Dissertationen zum Thema „Literature, Modern, in art“
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Linekin, Kim. „The modern popular song as a literary art form“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
Der volle Inhalt der QuelleSchwakopf, Nadine. „Poetry Unbound| Sounding the Language of Materiality in the Works of Man Ray, Henri Chopin and Gerhard Ruhm -- A Reading through Wittgenstein, Benjamin, Merleau-Ponty and Kittler“. Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10783465.
Der volle Inhalt der QuelleThis dissertation is meant to be the scene of an experiment. It is meant to be a scene of observation and auscultation striving to fathom the work of poiesis as it manifests itself in select pieces of experimental poetry created by artists and writers of the 20th-century avant-gardes. Our study notably poses the question of how poiesis draws on, and seeks to incorporate the experience of sensible things, examining also how this accentuation of perception in the making of a poem feeds into, viz. falls in line with the accentuation of the poem's sensible thing-ness. We will investigate how the abovementioned artists undertake to "make sense" of their experience of the things of the life-world, namely by grounding the signifying of their poetry in the mattering of poietic matter. We will investigate how their poems come to produce sense qua their mere being sensible, i.e. qua their being sensible as visual and/or aural matter that matters to us by virtue of its very visual and/or aural phenomenality.
As we will argue, with this emphasis on the production of a sensible presence, these poetic experiments not only establish the primacy of perception, but – more important – they also prove to loosen, and oftentimes even cut the close ties that poiesis is commonly considered to have with the semiotic order. Thus, instead of fabricating a communicational language, the experiment called poiesis giving rise to these works is in the first place destined to create the poem as a material thing. We will show that, as such a material thing, the experimental poem interpellates the senses via a language of materiality that, for its part, translates the materiality of the things of the life-world. We will show that, in lieu of straightforwardly abiding by the laws of semioticity, the poietic language of the works we are about to encounter rather emanates from the poems' very physique; i.e., that this "physical" language forged in defiance of the semiotic order thus rather proves to be consubstantial with the mattering of the matter that gives shape to the body of the poem.
In the course of our study, we will pay particular attention to how the work of poiesis – as it comes to crystallize and persist in the bodiliness of the respective poem – is, namely, pregnant with the gestures and the flesh of the body that conceived it. Beginning with the surface analysis of the physiognomy of a work by Man Ray, we will then turn to delving into the depths of the poems' corporeality. Anatomizing pieces from the oeuvres of Henri Chopin and Gerhard Rühm, we will discover – step-by-step and layer-by-layer – how both the scriptural and the oral practices constituting their work are infused with the pulsating of the human body. As we will suggest, the sensing of the scriptural and aural anatomies that build the body of Chopin's and Rühm's works always involves the sensing of the displaced and disfigured human body. This turn of poiesis to the human senses thus allows for a sensitization of the works themselves – in the sense that they become sensible bodies whose very bodiliness embraces, re-appropriates, and exudes the materiality of the life-world.
Alison, Cheryl. „Creatures of Habit“. Thesis, Tufts University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3624685.
Der volle Inhalt der QuelleThis dissertation contends that the kinds of consistency composition both affords and demands in order to hold together as a composition have a special location within European and American late modernism. In the decades surrounding the Second World War, artists acknowledged that art needed to let in disorder to reflect lived experience; yet, it still had to cohere in order to be recognizable as art, or a form of presentation. Paying attention to how diverse late modernist artists were thus creatively challenged, I argue that their works of art demonstrate historically located and informed compositional conservatism, or formal rigidity. Making the case for the breadth of composition's organizing force during the period, I focus on a different artist and disciplinary area in each of three chapters: Francis Bacon's oil paintings, Samuel Beckett's dramatic and theatrical work in Endgame, and Ralph Ellison's novelistic efforts in Invisible Man and his unfinished second manuscript.
Late modernist artwork exercises formal control in ways extreme enough to be called violent. But if "violence" signifies here how formal control stringently orders components (and excludes others) to bring them into line with composition's demands, this formal signification hardly removes such violence from having lived consequences. More, such components' failure to fall into line, or the artist's failure to accomplish such organization, can itself have unfortunate repercussions. Building on Gilles Deleuze and Félix Guattari's art theory, which lays the groundwork for aligning apparently dissimilar compositions, I argue that in Bacon, Beckett, and Ellison, compositional force operates in ways shared by larger physical and psychological arrangements. I show how not just home or domestic spaces, but also national and political structures, including, e.g., those defining German fascism, partake in composition's formational activities. Making use of conceptual apparatuses that extend beyond Deleuzoguattarian theory to include psychoanalysis and Frankfurt School theorists, this dissertation examines how the violence (and pleasure) of form variously subtends the period's configurations.
