Dissertations / Theses on the topic 'Artistes – Mythe'
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1
Röstorp, Vibeke. "Les artistes suédois et norvégiens en France de 1889 à 1908 : le mythe du retour." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040146.
Abstract:
Cette thèse porte sur les artistes suédois et norvégiens en France de 1889 à 1908. Ces années ont traditionnellement été considérées comme une période de retour au pays et d’abandon de la France pour les artistes scandinaves qui se seraient tournés de nouveau vers Paris seulement en 1908 avec l’arrivée des élèves d’Henri Matisse. Une étude approfondie de leur présence aux Salons parisiens a été menée afin de constater que leur nombre ne baisse pas et que les départs des uns sont aussitôt comblés par l’arrivée d’autres artistes scandinaves. À travers l’examen de la taille et de l’activité de cette communauté d’artistes installés en France durant ces deux décennies, dites nationalistes, il s’avère que l’hypothèse du retour vers la Scandinavie dans les années 1890 est un mythe créé par une historiographie faussée. La plupart des artistes scandinaves expatriés en France de 1889 à 1908 menèrent des carrières couronnées de succès dans un environnement cosmopolite et international. Les raisons de la mauvaise interprétation de cette période de l’histoire de l’art scandinave ont été analysées à travers les ouvrages d’histoire de l’art anciens et actuels. D’autres investigations ont été entreprises, basées sur la correspondance de ces artistes principalement conservée à l’Académie Royale des Beaux-Arts de Suède et dans les archives d’Auguste Rodin, ainsi que sur l’étude de leur accueil critique en France. Elles démontrent que la colonie scandinave de Paris de ces années-là a été exclue des expositions organisées en France par leurs propres pays et que la carrière de ces artistes expatriés, ainsi que le rôle de la France, ont été minimisés dans l’histoire de l’art scandinaveThis dissertation is about the presence of Swedish and Norwegian artists in France during the years 1889 to 1908. Traditionally these years have been considered as a period when Scandinavian artists left France to return to their homelands and according to this traditional view, they only returned to Paris and French influence with the arrival of Henri Matisse’s students around 1908. A thorough study of their presence in the Parisian Salons has been conducted which determines that their numbers do not decrease and that the departure of certain Scandinavian artists was balanced by the arrival of others. By examining the size and the activity of this artistic community in France during these two so-called nationalistic decades, it appears in fact that the hypothesis about the return to Scandinavia in the 1890’s is a myth created by a distorted historiography. Most Scandinavian expatriate artists living in France between 1889 and 1908 led successful careers in a cosmopolitan and international environment. The reasons for the misinterpretation of this period in Scandinavian art history have been analysed using historical and current texts and art history handbooks. Further investigation based on the correspondence of these artists, kept chiefly by the Royal Swedish Academy of Fine Arts and in the archives of Auguste Rodin, as well as the study of their critical reception in France, have shown that the Parisian colony of Scandinavian artists has often been excluded from exhibitions organized in France by their home countries and that the career of these expatriate artists as well as the role of France during this period has been minimized in Scandinavian art history
2
Rogerat, Marie-Claude. "L'artiste : des représentations, un mythe : étude de l'évolution des représentations de l'artiste au XXème siècle dans la société française, vue à travers les biographies de peintres." Besançon, 2003. http://www.theses.fr/2003BESA1013.
Abstract:
Cette recherche s'appuie essentiellement sur l'étude des biographies de Van Gogh, Lautrec et Monet afin de mettre en lumière les processus de constitution de représentations collectives d'un public vers les artistes. Dans la majorité des cas, l'artiste est vu comme personnage exceptionnel, mythique, image largement répandue prenant appui sur les mythes les plus anciens, mais aussi sur la littérature du XIXème siècle. Il semble que ces vies, porteuses de mythe et de sacré, focalisent les besoins d'un monde en quête de repères concrets, mais aussi de rêve et d'imaginaire, créateurs de lien social, dans une société individualiste, froide et anomique. Cette recherche cherche à révéler comment une société, à une époque, peut construire une telle représentation en fonction des valeurs et des idéologies qui l'animent. Une brève étude historique sur les biographies d'artistes, et un travail d'analyse sur la forme et le contenu des récits permettent d'accéder à la connaissance de ces valeursThis research work is based upon the study of Van Gogh's, Lautrec's and Monet's biographies. It aims to bring to light the process of setting up of the collective representations people have towards artists. The artist ist mostly regarded as an outstanding, mythical character : this image is being widely spread and leans on the oldest myths and on the 19th century's literature as well. Those lives, conveyors of myth and of sacred, seem to focus the needs of a world in quest of concrete marks, but in quest of dream and imaginativeness too, those marks being the architects of social relationship inside an individualistic, unmoved and anomic society. The purpose of this research is to reveal how one society, during one definite period, can built an image of the artist, according to the values and the ideology which enliven it. An historical study about biographies of artists, added to an analytic work about both contend and form of the stories enable to get to the knowledge of those values
3
Joannon, Felipe. "Pintar frente al motivo : el mito del artista en la obra literaria de Adolfo Couve." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080088.
