medicine take on symbolic meaning in these fictions of India.
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Behera, Subhakanta. "Oriya literature and the Jagannath cult, 1866-1936 : quest for identity." Thesis, University of Oxford, 1999. http://ora.ox.ac.uk/objects/uuid:7b160f8c-be65-44da-a2e0-99522274060b.
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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.
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Chattopadhyay, Sayan. "Foreign selves : Indian self-fashioning as European and twentieth-century Indian English literature." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648897.
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Sargent, Marilyn Jane. "Indian English: Is it "bad" or "baboo" or is it Indianized so that it is able to deal with the unique subject matter of India?" CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/563.
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Krönström, Tobias. "Forever young : A study of the correspondence between sculptures of Aphrodite and Venus and the female physical ideal in ancient literature." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-411699.
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This study aims to explore how the goddesses of beauty Aphrodite and Venus were portrayed in sculpture in comparison to physical beauty, as attested in ancient texts. The study uses iconography and iconology to analyse the sculptures and semiotics to analyse the ancient texts. In this study measurements were taken of Aphrodite and Venus sculptures at Berlin’s plaster museum (Abguss-Sammlung Antiker Plastik). The measurements were taken in order to compare the results from the ancient texts. In this study, 11 sculptures are analysed and compared to ancient texts from five different periods (700-400 BC, 400-1 BC, 1-200 AD, 200-500 AD and unknown dates). The sculptures and the ancient texts are then compared to each other and then compared with modern studies about nakedness, physical appearance and beauty during antiquity. The results conclude that it is difficult to specify exact beauty ideals, but the study shows that women should be curvy, white and rosy, have firm breast and a lovely face, and that the sculptures follow that beauty ideal closely.
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Burgon, Haleigh Heaps. "Redemption in the Life and Work of Camille Claudel." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2987.
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Camille Claudel is a sculptor who has traditionally been approached in terms of her relationship to Rodin and his influence on her work. Indeed, the two shared a passionate relationship and there are certainly similarities between the two sculptors' work which provide for fascinating analyses. However, one of the acknowledged but previously unexplored speculations on Claudel's art suggests that it involves a measure of veiled spirituality sealed within its stone. It is precisely this sacred element within her sculptures that offers viewers an opportunity to experience transcendence while identifying with fundamental themes. Furthermore, Claudel created her figures as a method of interior healing and deliverance. This theme of redemption will be essential to arriving at the more profound, multifaceted interpretations of her sculptures. To highlight the connections to the various artists and movements discussed in the thesis, Claudel's piously thematic art can be compared to the nontraditional illustrations by Vincent Van Gogh, Paul Gauguin, and the religious depictions of James Tissot, as well as being seen as engaging with the idea of theosophy and the Symbolist art movement. It is true that in fin-de-siècle France, due to the advancing secularization of society, viewers did not understand religious and spiritual symbolism in art as comprehensively as they had in the past. However, it will be necessary to show that Claudel was not the only artist interested of her era who persisted in conveying spiritual themes within supposedly secular scenes. Yet, Claudel's work remains unique in that it communicates the theme of redemption through its creation as well as through its creator. Chez Claudel, the art and the artist are united and one cannot be fully understood without the other. Moreover, through her masterpieces, she did not only offer insight into the meaning of existence; through her redemptive works she found momentary salvation for herself and for others from the excruciating outward oppression present at the close of the 19th century. Unfortunately, since the moment she began to successfully achieve recognition for her work critics have been content to view each of Camille Claudel's sculptures as a deliberate response to her tumultuous relationship with Rodin. This thesis will investigate more enlightened interpretations made possible when one simultaneously considers the role of her spirituality. It will become unmistakably clear that Camille's brother Paul was right when he stated that her work is vastly different from all other artists' "because it welcomes light and radiates the inner dream that inspired it" (Ayral-Clause 157).
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Maravi, Pilar L. "Del cielo a la tierra: Gonzalo de Berceo, Signos que aparecerán antes del Juicio Final, y sus nexos con la arquitectura medieval española." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/272222.
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SpanishPh.D.
This dissertation is a study of the links between the poem Signos que aparecerán antes del juicio final of Gonzalo de Berceo and the Spanish medieval architecture. The analysis is based on a comparative and systematic contrast between the literary work of Berceo and the monumental sculptures present in three cathedrals that represent the Spanish medieval architecture. The iconographies found in the portals of these cathedrals have thematic and symbolic similarities with the poem of Gonzalo de Berceo.