Virava, Thiago Gil de Oliveira. „Um boxeur na arena: Oswald de Andrade e as artes visuais no Brasil (1915-1945)“. Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-11092018-102002/.
Der volle Inhalt der QuelleThis study investigates the position of the visual arts within the intellectual and creative experience of Brazilian modernist writer and poet Oswald de Andrade (1890- 1954). It analyses not only his writings on art but also the presence of the visual arts in his poetry books Pau Brasil [Brazil Wood] (1925) and Primeiro caderno do aluno de poesia Oswald de Andrade [First notebook of the poetry student Oswald de Andrade] (1927), as well as in the novels Os Condenados [The Doomed] (1922- 1934) and Marco Zero [Ground Zero] (1943-1945). This work also discusses the relationships the writer had with Brazilian and foreign artists, as well as his participation in relevant situations involving the visual arts in Brazil, such as the Semana de Arte Moderna [Modern Art Week]; Tarsila do Amaral\'s first exhibition in Brazil; the Clube dos Artistas Modernos [Modern Art Club]; the Salões de Maio [May Salons]. The aim is to examine how Oswald de Andrade took part in an important period of the history of modern art in Brazil, especially at the city of São Paulo, from the 1910s to the 1940s, which are the chronological landmarks assumed here taking the article \"Em prol de uma pintura nacional\" [In favor of a national painting], published in 1915, and the novel Marco Zero II: Chão [Ground Zero II: Ground], published in 1945, as reference points. Remarkable both as style and discursive strategies, Oswald de Andrade\'s writings on art reveal a reflection in constant movement, but always attentive to what the author understood as the demands of a time of transformations and struggle for a less oppressive society, in which the arts had a strategic position. Based on the investigation of the abovementioned materials, this work argues that the visual arts did not occupy a secondary position in relation to Oswald de Andrade\'s activities as writer, poet and controversialist journalist. On the contrary, they were a constitutive element of his intellectual and creative experience.
Siqueira, Joelma Santana. „À procura de objetos gritantes: um estudo da narrativa de Clarice Lispector“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-30072008-092614/.
Der volle Inhalt der QuelleThis work is focused on readings of Clarice Lispector\'s writings produced in the 1940s, 1950s and 1960s: the novel Perto do coração selvagem, short stories in Laços de família and texts and short stories in A legião estrangeira. Aiming at investigating the inter relations between literature and other forms of art, the writer\'s work corpus was confronted with texts on modern art\'s sources and traditions, Brazilian modern art critique and modern space studies. Based on the concepts of \"polysensorial space\" proposed by Pierre Francastel, and \"space at work\", proposed by Alberto Tassinari, structural homologies were studied between Ms. Lispector\' s narrative space and that of modern painting. The two concepts are related to two complementary functions which we believe exist in the narratives analyzed: figuration and exposition. The former introduces characters, actions, events, etc...in the narrative; the latter presents signs of acting. The painter Wassily Kandinsky wrote that the artist seeks to find in music, the most immaterial among the arts, a form of self-expression, without imitation being an end in itself. Since this is an aspect observed in the narrator of Perto do coração selvagem, we have attempted to discuss in which ways music, often alluded to in the narrative, is related to the novel\'s structure.
Oxendine, Jessica Grace. „Warrior Women in Early Modern Literature“. Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271872/.
Der volle Inhalt der QuelleMi, Jia-Yan. „The spectacle of Xiangtu : home, landscape and national representation in modern Chinese literature, film and art /“. For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2002. http://uclibs.org/PID/11984.
Der volle Inhalt der QuelleCordy, Raven. „Making Christian Art in a Contemporary Setting“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
Der volle Inhalt der QuelleRackley, Elizabeth. „Hierarchial Compositions in Late-Eighteenth- and Early-Nineteenth-Century Landscape Art and Poetry“. W&M ScholarWorks, 1993. https://scholarworks.wm.edu/etd/1539625823.
Der volle Inhalt der QuelleBenson, Natalie Jane Allen. „The (un)cut painter's book: redefining a literary-arts genre“. Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6056.
Der volle Inhalt der QuelleThomas, Evan Benjamin. „Toward Early Modern Comics“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1502561240762248.
Der volle Inhalt der QuelleCooper, Catherine C. „John Gardner’s Grendel: The Importance of Community in Making Moral Art“. ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2599.
Der volle Inhalt der QuelleFORRESTER, ELIZABETH HARTLEIGH. „Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.
