Dissertations / Theses on the topic 'Architectural criticism – history'
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Samalavičius, Almantas Liudas. "Ideas and structures in architectural history." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060210_113316-20103.
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The history of architecture in Western countries and Lithuania is researched from various points of view. Such significant elements of architecture as light, color, sound, and water so far have been studied as far as their relation to the architecture of certain specific historical periods is concerned. However, up till now research of this kind was limited to deep, yet narrow, fragmented and specialized views of certain historical periods, or research projects were concerned with certain specific aspects of connections between works of architecture and metaphysical beliefs. Because of this, research of architectural history still lacks a thorough account of how metaphysical, religious, and philosophical worldviews affected the artistic expression of architecture of different periods. Without a sufficient amount of research of this kind, it is impossible to reconstruct a thoroughly consistent and more or less total view of the historical development of architecture. On the other hand, it strikes one as obvious that while the history and theory of architecture is being studied in Lithuania, we witness a lack of research work on the concepts of light, color, sound, and water that dominated during certain historic periods. Their impact upon the development of architecture needs to be analyzed and evaluated synthetically in a way that is consistent with a generalized approach, and with the help of research methods applied in the history of ideas and principles of analysis... [to full text]Architektūros istorija Vakaruose ir Lietuvoje yra tyrinėjama įvairiais aspektais. Apie tokius reikšmingus architektūros elementus kaip šviesa, spalva, garsas ir vanduo yra buvę reikšmingų specializuotų studijų šių reiškinių sąveikos su vieno ar kito istorinio laikotarpio architektūros kūriniais aptarti. Tačiau iki šiol tokio pobūdžio tyrimai apsiribodavo siaurais, fragmentiškais, griežtai specializuotais žvilgsniais į atskirų kultūros istorijos tarpsnių architektūrą arba tokio buvo pabrėžiami tik tam tikri, labai specifiniai sąveikos tarp architektūros kūrinių ir to meto pasaulėžiūros aspektai. Todėl nėra pakankamai ištyrinėta atskirais istorijos tarpsniais vyravusių metafizinių, religinių ir filosofinių pažiūrų įtaka meninei architektūros raiškai. Nesant tokių tyrimų, neįmanoma adekvačiai rekonstruoti architektūros istorinės raidos vaizdo. Nagrinėjant architektūros istorijos ir teorijos problematiką Lietuvoje, akivaizdu, kad labiausiai trūksta darbų, kuriuose atskirais kultūros istorijos tarpsniais vyravusių šviesos, spalvos, garso ir vandens sampratų įtaka architektūros meno raidai būtų įvertinta sintetiškai, apibendrintai ir nuosekliai, pasitelkus idėjų istorijos tyrimo metodologiją bei tarpdisciplinių kultūrologinių tyrimų analizės principus. Tai paskatino gilintis į minėtų elementus santykius ir sąveikas su architektūra nuo seniausių iki moderniųjų laikų, pasitelkiant idėjų istorijos atveriamas tyrimo galimybes. Tokios problematikos ir tyrimo perspektyvos pasirinkimas... [to full text]
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Orth, Michael D. "Mirages Solidified: Myth, Beautification, and Tourism In The Creation of Santa Barbara’s El Pueblo Viejo Landmark District." DigitalCommons@CalPoly, 2011. https://digitalcommons.calpoly.edu/theses/615.
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A number of books and articles have been written on the social movement to reimagine Southern California’s past in the nineteenth and early twentieth centuries. While many of the pageants, parades, and public displays that defined this regional movement now reside in the pages of history, some architectural examples from this period are still visible today. In many cities, these examples are scattered throughout the community; while in others like Santa Barbara, they represent the centerpiece of the city’s architectural distinctiveness.
Santa Barbara’s architecture challenges urban scholars to successfully garner an accurate sense of the past. More importantly, such historic spaces divert attention away from the social efforts that led to their inception. This thesis charts the history of Santa Barbara’s architectural reinvention and how the stylistic proliferation influenced the way various generations would think about the city’s past. The renaissance in a uniform Spanish style not only inspired local beautification efforts but also historic preservation, which ultimately resulted in the creation of the El Pueblo Viejo Landmark District in 1960. Additionally, this narrative critically examines the area’s history prior to the district’s establishment to show how economic profitability guided city planning, beautification, tourism, and preservation toward the ultimate solidification of the town’s Spanish image.
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White, Deborah. "Masculine constructions : gender in twentieth-century architectural discourse : 'Gods', 'Gospels' and 'tall tales' in architecture." Title page, contents and abstract only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phw5834.pdf.
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Includes 2 previously published journal articles by the author: Women in architecture: a personal reflection ; and, "Half the sky, but no room of her own", as appendices. Includes bibliographical references (p. 233-251) An examination of some texts influential in the discourse of Australian architecture in the twentieth century. Explores from a feminist standpoint the gendered nature of discourse in contemporary Western architecture from an Australian perspective. The starting point for the thesis was an examination of Australian architectual discourse in search of some explanation for the continuing low numbers of women practitioners in Australia. Hypothesizes that contemporary Western architecture is imbued with a pervasive and dominant masculinity and that this is deeply imbedded in its discursive constructions: the body housed by architecture is assume to be male, the mind which produces architecture is assumed to be masculine. Given the cultural location of Australian architecture as a marginal participant in the wider arena of contemporary Western / international discourses, focuses on writing about two iconic figues in Western architecture; Le Corbusier, of international reknown; and, Glenn Murcutt, of predominantly local significance.
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Merwood, Joanna. "Towards the architecture of the future : César Daly and the science of expression." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23202.
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The writing of the French architectural theorist and critic Cesar Daly (1811-1894), editor of the influential Parisian journal, the Revue generale de l'architecture et des travaux publics, may be considered to be representative of the ambivalence of the supposed 19th century dialectic between scientism and metaphysical idealism. For Daly the physical and representational needs of society expressed in architecture were always and forever inextricably linked by the universal and permanent pattern of History. Although it was his fundamental thesis that the human sensibility was more important than any other consideration in the creation of architecture, his theory is paradigmatic of the contemporary ideology which attempted to define and systemise the expressive role of architecture according to rational scientific principles, and resulted in the concept of architecture as a prescriptive and predictive process.Given the separation of architectural form and content, presence and meaning, and the consequent challenge to the possibility of shared experience initiated in the Enlightenment which is still an inherent part of our contemporary architectural thought, it is crucial to re-examine the architectural theory of the 19th century as the origin of the modern condition. This thesis is a critical examination of Daly's collections of polemical articles from the Revue as artifacts of architectural knowledge, through an analysis of their form and content in relation to other significant 19th century architectural texts.
