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1
Armstrong, Kevin Anthony. "Aesthetics/ethics, two modern views." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37936.pdf.
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James, Michael. "Reflections and elaborations upon Kantian aesthetics." Uppsala : Stockholm, Sweden : Academia Ubsaliensis ; Distributor, Almqvist & Wiksell International, 1987. http://catalog.hathitrust.org/api/volumes/oclc/18255569.html.
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Schmid, Erica. "Fail Better: The Aesthetics of Contemporary Criticism." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/274890.
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English<br>Ph.D.<br>Though literature and literary study have needed defense for most of their respective histories, the current crisis in academic literary study and the humanities more generally has forced scholars into the uncomfortable position of selling their disciplines and simultaneously warning students about the risks involved in earning what the dominant public considers to be "useless" degrees. The paradox, of course, is that dissuading would-be studiers is both ethical and destructive: it is necessary to inform students of the frightful instability of careers in literary study, but doing so renders such careers even more unstable. While some argue that the decline of the discipline is a result of practices within the discipline, I suggest that the root of the problem lies in the dominant discourse, which forces scholars to defend the discipline according to dominant notions of success. Using Frank Lentricchia's "Last Will and Testament of an Ex-Literary Critic" as a hinge between discussions of the value of literary study and elaborations of the antisocial thesis in queer theory, I contend that the discipline is not socially valued for the same reason it is socially valuable: it facilitates the pleasure of experiencing and envisioning new possibilities in and through the circulation of discourse. Since this aim does not (easily) translate into wealth accumulation or employability, it does not read as "success" and therefore the discipline has difficulty being socially valued. Rather than explaining the various benefits of earning a degree in literature, I argue that the discipline should embrace (its) failure as both a challenge to and re-imagining of dominant notions of success.<br>Temple University--Theses
4
Eccles, Tim. "Looking for beauty: a call to educators to address the need for aesthetic education in our classrooms /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2204.
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Long, David Thomas. "Object vanishings in early modern narrative." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1495946191&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Iida, Yumiko. "Rethinking identity in modern Japan : nationalism as aesthetics /." Abingdon ; New York : Routledge, 2002. http://catalogue.bnf.fr/ark:/12148/cb40016503j.
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7
Felstead, Kenneth Desmond 1945. "The metaphysical grounds for the modern relationship between aesthetics and ethics." Monash University, School of Literary, Visual and Cultural Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/8648.
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Kitamura, Katie. "The aesthetics of vulgarity and the modern American novel." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424932.
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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.
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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.<br>Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."
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Grahn, Emma. "A study in GUI aesthetics for modern pixel art games." Thesis, Blekinge Tekniska Högskola, Sektionen för datavetenskap och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5423.
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The clarity and usability of the graphical user interface is very important for the enjoyment of a digital game. Pixel art is an art style with low resolution consisting of a precise placing of pixels, the smallest unit of colour that a screen can display. Pixel art has the potential of being cheap, easy to make and nostalgic, but it takes some skill to handle. However the great weakness of pixel art is displaying letters, and small details with clarity. So is there a place for pixel art in modern games? This thesis will discuss how pixel art games could use their GUI and HUDs to create beautiful games without losing clarity. The aim of this study is to is to compare different games GUI in a systematic way and discuss whether the artists have succeeded in their design of the GUI to give the player a pleasant game experience. A second aim is to find a series of recommendations on how to build a GUI with the least possible intrusion on on a narrative driven game. The main question is how can the GUI be designed and drawn to fit a modern pixel art game without causing a distracting discord to the pixel art style?<br>Tydlighet och användarvänlighet, i det grafiska användargränssnittet är en mycket viktig del för att göra ett digitalt spel omtyckt. Pixelgrafik är en grafisk stil i låg upplösning som består av en genomtänkt placering av pixlar, de minsta representationen av färg som en skärm kan visa. Pixelgrafik har potentialet att vara billigt, lätt att skapa och nostalgiskt, men den kräver teknik att använda. Den här uppsatsen diskuterar hur pixelgrafik kan använda sitt användargränssnitt och ”Heads up display” för att skapa vackra spel utan att förlora tydlighet.