Der volle Inhalt der QuelleForrester, Elizabeth Hartleigh. „Musical semantics within modern literature a study of seven American art songs set to the texts of Gertrude Stein /“. Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211255987.
Der volle Inhalt der QuelleAdvisors: Melinda Boyd PhD (Committee Chair), William McGraw (Committee Member), Mary Henderson-Stucky (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Gertrude Stein; Virgil Thomson; Ned Rorem; Gunther Schuller; David Diamond; Richard Hundley; John Cage; Psychology and Art Song; Music and Modern Literature; Cubism; American Art Song. Includes bibliographical references.
Lindqvist, Ursula Anna Linnea. „The politics of form : imagination and ideology in 1930s transnational exhibitions and socially engaged poetry /“. view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190531.
Der volle Inhalt der QuelleTypescript. Includes vita and abstract. Includes bibliographical references (leaves 295-305). Also available for download via the World Wide Web; free to University of Oregon users.
Herrera, Adriana. „Ficción Extrema: Deslizamientos en la Realidad a Través de la Relación Entre Arte y Literatura (Max Aub, Leonora Carrington y Enrique Vila-Matas)“. FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1741.
Der volle Inhalt der QuelleStone, Tracy. „Speculative Ontologies and Cautionary Horrors| The Literary Zombie's Answer to What We Are and Where We're Going“. Thesis, University of Louisiana at Lafayette, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3687707.
Der volle Inhalt der QuelleOn a metaphoric level, the zombie is an extremely malleable and dynamic figure because it can act as a template for exploring the hazy definitions of humanity. The trope of the zombie I trace in this dissertation is the performance of an absence: the zombie as fragmented and incomplete human. I examine examples of the zombie in American literature across the last century that reify the absence of something crucial in the ontological makeup of a complete human, a component I term `the absent quale.' In the first two chapters, I establish the trope of the zombie as a figure that lacks a particular quale essential to humanity. Chapter One examines H. P. Lovecraft's zombies in "Herbert West: Reanimator" (1921–22) in the context of scientific materialism, which denies the existence of the soul. By 1959, when Robert Heinlein wrote his time travel classic "All You Zombies—," the figure of the zombie as an embodied absence was so established in popular culture that Heinlein's narrator uses the word "zombies" as a metaphor; Chapter Two reads the figurative zombie as a characterization of the fragmented along the temporal dimension. In Chapter Three, I consider Harlan Ellison and Robert Silverberg's "The Song the Zombie Sang" (1970) alongside Walter Benjamin's influential essay, "The Work of Art in the Age of Mechanical Reproduction," using the latter's concept of the aura to denote a sort of material analogue to the human soul. I argue in Chapter Four that the bricolage of popular culture motifs that Robin Becker's zombie rehearses throughout Brains: A Zombie Memoir (2010) enacts the postmodern estrangement from an authentic dimension of being. Expanding on this theme, Chapter Five explores the ways in which popular culture dictates reality for the living and the undead members of the pre- and post-apocalyptic American society Colson Whitehead describes in Zone One (2011).
Picchi, Giuliano <1976>. „Business models of art galleries: a thematic synthesis of the literature“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15109.
Der volle Inhalt der QuelleCriswell, Christopher C. „Networks of Social Debt in Early Modern Literature and Culture“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc799514/.
Der volle Inhalt der QuelleSiddall, Jane. „Mother what art thou? : a study of the depiction of mother figures in recent Australian and New Zealand fiction for teenagers“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2003. https://ro.ecu.edu.au/theses/1290.
Der volle Inhalt der QuelleAntill, Drew M. „A COMPARATIVE ANALYSIS ON THE PORTRAYAL OF MARGINALIZED POPULATIONS IN RICHARD WRIGHT’S NATIVE SON AND ART SPIEGELMAN’S MAUS“. Ohio Dominican University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=odu159565417796252.
Der volle Inhalt der QuellePartridge, Henry Charles. „Blessed are the forgetful : aspects of forgetting in modern European philosophy and literature“. Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430814.
Der volle Inhalt der QuelleNail, Brian W. „Models of sacrifice and the art of Christian tragedy“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3183/.
Der volle Inhalt der QuelleBellman, Erica Nicole. „Spectacular Shadows: Djuna Barnes's Styles of Estrangement in Nightwood“. Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/353.
Der volle Inhalt der QuelleTakakjian, Cara Elizabeth. „The Italian Graphic Novel: Reading Ourselves, Reading History“. Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11002.
Der volle Inhalt der QuelleRomance Languages and Literatures
David, Elise J. „Making Visible Feminine Modernities: The Traditionalist Paintings and Modern Methods of Wu Shujuan“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338316520.