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Anderson, Jennifer K. "Dogtrots in New Orleans: An Urban Adaptation to a Rural House Type." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1604.
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The dogtrot house type is an important type of vernacular architecture in the American landscape, particularly in rural areas of the southern United States. Little is formally written or known about the dogtrot type houses in New Orleans, which appear to be a unique evolution of the rural dogtrot form specifically adapted for the urban environment. This thesis examines the existing literature regarding the dogtrot house type and analyzes the architectural history of the remaining dogtrot type homes in New Orleans in order to establish that they are correctly classified, and also to investigate any possible links with rural dogtrots. The findings promotes awareness of the dogtrot house type in the urban setting, and contribute to the larger picture of vernacular architectural adaptation in the United States. Further, this thesis lays the foundation for landmarking the 16 remaining dogtrots in New Orleans.
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Reynolds, Craig A. "Thomas Jefferson’s Designs for the Federal District and the National Capitol, 1776-1826." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3779.
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This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called “cubic” and “spherical” architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton’s winning design.
This dissertation starts with the idea that Jefferson’s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault’s 1684 French translation of Vitruvius’ Ten Books on Architecture and the three London editions of Giacomo Leoni’s versions of Andrea Palladio’s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson’s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders.
Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson’s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton’s winning design.
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Muhidine, Eléonore. "Reconstruire la ville par les mots : trajectoires et engagements des critiques d’architecture berlinois des années 1950 à 1980." Thesis, Rennes 2, 2017. http://www.theses.fr/2017REN20055.
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L’émergence, dès la seconde moitié des années 1950, de deux milieux de la critique architecturale à Berlin-est et à Berlin-ouest, révèle, malgré les contraintes politiques qui pèsent sur ses acteurs, une volonté partagée de réflexion sur l’identité urbaine de la ville divisée. En effet, la Reconstruction des villes allemandes après la Seconde Guerre mondiale désigne un vaste projet de remise en service des infrastructures matérielles, mais aussi, de redéfinition d’un champ culturel et intellectuel profondément marqué par le nazisme. Adoptant une perspective d’histoire culturelle et des intellectuels, cette thèse explore les carrières, écrits et réseaux d’Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm et Nikolaus Kuhnert à Berlin-ouest, et de Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl et Wolfgang Kil à Berlin-est. Architectes ou historiens de l’art de formation, auteurs dans la presse spécialisée, et journalistes dans la presse généraliste écrite et radiophonique, mais aussi, parfois, éditeurs et professeurs dans les universités et écoles d’art, ces critiques d’architecture et de la ville s’engagèrent, entre les années 1950 et 1980, pour la reconnaissance d’une culture architecturale [Baukultur] berlinoise au XX ͤ siècle. Ils furent aussi, à bien des égards, les initiateurs d’une redéfinition des enjeux de la critique architecturale et urbaine dans l’Allemagne d’après 1945Both in East and West Berlin, as soon as the mid-fifties, architecture critics have come to the fore and shown that in spite of political pressures imposed on them, they shared a will to reflect upon the urban identity of the divided city. Indeed, the Reconstruction of German towns after WWII refers to a vast project of restoration of the material infrastructures but also the redefinition of a cultural and intellectual landscape bearing the heavy mark of Nazi ideology. Choosing a perspective of cultural and intellectual history, this thesis explores the careers, writings and networks of Ulrich Conrads, Günther Kühne, Julius Posener, Wolf Jobst Siedler, Klaus Duntze, Dieter Hoffmann-Axthelm and Nikolaus Kunhert in West-Berlin and of Kurt Liebknecht, Richard Paulick, Hermann Henselmann, Kurt Junghanns, Bruno Flierl and Wolfgang Kil in East-Berlin. Whether architects or history of art specialists, writers in the specialist press, journalists in the general press but also sometimes publishers and teachers in universities and art schools, those critics committed themselves to making the Berlin architectural culture [Baukultur] known in the XXth century. To a large extent they initiated a redefining of the stakes of architectural and urban criticism in post 1945 Germany
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Morgan, Peter Alexander. "The Apparition of Transference." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1430915081.
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Fried, Spencer J. "Pursuing the Preservation of Place: The Automobile’s Significance to Los Angeles’ Physical Character and the Opportunity for its Continued Existence." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/1152.
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Transportation is a discussion of the utmost concern in Los Angeles. The automobile poses great detriment to the environment, people’s economic stability, and the health and safety of the community. A conversation that has, however, been absent from the discussion on transportation is the particular cultural and historical significance and value of the automobile to Los Angeles; it has been seldom discussed that the automobile has been extremely influential to the physical character of the city deems it an object worth preserving. Unlike the literature that exists, this thesis specifies and details ways in which the automobile has influenced and continues to influence the urban context and architecture of Los Angeles. Simultaneously, this thesis discusses the means by which the automobile can be preserved and repurposed into an object contributory to the city’s plans for a sustainable future. By the reevaluation and reinterpretation of the car and car culture, the city would be in effect capable of reclaiming its title as the model future city, a title it achieved and also eventually lost during the 20th century in large part because of the automobile. This thesis further contributes to the greater comprehension of the context of Los Angeles and revives a conversation about the city’s potential to be a precedent for other cities.
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Guo, Yuqiao. "Post-disaster Transitional Housing for Displaced People." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/pomona_theses/124.