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POLIZZO, ANA PAULA. "THE MODERN AESTHETICS OF THE LANDSCAPE: ROBERTO BURLE MARX’S POETICS." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=17068@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>A arte dos jardins comparada com as outras artes é extremamente ambígua:ela se constrói com a própria natureza, e, no entanto, desta deve se afastar por intermédio de um gesto que a torna jardim e que a isola da extensão que o cerca. O jardim é uma realidade frágil uma vez que lida com o mundo transitório e efêmero das plantas, com o ciclo de vida, com a mutabilidade, com a temporalidade bem marcada, diferente da obra de arte estática. Sob esta perspectiva, muitos autores são incisivos ao indicar Roberto Burle Marx como definidor de uma estética moderna de paisagem, incorporando o espírito da pesquisa plástica às soluções dos jardins. Colocam suas produções como descobertas de uma nova forma de arte intelectual, uma linguagem moderna, harmonizando valores geométricos e de ordem com os valores instáveis da natureza. Esse processo de trabalho pressupõe uma forma articulada de visão, que considera o jogo entre constantes e variantes: a definição formal do espaço (que busca um foco extremamente visual na composição, como numa tela em que os elementos possuem uma lógica intrínseca), o conhecimento das espécies com a compreensão do movimento e a dimensão do tempo no jardim. Estas composições paisagísticas passam a constituir uma unidade, uma experiência própria e autônoma possuidora de lógica interna, ainda que ligadas a uma extensão e a um movimento infinitamente mais vasto da natureza como um todo. Há um intercâmbio de vertentes na noção da paisagem: o ordenamento construído através da arte, numa coexistência com o princípio eterno de natureza. Através da manobra de introduzir a natureza estetizada na arquitetura, se estabelecia uma maneira de realizar a conciliação entre arquitetura e natureza, ora possibilitando uma unidade compositiva, ora ressaltando a distância entre os dois elementos insistindo em sua recíproca exterioridade.<br>Garden art, if compared to other kinds of art, can be extremely ambiguous: it is
built with nature although it should get away from it through a gesture which makes
it a garden and that isolates it from the surrounding extension. The garden is a fragile
reality since it deals with the transitory and ephemeral world of the plants, with a life
cycle, with mutability, with well established temporality, different from static art.
Under this perspective, many authors are incisive to point Roberto Burle Marx as a
definer of landscape modern aesthetics, joining the spirit of plastic research to garden
solutions. They state his productions as discoveries of a new form of intellectual art,
a modern language, harmonizing geometric and order values with unstable values
from the nature. This work process presupposes an articulated point of view, which
considers the role played by the constant and variables: the formal definition of space
(which seeks for an extremely visual focus in the composition, just as on a canvas
where the elements have an intrinsic logic), the knowledge of species as the
understanding of the movement, and the time dimension in the garden. These
landscape compositions start to constitute a unit, an autonomous and own experience
having internal logic, despite being connected to an extension and to an infinitely
wider movement of the nature as a whole. There is a strand exchange related to
landscape knowledge: the planning built through art, in a coexistence with the eternal
principal of nature. By introducing aestheticized nature into architecture, a way of
carrying out the reconcilement between architecture and nature was established,
sometimes enabling a compositional unit, and sometimes enhancing the distance
between the two elements instituted in its reciprocal externality.
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Kerting, Verena. "Henry David Thoreau's aesthetics : a modern approach to the world /." Frankfurt-am-Main : P. Lang, 2006. http://catalogue.bnf.fr/ark:/12148/cb402429803.
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Smyth, Edmund Joseph. "The nouveau Roman and the aesthetics of modernity and postmodernity." Thesis, University of Glasgow, 1993. http://theses.gla.ac.uk/4834/.
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Sohn, Won Jung. "In search of another eye : mimesis, Chinese aesthetics, post-modern theatre." Thesis, University of London, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542434.
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Although a new tradition of non-mimetic theatre has secured a place in Western theatre history, I find that existing critical vocabularies fail to embrace various theatrical forms of today. Alternative frames of discussion are sought after, and I propose that a culturally distinct one will open up possibilities of perceiving contemporary performances in different ways. In this thesis I turn to the aesthetics of Chinese painting. The Western concept of mimesis in theatre is seen as being strictly related to the verbal aspects of the drama rather than the performed spectacle. Turning to paintings as a lens through which to look at theatre enables one to focus on the extra-textual aspects of performance. At the same time, looking at painting directs one to the issue of ways of seeing, which is fundamental to theatre. Looking at Chinese paintings will disclose the unique Chinese ways of seeing that affected their artistic creation and reception, as well as what different concepts of representation prevailed. In this thesis I trace the mimetic foundations of Western theatre by investigating the writings of Plato and Aristotle as well as looking at Classical Greek painting, its modern reflections and counteractions. I then propose the aesthetics of Chinese painting as an alternative lens through which to look at contemporary non-mimetic theatre. Focusing on landscape and literati paintings of the Sung era I examine how adopting this lens initiates a mode of perception that differs significantly from the Western. Finally, I explore the validity of Chinese aesthetics as a critical device with which to look at contemporary non-mimetic theatre, case-studying selected theatre performances of Tadeusz Kantor and Forced Entertainment
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Brennan, Mary Kate. "Nietzsche on Suffering, Affirmation, and Modern Tragedy." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593202.
