Thematische Bibliographien / Glenn / Dissertationen
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Dissertationen zum Thema „Glenn“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 1. August 2024

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1

Santolin, Roberta Faraco. „O intérprete em Glenn Gould“. Universidade do Estado de Santa Catarina, 2013. http://tede.udesc.br/handle/handle/1530.

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The consolidated public concerts during the nineteenth century remained the same size, which led to the crystallization of the performer-audience relationship to the present. With the autonomy gained by the composer, its function is separated from the figures performer and the listener, which established a new configuration under the musical season. However, despite the legacy of nineteenth-century tradition in the twentieth century, the Canadian pianist Glenn Gould pointed out new aspects in the unfolding of this relationship. His intense relationship with the studio recording, radio and television, has proposed a different positioning in respect to the figure of the interpreter in relation to his own art and the public. This research is focused on addressing these new designs proposed by Gould, in order to rethink the artistic practice of contemporary pianist. The work is divided into three parts. Chapter 1 is a plot of the historical tradition of concerts, from the end of the eighteenth century to its emergence during the nineteenth century. It also parallels Gould with public concerts and his preference for media (recording studio, radio and television). In chapter 2, is presented in depth about the prospect of Gould presentations in public and also the relationship of the spectator with his interpreter. The last chapter is reflecting about the interpretive process of Gould as an aid to a rethinking of the interpreter today.
Os concertos públicos consolidados durante o século XIX permaneceram com o mesmo formato, o que suscitou a cristalização da relação intérprete-público até a atualidade. Com a autonomia adquirida pelo compositor, sua função se separou das figuras do intérprete e do público, o que estabeleceu uma nova configuração no âmbito musical da época. Contudo, apesar da herança da tradição oitocentista, no século XX, o pianista canadense Glenn Gould apontou novos aspectos no desdobramento dessa relação. Seu vínculo intenso com o estúdio de gravação, o rádio e a televisão, propôs um posicionamento diferente em respeito à figura do intérprete na relação com sua própria arte e com o público. A presente pesquisa tem como foco a abordagem destes novos delineamentos propostos por Gould, com o intuito de repensar a prática artística do pianista contemporâneo. O trabalho está dividido em três partes. No capítulo 1 é um traçado histórico da tradição dos concertos, a contar do final do século XVIII até sua eclosão durante o século XIX. Também é feito um paralelo de Gould com os concertos públicos e sua preferência pelas mídias (estúdio de gravação, rádio e televisão). No capítulo 2, é apresentada de forma aprofundada a perspectiva de Gould acerca das apresentações em público e também da relação do intérprete com seu espectador. O último capítulo reflete acerca do processo interpretativo de Gould, como auxílio para um repensar da prática do intérprete na atualidade.
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2

Harris, Lee M. (Lee Mark) Carleton University Dissertation English. „Fighting duel-ism: a Glenn Gould context“. Ottawa, 1993.

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3

Sharp, Jonathan. „A Performance Guide to Glenn Kotche's "Monkey Chant"“. UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/26.

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Solo percussionist and composer Glenn Kotche has achieved international fame with his experimental percussion-based music, collaborating with and composing for renowned contemporary music ensembles such as the Kronos Quartet, Band on a Can All-Stars, So Percussion, and Eighth Blackbird. One of his most celebrated compositions in recent years is Monkey Chant, which combines acoustic and electronic elements in a solo multiple percussion setting. Written and premiered in 2006, Kotche was inspired to compose Monkey Chant after listening to original field recordings in Bali from the Nonesuch Explorer Series. Found in these recordings is the popular Balinese music and dance drama known as Kecak. Monkey Chant showcases, through percussion, the intricate vocal patterns and recounting of the Ramayana Epic featured in Balinese Kecak. This monograph serves as an informational performance guide for Monkey Chant that simplifies and resolves performance questions and issues. It provides a contextual setting for the work with a brief biography of Glenn Kotche, including his musical influences and inspiration for the composition. Balinese Kecak is examined as well as the Hindu Ramayana tale as it relates to Kotche’s composition, revealing the function for its compositional form. This document also clarifies and details preparatory procedures for collecting and building the unique instruments required, also detailing schematics for electronic audio equipment and setup. Lastly, there is an analysis of compositional style and form, offering optional solutions to performance obstacles.
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4

Mok, Lucille Yehan. „Glenn Gould, Oscar Peterson, and New World Virtuosities“. Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.

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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition. The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969. The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.
Music
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5

Benhamou, Marc. „Analyse de l'itineraire de glenn gould (1932-1982)“. Nice, 1990. http://www.theses.fr/1990NICE6828.

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6

Yildirim, Akin [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „Compact Elliptical Galaxies / Akin Yildirim ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://d-nb.info/1180500539/34.

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7

Wang, Zhixiong. „L'art de la fugue : une etude psychopathologique du pianiste glenn gould“. Lyon 1, 1990. http://www.theses.fr/1990LYO1M053.

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8

Reichelt, Victoria, und n/a. „Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter“. Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.

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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Piercey, Davin Glenn Verfasser], und Thomas M. [Akademischer Betreuer] [Klapötke. „Advanced energetic materials : strategies and compounds / Davin Glenn Piercey. Betreuer: Thomas Klapötke“. München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2013. http://d-nb.info/1032131365/34.