Temple University--Theses
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Carrington, Ann. "The iconography of the chase and the equestrian motifs of eighth to tenth century Pictish and Irish sculpture with reference to early medieval Celtic literature." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/19607.
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This thesis considers the chase and the equestrian motifs on Early Medieval Pictish and Irish sculpture which have not generally been studied on their own. These motifs deserve the concentration of study in their own rights. We endeavour to bring out, more clearly than hitherto, the history, iconography and ramifications of the chase and the equestrian motifs. In order to do so, the role of these motifs in Celtic literary tradition will be considered thereby heightening our understanding of the literary significance of these images within an Early Medieval Celtic context. Moreover, such art historical criticism as exists tends to categorize the chase and equestrian figures as simply secular (ie. non-Christian) in nature. It is argued that these motifs cannot be so simply described. Part of our purpose will be to show that the chase and equestrian motifs can meaningfully be regarded as simultaneously Christian and secular, literal and symbolic, local and universal in their statements. Their iconographies are multi-layered and complex, distinguished by an ambivalent interplay of sacred and secular symbolism at once thematically complementary and multivalent in meaning. Further, it is argued that the visual and literary evidence are mutually illuminating. It is not argued that this is always and necessarily the case, although we believe it usually to be so. We will consider how this is true in the context of the Irish crosses and Pictish cross-slabs which depict both hunting and riding vignettes. Of course, we shall attempt to demonstrate how and why the mutual artistic-literary illumination works.
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McAra, Catriona Fay. "'Some parallels in words and pictures' : Dorothea Tanning and visual intertextuality." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3722/.
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In 1989 the American Surrealist associated painter, sculptor, and writer Dorothea Tanning (1910-2012) suggested an intermedial dimension to her multifaceted œuvre in her essay ‘Some Parallels in Word and Pictures.’ Taking this essay as a critical point of departure, this thesis offers an intertextual theorisation of Tanning’s practice. It concerns the role of narrative in her work, and the way in which she borrows from the histories of art and literature as source materials. The thesis presented here is that Tanning’s work from the context of Surrealism and beyond makes reference to the fairy tales and other, more extensive works of literature which she read in her youth whilst at work in her public library in Galesburg, Illinois, whether implicitly in visual references or explicitly in her works’ titles. Throughout, the library is read as a key source of inspiration. This is true too of the impact which Tanning’s belated visit to the Louvre had on her post-Surrealist stylistic development. Broadly, this thesis aims to rethink the methodologies used to interpret Surrealism, and reunite the literary and visual aspects upon which the Surrealist movement was initially founded. This interdisciplinary approach contributes fresh perspectives by marrying the history of Surrealism with that of the fairy tale, including that of Lewis Carroll, Hans Christian Andersen, and the fairy tale illustrations of Gustave Doré, Maxfield Parrish, Arthur Rackham, and John Tenniel. The anti-fairy tale emerges as useful critical tool in defining the intertext which appears when Surrealism and the fairy tale are paired. The ‘demythologising’ project of Angela Carter is useful to call upon in the articulation of the anti-fairy tale, and her work is easily placed in dialogue with that of Tanning, especially in terms of its feminist leanings. The dialogic, intertextual theories of Mikhail Bakhtin, further developed by Julia Kristeva and Roland Barthes, support this reading of Tanning’s visual narratives. More recently such theories of intertextuality have manifested themselves in the work of Dutch narratologist Mieke Bal who proposes a model of ‘preposterous history’ in order to creatively re-read the relationship between source (or pre-text) and intertext. This research is primarily text-based and devotes long-awaited attention to Tanning’s literary works which are read visually, including her short story ‘Blind Date’ (1943), and her novel 'Abyss' (1977), later reworked and republished as 'Chasm: A Weekend' (2004). I argue that her novel provides textual continuity with her Surrealist visual narratives of the 1940s creating a more cyclical, ‘preposterous’ shape to her career than has previously been acknowledged.
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Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
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Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographiqueIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
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Adams, Christopher David. "More alive than ever? : futurism in the 1940s." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19110/.