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Philosophy<br>Ph.D.<br>As an artform, tragedy is deeply perplexing. On the one hand, it depicts events that are painful, depressing, and difficult to watch. On the other hand, it is a genre that has been continually replicated, revered, and enjoyed throughout history. I examine Nietzsche’s response to this problem. Nietzsche, I argue, develops a clear response to the paradox of tragedy: Tragedy is valuable because, even though (or precisely because) it is painful to watch, it allows us to affirm life. Interestingly, Nietzsche’s discussion of tragedy is filled with numerous mentions of Shakespeare. I argue that Nietzsche’s comments on Shakespeare emphasize the historically sensitive nature of Nietzsche’s theory of life affirmation. While Nietzsche might seem to be delivering a universal, trans-historical account of life affirmation, his comments on Shakespeare make it clear that life affirmation functions differently in different times and cultures.<br>Temple University--Theses
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Fokt, Simon. "Defining art culturally : modern theories of art : a synthesis." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3675.
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Numerous theories have attempted to overcome the anti-essentialist scepticism about the possibility of defining art. While significant advances have been made in this field, it seems that most modern definitions fail to successfully address the issue of the ever-changing nature of art raised by Morris Weitz, and rarely even attempt to provide an account which would be valid in more than just the modern Western context. This thesis looks at the most successful definitions currently defended, determines their strengths and weaknesses, and offers a new, cultural definition which can preserve the good elements of other theories, solve or avoid their problems, and have a scope wide enough to account for art of different times and cultures. The resulting theory is a synthetic one in that it preserves the essential institutionalism of Dickie's institutional views, is inspired by the historical and functional determination of artistic phenomena present in Levinson's historicism and Beardsley's functionalism, and presents the reasons for something becoming art in a disjunctive form of Gaut's cluster account. Its strengths lie in the ability to account for the changing art-status of objects in various cultures and at various times, providing an explanation of not only what is or was art, but also how and why the concept 'art' changes historically and differs between cultures, and successfully balancing between the over-generalisations of ahistorical and universalist views, and the uninformativeness of relativism. More broadly, the cultural theory stresses the importance of treating art as a historical phenomenon embedded in particular social and cultural settings, and encourages cooperation with other disciplines such as anthropology and history of art.
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Tsoulou, Marina-Georgia. "Philosophical approaches to classical ballet and modern dance." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/50522/.
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My primary concern in this thesis is to develop a framework in which classical and modern dance can be analyzed and assessed in philosophical terms. This should not be understood as an endeavour to create a system of values according to which dance should be criticized. What is being attempted is to describe and characterize dance with the tools provided by different aesthetic theories. Moreover dance, and especially ballet (due to its more solid and concrete structure and form), is used as a test - βάσανος (vasanos) in Greek - to help discern the limitations of existing aesthetic theories. At the same time the different criteria that each theory puts forward to identify a work of art are related to the notion of movement, which is central to dance. This process not only enables us to distinguish the elements of this complex form of human action, but also becomes the starting point for the elaboration of a reconfiguration of aesthetic concepts that will enable a sophisticated analysis of the phenomenon of dance. The underlying question throughout is "What makes a particular movement sequence a piece of dance rather than, for example, a piece of gymnastics?" complemented by the question "What makes an everyday life movement a dance movement?" These issues are addressed by considering how the various aesthetic theories can help us make the above distinctions. The different forms of dance are correlated with the aesthetic theories presented. The first notion I consider in this context is mimesis with special reference to Jean-Georges Noverre's account of dance, which has its roots in Aristotle's Poetics. Secondly I consider the notion of beauty - its independence from such notions as 'purposiveness', its lack of 'interest' - as analysed in Kant's Critique of Judgment. The expressive element of dance is explored in the context of R.G. Collingwood's expressivism and John Maftin's inflection of it in relation to dance. Attention to movement leads directly to the notion of form, which is explored in dialogue with André Levinson and Margaret H'Doubler. The thesis concludes by sketching an outline of a new way of approaching, understanding and hence potentially even experiencing dance (as a viewer). Dance is a carrier of a multiplicity of meanings with various contents. In the majority of cases a dance performance seeks to communicate a message to an audience. It is being suggested that dance constitutes a type of language, a communicational system, which has mimetic, expressive and formal elements. The notion of language is understood in later Wittgenstein terms. It is argued that dance comprises a 'form of life.' The elements of this system are facial expressions, movements of hands and arms, shifting of the body; all these reveal to us the quality of experience and feelings of the moving persona. Dance should be understood and appreciated in this particular context.
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Santos, Anna Maria Affonso dos. "John Graz: o arquiteto de interiores." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-03032010-112258/.
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Esta pesquisa tem por objetivo fazer uma análise formal dos projetos residenciais de arquitetura de interiores realizados por John Graz em São Paulo, nas primeiras décadas do século XX. Desta maneira, pretende-se mostrar sua importância como introdutor da estética moderna nos interiores das residências paulistas e dar a ele o devido reconhecimento pela importância que prestou as artes e a arquitetura brasileiras.<br>The main purpose of this research is to carry out a formal analysis of the home interior architecture designs developed by John Graz in São Paulo in the first decades of the 20th century. For that matter, it intends to show his importance as the innovator of modern design for home interiors in São Paulo and acknowledge his contribution to the Brazilian art and architecture.