Abstract:
Cette thèse étudie l'idée de l'art et de l'artiste dans l'œuvre littéraire du peintre et écrivain chilien Adolfo Couve (1940-1998). Elle propose notamment d'aborder ses textes de fiction et de non-fiction dans une perspective unique marquée par ce que nous définirons comme son mythe de l'artiste. Sur la base de certains concepts et théories inhérents aux études contemporaines sur les mythes, nous identifions cinq moments ou phases qui définissent l'artiste dans l'œuvre de Couve. Ces moments, particulièrement visibles dans certains passages des œuvres qui racontent la vie d'un artiste (La lección de pintura, 1979 ; La comedia del arte, 1995 ; Cuando pienso en mi falta de cabeza, 2000) sont les suivants : « vocation », « apprentissage », « crise », « pari » et « libération ». Sur la base de la description de ces jalons dans l'itinéraire de l'artiste couverien, nous analyserons les principales préoccupations esthétiques soulevées par la littérature de l'auteur, que nous confronterons avec l'expression de sa pensée artistique dans ses entretiens et ses écrits sur l'art. On postule que l'idée d'art contenue dans l'œuvre littéraire d'Adolfo Couve se construit dans (et en même temps est un symbole de) la croisée des chemins à laquelle la pensée occidentale moderne fait face depuis le début du XXe siècle, entre la crise du paradigme de la raison et la tentative de réhabiliter certaines valeurs associées à la pensée mythiqueThis PhD dissertation studies the idea of art and the artist in the literary work of the Chilean painter and writer Adolfo Couve (1940-1998). It approaches his fiction and non-fiction from a unique perspective marked by what we will define as his “myth of the artist”. Anchored in certain concepts and theories of contemporary myth studies, the dissertation identifies five moments or phases that define the artist in Couve’s work. These moments, which are especially visible in some passages of the works that narrate the life of an artist (La lección de pintura, 1979; La comedia del arte, 1995; Cuando pienso en mi falta de cabeza, 2000), are the following: “vocation”, “apprenticeship”, “crisis”, “proposition” and “liberation”. Using the description of these milestones in the itinerary of Couve’s artists as a starting point, the dissertation explores the main aesthetic questions raised by the author’s oeuvre, which will be compared with the expression of his artistic thought in his interviews and writings on art. The main thesis is that the idea of art contained in the literary work of Adolfo Couve is built in (and at the same time is a symbol of) the crossroads –faced by Western modern thought since the early twentieth century– between the crisis of the paradigm of reason and the attempt to rehabilitate certain values associated with mythical thought
Este trabajo estudia la idea de arte y de artista en la obra literaria del pintor y escritor chileno Adolfo Couve (1940-1998). En particular, propone abordar sus textos de ficción y de no ficción desde una única perspectiva marcada por lo que definiremos como su mito de artista. En base a determinados conceptos y teorías propias de los estudios contemporáneos sobre los mitos, se identifican cinco momentos o fases que definen al artista en la obra de Couve. Estos momentos, especialmente visibles en algunos pasajes de las obras que narran la vida de un artista (La lección de pintura, 1979; La comedia del arte, 1995; Cuando pienso en mi falta de cabeza, 2000) son: “vocación”, “aprendizaje”, “crisis”, “apuesta” y “liberación”. A partir de la descripción de estos hitos en el itinerario del artista couveano, analizaremos las principales preocupaciones estéticas que plantea la literatura del autor, las que cotejaremos con la expresión de su pensamiento artístico que consta en sus entrevistas y escritos sobre arte. Como hipótesis general, se postula que la idea de arte contenida en la obra literaria de Adolfo Couve se construye en (y es al mismo tiempo símbolo de) la encrucijada que enfrenta el pensamiento moderno occidental desde inicios del siglo XX, entre la crisis del paradigma de la razón y el intento por rehabilitar determinados valores asociados al pensamiento mítico
4
Kiefer, Luísa Martins Waetge. "Jovem artista : a construção de um duplo mito." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97678.