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Post-disaster displacement, with the increasing frequency and intensity of natural disasters, is quickly arising to become one of the most serious humanitarian challenges in the 21st century. As post-disaster housing spans several phases, the transitional housing phase is equally crucial as emergency sheltering and permanent housing: as dwellers remain in transitional housing projects up to years, their physical and emotional wellbeing is directly influenced by their surrounding built environment. Existing literature and practice have not paid enough attention to the built structures of post-disaster transitional housing. This thesis revisits past practices world-wide and architectural theory in the 20th century. Arguing that current transitional-housing design methodology is still deeply rooted in early 20th century Modernist ideologies, this thesis ties the missing link between architectural theory and humanitarian built environment design. Through examining theories and case studies, this thesis stresses the importance of approaching post-disaster transitional housing through the lens of architectural design, and makes suggestions for future improvements.
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Shearer, Katherine. "The "Postmodern Geographies" of Frank Gehry's Los Angeles." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1031.
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This thesis examines the ways in which Frank Gehry’s architectural contributions to Los Angeles’ social and built environment have shaped the region’s “postmodern geographies” throughout the 20th and 21st century. Through a focused exploration of three of Gehry’s postmodernist structures in Greater Los Angeles—a house, a library, and a concert hall—this thesis analyses how Gehry and his designs reflected and affected the artistic and socio-spatial development of Los Angeles’ “decidedly postmodern landscape.”
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Division, Johnson City GIS. "An Historic Tour of Johnson City, Tennessee - 2006." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/rare-maps/55.
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Created 3/28/2006 by Johnson City GIS, this map provides a tour of historic places in Johnson City, Tennessee. Historic sites are listed on the right edge and are denoted by numbers which correspond to places on the map.Road names are listed on the map itself.
Scale - 1" = 0.257260 mileshttps://dc.etsu.edu/rare-maps/1054/thumbnail.jpg
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Thomas, Alexis. "An Analysis of the Physical and Cultural Landscape of Grand Isle, Louisiana." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2193.
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The town of Grand Isle, Louisiana, and its rich geographic history, can offer insight into the early history of the State of Louisiana and the establishment of the United States as a country, as well as the study of the formation of barrier islands and methods of land use with such areas. The following thesis presents a geographic, as well as a historical, analysis of Grand Isle’s history. It attempts to answer the following questions: What is the shape, form, and origin of the physical landscape of Grand Isle? How have humans interacted with the land and surrounding areas of Grand Isle? And what impacts, if any, have these interactions had on the island and its landscape? These questions include research into both the built environment and the natural environment.
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Division, Johnson City GIS. "Johnson City Zoning Map - 2003." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/rare-maps/60.
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Zoning map for Johnson City, Tennessee created November 6, 2013 by Johnson City GIS. The guide to zoning districts can be found in a box on the lower left corner. The color coded key and additional information is included along the bottom. Arterial and collector streets are also denoted using empty versus solid circles.
Scale - 1" = 2000'https://dc.etsu.edu/rare-maps/1059/thumbnail.jpg
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Zúñiga, Sara E. "Deciphering the Cultural Heritage and Function of the Ella Strong Denison Library Complex." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/986.
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Latimer, Carrie Grace. "The Plots of Alexanderplatz: A Study of the Space that Shaped Weimar Berlin." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/430.
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This paper explores Alexanderplatz during the Weimar Period in Berlin. It is looked at from three different perspectives: historical urban plans, Alfred Döblin's novel Berlin Alexanderplatz, and Rainer Werner Fassbinder's 1980's film adaptation of Berlin Alexanderplatz. Through these three mediums, an argument forms that Alexanderplatz functioned as both a major transit space for movement of transportation and pedestrians, but also the transit space for the movement of ideas and information.
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Harrison, Tracy Elizabeth. "Visualizing Complexity : A Spatial Analysis of Decorative Geometric Pattern in the Islamic World, 900-1400 AD." PDXScholar, 2005. https://pdxscholar.library.pdx.edu/open_access_etds/2434.
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This study explores how the use of complex decorative geometric patterns in Islamic architecture spatially relates to advances in the fields of science and philosophy in the Islamic world between the ninth and fourteenth centuries. This project examines hypotheses developed by vario~s scholars on the forces that shaped the use of these patterns (known as the geometric mode) in Islamic architecture. The prevailing assumption that advances in mathematics contributed to the use of the geometric mode is used as a starting point for subsequent analysis.
For this study, two spatial databases were created. One contains over two hundred and twenty monuments of Islamic architecture exhibiting the geometric mode, while the other contains over one hundred records of activity in the sciences and philosophy. From these databases, decorative geometric pattern types were classified and ranked, and scholarly activities were classified. Density maps were developed from these classes and ranks for each century, and were compared in a series of analytical overlay maps. Each map depicts the spatial relationships of the activities in question over a span of three centuries, enabling a spatio-temporal analysis of the connections between disciplines within the context of the broader cultural elements at work.
These maps allow for examination of these disciplines in a new way; there has never been a spatial analysis testing the existing hypotheses until now. The density overlay maps show that some of the prevailing hypotheses are partially supported by the data, but the primary hypothesized relationship-that activity in mathematics prompted use of the geometric mode-is not applicable to all regions of the Islamic world during this time period. The spatial analysis exposes the previously overlooked possibility that the geometric mode could have influenced activity in the sciences and philosophy.
This study provides tools to better understand the complex relationships among art, science, and philosophy: two spatial databases, a geographic information systems (GIS) model, and resulting analytical overlay maps. The maps produced in this project reveal examples where the quality of contact among disciplines in these very specific times and places is worth examining in greater detail.
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Alanazi, Naif F. "Successful Urban Design Principles for the Redevelopment of the Historic Seafronts in the Kingdom of Saudi Arabia, along the North Red Sea , Case Study: Yanbu Al-Bahr’s Historic Seafront." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3769.
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This thesis highlights the role of urban planners in the revitalization of historic
seafronts as creative and attractive places for people and a key factor in the
regeneration of the urban economy in the historic seafront areas. The Saudi Arabia
historic seafront areas along the North Red Sea have been neglected and are suffering
because of slow development and changes to industrial uses. This thesis will focus on
the urban design principles that make historic seafronts more attractive and
successful, and will use a case study approach of several American waterfront cities
such as Baltimore, Maryland; San Francisco, California; and Charleston, South
Carolina. These American cities and the urban design principles applied for their
successful revitalization were selected for analysis because of their similarities with
the Yanbu Al-Bahr's historic seafront. The results of this analysis will enable planners
to apply the best of these urban waterfront design models to assist in the revitalization
of historic seafronts along the North Red Sea in the Kingdom of Saudi Arabia (KSA).