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Magdaleno, Danieli Gervazio [UNESP]. "As bases hegelianas da literatura dramática de Jean-Paul Sartre." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151925.
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Previous issue date: 2017-09-21<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>A presente dissertação se volta para as diferentes formas de linguagem nas obras literárias de Jean-Paul Sartre e o que determina sua escolha pelo teatro como meio privilegiado para expressar o engajamento do indivíduo junto à coletividade. Sartre se mostra importante no panorama do drama moderno, visto que, ao mesmo tempo em que os personagens de suas peças, partindo de uma situação de total isolamento e desamparo, manifestam sua incapacidade de agir, ainda assim conseguem resgatar a liberdade de atuação constitutiva do gênero dramático. Sartre se empenhou por preservar as características do drama, mesmo diante das investidas épicas e líricas que tomaram conta do gênero dramático a partir do século XIX. A retomada do drama empreendida pela filosofia existencialista tenta sanar o estado de impotência que teria assolado o homem moderno. Nossa hipótese é de que Sartre parece buscar uma forma de legitimar seus dramas na sistematização dos gêneros literários exposta por Hegel em seus Cursos de Estética.<br>This dissertation's object are the different language forms in Jean-Paul Sartre's literary work and his choice for theatre as privileged means of expressing individual engagement in the collectivity. Sartre has been as an important name in the modern drama panorama, because his characters show an incapacity to act, coming from a situation of total isolation and abandonment, and at the same time are still able to rescue the liberty of acting. This liberty constitutes the drama, so Sartre strove diligently for preserving drama's features, even against the assaults from the epic and the lyric genders, which took over the dramatic gender from the nineteenth century onwards. Retaking the drama, a task undertaken by the existential philosophy, is one step towards solving the state of impotence that had devastated the modern man. We support the hypothesis that Sartre seems to seek for a way of legitimating the drama by means of the literary genders exposed by Hegel in his Lectures on Aesthetics.
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Brake, Daniel David. "God is also beautiful Karl Barth's inclusion of beauty in the doctrine of God /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Higinbotham, Sarah. "The Violence of the Law: Aesthetics of Justice in Early Modern England." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/english_diss/113.
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In the twenty-first century, as in the sixteenth, a blindfolded woman holding a sword and scales personifies justice; her blindfold conveys impartiality, her scales evenhandedness, and her sword the authority to compel obedience. In pre-democratic early modern England, Justice’s iconography was often used to legitimate the pain that the state imposed on those who broke the common peace. Simultaneously, the creative and cultural narratives within which the penal code was embedded often complicated and contradicted the state’s legally violent precepts. The relationship between legal violence and justice is at the center of this project: Must the law be violent to control violence? Does the law’s violence promote justice or disrupt it? How do the formal mechanisms of law and social control operate within the complex world of art, sermons, and literature? This project maps the late Elizabethan and early Stuart engagement with those questions. I examine a continuum of responses to legal violence embedded in the judicial institutions of Parliament, the Star Chamber, and the Queen’s Bench as well as in poetry, plays, sermons, broadsides, iconography, utopian narratives, paintings, and engravings. Often drawing on the metaphoric force of Justice’s symbols, the early modern response to legal violence was not purely semantic but strongly aesthetic, defending, mediating, reflecting, and refracting the state’s formal mechanisms of law. Reading case law along with works by Thomas More, Elizabeth I, Edmund Spenser, William Shakespeare, Edward Coke, John Donne, George Herbert, Thomas Hobbes, John Milton, and Margaret Cavendish, I trace law as a cultural practice, expressed and understood aesthetically through both codified and creative means.
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AlRajaibi, Iman M. "Aesthetics in the Qur’ān : a thematic study based on selected modern exegeses." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6986/.
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This thesis studies the notion of aesthetics from a Qurʼānic perspective by adopting the methodology of thematic exegesis with special reference to modern exegeses. The aim of adopting this specific exegetical genre is to construct a ‘unified’ understanding of what may be considered the Qurʼānic view of the notion of aesthetics. This study finds that aesthetics in the Qurʼān is expressed using a number of terms, all of which have specific connotations. The study shows that the term ḥusn is the most significant term related to the notion of aesthetics. It also finds that aesthetics from a Qurʼānic perspective is an aspect of reality and it is deliberately incorporated into God’s creation. Knowledge of the Creator and other religious functions are the ultimate purposes of aesthetics from a Qur’ānic perspective. Perfection, pleasure and goodness are intrinsically linked to the Qurʼānic conception of aesthetics. Qurʼānic discourse refers to nature as the most rewarding source of aesthetic experience. Aesthetics from a Qurʼānic perspective is not merely related to physical domains; it is rather an ethical perspective. Qurʼānic teaching disseminates an understanding of aesthetics throughout all facets of ethical conduct. The concept of iḥsān has a crucial role in Qurʼānic discourse on the ethics of aesthetics. Aesthetics in the Qurʼānic conception is not always mentioned with positive implications; it also can have negative connotations.