Abstract:
O presente trabalho investiga o papel e o lugar ocupados pelo jovem artista dentro do campo da arte hoje. Demonstra que esta figura passou por um processo de dupla mitificação: a de ser jovem e a de ser artista. Revela o processo da sua construção histórica e social, mostrando como este assumiu um papel central na arte do século XXI. A pesquisa foi realizada a partir de entrevistas com seis artistas nascidos na década de 1980 e 1990 – Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. O olhar dos entrevistados é representativo de uma geração e serve como fonte primária para esta análise.This work seeks to investigate the role and place occupied by young artists in todays art field. It shows that this group has gone through two different mythification processes: being young and being an artist. Revealing the social-historical process that they went through and showing how they play this central role in the arts of XXI century. A research was made by interviewing six artists born on 1980 and 1990 decades - Daniel Escobar, Marcos Fioravante, Marina Camargo, Rafael Pagatini, Raquel Magalhães e Romy Pocztaruk. The view of the interviewees is representative of this generation and serves as a primary source for this analysis.
5
Horn, Maria Lucila. "Mito de artista : o discurso da cultura." Universidade do Estado de Santa Catarina, 2006. http://tede.udesc.br/handle/handle/2201.
Abstract:
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The aim of this inquiry is to identify the heroic myth as a point of reference in the construction of the artistic identity. The heroic mythology is here taken as a key to clarify the questions related to identity. It is possible by making use of the term myth , in the sense adopted by authors, members of the Circle of Eranos, that is to say, as a tool to clarify the construction of artistic identity. It is presented a review of authors that considers the myth as a cultural truth, with great importance to the comprehension of society. After that, a study of case is developed, about the brazilian artist Leonilson, his talks and the texts of critics and the media. In this way is expected to find in the contemporary discourse about the figure of artist, the currently manifested expectance concerning his role on culture through heroic mythology
O foco desta dissertação é identificar o mito heróico como ponto de referência na construção da identidade artística, tendo no estudo da mitologia heróica a chave para clarificar as questões da identidade. Recorrendo ao termo mito , no sentido adotado pelos autores integrantes do Círculo de Eranos, ou seja, como uma ferramenta para clarificar a construção da identidade artística; apresenta-se uma revisão de autores que tratam o mito como uma verdade cultural de suma importância para a compreensão da sociedade. Em seguida desenvolve-se a noção do mito heróico como diretriz reveladora da identidade do artista. Desenvolve-se ainda, um estudo de caso tendo como referência o artista brasileiro Leonilson, sua biografia, suas falas e os discursos da crítica e da mídia, encontrando no discurso contemporâneo acerca da figura do artista a expectativa comumente manifestada a respeito do seu papel na cultura através da mitologia heróica
6
Hamilton, H. Dawn. "Myth and Archetype in the Studio| An Artist's Encounter with a Goddess." Thesis, Prescott College, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1573604.
Abstract:
This thesis is based upon my artistic interaction and response to the 5,000-year-old myth of the Sumerian deity, Inanna. The main element of this thesis consists of a body of artwork that evolved out of the interweaving of textual, psychological, and artistic research. The artwork is an artist's response to a particular juncture in the descent portion of Inanna's myth . . . the moment of her transformation. This amalgamation of artistic and textual artifacts documents the power of an ancient story, from a long-dead culture, to reach through time and touch an individual life. The written documentation draws from diverse areas of study such as alchemy, mythology, depth psychology, women's spirituality, and women's studies. Through readings, conferences, workshops, one-on-one conversations, active imagination, and art-making I have woven together a glimpse, perhaps a momentary perspective, of an encounter with a divine feminine archetype. I am a visual artist and my lens is that of a 21st century woman and a maker-of-things. I gather, experience, and express my knowingness from this point of view and my thesis reflects my perspective.