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10

Byrenheid, Glenn [Verfasser]. „Sparse representation of multivariate functions based on discrete point evaluations / Glenn Byrenheid“. Bonn : Universitäts- und Landesbibliothek Bonn, 2019. http://d-nb.info/1177881659/34.

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Knežević, Sladjana [Verfasser], und Glenn van de [Akademischer Betreuer] Ven. „An Integral View of Shocks / Sladjana Knežević ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2014. http://d-nb.info/1180032756/34.

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12

Reichelt, Victoria. „Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter“. Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.

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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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13

Aleman, Anca. „Recherches sur la pensée musicale de Glenn Gould : l’empreinte de l’héritage schoenbergien“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040123.

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Cette thèse se propose de démontrer que, au-delà de son image d’interprète de la musique de Jean-Sébastien Bach, le pianiste Glenn Gould a développé, à travers ses nombreux écrits, une véritable pensée musicologique, qui surprend par sa cohérence et dont les racines sont à chercher en réalité du côté d’Arnold Schoenberg, le compositeur qui l’aura le plus influencé. Nous nous attachons donc ici à l’observation et à l’analyse de cette pensée à travers les écrits du musicien canadien, l’objectif étant la mise en évidence du rapport existant avec la pensée de Schoenberg. L’analyse comparative menée ici repose sur les principes que Gould avait lui-même placés au fondement de sa pensée : le raisonnement justifiable, l’esprit de re-création, le concept inductif et la musicologie scientifique. Pour ce faire, nous avons adopté un cheminement logique passant successivement par les domaines suivants : méthode, création musicale, interprétation, critique, pédagogie et enregistrement
This research tends to demonstrate that, beyond the picture of the performer of Johann Sebastian Bach’s music, Glenn Gould, the pianist, has developed through his numerous writings a real musicological thought which is distinguished by a strong coherence ; its roots are in fact to be found in Arnold Schoenberg’s thought, the composer whose influence was the most important for Gould. We intend here to propose an analytical and critical observation of Glenn Gould’s musicological thought by using the principles upon which he had himself set his thought, which are : justified reasoning, re-creation spirit, inductive concept and scientific musicology. With that aim, we used a logical progression examining successively the following themes : the method, the musical creation, the musical performance, the criticism, the pedagogy and finally the recording
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Abalo, Cea Juan Pablo. „La revolución del proceso musical : el advenimiento de la grabación y la ejemplaridad de Glenn Gould“. Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/140167.

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Tesis no autorizada por su autor para ser publicada a texto completo en repositorio.
Doctor en filosofía con mención en estética y teoría del arte
La presente tesis indaga en cómo se revoluciona el proceso musical a partir del advenimiento de la tecnología de la grabación y la ejemplaridad que, al respecto, tiene el caso del pianista y teórico canadiense Glenn Gould. En la primera parte de la tesis, se profundizan los dos polos de esta propuesta general, mostrando en primer lugar la reflexividad entre el artista y el pensador de la grabación que sitúan a Glenn Gould como paradigma de esta revolución contemporánea, y en segundo lugar, dando cuenta del modo en que la grabación reorganiza la estructura jerárquica del proceso musical incidiendo directamente en una nueva forma de experiencia que el compositor, el intérprete y el auditor, establecen con la obra. Tras ello, las dos partes siguientes se concentran por turnos en las condiciones de posibilidad y en los efectos de esta revolución. Así, en la segunda parte de la tesis, se indagan las transformaciones estéticas, tanto de la tecnología como del lenguaje musical, que permitieron la revolución de la grabación y más específicamente el modo en que Glenn Gould las asume como artista. De una parte, se revisa la promoción de un universalismo de la experiencia musical a partir de las nuevas tecnologías, donde destaca el advenimiento de la afinación temperada y la invención de un nuevo instrumento de registro como el pianoforte. De otra, se examina la promoción del azar en el momento compositivo y la liberación del auditor en el momento receptivo, tal como se verifica en la vanguardia musical que constituye el horizonte inmediato de la práctica de Gould. Para ello, veremos lo que, a partir de su obra, propone el artista y músico norteamericano John Cage. En la tercera parte, a su vez, bajo la rúbrica de “Aura e historicidad de la obra”, se examinan los efectos de la revolución contemporánea del proceso musical en la grabación con un énfasis tanto sincrónico como diacrónico. De una parte, se examina el quiebre con la noción tradicional de aura asociada al concierto público, para lo cual se recurre a las reflexiones de Walter Benjamin, dando cuenta de un nuevo vínculo que se establece con la obra a partir de la reproducción grabada de la música. De otra, se examina una nueva historicidad musical como irrupción creativa del pasado en el presente, tal como aparece de manera pionera en la grabación de Glenn Gould y que ha sido llevado a sus posibilidades extremos en los encargos contemporáneos del sello alemán Deutsche Grammophon. A modo de epílogo, se propone una experiencia de creación propia que consiste en la recomposición de la obra Prélude à l´après – midi d´un faune de Claude Debussy a partir del uso y la manipulación del archivo sonoro de ella. De esta manera se busca, de una parte, completar la estructura completa de la obra que Debussy dejó pendiente (preludio, interludio y paráfrasis), bajo una derivación estilística casi imperceptible que va desde el impresionista de finales del siglo XIX hasta el Ambient Music de las últimas décadas del siglo XX. De otra, llevar a cabo una nueva forma de historicidad musical productiva, a través del uso y las posibilidades que permite el estudio de grabación y la manipulación de un archivo sonoro concreto.
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Tsatsi, Athanasia [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „Dynamical structure and evolution of merger remnants / Athanasia Tsatsi ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2017. http://d-nb.info/1180985494/34.