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Jeffrey, Anthony Cole. "The Aesthetics of Sin: Beauty and Depravity in Early Modern English Literature." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062818/.
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This dissertation argues that early modern writers such as William Shakespeare, Thomas Middleton, George Herbert, John Milton, and Andrew Marvell played a critical role in the transition from the Neoplatonic philosophy of beauty to Enlightenment aesthetics. I demonstrate how the Protestant Reformation, with its special emphasis on the depravity of human nature, prompted writers to critique models of aesthetic judgment and experience that depended on high faith in human goodness and rationality. These writers in turn used their literary works to popularize skepticism about the human mind's ability to perceive and appreciate beauty accurately. In doing so, early modern writers helped create an intellectual culture in which aesthetics would emerge as a distinct branch of philosophy.
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Mitra, Samarpita. "The literary public sphere in Bengal: Aesthetics, culture and politics, 1905-1939." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2009. http://wwwlib.umi.com/cr/syr/main.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Hitt, Christopher J. "The natural sublime : romanticism and the aesthetics of wilderness /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018373.
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Thesis (Ph. D.)--University of Oregon, 2001.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 277-286). Also available for download via the World Wide Web; free to University of Oregon users.
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Callwood, Chaneel Marie. "Architectural nights : an articulation of the structure of "The Garden of Forking Paths" by Jorge Luis Borges and "One Hundred Years of Solitude" by Gabriel Garcia Marquez." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23932.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Prickett, Stacey Lee. "Marxism, modernism and realism : politics and aesthetics in the rise of American modern dance." Thesis, Open University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304885.
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Burstow, Robert. "Modern public sculpture in 'New Britain', 1945-1953." Thesis, University of Leeds, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369070.
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Archer, Carol. "Frames, flows, feminist aesthetics: paintingsby Judy Watson, Cai Jin and Marlene Dumas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B3690787X.
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Case, Marlene Katherine. "The Carnivalesque and Grotesque Realism in Modernist Literature| The Final Novels of Ronald Firbank and Virginia Woolf." Thesis, Florida Atlantic University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096025.
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<p> <i>Concerning the Eccentricities of Cardinal Pirelli </i> by Ronald Firbank and <i>Between the Acts</i> by Virginia Woolf both liberate the text from the expected form to engage emotional awareness and instigate reform of societal standards. Employing Mikhail Bakhtin’s theories of the carnivalesque and grotesque realism as a means to create this perspective is unconventional; nevertheless, Firbank, predominantly misunderstood, and Woolf, more regarded but largely misinterpreted, both address sexuality and religion to parody what they believe to be the retrogression of civilization by narrating christenings, pageants, and other forms of carnival. Both novels forefront nonconformity, and the conspicuous influence of debasement is identified as a form of salient renewal. Christopher Ames, Melba-Cuddy Keane, and Alice Fox have already expressed remarkable insight into Woolf; unfortunately not a single scholar has approached Firbank’s text in this manner, and this essay discusses the value of both authors in the aspect of Bakhtin’s theories.</p>
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Schefer, Niklaus. "Philosophie des Automobils Ästhetik der Bewegung und Kritik des automobilen Designs /." München : Wilhelm Fink, 2008. http://books.google.com/books?id=5GbbAAAAMAAJ.
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Jones, Doyle Michael. "Masonry ornament : applications of masonry construction in post-modern architecture." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/24139.
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Sato, Yasuko. "Neither past nor present the pursuit of classical antiquity in early modern and modern Japan /." online access from Digital Dissertation Consortium access full-text, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3060262.
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Bracht, Christian. "Kunstkommentare der sechziger Jahre : Funktionen und Fundierungsprogramme /." Weimar : VDG, 2002. http://www.h-net.org/review/hrev-a0d4g3-aa.
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De, Andrade Pissarra Mario. "Locating Malangatana: decolonisation, aesthetics and the roles of an artist in a changing society." Doctoral thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31161.