7
Losee, Christopher. "Mythography /." Online version of thesis, 1986. http://hdl.handle.net/1850/10300.
8
Findlay, Linda. "Murky waters: navigating through the myths and rules of art making /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2337.
9
Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370/document.
Abstract:
Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
10
Sitzia, Emilie. "L'artiste entre mythe et réalité dans trois œuvres de Balzac, Goncourt et Zola." Åbo : Åbo Akademis Förlag, 2004. http://books.google.com/books?id=mzRlAAAAMAAJ.
11
Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes maori de Nouvelle-Zélande." Electronic Thesis or Diss., Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0370.
Abstract:
Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art,études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes maori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation maori. En effet, suite à la colonisation britannique du XIX e siècle, les Maori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde maori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les MaoriAt the intersection of several disciplines – anthropology, sociology, art history, and feminist and gender studies, this thesis deals with the works, practices, careers and discourses of New Zealand Maori women artists active in the field of contemporary art and living in an urban environment. Due to their many forms of belonging, these artists are behind specific political demands and identity affirmations: their work contains simultaneous references to the individual histories, their status as members of an indigenous minority and a tribe, and their condition as women and citizens of the New Zealand nation. The analysis of the data obtained after a fieldwork investigation in New Zealand carried out over a year from 2012 to 2013, of complementary research on the Internet and exchanges with artists when back from the field makes it possible to show how these artists are part of today's Maori assertion movement. For since British colonization in the 19th century, the Maori have continued to assert their rights. In this context, some women use art as a powerful means of protest and of promoting social change aimed at the recognition of mana wahine (women's power or prestige). This work also reveals that their artistic practice affords them the opportunity to reassert the ties linking them to the Maori world while at the same time enabling them to attain a certain empowerment and emancipation. They develop original strategies for asserting their creativity without transgressing the rules which remain important for the Maori people
12
Schoess, Ann-Sophie. "Re-writing Ariadne : following the thread of literary and artistic representations of Ariadne's abandonment." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:dfe15854-b0d8-4971-9127-c60e2417ad62.
Abstract:
This thesis takes Ariadne's abandonment as a case study in order to examine the literary processes of reception that underlie the transmission of classical myth in different eras and cultural contexts - from Classical Antiquity through the Italian Renaissance. Rather than focusing on the ways in which visual representations of Ariadne relate to literary treatments, it draws attention to the literary reliance on a cultural framework, shared by writer and reader, that enables dynamic storytelling. It argues that literary variation of the myth is central to its successful transmission, not least because it allows for appropriations and adaptations that can be made to fit new social and religious parameters, such as Christian conventions in the Middle Ages. In focusing on the important role played by the visual arts in the classical tradition, this research further challenges the still prevalent misconception that the visual arts are secondary to literature, and refutes the common assumption that the relationship between image and text is unidirectional. It highlights the visual impulses leading to paradigm shifts in the literary treatment of the abandonment narrative, and examines the ways in which writers engage with the visual tradition in order to re-shape the ancient narrative. Throughout, attention is drawn to the visual and cultural framework shared by ancient writers and readers, and to the lack of engagement with this framework in traditional classical scholarship. Through its focus on the literary narratives' visuality and mutability, this thesis offers a new paradigm for studying classical myth and its reception.
13
Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.
Abstract:
EnglishPh.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses
14
Aguiar, Miriam Bevilacqua. "Tempo e artista: Chico Buarque, avaliador de nossa cotidianidade." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-27042015-105107/.