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Emond, Matthew W. "Endogenous Process & Designing Through Change." Amherst, Mass. : University of Massachusetts Amherst, 2009. https://scholarworks.umass.edu/theses/300.
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This project was an exercise in aligning my intuition, community experience, and design sensitivities under the pretext of an architectural expression. My desire was to work endogenously, or out of my home environment, on a project that had no clear programmatic or formal requirements or limitations. I began by assessing a prevalent issue in my home town (a connection between the river and the town center) both from the top down and the bottom up. Throughout, I sought to challenge my preconceived notions of what might be, and allow a design process to emerge out of the layers of information I had absorbed as a participant in this holistic landscape. Inflection and change became a driving force in this pared down design process, and through them came a working territory that framed the programmatic and formal specificities of the South River P.O.R.T.
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Ramos, Isabella. "Walking in The City: Koji Nakano’s Reimagining and Re-Sounding of The Tale Of Genji." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1037.
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Imagined Sceneries is a work written by composer Dr. Koji Nakano of Burapha University, Thailand for two sopranos, koto, light percussion, narrations, soundscapes recorded in Kyoto, Japan in December 2015, and digital projections of Ebina Masao’s 1953 print series Tale of Genji. Imagined Sceneries’ reimagining and “re-sounding” of Heian Kyoto relies on a balance between what is imagined and what is experienced in performance. Its many elements collectively explore multiple layers of Japanese histories, soundscapes, environments, and sensibilities. Using Michel de Certeau’s concepts of the city, this thesis journeys through Nakano’s imagined spaces.
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Gaier, Samantha. "Interior Decoration as Fine Art: Rachel Feinstein and The Sorbet Room, 2001." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363604230.
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Donley, John Mauck. "COOPERATIVE CONSTRUCTION IN SCHOOLS IN CALIFORNIA." DigitalCommons@CalPoly, 2014. https://digitalcommons.calpoly.edu/theses/1332.
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Cooperative Construction in Schools in California
John M. Donley
The construction industry has lost efficiency since 1964, while becoming increasingly more litigious. Schools in California can ill afford the time to allow the construction industry time to fully evolve. It may take years or decades to fully improve the efficiency of, and reduce the conflict within the construction industry.
At the same time, the construction industry has developed new processes to improve efficiency and reduce conflict. These processes are beginning to be broadly embraced by the industry. They all contain cooperative elements. Taken together they represent a new organizing principle for the construction industry, cooperative construction.
Also concurrently, a previously little-used provision of the California Education Code allows schools freedom to contract for school construction in nearly any reasonable contractual arrangement they see fit for their project and district needs. As a result, school districts in California have developed a new system of project delivery. They are borrowing from here and there and inventing new tools to make projects work for them. Again, cooperative elements at the hearts of the processes.
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Stergiou, Stavroula. "The concept of the avant-garde in twentieth and twenty-first century architecture : history, theory, criticism." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/32215/.
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The ‘Avant-Garde’ in architecture seems a challenging subject: first, because the term has not yet clearly defined, despite the ubiquity of its use; second, because through that ubiquity it has become a buzz-word that is empty of precise meaning; third, because although this use includes the history of modern architecture, its application to this field has been largely unreflective and often unconsidered, as this thesis demonstrates. There is ambivalence as to which architectures are ‘Avant-Garde’ or should be regarded as ‘Avant-Garde.’ Therefore, there is a challenge in any question such as: what is the Avant-Garde in architecture? How can the architectural Avant-Garde be defined? What is the concept of the Avant-Garde in architecture? My thesis is a sociological conceptualization of the Avant-Garde in architecture. It is based on the mapping of the use the‘ term ‘Avant-Garde’ in architectural history, theory and criticism and its analytical tools are sociological. While it belongs to the above fields, it is informed by art theory and history, cultural studies, and the sociology of the professions, and includes sociological, cultural and political analyses. I suggest that the Avant-Garde is an Operation internal to architecture; a mechanism that does not only describe it but formulates it, motivates it, or else, influences our perception of it. I propose that the Avant-Garde is directed by prominent elements of its internal domain. It includes a filtering process, a rough selection process, and a selection process, by which one or more architectures internal conditions - are introduced to the discipline to renew the profession toward the desired and necessary, for the element who directs the operation, direction (see fig. 2, appendix). The end result of the selection process is what we commonly understand as ‘Avant-Garde’ architecture, e.g. Russian Constructivism or Bauhaus. I also propose that the Avant-Garde lies in and operates within the socio-ideological sphere of architecture and that renewal of the architecture's internal domain is necessary, thus the Avant-Garde is necessary, so as to make architecture respond to each time new external conditions and so endure, as a profession, over time. The Avant-Garde is for me an operation of renewal, a driver of difference and change in architecture (see fig. 1, appendix). The methodology adopted is as follows: I first introduce my analytical tools, some key sociological concepts, and concepts from the ‘Avant-Garde’ discourse (chapter 1). I then examine the filtering process and rough selection process in architectural history: I map the usage of the term in a historiographic corpus and arrive at the more frequently and the less frequently named ‘Avant-Garde’ architectures, which become my two case studies. These are Russian Revolutionary Architecture and Italian Rationalism (chapter 2). The third step is to arrive, through the comparison of my case studies, at those parameters that are crucial in being selected as ‘Avant-Garde,’ i.e. their ‘Avantgardification’ - this occurs after 1960 when the term starts being used describing architectures (part 2). The fourth step is to examine the period of the extended 19605 when the term starts appearing as a means of describing architectures and thus the selection process begins (chapter 6). As a fifth step I research the selection process in the discourse of architectural theory and criticism: I investigate in a particular corpus of writings which architectures, by whom they are chosen as ‘Avant-Garde,’ and the reason why, as Well as which are the concomitant effects of the usage of the term on architecture. In other words, beyond concentrating on which architectures or architectural movements are ‘Avant-Garde' in these writings, I focus on the effects of this selection and denomination (chapter 7). As a sixth step, I examine the selection process of my two case studies in architectural theory and criticism, i.e the Avantgardification of Russian Revolutionary Architecture and less of Italian Rationalism. I investigate when, by whom, and the reason why the first architecture is mostly selected as ‘Avant- Garde,’ as well as which are the concomitant effects on architecture (chapter 8, see also fig. 3, appendix). As a final step I examine the Avant-Garde as a sociological concept based on the key-concepts introduced in chapter 1 (Conclusions). A sociological conceptualization of the Avant-Garde is important for shedding light on issues beyond those of ‘Avant-Garde’ architectures. Through such a concept of the Avant-Garde we recognize issues of the profession, issues which are wider than questions which are directly connected to those architectures selected as such. Looking through the ‘Avant-Garde’ we understand the ways by which architecture is being renewed and Operated. By recognizing the conditions, in which the ‘Avant-Garde’ architectures have been created, and the way and time in which the term was employed to describe them, we understand the mode in which architecture, as a discipline, functions. My thesis is a hermeneutics of the architectural profession through the term ‘Avant-Garde.’