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The 1940s are undoubtedly the years most neglected by scholars of Italian Futurism. The movement had long supported Fascism, but its vocal endorsement of Mussolini’s regime and its military adventures at this time is widely considered to represent Futurism’s ultimate betrayal of those ‘progressive’, counter-cultural values popularly associated with the avant-garde. For many, the movement’s apparent engagement with the forces of reaction and conservatism is reflected in the work produced by its artists throughout the war years, which is invariably presented in terms of propaganda imagery, characterised by an unchallenging and retrogressive figurative vocabulary. However, this thesis argues that the 1940s cannot be said to reveal a rupture in either the ideological or aesthetic foundations of the movement, and that common assumptions regarding the crude, rhetorical and one-dimensional nature of Futurist painting (and poetry) during this period are not necessarily borne out by the works themselves. The text also examines the movement’s status within the cultural establishment at this time. It challenges the notion that the reverberations within Italy of Nazism’s campaign against modern art during the late 1930s were irrevocably to prejudice the Fascist regime and its institutions against Futurism. Indeed, it is argued that one can no more consider the 1940s a period of decline from the point of view of the movement’s political fortunes than one can from an artistic perspective. Of course, Futurism did not survive the war. However, it is suggested that whilst the cataclysmic events of 1943-44 were to seal its fate, they also served to liberate the imaginations of Marinetti and his followers, reawakening the movement’s original, visionary spirit, and inspiring a final burst of creativity that anticipated ‘the future of Futurism’.
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Pierre, Laetitia. "Enseigner l'art de peindre : l'œuvre pédagogique et littéraire de Michel-François Dandré-Bardon (1700-1783)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H057.
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A première vue, les ouvrages du peintre d'histoire, littérateur, musicien et théoricien de l'art Michel-François Dandré-Bardon (Aix-en-Provence 1700 - Paris 1783) peuvent passer pour un savoir de compilation. Leur diversité déclinée sous forme de poèmes, traités de peinture et de sculpture, descriptions chronologiques d'œuvres, répertoires, éloges d'artistes et essais synthétiques, laisse croire qu'il couva tout au long de son existence une ambition littéraire démesurée. Pourtant, sa démarche dément une telle intention. En tant que co-fondateur puis directeur perpétuel de l'École de dessin de Marseille dès 1752, professeur pour l'histoire, la fable et la géographie des élèves de l'École royale protégée de 1755 à 1775, Dandré-Bardon élabora un corpus littéraire en douze volumes visant à établir la première théorie opératoire moderne. La démarche pédagogique engagée par l'artiste nous apparaît de ce point de vue fondamentale : elle s'articule étroitement avec une production graphique qui devient le fer de lance d'une démonstration globale. L'étude chronologique de la carrière artistique de Dandré-Bardon incluant désormais son œuvre littéraire, permet de réviser l'interprétation et la réception de plusieurs de ses chefs-d’œuvre. En choisissant d'axer notre démonstration sur la réception du projet éditorial de l'artiste, nous observons comment ses conceptions pédagogiques ont évoluées au fur et à mesure de leur mise en pratique. La démarche mentale de Dandré-Bardon articule étroitement la pratique de l'exécution artistique avec la production des écrits rédigés entre 1737 et 1778. Ils donnent ainsi les moyens d'apprécier la diversité et la subtilité sémantique des œuvres de ses contemporains en indiquant le cheminement de l'esprit qui anime la matièreThe work of Dandré-Bardon, an academic painter, writer, musician and art theorist (born Aix-en-Provence 1700 - died Paris 1783), could appear to be a synthesis comprised of mere compilation. The diversity of his creative and intellectual expression included poems, treatises on painting and sculpture, chronological and descriptive catalogues of artworks, artist biographies and hagiographies as well as analytical essays, the totality of which might give the impression of oversized literary ambitions. However, Dandré-Bardon's practical method contradicts such an unfortunate misunderstanding of his endeavors. As co-founder of the École de dessin de Marseille, Dandré-Bardon was appointed Director for life of the same establishment in 1752. From 1755 to 1775, he was also a professor of History, Fables and Geography for students at the École royale protégée, where he wrote a twelve volume literary compendium aimed at establishing the first modern theory for artistic pedagogy. With this in mind, the pedagogical method developed and unde1iaken by the artist was thus fundamentally important during the period : in conjunction with Dandré-Bardon 's artistic production, it became the spearhead for a broader movement. Henceforth, the chronological study of the artistic career of Dandré-Bardon must include his literary work, which will allow a re-evaluation of the historical reception of his masterpieces, as well as the meaning behind their iconography. By choosing to focus on the artist's texts, we can observe how his pedagogical concepts evolved in alignment with their practical application. The intellectual approach of Dandré-Bardon highlights the alignment between his a1iistic development and his literary output during the period from 173 7 to 1778. They provide the means of appreciating the diverse and refined semantics that marked the works of his contemporaries while showing the thought processes behind how the mind brings matter to life in the creation of art
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Deves, Cyril. "Une figure emblématique dans les arts du XIXème siècle en France : Don Quichotte." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20118.