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This thesis responds to the dearth of detailed studies of pioneering African modernists; and the need for fresh theoretical frameworks for the interpretation of their art. Building on recent scholarship that applies decolonisation as an epistemic framework, it argues that a productive decolonial discourse needs to consider concurrent forms of nationalism and cultural agency in both the anti/colonial and postcolonial periods. Central to this approach is an analysis of the aesthetic responses of artists to the experiences and legacies of colonialism. This thesis is grounded in a study of Malangatana Valente Ngwenya (1936-2011), Mozambique’s most celebrated artist. It draws substantially on archival material and rare publications, mostly in Portuguese. The artist’s career is located within changing social and political contexts, specifically the anti/colonial period, and the promise and collapse of the postcolonial revolutionary project, with the pervasive influence of the Cold War highlighted. Following the advent of globalisation, the artist’s role in normalising postcolonial relations with Portugal is foregrounded. Parallel to his contribution to Mozambican art and society, Malangatana features prominently in surveys of modern African art. The notion of the artist fulfilling divergent social roles at different points in time for evolving publics is linked to an analysis of his emergence as a composite cultural sign: autodidact; revolutionary; cultural ‘ambassador’; and global citizen. The artist’s decolonial aesthetics are positioned in relation to those of his pan-African peers, with four 6 themes elaborated: colonial assimilation; anti-colonial resistance; postcolonial dystopia; and the articulation of a new Mozambican identity. Key to this analysis is an elaboration of the concept of the polemic sign, initially proposed by Jean Duvignaud (1967), adapted here to interpret the artist’s predilection for composite visual signs that, in their ambivalence and often provocative significations, resist processes of definitive translation. It is argued that through a juxtaposition of disparate forms of signs, and the simultaneous deployment of semi-realist and narrative pictorial strategies, the artist develops a complex, eclectic and evocative aesthetic that requires critical and open-ended engagement. The thesis concludes with provocative questions regarding the extent to which the artist’s aesthetics reflect hegemonic national narratives, or act to unsettle these. of a new Mozambican identity. Key to this analysis is an elaboration of the concept of the polemic sign, initially proposed by Jean Duvignaud (1967), adapted here to interpret the artist’s predilection for composite visual signs that, in their ambivalence and often provocative significations, resist processes of definitive translation. It is argued that through a juxtaposition of disparate forms of signs, and the simultaneous deployment of semi-realist and narrative pictorial strategies, the artist develops a complex, eclectic and evocative aesthetic that requires critical and open-ended engagement. The thesis concludes with provocative questions regarding the extent to which the artist’s aesthetics reflect hegemonic national narratives, or act to unsettle these.
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Sager, Jenny Emma. ""The strategy with cunning shows" : the aesthetics of spectacle in the plays of Robert Greene." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:af29d412-c285-46e4-953c-43eac3e86f13.
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This is the first full-scale study of Robert Greene’s drama, offering a new interpretation of the dramatic oeuvre of one Shakespeare’s most neglected literary predecessors. Recent criticism has emphasised Greene’s pioneering role as an author of Elizabethan romance. Yet, in contrast to the numerous prose works which were printed during his life time, his drama, which was printed posthumously, has received little attention. Greene’s plays are visually magnificent: madmen wander on stage waving the severed limbs of their victims (Orlando Furioso, c. 1591), the dead are resurrected (James IV, c. 1590), tyrants gruesomely mutilate their subjects (Selimus, c. 1591-4), extravagant stage properties such as the mysterious brazen head prophesy to the audience (Friar Bacon and Friar Bungay, c. 1589), and sinners are swallowed into hell accompanied by fireworks (A Looking Glass for London and England, c. 1588). This thesis will examine the way in which these stage images evoke astonishment, which in turn encourages the audience to contemplate their symbolic significance. The triumph of Greene’s drama is not one of effects over affect; it lies in the interaction between effect and affect. My principal objective in this thesis is to develop a methodological strategy which will allow critics of non-Shakespearean plays, which frequently lack a substantial performance tradition, to study drama through the lens of performance. Engaging purposively with anachronism as an enabling mode of linking old and new, this thesis will draw analogies between the early modern stage and modern cinema in order to emphasise the relevance of early modern drama to today’s ocularcentric world, a relevance that more historical theoretical approaches would seek to deny. My opening chapter will try to establish Greene’s dramatic canon and assess the critical reception of Greene’s plays. Drawing on material from Greene’s entire oeuvre, Chapter Two will outline my methodological and conceptual approach. This chapter will include an extended analysis of Friar Bacon’s discussion of the ‘strategy with cunning shows’ in John of Bordeaux (JB. 735). Launching into detailed studies of specific spectacles, Chapter Three focuses on Thomas Lodge and Robert Greene’s collaborative effort, the biblical drama A Looking Glass for London and England. During the play, Prophet Jonah is ‘cast out of the whale’s belly upon the stage’ (LG. IV.i.1460-1). Focusing on this stage spectacle, this chapter seeks to emphasise the commercial appeal of this biblical drama. Examining another stage property, Chapter Four will explore the melodramatic and sensational potential of the tomb stage property in Greene’s James IV. Examining the apparent tension between the play’s two presenters, I will demonstrate that Bohan, a cynical Scot, and Oberon, the King of the Fairies, proffer two distinct, but not mutually exclusive, ways of conceiving of and interpreting theatrical spectacle. Completing my study of spectacular stage properties, Chapter Five examines the symbolic significance of the brazen head, which appears in two of Greene’s plays: Alphonsus, King of Aragon and Friar Bacon and Friar Bungay. In both plays, the brazen head becomes an object of excessive or supreme devotion as either a religious idol or a secular deity. The brazen head is perceived as monstrous not simply because it is a source of horror or astonishment but because it represents the misplaced veneration or worship of something other than God. Turning away from stage properties, my final two chapters look at how Greene exploited specific stage conventions. Directing my attention towards Greene’s Orlando Furioso (c. 1591), I will argue that the figure of Orlando Furioso bequeathed an enduring legacy to early modern theatrical discourse, contributing to the convention of the mad poet, which would be replicated and parodied by a new generation of dramatists. Orlando’s behaviour, which rapidly alternates between that of a madman and that of a poet, forces the audience to contemplate the link between the mania of the mentally ill and the melancholia of the creative genius. Ridiculing the concept of furor poeticus, Greene’s play interrogates the belief that great writers are divinely inspired by God through ecstatic revelation. My final chapter will explore the aesthetics of violence in Selimus. A relatively recent addition to the Greene canon, Selimus depicts the rise of an anti-hero amidst a cycle of brutal violence. My reading of this play posits Selimus as a surrogate playwright, arguing that the semiotics of dismemberment allows Greene to interrogate the concept of artistic autonomy. Widespread indifference to Greene’s work has facilitated critical blindness to the powerful aesthetic appeal of spectacle in early modern drama. This reassessment of Robert Greene’s dramatic oeuvre offers a new perspective on the aesthetics of spectacle in early modern drama.