Der volle Inhalt der QuelleWilliams, Court. „Sensitive skin“. Thesis, The University of Sydney, 2008. https://hdl.handle.net/2123/28932.
Der volle Inhalt der QuelleBasfar, Rana Khalid. „The Nights’ Dreams: Shahrazad and Her Stories in Modern Human Rights Textual and Visual Narratives (1994-2014)“. OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1781.
Der volle Inhalt der QuelleJeffrey, 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/.
Der volle Inhalt der QuelleTalattof, Kamran. „The politics of writing in Iran : a history of modern Persian literature /“. Syracuse (N.Y.) : Syracuse university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb409644141.
Der volle Inhalt der QuelleViers, Carole Anne. „The OULIPO and art as retrieval copyists and translators in the novels of Raymond Queneau, Italo Calvino, Harry Mathews, and Georges Perec /“. Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1579171801&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Der volle Inhalt der QuelleBraidwood, Alistair. „Iain Banks, James Kelman and the art of engagement : an application of Jean Paul Sartre's theories of literature and existentialism to two modern Scottish novelists“. Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3024/.
Der volle Inhalt der QuelleBerclouw, Marja E., und berclouw@vicnet net au. „Perfection, Progress and Evolution: A Study in the History of Ideas“. La Trobe University. Institute for Education, 2002. http://www.lib.latrobe.edu.au./thesis/public/adt-LTU20061113.110150.
Der volle Inhalt der QuelleWeiss, Katherine. „“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.
Der volle Inhalt der QuelleRoza, Alexandra M. „Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
Der volle Inhalt der QuelleBrook, Madeleine E. „Popular history and fiction : the myth of August the Strong in German literature, art, and media“. Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
Der volle Inhalt der QuelleMejcher-Atassi, Sonja. „Reading across modern Arabic literature and art : three case studies: JabraÌ„ IbraÌ„hiÌ„m JabraÌ„, Ê¿Abd- al-RahÌ£maÌ„n MuniÌ„f, Etel Adnam“. Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422478.
Der volle Inhalt der QuelleWasserman, Minke. „'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
Der volle Inhalt der QuelleBerger, Ronit. „Legalizing love : desire, divorce, and the law in early modern English literature and culture /“. Saarbrücken : VDM Verlag Dr. Müller, 2007. http://catalogue.bnf.fr/ark:/12148/cb411164623.
Der volle Inhalt der QuelleBergman, Andrew Marlowe. „Vette City“. Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469792156.
Der volle Inhalt der QuelleAlaybani, Rasmyah. „Words and Images:Women’s Artistic Representations in Novels and Fine Art in the Kingdom of Saudi Arabia 2005-2017“. The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1565009668743079.
Der volle Inhalt der QuellePonce, Timothy Matthew. „The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative Heroism“. Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062882/.
Der volle Inhalt der QuelleDenard, Richard Hugh. „Modern versions of Greek tragedies from Ireland : #The riot act' by Tom Paulin and #The cure at Troy' by Seamus Heaney“. Thesis, University of Exeter, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389906.
Der volle Inhalt der QuelleWhite, Kayla A. Ms. „Comics and Illustration from the Written; The Conversion of a Story from Prose to Graphic Depiction“. Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/210.
Der volle Inhalt der QuelleSaraogi, Avantika. „The Bollywood Item Number: From Mujra to Modern Day Ramifications“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/215.
Der volle Inhalt der QuelleHollo, Kevin R. „(Re)Framings: A Multimodal Interrogation of Reading as Writing“. Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1164916147.
Der volle Inhalt der QuelleReed, Delanna Kay. „Readers Theatre in Performance: The Analysis and Compilation of Period Literature for a Modern Renaissance Faire“. Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500784/.
Der volle Inhalt der QuelleAttia, Ali Mohamed Abd El-Rahman. „The Hebrew periodical "Ha-Shiloaḥ" (1896-1919) : its role in the development of modern Hebrew literature /“. Jerusalem : Magnes press, the Hebrew university, 1991. http://catalogue.bnf.fr/ark:/12148/cb37598726m.
Der volle Inhalt der QuelleDauber, Jeremy Asher. „Antonio's devils : writers of the Jewish Enlightenment and the birth of modern Hebrew and Yiddish literature /“. Stanford (Calif.) : Stanford university press, 2004. http://catalogue.bnf.fr/ark:/12148/cb39214879m.
Der volle Inhalt der QuelleDonovan, Josephine. „Gnosticism in modern literature : a study of the selected works of Camus, Sartre, Hesse, and Kafka /“. New York : Garland publ, 1990. http://catalogue.bnf.fr/ark:/12148/cb355205194.
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