25
Moran, Kelly Drum. "Why Not Kinkade? An Evaluation of the Conditions Effecting an Artists Exclusion from Academic Criticism." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1390.
Full textAbstract:
Though prevalent in non-academic debate, the subject of Thomas Kinkade and his artwork is discernibly absent from the realm of academic discourse. This paper is an investigation into that condition and the circumstances for its perpetuation. Central to the issue is Kinkade's art theory and practice, which establishes his coexistence in both the art and business domains, creating inherent contradictions. Further explication is revealed through an evaluation of the contemporary criticism of four posthumously canonized artists: William Blake, Phillip Otto Runge, Vincent van Gogh, and Henri Rousseau. Consistencies among them correlate to the treatment of Thomas Kinkade, suggesting a common art historical methodology in operation. An evaluation of these findings generates alternative perspectives for considering his artwork and presents the possibility for relevant, engaging research into concerns well beyond its aesthetic merit.
26
Winterton, David E. (David Edward). "Toward a natural history of architecture : the vegetal culture of Viel de Saint-Maux." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22551.
Full textAbstract:
This thesis reflects on the Lettres sur l'Architechure of Viel de Saint-Maux, published in Paris in 1787. This period represents a crisis point at which classical architechure and a traditional means of relating-to-the-world had exhausted themselves. In the Lettres, St.-Maux privileges original agrarian societies who worship the natural force of fecundity and the agricultural bounty that results from it. He claims that this worship supplied the radical base for their iconographic and symbolic forms as applied to architecture. Viel de St.-Maux's privileging of the generative forces of nature as a site for sacred imagining and ritual constructions of the agricultural environment belie a relation to the methodology and epistemology of Natural History as formulated by the Comte de Buffon.Viel de Saint-Maux sought to resist the threat of an overweening rationality by valuing the wonderment cast by the discoveries of Science. He put his faith in natural science and applied this same compulsion to the ancient primitives who, he believed, knew divinely how to propitiate Nature and its fecundity. Fecundity and Agriculture become metaphors for cultural harmony, enlightenment and a re-fusion of the mystery of vitality into everyday life.
27
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.
Full text
28
Dedecca, Paula Gorenstein. "Sociabilidade, crítica e posição: o meio arquitetônico, as revistas especializadas e o debate do moderno em São Paulo(1945-1965)." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-10072012-130257/.
Full textAbstract:
Esta dissertação pretende discutir a unidade e a pluralidade no meio arquitetônico paulista, a partir de suas redes de sociabilidade, espaços de profissionalização e movimentações críticas, tendo como material primário as revistas especializadas publicadas na cidade no período de 1945 a 1965. Trata-se de percorrer a dupla direção das relações entre um grupo intelectual - uma parcela de arquitetos atuantes na cidade - e suas manifestações, procurando traçar o espaço particular no qual se desenvolveram parte de seus laços profissionais, de suas trocas culturais e ideológicas, e de seus posicionamentos projetuais. Operando na intersecção entre espaço urbano, organizações culturais, instituições profissionais e acadêmicas, o primeiro capítulo procura traçar as redes de sociabilidade dos arquitetos em São Paulo. O segundo capítulo busca percorrer os meandros da crítica paulista - suas aproximações, desarticulações, rupturas e deslocamentos críticos - a partir de seus diálogos internos e dos diversos olhares lançados sobre a arquitetura contemporânea no Brasil, principalmente aquela produzida no Rio de Janeiro. Por fim, o terceiro capítulo é uma tentativa de aproximação das interlocuções projetuais entre os arquitetos locais através da análise de alguns dos concursos de arquitetura realizados em São Paulo no período e que encontraram eco nas revistas de arquitetura locais.This work intends to discuss the unity and plurality of the architectonic environment of São Paulo, through their social networks, professional spaces and critical movements, using as primary source some specialized magazines, published in the city between 1945 and 1965. The study will investigate the relationship between an intellectual group - a parcel of architects working in São Paulo - and its manifestations, seeking to understand the particular space in which some of its professional ties, cultural and ideological exchanges, and projetual attitudes were developed. The first chapter seeks to outline the social networks of those architects, through the intersection of urban space, cultural, professional and academic institutions. The second chapter studies the local criticism - their intellectual approaches, disarticulations, fractures and dislocations - across their inner dialogues and their different looks launched on Brazilian contemporary architecture, especially the one produced in Rio de Janeiro. Finally, the third chapter aims to approach the projectual dialogues between the local architects through the analysis of some architectural competition held in São Paulo in the period and that found an echo in local architecture magazines.
29
Krūgelis, Linas. "Relation between novation and tradition in contemporary Lithuanian sacred architecture." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130207_143156-00377.
Full textAbstract:
The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture.
While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text]Darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje. Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į subtilius... [toliau žr. visą tekstą]
30
Pasholok, Maria. "Imaginary interiors : representing domestic spaces in 1910s and 1920s Russian film and literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:c9d47ca1-6164-48fb-99f1-67ef37c77c4a.
Full textAbstract:
This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.