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Summers, Stephen. "Laughter Shared or the Games Poets Play: The Ethics and Aesthetics of Irony in Postwar American Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18322.
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During and after the First World War, English-language poets employed various ironic techniques to address war's dark absurdities. These methods, I argue, have various degrees of efficacy, depending upon the ethics of the poetry's approach to its reading audience. I judge these ethical discourses according to a poem's willingness to include its readers in the process of poetic construction, through a shared ironic connection. My central ethical test is Immanuel Kant's categorical imperative and Jurgen Habermas's conception of discourse ethics. I argue that without a sense of care and duty toward the reading other (figured in open-ended ironies over dogmatic rhetorics), there can be no social responsibility or reformation, thus testing modernist assumptions about the political usefulness of poetry.
I begin with the trench poets Siegfried Sassoon and Wilfred Owen, whose sarcastic and satirical ironies are constructed upon a problematic consequentialist ethos. Despite our sympathy for the poets' tragic positions as soldiers, their poems' rhetoric is ultimately coercive rather than politically progressive. It negates the social good it intends by nearly mimicking the unilateral rhetoric that gave rise to the war.
The next chapter concerns Ezra Pound's Hugh Selwyn Mauberley and T. S. Eliot's The Waste Land, fundamental modernist poems defining the postwar Anglo-American era. In contrast to the trench poets, I argue these two poems at their best manage to create an irony of free play, inviting the audience's participation in meaning-making through the irony of self-parody. Traditional ethical critiques of these poets' troubling politics, I argue, do not negate the discourse ethics present in these texts.
The final three chapters follow the wartime and postwar ironies of the American poets William Carlos Williams, Marianne Moore, and Wallace Stevens. Williams, a medical doctor, makes use of the ironic grotesque in his poems to offer the voice of poetry to the disenfranchised, including individuals with disabilities. Moore, a modernist and early feminist, pairs her poems to decenter poetic authority, depicting possible ethical poetic conversations. Finally, Stevens's democratic, pragmatic ethics appears within poetry that continually invites its readers to fill in gaps of meaning about the war and beyond.
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Archer, Carol. "Frames, flows, feminist aesthetics paintings by Judy Watson, Cai Jin and Marlene Dumas /." Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B3690787X.
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Choi, Yoon Kyung. "The spatial structure of exploration and encounter in museum layouts." Diss., Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23301.
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Bloomer, Jennifer Allyn. "Towards an architecture of desire : the (s) crypt of Joyce and Piranesi." Diss., Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/23414.
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Lee, Dongeon. "Phenomenology, hermeneutics, and existentialism as sources of an inquiry into the meaning of modern architecture." Diss., Georgia Institute of Technology, 1995. http://hdl.handle.net/1853/21807.
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Korta, Jeremie Charles. "The Aesthetics of Discovery: Text, Image, and the Performance of Knowledge in the Early-Modern Book." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467521.
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How does the book-object in early modernity participate in the representation of scientific knowledge? How was the reader meant to approach the book and to comprehend its contents? This project starts from the contention that scientific knowledge is not a product simply to be deposited into unmarked containers and transmitted unproblematically. On the contrary, the book, whether literary or scientific, actively shapes and invents objects of scientific knowledge. Sensory, affective and cognitive ways in which the reader is expected to approach the book and its contents are implicit in its formatting of text and image, not to mention margins, presentational material and indices.