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Stiels-Glenn, Michael [Verfasser]. „Psychotherapie pädophiler Patienten im Maßregelvollzug. Wirkfaktoren, Therapieakzeptanz und Therapiemotivation aus Patientensicht / Michael Stiels-Glenn“. Ulm : Universität Ulm. Medizinische Fakultät, 2015. http://d-nb.info/1075809266/34.

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17

Sheedy, Erin. „Performing the Canadian "Mosaic": Juliette Gauthier, Florence Glenn, and the CPR Festivals of Quebec City“. Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31826.

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The Quebec City festivals of 1927 and 1928 represent a unique instance of close collaboration between prominent figures in Canadian musical and cultural history, John Murray Gibbon and Marius Barbeau. Based on Anglocentric concerns for a unique Canadian identity and corresponding school of composition, the festivals served as points of contact between many artists and performers, including Juliette Gauthier and Florence Glenn. An analysis of specific performances at the CPR festivals and over the course of Glenn and Gauthier’s respective careers showcase how racialized attitudes towards Indigenous populations, and the static conceptualization of French-Canadian folk culture were navigated to perform “Canadian folksong.”
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Sutherland, Ewan. „Silicon Glenn; a technological Brigadoon? an analysis of the electronics and IT industries in Scotland“. WU Vienna University of Economics and Business, 1993. http://epub.wu.ac.at/6162/1/IIR_Disc_48.PDF.

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Campbell, Alasdair James Islay. „Myth ascendant : issues of culture, media, and identity in the celebrity career of Glenn Gould“. Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:6b53c88e-d9e7-4227-9144-bad890a0d3fc.

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This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.
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Goodenow, Debra A. B. S. „Characterization of Effects of Mixed Neutron/Gamma Irradiation on NASA Glenn SiC Piezoresistive Pressure Sensors“. The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1205356120.

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Radoman-Shaw, Brandon G. „Exposure of Basaltic Materials to Venus Surface Conditions using the Glenn Extreme Environment Rig (GEER)“. Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1557312457308105.

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Zhuang, Yulong [Verfasser], und Glenn van de [Akademischer Betreuer] Ven. „Diversity of Galactic Stellar Metallicity Gradients and their Origins / Yulong Zhuang ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://d-nb.info/1191760626/34.

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Julio, Flávia Matielli. „Identificação de relações de metacontingências e macrocontingências, conforme os critérios propostos por Malott e Glenn (2006)“. Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16818.

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Often, the environment that has a behavioral function for us is the behavior of others (Glenn, 1991). This means that there is a similarity between the behavior's content of different individuals, characterizing a cultural practice (Glenn, 2004). The concepts of macrocontingência, and metacontingência characterize the contingencie's relation contained in these cultural practices and serve as "tools" to examine the culture. Considering that the before mentioned concepts are recent and that relatively few researches have employed them, the present study evaluated Malott and Glenn's (2006) proposal to classify interventions as involving either: operant contingency, macrocontingency, metacontingency or no selection of contingencies. For this evaluation, the path run by Malott and Glenn (2006) to classify the type of contingency intervention was, independently, remade for the researches classified as: operant contingencies, macrocontingencies or metacontingencies. Other articles were also classified. These articles were selected for addressing problems that involve several people. The results from this study showed that: (1) It was possible to identify the values of the criterion variables ("Number of people contributing to the product", "Variety of topographies contributing to product", "Product of interest", "Selecting consequence and Locus of change") from 16 of the 17 articles reviewed, but (2) it is necessary to consider that in analyses classified as containing relations of metacontingências, a detailed analysis for each relationship's component involved may reveal new relations, including macrocontingency. This study also showed that (3) it is not necessary to identify the five variables proposed to find the kind of contingency involved in researches
Muitas vezes, o ambiente que tem uma função comportamental para nós é o comportamento de outras pessoas (Glenn, 1991). Isso faz com que exista uma similaridade entre os conteúdos dos comportamentos de diferentes indivíduos, caracterizando uma prática cultural (Glenn, 2004). Os conceitos de macrocontingência e metacontingência caracterizam as relações de contingências contidas nessas práticas culturais e servem como "ferramentas" para analisar a cultura. Considerando-se que os conceitos mencionados são relativamente recentes, a presente pesquisa teve como objetivo avaliar a funcionalidade dos elementos propostos por M. Malott e Glenn (2006) para identificar e classificar intervenções como envolvendo: contingência operante, macrocontingência, metacontingência ou nenhuma seleção de contingências. Para isto, foi refeito, independentemente, os percursos por meio do qual M. Malott e Glenn (2006) classificaram os tipos de intervenções contidas em relatos de pesquisas como: contingências operantes, macrocontingências ou metacontingências. Também foram classificados outros artigos, selecionados por tratarem de problemas que envolvem diversas pessoas. Os resultados obtidos nesta pesquisa mostraram que: (1) Foi possível identificar os valores dessas variáveis de classificação ("Número de pessoas contribuindo para o produto", "Variedade das topografias que contribuem para o produto", "Produto de interesse", "Conseqüência selecionadora" e "Local da mudança") em 16 dos 17 artigos analisados, porém (2) é necessário considerar que em análises classificadas como contendo relações de metacontingências, ao ser analisado cada componente das relações envolvidas, é possível encontrar novas relações, incluindo relações de macrocontingências. A presente pesquisa também mostrou que (3) não é necessário identificar as cinco variáveis propostas para encontrar o tipo de contingência envolvida nas pesquisas
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KONGTAWELERT, AMARIN. „Developing A Protocol for An Environmentally Preferable Purchasing Plus (EPP+) Program at NASA Glenn Research Center“. Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1282328402.