Abstract:
A tese Tempo e Artista. Chico Buarque, avaliador de nossa cotidianidade analisa, dentre as canções que fazem parte da obra musical do compositor Francisco Buarque de Hollanda, aquelas que abordam o cotidiano. O objetivo desta tese é demonstrar como essas canções, mais do que retratarem o cotidiano, também avaliam o dia a dia da sociedade brasileira criando ou destacando ideias e conceitos que são aceitos por uma grande parcela da população nacional entre as décadas de 60 até os anos 2000. Esta pesquisa também busca evidenciar como as letras das músicas compostas pelo artista se assemelham a crônicas, tanto pela estrutura do texto, como em virtude da escolha das temáticas e do compromisso com a realidade em que as mesmas surgem. O percurso deste trabalho iniciou-se com a contextualização da vida e obra do compositor, seguida por uma extensa investigação e captura nos principais veículos de comunicação da época, o que permitiu constatar como a credibilidade do artista foi sendo construída e fortalecida, a ponto do compositor ser considerado praticamente uma unanimidade, tanto entre as camadas mais instruídas da população como também pelos segmentos mais populares, que admiravam o samba buarqueano. Desta forma, autor de uma obra diferenciada, Chico Buarque obteve o endosso para ser o avaliador de nossa cotidianidade. A análise de um total de 24 canções representativas das cinco décadas possibilitou destacar como a poética buarqueana foi delineada e quais os temas que o compositor pinçava ao cotidiano. Finalmente, este estudo espera ter conseguido comprovar como a obra musical de Chico Buarque mostrou, avaliou e interferiu no cotidiano brasileiro.The thesis Time and Artist: Chico Buarque, evaluator of our everydayness analyzes, among the songs that figure in the musical work of the composer Francisco Buarque de Hollanda, those that approach the everyday life. The objective of this thesis is to show how these songs, more than portraying the everyday life, also evaluate the day-by-day of the Brazilian society by either creating or highlighting ideas and concepts accepted by a large part of the national population from the 1960s to the 2000s. This research also intends to provide evidence of how the artist\'s lyrics resemble chronicles, both for text structure as well as for the selection of themes and engagement with the reality in which these songs arise. The process of this work started with the contextualization of the composer\'s life and work, followed by an extensive investigation and capture in the main communication vehicles at the time. Such process allowed verifying how the artist\'s credibility was built and strengthened up to a level of the author being considered an unanimity, both in the most educated segments of the population as well as among the most popular ones that admired the samba of Chico Buarque. In this sense, as the creator of a unique work, Chico Buarque was empowered to be the evaluator of our everydayness. The analysis of a total of 24 songs representing five decades made possible to emphasize how the poetics of Chico Buarque was designed and which themes he selected from ordinary life. Finally, this study expects to have confirmed how the musical work of Chico Buarque revealed, evaluated and interfered in the Brazilian everyday reality.
15
Vitacca, Sara. "Un mythe à l'oeuvre : la réception de Michel-Ange entre 1875 et 1914." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H060.
Abstract:
Cette thèse explore la réception de Michel-Ange entre 1875, date des célébrations florentines du IVe centenaire de la naissance de l’artiste, et 1914. À cette époque, le culte de Buonarroti s’affirme comme un phénomène d’ampleur qui touche simultanément à une histoire du goût, de la culture et de l’inspiration artistique. À travers une reconstruction minutieuse des réseaux internationaux, des cercles et des figures qui promeuvent l’admiration pour Michel-Ange, de Gabriele d’Annunzio à Auguste Rodin, nous parcourons les grandes questions critiques et esthétiques ouvertes par l’action d’un mythe qui se met véritablement à l’œuvre et investit directement la création de l’époque. D’une part la figure teintée de légende de Buonarroti permet de penser la figure du créateur divin, surhumain, démesuré, fournissant un paradigme idéal que les artistes de l’époque convoquent pour fabriquer leur propre gloire artistique. De l’autre, l’admiration pour Michel-Ange s’avère fonctionnelle à une création qui souhaite renouer avec la poétique du sublime, repensant la nudité héroïque et l’ambition du monumental, afin de produire une œuvre douée des mêmes qualités esthétiques que l’on attribue à l’art de Buonarroti. Le michelangelisme se révèle ainsi comme un enjeux majeur, capable de dévoiler une géographie artistique et culturelle inédite ainsi qu’un débat animé sur les usages multiples que l’on peut faire du passé, entre nostalgie et modernité, entre imitation et émulation. C’est alors une réflexion plus générale sur les notions d’autorité, de filiation et de référence que l’on peut également aborder à travers l’histoire du foisonnant revival de Michel-Ange au tournant du XIXe siècleThis thesis explores the reception of Michelangelo between 1875, date on which the celebrations for the fourth centenary of the artist’s birth were held in Florence, and 1914. During this time, the cult of Buonarroti became an international phenomenon, rooted in a cultural history of taste and artistic inspiration. Through an attentive study of circles and figures that actively promoted the celebration of Michelangelo, from Gabriele d’Annunzio to Auguste Rodin, the aim of this work is to unveil the action of an artistic myth that deeply shaped the creation of the time. On one hand, the legendary figure of Michelangelo became the paradigm of the divine and superhuman creator ; on the other hand, the love for the old master unfolded the ambition of those who hoped to renew an art based on sublime subjects, heroic nudity and monumentality, in order to load their creation with the same aesthetics qualities seen in Michelangelo’s art. Thus, michelangelism reveals itself as a complex artistic problem, capable of shedding light on an unusual artistic geography, while revealing an animated debate upon the multiple uses of the past, between nostalgy and modernity, between imitation and emulation. On a larger scale, then, this subject also engage in a deeper investigation upon the fundamental notions of authority, parentage, and reference, who are at the very core of the revival of Michelangelo at the end of the nineteenth century
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Bajec, Manca. "Claims of the monument : the counter-monument remains : the myth of the monument in former Yugoslavia : artistic practice as reconciliatory form." Thesis, Royal College of Art, 2019. http://researchonline.rca.ac.uk/3769/.