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Le Don Quichotte de Cervantès a inspiré tous les domaines artistiques du XIXème siècle (1789-1914). Le choix de regrouper dans un même corpus les arts graphiques et plastiques, les arts populaires, les arts du spectacle et cinématographiques, permet de voir comment les arts s’influencent, se répondent ou s’opposent. Le Don Quichotte est, comme tout sujet littéraire traité dans les domaines artistiques, confronté à son image littéraire, celle créée par son auteur. Notre volonté est de distinguer comment se profilent puis se figent les caractéristiques physiques des personnages principaux au cours du XIXème siècle et ce, principalement en France.Les artistes sont amenés à interpréter le texte. Ils se détachent de l’image littéraire pour s’intéresser aux possibilités plastiques et iconographiques qu’offre le roman de Cervantès. Au-delà de la traduction plastique d’un texte littéraire, l’enjeu est de comprendre comment les artistes parviennent à s’insérer dans la pensée de leur société, c'est-à-dire comment ils arrivent à influer sur la lecture d’une œuvre littéraire. En comparant l’iconographie de don Quichotte à celle d’autres héros, il s’agit de voir en quoi le personnage créé par Cervantès permet aux artistes de se réapproprier cette silhouette et à quelle fin. Son image est largement exploitée dans les domaines de la publicité et de la caricature. L’étude vise à saisir par quels moyens les deux héros vont se retrouver transposés dans une société pour en faire, tantôt la critique, tantôt l’apologie, au gré des contingences politiques, économiques et sociales, voire oniriques ou fantaisistes, c'est-à-dire sans substrat critique et par pure référence ludiqueThe Don Quixote of Cervantes has inspired all fields of arts of the nineteenth century (1789-1914). The choice to group in one corpus the visual arts, popular arts, performing arts and film, let us see how the arts influence, answer or oppose each other. The Don Quixote is, like any literary subject within the arts, confronted with his literary image. Our desire is to distinguish the emerging profiles of the main characters of nineteenth century France and then analyse their physical characteristics.Artists are asked to interpret the text. They detached themself from the literary image and have greater interest in the visual and iconographic opportunities offered within the novel of Cervantes. Beyond the visual translation of a literary text the challenge is to understand how artists manage to fit into the thinking of their society, or in other words, how they can influence the reading of a classic work of literature. By comparing the iconography of Don Quixote through other heroes we can understand how the character allows artists to adapt this figure and for what purpose. His image is widely used in the fields of advertising and caricature. The study aims to understand the means by which the two heroes will find themselves transposed into a society to make, sometimes critical, sometimes complientary comments, according to the political contingencies, or economic, social, even whimsical and fantastical i.e. without a basis of critical reference and amusing
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Wilhelmsson, Anna. "På väg till den tredje grisen : Studie av en transmedial konstpromenad för barn." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-9781.
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Art in the city can be invisible until we talk about it. Letting children see public art in the context of play and narrative is a way to enhance creative thinking and knowledge as well as making the art visible. By creating a prototype for an art walk for children this study was able to create a scenery of children using different kinds of mediated narrative combined with a physical environment and movement. The theoretical framework of the project was picture books (Rhedin, 1991) transmedia (Jenkins 2006, Ryan 2004) and public art (Kwon 2002). The project’s aim was to create an empirical context for primary school children to explore public artwork. The project was designed as a walk for children and teachers, within a narrative context presented in a printed book containing illustrations of the actual artwork and a framing mystery story. The book also contains blank pages for children to draw and write stories based on the book and their empirical experience. Analysing the material from a method based on narratology (Genette 1980, Brooks 1992, Brannigan 1995) and phenomenology (Merleau-Ponty 1945/1997) the study shows that switching between turning of pages, between the illustrations in the book and the first hand experience of being in the physical environment, leads to a high degree of engagement. Interaction with the artwork also inspires children to draw their own pictures, based on the artwork, and to create their own stories about it.
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TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.
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The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
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Blake, Greyory. "Good Game." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5377.
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This thesis and its corresponding art installation, Lessons from Ziggy, attempts to deconstruct the variables prevalent within several complex systems, analyze their transformations, and propose a methodology for reasserting the soap box within the display pedestal. In this text, there are several key and specific examples of the transformation of various signifiers (i.e. media-bred fear’s transformation into a political tactic of surveillance, contemporary freneticism’s transformation into complacency, and community’s transformation into nationalism as a state weapon). In this essay, all of these concepts are contextualized within the exponential growth of new technologies. That is to say, all of these semiotic developments must be framed within the post-Internet sphere.