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Zhuang, Yulong [Verfasser], und Petrus Martinus van de [Akademischer Betreuer] Ven. „Diversity of Galactic Stellar Metallicity Gradients and their Origins / Yulong Zhuang ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://d-nb.info/1191760626/34.

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Vikholm, Per. „Treatment of Right Ventricular Failure through Partial Volume Exclusion : An Experimental Study“. Doctoral thesis, Uppsala universitet, Thoraxkirurgi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-248164.

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Implantation of a left ventricular assist device (LVAD) is a potential treatment in terminal heart failure. Right ventricular (RV) failure is a severe complication in these patients and sometimes requires additional placement of a right ventricular assist device (RVAD). RVAD implantation, however, is an invasive treatment associated with both increased mortality and morbidity. The aim of this thesis was to study whether partial volume exclusion of the RV through a modified Glenn shunt or cavoaortic shunt could treat severe RV failure. The ultimate goal would be to use it as an alternative to a RVAD in RV failure during LVAD therapy. Swine were used as the model animal in all studies. In Study I, experimental RV failure was induced by ischemia, and verified by hemodynamic measurements and genetic expression. Treatment with a modified Glenn shunt reduced venous stasis and improved hemodynamics in general. In Study II, experimental RV failure was induced by the same method as in Study I. Treatment with a cavoaortic shunt in addition to LVAD therapy proved to reduce venous stasis and improved hemodynamics in general, which was feasible with preserved oxygen delivery despite cyanotic shunting. In Study III, experimental RV failure was induced by pulmonary banding, and verified by hemodynamic measurements and genetic expression. Treatment with a modified Glenn shunt reduced venous stasis but did not improve hemodynamics in general compared with a control group. In Study IV, the effects of LVAD therapy and subsequent treatment with a modified Glenn shunt on the normal RV function were studied. It demonstrated that LVAD therapy can put strain on the RV by increasing stroke work and end-diastolic volume, and that these effects can be reversed by treatment with a modified Glenn shunt during LVAD therapy. In conclusion, partial volume exclusion through a modified Glenn shunt or cavoaortic shunt is a feasible treatment of experimental RV failure. Thus, it could potentially be used as an alternative treatment to a RVAD in severe RV failure during LVAD therapy.
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Dennison, John Sebastian, und n/a. „Load-bearing structures : Pakeha identity and the cross-cultural poetry of James K. Baxter and Glenn Colquhoun“. University of Otago. Department of English, 2003. http://adt.otago.ac.nz./public/adt-NZDU20070507.113327.

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Pakeha identity has long been problematic, caught in a straddling stance between European co-ordinates of origin, and life in Aotearoa. This has been particularly evident over the last three decades: with the rise of tino rangatiratanga, Pakeha identity has undergone something of a crisis. Group identity, especially in such periods of crisis, requires �narratives� that re-imagine being and belonging. Poetry by Pakeha both displays the problem with identity at the cross cultural threshold between Maori and Pakeha, asking � what happens when Pakeha engage cross-culturally with te ao Maori, appropriating te reo Maori and drawing on Maoritanga, to re-vision and reconfigure identity? And how does such an approach shape the imagining of Pakeha identity?� I study, in parallel, the cross-cultural poetry of James K. Baxter and Glen Colquhoun in relation to these questions. Borrowing a conceptual metaphor from Colin McCahon, I examine these cross-cultural poems in detail as �load-bearing structures�. I pay particular attention to the way in which, in purpose, design and materials, they function to re-imagine Pakeha identity in reciprocal relationship with te ao Maori. Aware of the problems of culture-crossing, at the outset I establish a historical and interpretive framework for the poetry. Furthermore, I discuss the question of appropriation, arguing for an ethical distinction between appropriation and misappropriation based on a cross-cultural relationship of faithful and reciprocal engagement. I conclude that Baxter and Colquhoun are singular and radical in their reconfiguration of Pakeha identity. Baxter embraces te ao Maori in a direct challenge to Pakeha nationalism, prescribing the necessary corrective of the tuakana-teina dynamic to Pakeha identity and its relationship with te ao Maori. Writing after the Maori renaissance, Glenn Colquhoun irreverently opens up a further reconfiguration of cross-cultural relationship, pushing both Maori and Pakeha beyond a cultural dichotomy towards a mutually defining complementarity. Both place themselves on the cultural threshold of language, embracing the tensions of the cross-cultural scenario. The result is cross-cultural poetry, load-bearing structures that manifest the tension and ambivalence of the settler culture�s straddling identity, enacting what it is to be Pakeha.
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Schmideder, Veronika [Verfasser], Gesa [Akademischer Betreuer] Stedman und Jürgen [Akademischer Betreuer] Schlaeger. „Living Belfast : representations of the city in Glenn Patterson’s novels / Veronika Schmideder. Gutachter: Gesa Stedman ; Jürgen Schlaeger“. Berlin : Humboldt Universität zu Berlin, Philosophische Fakultät II, 2012. http://d-nb.info/1028566891/34.