Abstract:
How can artistic practice become a valid method of observing counter-histories; the histories which are not included in the institutionally supported historical narrative? How can the counter-monument movement be re-adapted and re-visited through its original ideologies, in the context of post-conflict spaces in former Yugoslavia? This practice-led project positions the state of the monument today, and more specifically in societies existing in a state of unresolved conflict. In doing so, it examines the artwork as a counter-monumental form and as an approach to unravelling issues of a resistance which exist in sites where monument-building is not possible. Departing from a body of research that looks at how destruction or alienation of sites of memory enables the denial of history and creates formats for further manipulation of historical events, this project considers whether artistic practice can provide a method of confronting the state of memorialization of conflict through an auto-ethnographic critique of historical events. Furthermore, whether artistic practice can provide insight into a space where state facilitated symbolic repair is unstable. This project takes on an appropriated structure of a play. Presented in six Acts, and a Prologue and Epilogue, it delves into an observation, through a visual and non-visual critique, of three selected, different states of conflict that have appeared in the region of former Yugoslavia and their memorialization. The first examines the WWII conflict between the Partisans and Domobranci (Homeguard) in Slovenia, the second observes the historical narrative surrounding the WWII concentration camp Jasenovac, and the third looks at the problematic state of denial of 1990s atrocities, in Republika Srpska, in Bosnia and Herzegovina. Each Act unveils a methodological approach, which is considered an integral part of the artwork, and through which a different understanding of the counter-monument is appropriated. The Acts consist of reflections intertwining three different modes of presenting knowledge; through theoretical concepts surrounding conflict, memory, monuments, representations of violence in the arts and politics (considered as stage notes, giving context), interrupted by a series of narrative recollections (imitating diary descriptions, of events that are either encounters with places or people and treated as a scenography which creates the atmosphere), and the artworks (which are regarded as the script). Through a series of artworks, this project, appears almost as a gesamtkunstwerk, or complete body of the Acts, weaving through theoretical and historical constructs in order to challenge the premise of social and artistic representations of trauma, history, political power, and social injustice. In doing so, it positions the action of making research as the sculptural-visible and non-visible-form which attempts to redefine political sculpture as the re/de-construction of the counter-monument.
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Mitchell, Clio. "#Secrets de l'art magique surrealiste' : magic and the myth of the artist-magician in surrealist aesthetic theory and practice." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.294528.
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Pellini, Catherine. "La création artistique au service de l’affirmation identitaire, du mana wahine et des revendications politiques : l’art contemporain des femmes māori de Nouvelle-Zélande." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37185.
Abstract:
Située au croisement de plusieurs disciplines – anthropologie, sociologie, histoire de l’art, études féministes et sur le genre – cette thèse s’intéresse aux oeuvres, aux pratiques, aux parcours et aux discours des femmes artistes māori néo-zélandaises s’inscrivant dans le champ de l’art contemporain et vivant en milieu urbain. Ces artistes sont à l’origine de revendications politiques et d’affirmations identitaires singulières du fait de leurs multiples appartenances : leurs productions recèlent des références simultanées à leurs histoires individuelles, à leur statut de membres d’une minorité autochtone et d’une tribu, à leur condition de femmes et de citoyennes au sein de la nation néo-zélandaise.