31
Krūgelis, Linas. "Tradicijų ir novacijų santykis šiuolaikinėje Lietuvos sakralinėje architektūroje." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20130207_143150-41950.
Full textAbstract:
Šiame darbe keliamos ir tiriamos dvi Lietuvos sakralinės architektūros problemos – tradicija ir novacija, jų tarpusavio santykis šiuolaikinėje sakralinėje architektūroje. Tradiciją lemia istorija, per šimtmečius susiformavę įpročiai ir papročiai. Taip pat nemenką įtaką daro tokie svarbūs veiksniai kaip karai, okupacijos ir svetima ideologija. Lietuvoje ilgą laiką buvo draudžiama ir varžoma religinės minties ir praktikos sklaida. Tokiomis sąlygomis sakralinės architektūros tradicija neišliko gyvastinga, buvo trukdoma visavertiškai jos raidai. Platesnė ir išsamesnė šios architektūros analizė padėtų nustatyti, kokios tradicijos ryškėja projektuojant katalikų kulto pastatus, kas išliko sena sakralinėje architektūroje.
Nagrinėjant bažnyčių architektūrą, be istorinių veiksnių, susiduriama su novacijomis, jų raiškos problema. Sovietmečiu Lietuvoje architektai nebuvo rengiami projektuoti sakralinius statinius, o ir pačių bažnyčių nebuvo statoma dėl valdžios vykdomos ateistinės politikos: tikintieji buvo persekiojami, kunigams taikomos įvairios represijos. Bažnyčios okupacinės valdžios nurodymu buvo sąmoningai niokojamos – verčiamos sandėliais ar gamyklomis arba paliekamos griūti be priežiūros. Atgavus nepriklausomybę, pradėta padėtį taisyti – imta paskubomis projektuoti ir statyti bažnyčias. Netrukus pastebėta, kad patirties ir išmanymo stoka atvėrė kelią klaidoms ir nepamatuotiems sprendimams. Bažnyčios tuo metu dažnai buvo projektuojamos neprofesionaliai, neatsižvelgiama į... [toliau žr. visą tekstą]The research involves two problems of Lithuanian sacred architecture – tradition and innovation. Tradition has been preconditioned by history, habits and customs formed within centuries. Such important factors as wars, occupations and foreign ideologies have also made a great influence. Any spread of religious thought and practice was forbidden and restricted quite for a long time in Lithuania. Under such circumstances the tradition of sacred architecture could not stay vital and develop in full-rate. Deeper and more precise analysis of the aforementioned architecture could contribute to identifying the traditions in designing Roman Catholic buildings and what has remained old in this sacred architecture. While analyzing church architecture, innovations and the problem of their expression are faced alongside the historic factors. During soviet times, architects were deprived of getting any training in design of sacred buildings, and churches were not built due to atheistic policy of authorities of the time. Believers were even persecuted and priests underwent various repressions. By the order of occupational authorities, churches were purposely destroyed – turned into storehouses or factories, or simply desolated and condemned to destruction. As soon as Lithuania regained its independence, attempts were made to improve the situation. It was started to design and build churches hastily. Soon it was noticed that lack of experience and knowledge has opened the way to mistakes... [to full text]
32
Ceylanli, Zeynep. "Sigfried Giedion'." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609934/index.pdf.
Full textAbstract:
This thesis investigates the key aspects of modern architecture in the first half of the twentieth century by an extensive reading of Sigfried Giedion&rsquos book on modern architecture: Space, Time and Architecture &ndash
The Growth of A New Tradition. Giedion&rsquo
s life, his education, his other writings and his relationships with the pioneers of the era are considered as significant influences on the writing of the book. After giving an informative summary of the book, the key themes of the book are analyzed. While analyzing these themes, the opinions of other architectural historians on these themes are also taken into consideration. The reviews on the book are elucidated in order to grasp the first reactions of architectural history circles, and then they were followed by the later impressions. The claim is that Space, Time and Architecture is an influential resource for the understanding of how modern architecture is written about in the first half of the twentieth century. The proof of this influence is both the written sources on the book and its rule in Manfredo Tafuri&rsquo
s formulation of &lsquo
operative criticism&rsquo
.
33
Bower, Matthew S. "Catastrophe in Permanence: Benjamin's Natural History of Environmental Crisis." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984263/.
Full textAbstract:
Walter Benjamin warned in 1940 of a certain inconspicuous threat to political thinking, not least of all to materialism, that takes progress as an historical norm. Implicit in this conception is what he describes as an empty continuum of time along which the prevailing tradition chronicles its own mythic development and drains everyday life of genuine historical experience. The myth of progressive history advances insidiously today in consumeristic and technocratic attempts at reconciling cultural imagery with organic nature. In this dissertation, I pursue the contradictions of such images as they crystallize around the natural history of twenty-first century commodity society, where promises of ecological remediation, sustainable urban development, and climate change mitigation have yet to introduce a true crisis of historical experience to the ongoing environmental crisis of capitalism. A more radical way of seeing the cultural representation of nature would, I argue, penetrate its mythic determination by market forces and bear witness to the natural-historical ruins and traces that constitute, in Benjamin's terms, a single "catastrophe" where others perceive historical continuity. I argue that Benjamin's critique of progress is instructive to interpreting those utopian dreams, ablaze in consumer life and technological fantasy, that recent decades of growing environmental concern have channeled into the recovery of an experience of the natural world. His dialectics of nature and alienated history confront the wish-image of organic abundance with the transience of its appropriated expression in the commodity-form. Drawing together this confrontation with a varied literature on collective memory, nature, and the city, I suggest that our poverty of experience is more than simply a technical, economic, or even ecological problem, but rather follows from the commodification of history itself. The goal of this work is to reflect upon the potentiality of communal politics that subsist not in rushing headlong into a progressive future but, as Benjamin urges, in reaching for the emergency brake on the runaway train of progress.
34
Sido, Anna E. "Making History: How Art Museums in the French Revolution Crafted a National Identity, 1789-1799." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/663.