This project draws from literary and natural scientific traditions of the French and Italian Renaissance in order to study how the early-modern book forms and performs scientific knowledge in various ways. Compelling the reader to interrupt his or her reading and to explore the book’s text and images as if they were objects in their own right, the book-object strives to imitate the experience and method of scientific discovery for the early-modern reader. To this end, touch, appetition, and bodily awareness become as important as sight and critical reasoning in a procedural approach and apprehension of knowledge in and of the book-object. An “aesthetics of discovery”, formed by the book and performed by the reader, is implicit in the book’s careful articulations of text and image.<br>Romance Languages and Literatures
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Christianson, James H. "Revolutionizing time and space : the close accord of modern science and aesthetics in picturing physical planes /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.
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Spičanović, Vladimir. "Beyond the anti-aesthetic." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20473.
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This thesis is a critical examination of postmodernist pedagogy currently used in the education of visual artists. It is particularly concerned with the teaching of the traditional disciplines of painting and drawing within a postmodern context. My hypothesis is that the teaching of visual arts within a postmodern orientation more or less relies on an anti-aesthetic stance that is content-centered, with an insistence on critically and politically aware art. The overall objective of this thesis is twofold: First, to generate some questions and ideas that could be of assistance to post-secondary art instructors. Second, to establish a framework for an extended qualitative research that will address the impact of postmodernism on education of artists. The title "beyond the anti-aesthetic" does not necessarily present itself as a negation of the postmodernist paradigm. It identifies a need to revitalize visual art instruction within the postmodern model, to re-address the interplay between form and content in visual art and enhance critical thinking.
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Thomas, Bryant David. "New Retro: An Exploration of Modern Video Games With A Retro Aesthetic." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493401505332341.
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Rehman, Mohammad Munib. "Infinite surface : An extended reflection on the estrangement of the modern subject." Thesis, KTH, Urbana och regionala studier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-287277.
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This work is a string of essays that aesthetically frames estrangement as the quintessential experience of modern culture. Accordingly, detachment and distance are themes that persist throughout these essays. They weave their way through the cultural, social, psychological, and spatial dimensions of modern life, but at a tentative remove. Such a level of generality precludes any claims of the work to be a methodical dissection of the subject matter. Neither is it a series of literature reviews or response letters to canonical essays. It is, primarily, a literary reflection on the matter; an assemblage of evocative rhetoric that dramatizes the experience of modern estrangement. Each passage is written as a commentary that insecurely hovers between the categories listed above. What all these evasions enable in turn is a text that mirrors the attitude of the dilettante, comfortably flitting between passages that trail off from the lingering mood of one essay to the next. The work of a handful of German cultural theorists of the early 20th century supply the primary sources to this reflection, and what I have tried to draw from a selection of their writings is a mental state that tries to peer through the opacity of the metropolitan spectacle. The mood that is meant to be evoked here is the obverse of the glamour and excitement associated with the imagined social life of the big city. Urban is a word that has seen its definition drowned out by the associative imagery around it; in other words, its connotations overwhelm what the term is meant to denote. The psychological counter-pole to such imagery is the characteristically urban disposition that is marked by a refusal to be dazzled. This sort of disinterestedness directly feeds into the endless pursuit of the new, and the compulsion to seek a lost sense of wonderment. In what is to follow, I have tried to find resonance with the notion of the urban on such a note of resignation.
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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.
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Júnior, Luiz Carlos Gonçalves de Oliveira. "Vertigo, a teoria artística de Alfred Hitchcock e seus desdobramentos no cinema moderno." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-29062015-123125/.
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A tese investiga a recorrência do filme Um corpo que cai (Vertigo, 1958), de Alfred Hitchcock, como esquema matricial de uma reflexão meta-artística que, tomando como objeto a própria imagem (cinematográfica, pictórica, fotográfica, digital), atravessa toda a história moderna do cinema. Depois de definir e analisar a teoria artística proposta por Vertigo, a tese verifica os desdobramentos dessa teoria em uma série de filmes realizados desde o começo da década de 1960 até os anos 2000. Dentre os filmes analisados se acham La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Trágica obsessão (Obsession, Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), Síndrome mortal (La Sindrome di Stendhal, Dario Argento, 1996), Estrada perdida (Lost Highway, David Lynch, 1997), A prisioneira (La captive, Chantal Akerman, 2000) e Na cidade de Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007).<br>The thesis investigates the recurrence of Alfred Hitchcock\'s Vertigo (1958) as the matrix scheme of a meta-artistic reflection that crosses all the modern history of cinema. It includes a series of films whose subject is the image itself (cinematographic, pictorial, photographic, as well as digital image). After defining and analyzing the artistic theory proposed by Vertigo, the thesis verifies the developments of this theory in many modern and contemporary films made since the beginning of the 1960\'s. Among the films analyzed one will find La Jetée (Chris Marker, 1962), Blow up (Michelangelo Antonioni, 1966), Obsession (Brian De Palma, 1975), Special Effects (Larry Cohen, 1984), The Stendhal Syndrome (Dario Argento, 1996), Lost Highway (David Lynch, 1997), La captive (Chantal Akerman, 2000), and In the city of Sylvia (En la ciudad de Sylvia, José Luis Guerín, 2007).