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Hirsh, Marilyn. "Sources for the figural sculpture of Māllapuram." 1986. http://catalog.hathitrust.org/api/volumes/oclc/16623893.html.
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Chakraborty, Chandrima. "Gender, religion, and nationalism : the trope of the ascetic nationalist in Indian literature /." 2004. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99152.
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Thesis (Ph.D.)--York University, 2004. Graduate Programme in English.Typescript. Includes bibliographical references (leaves 315-337). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ99152
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Hendry, Marie Erndl Kathleen M. "The prolific goddess imagery of the goddess within Indian literature /." 2003. http://etd.lib.fsu.edu/theses/available/etd-11182003-202608/.
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Thesis (M.S.)--Florida State University, 2003.Advisor: Dr. Kathleen Erndl, Florida State University, College of Social Sciences, Dept. of International Affairs. Title and description from dissertation home page (viewed Mar. 2, 2004). Includes bibliographical references.
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Adarkar, Aditya. "Karṇa in the Mahābhārata /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3019886.
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Satyanesan, Jessie. "The Library of Congress Cooperative Acquisitions program for India and the management of Indian language materials in the academic and research libraries in the United States." 1992. http://books.google.com/books?id=EwThAAAAMAAJ.
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Landon, Clare Eve. "India through eastern and western eyes : women's auto/biography in colonial and post-colonial India." Thesis, 2001. http://hdl.handle.net/10413/2964.
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During the course of my dissertation I demonstrate the way in which Anglo-Indian women writers of the late nineteenth century and early twentieth century diverge from the genre of the "feminine picturesque" as explained by Sara Suleri in her book, The Rhetoric of English India. I look too, at what Indo-English women use as a genre, instead of the "feminine picturesque". I also apply Spivakean ideas on representation to their writing in order to see the similarities and differences between my primary texts and the theory. I begin my dissertation by explaining what Sara Suleri means by the "feminine picturesque" and how I intend using it to better understand the primary texts I look at. I also explain Spivak's ideas on representation and how I intend using them to further my appreciation of Anglo-Indian and Indo-English writing of this period. I conclude my thesis by discussing my findings with regard to the theorists looked at, and how their ideas have been reflected in the four principal texts I examined.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2001.
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Owen, Lisa Nadine. "Beyond buddhist and brahmanical activity: the place of the Jain Rock-Cut Excavations at Ellora." Thesis, 2006. http://hdl.handle.net/2152/2592.
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Poddar, Neeraja. "Krishna in his Myriad Forms: Narration, Translation and Variation in Illustrated Manuscripts of the Latter Half of the Tenth Book of the Bhāgavata Purāṇa." Thesis, 2014. https://doi.org/10.7916/D8H70CVV.
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This dissertation focuses on a seventeenth-century (so-called) Malwa manuscript that illustrates the story of Krishna, and the copy manuscripts that were produced after it. It explores how the story is transformed in its incarnations as the vernacular text inscribed on the manuscript, the cycle of illustrations depicting that text, and then the copies made from what appear to be the initial illustrations. The claim is that narrative variations which find their way into these different embodiments should almost never be considered "mistakes," even when an act of misunderstanding seems to be clearly implied. Rather they are moments when the artist's or author's engagement with contemporary sectarian concerns, literary trends, artistic strategies and popular culture is manifest. The first three chapters of the dissertation are devoted to an analysis of text, illustration and copy illustration respectively, while the fourth presents the broader context in which such Krishna manuscripts were circulating.The underlying objective is to re-evaluate the conventional narrative of North Indian illustrated manuscripts. This is cast as the teleology of court styles where political history is used to decide important and influential ateliers. Visually compelling and historically important illustrated manuscripts such as the ones I study, but whose patronizing court is undecided, are largely ignored. This dissertation showcases an alternative, interdisciplinary approach that undertakes thorough visual and textual analyses alongside an examination of the broader socio-religious trends that impacted artistic production. It advocates that every illustrated manuscript should be studied individually, rather than as just a member of a predetermined stylistic group.
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Bednar, Michael Boris. "Conquest and resistance in context: a historiographical reading of Sanskrit and Persian battle narratives." Thesis, 2007. http://hdl.handle.net/2152/2995.
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Bednar, Michael Boris 1969. "Conquest and resistance in context : a historiographical reading of Sanskrit and Persian battle narratives." 2007. http://hdl.handle.net/2152/13170.
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