Full textAbstract:
This paper compares two art museums, both created during the French Revolution, that fostered national unity by promoting a cultural identity. By analyzing the use of preexisting architecture from the ancien régime, innovative displays of art and redefinitions of the museum visitor as an Enlightened citizen, this thesis explores the application of eighteenth-century philosophy to the formation of two museums. The first is the Musée Central des Arts in the Louvre and the second is the Musée des Monuments Français, both housed in buildings taken over by the Revolutionary government and present the seized property of the royal family and Catholic Church. Created in a violent and unstable political climate, these museums were an effective means of presenting the First Republic as a guardian of national property and protector of French identity.
35
McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
Full textAbstract:
This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
36
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.
Full textAbstract:
Si el siglo XX creó una extendida conciencia sobre las variantes de la intertextualidad en la ficción literaria, hoy enfrentamos transformaciones en la naturaleza de la ficción y sus relaciones con otras formas discursivas y/o creativas como el arte, y con la misma realidad, que es posible designar con el concepto de ficción extrema. Desde “Don Quijote” o “Las meninas” hay incursiones en la metaficción y/o autorrefecividad. Pero a partir de las vanguardias modernistas y de modo creciente en los estertores de la postmodernidad nos abocamos a un singular tipo de hipertextualidad que desbordando lo literario se apropia de prácticas artísticas (o lo contrario) como recurso para la transposición de sus ficciones, no sólo de uno a otro campo, sino para su inserción en la realidad: la ficción extrema.
Max Aub (España 1903-México 1973), Leonora Carrington (Inglaterra 1917-México 2011) y Enrique Vila-Matas (España 1958), radicalizaron este tránsito o filtración de los imaginarios artísticos y literarios subvirtiendo las delimitaciones entre —pintor catalán Jusep Torres Campalans, junto con sus obras pictóricas, creadas como sombra o doble de Picasso. Así insertó su existencia en ciertos dominios del cubismo como un modo de meta-crítica artística. Carrington asumió un doble animal que transitó entre cuentos y cuadros y se inscribió en la memoria del surrealismo. Vila-Matas narró su “Historia abreviada de la literatura portátil” como un doble del espectro Marcel Duchamp —a su vez asaltado por otros— que reescribe la memoria del dadaísmo de tal modo que ha llegado a ser confundida con un ensayo. La revisión de las estrategias de la ficción extrema en estos autores junto con las de otros contemplados en el epilogo —Mario Bellatín, y los artistas Liliana Porter, Luis Camnitzer, José Guillermo Castillo, Ana Tisconia, Rubén Torres Llorca y Carlos Amorales— arroja nueva luz sobre sus obras, enriquece los estudios transatlánticos y revela la movilidad y multiplicación de la identidad y los deslizamientos de la ficción en la realidad como signos de tránsito a la altermodernidad.
37
TAYLOR, SHAWN. "SPEED AND RESOLUTION IN THE AGE OF TECHNOLOGICAL REPRODUCIBILITY." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3888.
Full textAbstract:
The rate of acceleration of the biologic and synthetic world has for a while now, been in the process of exponentially speeding up, maxing out servers and landfills, merging with each other, destroying each other. The last prehistoric relics on Earth are absorbing the same oxygen, carbon dioxide and electronic waves in our biosphere as us. A degraded .jpeg enlarged to full screen on a Samsung 4K UHD HU8550 Series Smart TV - 85” Class (84.5” diag.). Within this composite ecology, the ancient limestone of the grand canyon competes with the iMax movie of itself, the production of Mac pros, a YouTube clip from Jurassic park, and the super bowl halftime show. A search engines assistance with biographic memory helps our bodies survive new atmospheres and weigh the gravities that exist around the versions of an objects materiality. Communication has moved from our vocal chords, to swipes and taps of our thumbs on a screen that predicts the weather, accesses the hidden, invisible, and withdrawn information from the objects around us, and still ducks up what we are trying to say. This txt was written on a tablet returned to stock settings and embedded with content to mine the experience in which mediated technology creates, communicates and obscures new forms of language. Life in a new event horizon — a dimensional dualism that finds us competing for genetic and mimetic survival — we are now functioning as different types of humans.
38
Andrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
Full textAbstract:
This dissertation provides the first in-depth examination of American artist Stuart Davis’s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, inlcuding his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927–1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis’s concept of realism. This study traces the origin of Davis’s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis’s notion of realism informed both the development of his style and his iconography in his works of the 1920s.
39
Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.
Full textAbstract:
Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established.
Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed.
In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
40
Maiden, Shelby. "The Commodity Club: Commodity Fetishism in Modern Art and Tattoos." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/467.
Full textAbstract:
The current culture of commodity fetishism that surrounds both modern art and tattoos are disproportionately a part of the perpetuation of an artificial sense of society and community. It promotes the notion that by simply by inking the deeper layers of their skin or by spending millions on a painting that somehow one becomes elevated and enters an elite space, or club, of people like them.
41
Berger, Aimee E. "Dark Houses: Navigating Space and Negotiating Silence in the Novels of Faulkner, Warren and Morrison." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2732/.
Full textAbstract:
Poe's "The Fall of the House of Usher," as early as 1839, reveals an uneasiness about the space of the house. Most literary scholars accept that this anxiety exists and causes some tension, since it seems antithetical to another dominant motif, that of the power of place and the home as sanctuary. My critical persona, like Poe's narrator in "The House of Usher," looks into a dark, silent tarn and shudders to see in it not only the reflection of the House of Usher, but perhaps the whole of what is "Southern" in Southern Literature. Many characters who inhabit the worlds of Southern stories also inhabit houses that, like the House of Usher, are built on the faulty foundation of an ideological system that divides the world into inside(r)/outside(r) and along numerous other binary lines. The task of constructing the self in spaces that house such ideologies poses a challenge to the characters in the works under consideration in this study, and their success in doing so is dependant on their ability to speak authentically in the language of silence and to dwell instead of to just inhabit interior spaces. In my reading of Faulkner and Warren, this ideology of division is clearly to be at fault in the collapse of houses, just as it is seen to be in the House of Usher. This emphasis is especially conspicuous in several works, beginning with Faulkner's Absalom, Absalom! and its (pre)text, "Evangeline." Warren carries the motif forward in his late novels, Flood and Meet Me in the Green Glen. I examine these works relative to spatial analysis and an aesthetic of absence, including an interpretation of silence as a mode of authentic saying. I then discuss these motifs as they are operating in Toni Morrison's Beloved, and finally take Song of Solomon as both an end and a beginning to these texts' concerns with collapsing structures of narrative and house.