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Läsker, Ronald [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „Supermassive Black Holes and their Host Galaxies - Fundamental Scaling Relations / Ronald Läsker ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2013. http://d-nb.info/117724795X/34.

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30

Toupence, Roger Serge. „Application des methodes de reeducation fonctionnelle etudiees par glenn doman dans un institut medico-educatif en france“. Paris 8, 1987. http://www.theses.fr/1988PA080243.

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Apres plusieurs dizaines d'annees de recherche et d'application, glenn doman, physiatre a philadelphie, a repertorie des techniques psychologiques s'apparentant a la psychomotricite et a la kinesitherapie. Actuellement presque une centaine de familles francaises se rendent en amerique, en angleterre et en irlande pour trouver des professionnels pouvant les aider a reeduquer leurs enfants handicapes. Avec l'aide technique de m. Downey et l'aide financiere de l'i. F. A. C. De strasbourg, nous avons constitue un groupe de six enfants dans un institut medico-educatif en france et nous utilisons des techniques de reeducation s'inspirant tres fortement des recherches de glenn doman. Nous avons comme objectif, en utilisant ces techniques, de reduire et diminuer le handicap de ces enfants, donc de les aider a parvenir a une vie plus proche de la norme actuelle, c'est-a-dire se prendre en charge de facon complete et ne plus etre repere comme handicape. Cette etude se fait sur le cas de six enfants ages actuellement de 6 a 11 ans et qui sont suivis par une equipe de professionnels et de parents qui participent dans un travail commun et complementaire a la recherche et a la realisation de cet objectif. Cette etude s'etendra sur une periode de trois annees
After some dozen years of research and application, glenn doman, physiatist in philadelphie, listed physiological technique which are closely connected to psychomotivity and physiotherapy. At the present time almost about a hundred french families are going to america, england and ireland to find specialists who are able to help them to rehabilitate their handicapped children. With mr downey's technical aid and the financial aid of the i. F. A. C. Of strasbourg we formed a group of six children in a medical-educative institute in france and we have been using techniques of rehabilitation greatly inspired by glenn doman's research. Our aim is to reduce and lessen those children's handicap and consequently help them to succeed in leading a life closer to the present norm, that is to say help them to assume responsability for themselves completely and not to be spotted as a handiccaped person. This study is about the case of six children who are at the present time between 6 and 11 years old and who are followed by a team of specialists and parents taking part in a common and complementary work which consists in trying to achieve this aim. This study is about a period of three years
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Toupence, Roger Serge. „Application des méthodes de rééducation fonctionnelle étudiées par Glenn Doman dans un institut médico-éducatif en France“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610349r.

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Michaud, Alyssa R. „"Copies without Originals": Manipulation, Mediation, and Mediatization in Performance and Recording Practices“. Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23605.

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This thesis examines case studies and historical accounts taken from different periods of the history of recording technology, and addresses questions concerning the impact of mediatization, manipulation, and mediation on listeners' and performers' approaches to music. The project considers the development of the idea of "copies without originals," and of the ideological frameworks that have been used to describe and classify recorded sound. The first case study covers the early days of the phonograph and its development in Victorian society, then contrasts the values and motivations of those early years with modern-day rock performance and its own value systems. Moving into the mid-twentieth century, a chapter of this thesis is devoted to the work of Glenn Gould, and the possibilities for tape manipulation that the Canadian pianist explored during the period of his career that was focused on the recording studio. Lastly, this project examines the innovative, user-driven methods of music-making that are gaining momentum today, including Bjork's "Biophilia" app album, and the emergence of a new genre of popular music in Asia that uses vocal synthesizers in place of live performers. By exploring these case studies alongside the works of scholars in musicology, media studies, sound theory, film and television, and popular music studies, this thesis demonstrates how cultural need, individual innovation, and social involvement interact to direct the development and application of emerging media technologies.
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Sage, Martin Glenn. „A Flownex uncertainty analysis of a depressurised loss of forced cooling event for the PBMR / Martin Glenn Sage“. Thesis, North-West University, 2006. http://hdl.handle.net/10394/1262.

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The world is currently experiencing an energy crisis. To cope with the rising demand in South Africa, nuclear power was identified as a clean, safe and reliable source of electricity. The Pebble Bed Modular Reactor (PBMR) is an inherently safe, next-generation nuclear power plant that uses pebble fuel. In the event of a depressurized loss of coolant (DLOFC) accident, the reactor will passively cool itself, and remain within safe limits. The main purpose of this dissertation was to perform an uncertainty study on the PBMR reactor during a DLOFC accident to demonstrate this safety feature. An extensive literature survey was carried out to research the concept of uncertainty, methods for addressing uncertainty and to gather the required input data to set up a model of the PBMR reactor. The model requirements were established by use of a systematic PIRT process. A detailed model of the reactor was set up in Flownex after making the necessary assumptions and simplifications. A sensitivity and Monte Carlo sampling platform was set up in conjunction with Flownex in order to perform the uncertainty study. During the DLOFC transient, the best-estimate maximum fuel, core-barrel and RPV temperatures reached 1529, 621 and 490’C respectively. Sensitivity studies showed that the parameters that most strongly influence the results are the power profile, decay heat, pebble bed effective conductivity and the properties of the graphite reflector. Variations in fluid properties had a negligible influence on the DLOFC results. Statistical processing of the Monte Carlo simulation results provided uncertainty bands for each output. The conclusion was that with 95% confidence, there is a 5% probability of exceeding maximum fuel, core-barrel and RPV temperatures of 1582, 638 and 503 CC respectively. All three of these temperatures are below the maximum allowable temperature for each respective component. Thus all three components will stay within their code cases during the unlikely event of a DLOFC. The final effort in this study went to verification and validation (V&V) of the results. This process included V&V of the input data, software, the calculation and the model development. These processes included: a detailed internal review; comparison with analytical solutions; comparison with alternative independent calculations; and comparison with experiment. The effective pebble bed thermal conductivity is currently being validated via construction of the Heat Transfer Test Facility (HTTF). The large extent of V&V activities that have been carried out provides a high level of confidence that the results produced in this dissertation are satisfactory, if not slightly conservative.
Thesis (M.Ing. (Mechanical Engineering))--North-West University, Potchefstroom Campus, 2007.
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Penttinen, Daniel. „Att bestiga rymden : En tidningsanalys om kalla krigets första rymdmän“. Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-52370.

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The Space Race during the Cold War was an era when the World saw great possibilities and scientific discoveries. Before 1957, the thing we call space had never been scaled by man. The Soviet Union turned this over with Sputnik 1, the very first artificial satellite which would change our way to research everything beyond Earth. Although this is true, there is also another side of Space Race which has more or less nothing to do with space at all – the politics. There is no denying that the politics about Space Race was far more essential for the United States and the Soviet Union than any scientific research. Kennedy talked about prestige and to “be ahead” in the race for space. Of course, the Americans and the Russians were fully involved and knew what could be gained from winning the race. But what about other nations? What about the Swedes? This thesis brings the Space Race to Sweden and examines two Swedish newspapers to get a clear view on how the people of Sweden actually encountered Space Race. To narrow the thesis down, the author picked two important events where the political side of Space Race is distinct – Yuri Gagarin’s orbit of the Earth in 1961 and John Glenn’s orbit of the Earth in 1962. What kind of position in the Space Race did Sweden have, and how is it reflected in the newspapers? Does the political differences in two leading tabloids affect the outcome of the articles? And which kind of theories about the Cold War could be applied on these tabloids? This kind of research is uncommon to encounter in Sweden, but it ought to be dealt with here.
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Kalinova, Dimitrova Veselina [Verfasser], und de Ven Glenn [Akademischer Betreuer] Van. „Mass Distributions of Galaxies from SAURON and CALIFA Stellar Kinematic Maps / Veselina Kalinova Dimitrova ; Betreuer: Glenn Van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2014. http://d-nb.info/1179924800/34.

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Büdenbender, Alex Frank Werner [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „Enlighten the dark in the Milky Way with dynamical models / Alex Frank Werner Büdenbender ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://d-nb.info/1180500903/34.

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Kalinova, Veselina [Verfasser], und de Ven Glenn [Akademischer Betreuer] Van. „Mass Distributions of Galaxies from SAURON and CALIFA Stellar Kinematic Maps / Veselina Kalinova Dimitrova ; Betreuer: Glenn Van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:16-heidok-168569.

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38

Allampalli, Vasanth. „Fourth order Multi-Time-Stepping Adams-Bashforth (MTSAB) scheme for NASA Glenn Research Center's Broadband Aeroacoustic Stator Simulation (BASS) Code“. Toledo, Ohio : University of Toledo, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=toledo1270739741.

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Dissertation (Ph.D.)--University of Toledo, 2010.
Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Doctor of Philosophy Degree in Engineering." "A dissertation entitled"--at head of title. Title from title page of PDF document. Bibliography: p. 152-156.
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Bianchini, Paolo [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „The internal kinematics of globular clusters. An intimate view, from models to observations / Paolo Bianchini ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2016. http://d-nb.info/1180616642/34.

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Allampalli, Vasanth. „Fourth order Multi-Time-Stepping Adams-Bashforth (MTSAB) scheme for NASA Glenn Research Center’s Broadband Aeroacoustic Stator Simulation (BASS) Code“. University of Toledo / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1270739741.

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Leung, Ying Chi [Verfasser], und Glenn van der [Akademischer Betreuer] Ven. „Constraining the nature of dark matter in galaxies with multi-tracer dynamical models / Ying Chi Leung ; Betreuer: Glenn van der Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2019. http://d-nb.info/1197692770/34.

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Todenhagen, Christian. „Names as a potential source for conflict: a case in point from the USA: How Germantown, Glenn County, California, became Artois“. Gesellschaft für Namenkunde e.V, 2009. https://ul.qucosa.de/id/qucosa%3A12537.