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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Mehrmand, Sonia M. "Canonizing the Colosseum: Remembering, Manipulating, and Codifying Memory in the Eternal City." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/241.
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The study of social memory is not purely a historical or anthropological endeavor. Archaeology can provide a considerable amount of evidence about how and why people remembered. In this case study, the Colosseum will be studied in the broader sense of being a monument of damnatio memoriae and commemorative memory; the very act of building it can be seen as a form of “recutting” the landscape to fit the image Vespasian wanted to convey of his predecessor. The Colosseum will also be studied in an even larger historical context. This will involve analyzing the manner in which it was memorialized during the Middle Ages, the Renaissance, and by British visitors during the Victorian era. I will end the case study with an analysis of Benito Mussolini’s use of antiquity and the Colosseum to propagate Fascism.
Lastly, the concept of cultural heritage and the institutions that uphold it, particularly UNESCO, will be put into question. In illustrating the fluidity of interpretations of the past, in this case through material culture, I argue that the endeavor to codify them by establishing World Heritage sites is problematic because of their subjectivity to modern agendas. However, in order to understand changing attitudes and memories associated with a single monument, one must first explore the nature of social memory.
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Vines, Jacob L. "Encounters with the American Prairie: Realism, Idealism, and the Search for the Authentic Plains in the Nineteenth Century." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2511.
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The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.
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Marianacci, Caitlyn D. "Old Masterpieces, New Mistress-pieces: Cindy Sherman's Reinterpretations of Renaissance Portraits of Women." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/840.
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This thesis examines a selection of eight photographs in the History Portraits series by American photographer, Cindy Sherman, produced from 1989 to 1990. The photographs are based on Renaissance paintings of biblical and secular women painted by old master artists such as Leonardo da Vinci, Sandro Botticelli, and Raphael. Sherman focused on the female types of Biblical mother and femme fatale, as well as wives and models. These types are defined in their relation to men and are depicted by men. In Sherman’s reinterpretations of their portraits, she retells the stories of these women in ways that reaffirm their independence and power that have been shrouded in a history told and controlled by men. With herself as her model, she altered aspects of the images, using the technique of caricature for humor as well as critique. Sherman subverts the idealization of the Renaissance portraits of women by exaggerating features and eliminating aspects of the original portraits to reassert the women’s individuality.
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Duffy, Owen J. JR. "The Politics of Immateriality and 'The Dematerialization of Art'." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4641.
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This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it?
By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.
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Byington, Danielle. "Transmutations of Ophelia's "Melodious Lay"." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3203.
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There are multiple ways in which language and image share one another’s aesthetic message, such as traditional ekphrasis, which uses language to describe a work of art, or notional ekphrasis, which involves literature describing something that can be considered a work of art but does not physically exist at the time the description is written. However, these two terms are not inclusive to all artworks depicting literature or literature depicting artworks. Several scenes and characters from literature have been appropriated in art and the numerous paintings of Ophelia’s death as described by Gertrude in Hamlet, specifically Millais’ Ophelia, is the focus of this project. Throughout this thesis I analyze Gertrude’s account in three sections—the landscape, the body, and the voice—and compare it to its transmutation on the canvas.
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Frechette, Mariel. "Danger in Deviance: Colonial Imagery and the Power of Indigenous Female Sexuality in New Spain." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/210.
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The primary objective of this work is to understand the importance of the indigenous, female body in early New Spain through the study of visual media from the first two centuries of colonization: specifically looking at illustrations from Book 10 (of 15) in the Florentine Codex and images of indigenous Christian wedding ceremonies such as the painted folding screen Indian Wedding and a Flying Pole (c.1690). I argue through visual, theoretical and historical analysis that regulating indigenous female sexuality was a critical component to in the creation of colonial New Spain and that imagery played an essential role in this regulatory process.
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Watts, Chelsea Anne. "Painting Parisian Identity: Place and Subjectivity in Fin-de-siecle art." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3403.
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In this thesis I provide analysis of several nineteenth-century artworks in order to elucidate the connections between place and identity as expressed in visual representations of Paris. I utilize Bakhtin's idea of the dialogical as a means of identifying multiple subject positions that might be accessed by particular individuals who live in socially constructed spaces specific to fin-de-siècle Paris. I discuss the construction of three performed identities unique to nineteenth-century Paris: the Flâneur, the bohemian, and the primitivist. In each chapter I will parse out the social construction of the spaces where these identities existed and were performed, and link those identities to their discursive functions as particular models of Parisian life. I will discuss the relationship of each representation of identity to Henri Lefebvre's concept of socially-produced space through analysis of the stylistic and compositional choices made by the artist. The visual artworks I discuss include Edouard Manet's A Bar at the Folies-Bergère, Vincent van Gogh's The Outskirts of Paris, Night Café, and Café Terrace at Night, and Henri de Toulouse-Lautrec's Jane Avril and Divan Japonais.
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Jones, Rebecca E. "Catching All Passions in His Craft of Will: Portraits and Pater in Oscar Wilde’s “The Portrait of Mr. W. H.”." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4219.
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This thesis examines Oscar Wilde’s “The Portrait of Mr. W. H.” as the product of Wilde’s long interest in critic Walter Pater’s literature and scholarship. From its first iteration published in 1889, through Wilde’s ongoing revision and expansion into the version commonly anthologized today, “The Portrait of Mr. W. H.” is an evolving work that mirrors Wilde’s enduring relationship with the art and ideas of his former teacher. This relationship is explored in three contexts: Pater’s contribution to Wilde’s understanding of the Renaissance period; the steady influence of Pater’s ideas and persona on Wilde’s other major works from the period that saw the publication and revision of “The Portrait of Mr. W. H.;” and the particular influence of Pater’s Imaginary Portraits on the structure and themes of “The Portrait of Mr. W. H.” Because of Pater’s extensive writings on art, and Wilde’s passionate interest in the subject, many of these intersections occur around the image of the portrait in Wilde’s work.