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Toward the end of World War I the name of the post office station "Germantown" at Germantown, Glenn County, California, was changed to "Artois" which eventually resulted in the name change of the village itself to Artois. This paper compares current present-day accounts of the incidents leading to the post office name change with the actual course of events as they could be reconstructed from contemporary 1918 newspaper reports. It continues to trace the change as it shifted to the name of the township itself and concludes with a second look at the present-day accounts of the past historical events.
Gegen Ende des Ersten Weltkrieges wurde in Germantown, Glenn County, Kalifornien, die Poststation "Germantown" in "Artois" umbenannt, welches dann zu der Namensänderung des Dorfes selbst führte. Die folgende Untersuchung vergleicht Berichte über die Umbenennung des Postamtes, wie sie heute in Glenn County gängig sind, mit Berichterstattungen damaliger Regionalzeitungen. Die Erörterungen verfolgen weiter, wie der Namenswechsel auf die Gemeinde Germantown übergriff, und kehren abschließend zu den gegenwärtigen historischen Berichten zurück.
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Conan, Catherine. „Figures de l'étrange et du familier dans la littérature contemporaine de Belfast : Robert McLiam Wilson, Glenn Patterson, Eoin McNamee, Ciarant Carson“. Brest, 2007. http://www.theses.fr/2007BRES1008.

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Cette thèse s’intéresse à la représentation littéraire de Belfast au tournant des années 1990. Elle veut montrer que, à la faveur d’un certain contexte historique, social et politique, la littérature a opéré une déconstruction des idéologies communautaires en Irlande du Nord, dont l’outil principal a été la mise en oeuvre d’une problématique de l’étrange et du familier. Partant de la conception freudienne de l’Unheimliche, la thèse examine d’abord les matérialisations spatiales du sentiment d’étrangeté dans la ville (claustrophobie, espaces limitrophes, surveillance. . . ). On se penche dans la seconde partie sur la dimension historique de l’étrangeté, pour montrer que la littérature résiste à une conception linéaire de l’histoire, qui se prête à toutes les instrumentalisations. Enfin, la thèse établit que la problématique de l’étrange et du familier est pour la littérature un moyen d’aborder la question de son rapport au réel, et de débarrasser la ville des simulacres de l’idéologie
This thesis examines the representation of Belfast in works of fiction published around the 1990. Its aim is to show that the historical, social and political context of that time made it possible for Belfast literature to deconstruct the nationalist and unionist ideologies, mainly through an. Exploration of the slippery thematics of the strange and the familiar. Taking the Freudian idea of the Unheimliche as its starting point, the thesis first describes spatial motifs of the uncanny as they are exemplified in Belfast literature (claustrophobia, margins, surveillance. . . ). The second part tackles the historical aspects of uncanniness, and shows that Belfast literature questions the linearity of the historical process, which is all too easily commodified by ideological discourse. Finally, the thesis claims that the uncanny is a way for literature to examine its own relationship to the real, thus baring the real of the simulacra of its sectarian representations
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Aros, Pinochet Francisco Ignacio [Verfasser], und de Ven Glenn [Akademischer Betreuer] van. „Towards a robust detection of intermediate-mass black holes in globular clusters. / Francisco Ignacio Aros Pinochet ; Betreuer: Glenn van de Ven“. Heidelberg : Universitätsbibliothek Heidelberg, 2021. http://d-nb.info/1237270847/34.

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Aslan, Seda. „A Computational Fluid Dynamics Study on Bidirectional Glenn Shunt Flow with an Additional Pulsatile Flow Through a modified Blalock-Taussig Shunt“. ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2294.

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The blood flow through the Bidirectional Glenn shunt (BGS) and modified Blalock-Taussig shunt (mBTS) to the pulmonary arteries (PAs) was analyzed using Computational Fluid Dynamics. This study consisted of the steady and pulsatile cases. In case one, the results of blood flow through the BGS for the Newtonian and non-Newtonian viscosity models were compared. Case two focused on having an additional pulsatile blood flow through the mBTS using the non-Newtonian Carreau viscosity model. The geometries were created based on the angiograms. In case one, boundary conditions to be specified at the inlets were obtained from the flow rate measurements via Doppler flow studies in children and young adults. The averaged velocities were obtained from these flow rates and specified as parabolic velocity profiles at the inlets. The average PA pressures were obtained from the catheterization data and specified at the branches of the PA outlets. In case two, boundary conditions at the same inlets were constant during the cardiac cycle. The pulsatile PA and aortic pressure tracings obtained from the catheterization data were specified at the outlets and mBTS inlet, respectively. A comparison is made between the first and second case results.
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Langemeier, Glenn [Verfasser], und Christa [Akademischer Betreuer] Womser-Hacker. „Virtuelle Mitglieder in virtuellen Teams : Modellierung, Umsetzung und Evaluation eines analytischen Verfahrens innerhalb einer CSCL-Umgebung / Glenn Langemeier. Betreuer: Christa Womser-Hacker“. Hildesheim : Universitätsbibliothek Hildesheim, 2011. http://d-nb.info/1023791773/34.

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Sandstra, Theodore. „A framework for the love of nature : Henry David Thoreau's construction of the Wild in Walden and the gift as an ethos for architecture“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0034/MQ64120.pdf.

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Stoffle, Richard W., Diane E. Austin, Brian K. Fulfrost, III Arthur M. Phillips und Tricia F. Drye. „Itus, Auv, Te'ek (Past, Present, Future)“. Bureau of Applied Anthropology, University of Arizona, 1995. http://hdl.handle.net/10150/303173.

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This report concludes the first four years (1992 -1995) of Southern Paiute involvement in the Glen Canyon Environmental Studies (GCES), a program initiated by the Bureau of Reclamation (BOR) in 1982. Southern Paiutes have conducted ethnographic research and participated in the Congressionally mandated Environmental Impact Study (EIS) of Glen Canyon Dam water release policies on natural and human-made resources found in the Colorado River Corridor. These ethnographic studies have taken place in what is called the Colorado River Corridor which extends 255 miles down stream from Glen Canyon Dam to the end of the free flowing river at Separation Canyon within the Grand Canyon National Park. They have concentrated on investigating the impacts of the Dam's water releases to Southern Paiute cultural resources. Since the Final EIS was published in March 1995, emphasis has been placed on what is called the Adaptive Management Program of the GCES and attention has shifted to monitoring the water release impacts.
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Géré, Vanina. „L'œuvre de Kara Walker (1994 - 2009). Stratégies figuratives“. Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030161.

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Cette étude a pour objet l’ensemble de l’oeuvre de l’artiste afro-américaine Kara Walker, de 1994 à 2009. Fondé sur une approche pluridisciplinaire qui fait intervenir les Études américaines, les Études afro-américaines, l’histoire de l’art et l’esthétique, ce travail met au jour la récurrence de la violence dans l’oeuvre. Mettant en concurrence les propos de l’artiste et ses créations, il tente de dégager les constantes et les évolutions d’une oeuvre qui s’appuie sur une esthétique de la cruauté, et repose sur l’équilibre fragile entre la beauté et l’horreur. L’oeuvre de Walker ayant fait l’objet d’une controverse qui a joué un rôle important dans l’exégèse prolifique produite sur les créations de l’artiste, les tenants et les aboutissants de cette réception polarisée sont examinés. Compte tenu du succès immédiat de Walker, devenue en quelques années seulement une star sur la scène artistique établie, il était nécessaire de réfléchir aux conditions et aux causes de ce succès. À partir de la notion de stratégie figurative, ce travail se concentre sur les différentes manières dont l’artiste explore les représentations produites et relayées par la culture dominante. Les œuvres du début de sa carrière, ses installations de papiers découpés, sont ainsi analysées comme la mise en question du principe même de représentation. Utilisant la figure humaine et l’histoire comme des trompe-l’œil pour souligner la persistance de ces représentations dans l’imaginaire collectif et particulier, les installations jouent sur l’écart entre le désir d’interprétation du regardeur et sa frustration constante. Au milieu des années 2000, un infléchissement de l’oeuvre de l’artiste se produit ; il nous paraît particulièrement saillant dans les créations réalisées dans le sillage de la rétrospective de milieu de carrière de Walker (2007-2008). Il se traduirait par une réflexion sur la possibilité de représenter la violence exercée contre des disparus réels sans la transformer en spectacle. En conséquence, la construction du corps noir en tant que site spectaculaire dans la culture occidentale, ainsi que certains exemples de réponses, de ripostes émanant de Walker et d’autres artistes contemporains, sont envisagés dans ce travail. Ce dernier aboutit à l’examen des oeuvres où la figuration est mise en crise par le risque du spectacle ou compensée par l’incorporation de l’artiste, dans des oeuvres à la fois exceptionnelles et emblématiques du parcours de Walker, lequel atteste une tension constante entre la conscience du gouffre entre les sphères artistique et sociopolitique, et la tentative de créer un art politique
This work presents a survey of the work of African-American artist Kara Walker, from 1994 to 2009. Based on a multidisciplary approach conjoining American Studies, African-American Studies, art history and aesthetics, it underlines violence as a recurrent feature in Walker’s work. Confronting the artist’s statements and her works, we try to expose the constant threads and the evolutions of a work grounded within an aesthetics of cruelty, and precariously balanced between beauty and horror. Because Walker’s art has been the object of a controversy, which significantly impacted the prolific exegesis on her work, the tenets of such polarized reception are analyzed here. Given Walker’s immediate success – she became a star on the mainstream art scene in but a few years – a reflection on the conditions and causes of her success were also required. Starting from the notion of figurative strategy, this work focuses on the different ways in which the artist has explored representations produced and circulated within dominant culture. Her early works – her paper cutouts – are thus analyzed as questioning the very notion of representation. Using the human figure and history as illusionistic devices in order to expose how such representations endure within the collective and particular unconscious, Walker’s installations work within the gap between the viewer’s desire for interpretation and its constant frustration. In the mid-2000s, a new orientation within Walker’s work may be witnessed – most obviously in the pieces made in the aftermath of her mid-career retrospective (2007-2008). According to us, such a turn shows through a reflection on the possibility of representing violence as perpetrated on the bodies of actual beings without turning it into a spectacle. Thus, both the construction of the black body as a spectacular site in Western culture and the responses and counterstrategies from Walker as well as other contemporary artists to that issue, are also the objects of our investigation. This enables us to understand how the specter of the spectacle looms over some of Walker’s pieces between 2007 and 2009, throwing figuration into crisis. Both emblematic of and discrepant within Walker’s general practice, those pieces testify to the way her work evinces a constant tension between the awareness of the gap between the realm of art and the sociopolitical sphere, and the attempt to make political art
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Wood, Elizabeth J. „The composer-performer relationship, the musical score, and performance, nelson goodman's account of music as applied to the thought and work of glenn gould“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq30418.pdf.

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