L’analyse des données obtenues après avoir mené une enquête de terrain d’un an en Nouvelle-Zélande en 2012-2013, des recherches complémentaires sur Internet et des échanges avec les artistes au retour du terrain permet de montrer comment ces dernières s’inscrivent dans le mouvement actuel d’affirmation māori. En effet, suite à la colonisation britannique du XIXe siècle, les Māori luttent toujours pour affirmer leurs droits. Dans ce contexte, l’art est utilisé par certaines femmes comme un puissant moyen de contestation et de promotion d’un changement social visant à la reconnaissance du mana wahine (pouvoir, prestige féminin). Ce travail révèle également que la pratique artistique leur offre l’opportunité de réaffirmer les liens les unissant au monde māori tout en leur permettant d’accéder à une certaine autonomisation et émancipation. Elles développent des stratégies originales pour affirmer leur créativité sans transgresser des règles toujours importantes pour les Māori.
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Batra-Wells, Puja. "Art/Work: Place-Making, Precarity, and the Performance of Artistic Occupational Identities in Columbus, Ohio." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1471460370.
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Sheffield, Katelyn McKenzie. "Zofia Stryjeńska: Women in the Warsaw Town Square. Our Lady, Peasant Mother, Pagan Goddess." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3723.
Abstract:
In this thesis I consider the unique position that Polish artist Zofia Stryjeńska (1891-1974) occupied during the interwar period. Lauded during her time as the most popular artist in Poland, the acceptance of Stryjeńska's female voice in representing a national vocabulary was unprecedented and deserves closer examination. I assert that Poland's history of oppression created a unique environment where women as archetypal figures often took on masculine roles. These 'transgressive types' were visible in the literature and art of the 19th and 20th centuries. Stryjeńska's art, as well as her behavior, capitalized on these transgressive traditions. Women played an important role as visual and ideological figures within the national mythologies of Poland, and while these mythologies situated women as authorities in protecting, cultivating, and renewing the land, and by extension the nation, few women actually achieved the status of shaping them. Zofia Stryjeńska was an example of one who did. At the age of twenty-one Zofia cut her hair, dressed as her brother, and, as a boy, enrolled in the academy of fine art in Munich. This act found precedence in the years of Polish imagery and it ultimately allowed her to create a space for herself and her art. This thesis pays particular attention to Stryjeńska's part in the 1928 renovation of the Warsaw town square. Like many other artists at this time, she worked in many mediums and employed folk-art motifs and styles in the quest to create a truly "Polish" style. Stryjeńska's art drew on national images of Polish women as the Virgin Mary, the good Polish Mother, and Pagan Goddess. Idealized tropes, such as these, often represented a disconnect between everyday social norms and the greater ideals of a national identity. Zofia Stryjeńska embodied this juxtaposition. Her art drew on national images of Polish women filled with blurred gender boundaries. These images, prominent for centuries, at once empowered Polish women while also being relegated safely to the abstract realm of legend and myth. These female ideals, therefore, served as less of a threat to the rigid gender expectations that were a part of everyday Polish life. Zofia Stryjeńska was an example of a woman who laid claim to the female ideals of Polish culture. She used myth to define her behavior; her studies in Munich, and by doing so launched her life into the realm of myth, creating a sensationalized image more legend than reality.
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Vial-Henninger, Mireille. "Essai de mythe-analyse du processus de création musicale : justification, méthode, application. Beethoven, la 23e sonate dite Appassionata (exposition) ; Berlioz, Episode de la vie d'un artiste : la Symphonie fantastique suivie de Lélio ou le retour à la vie." Paris 4, 1996. http://www.theses.fr/1996PA040092.
Abstract:
L'auteur essaie de faire apparaitre, à travers l'analyse de deux œuvres : l'exposition du 1er mouvement de la sonate Appassionata de L. Van Beethoven et La symphonie fantastique suivie de Lélio ou le retour à la vie de Berlioz, la fécondité et la fiabilité de ce qui pourrait devenir une nouvelle forme - ou application - d'analyse musicale. Son outil dominant est l'usage rationnel du raisonnement par analogie, appliqué à la logique du vivant, binaire et polarisée (sur le modèle du biologiste S. Lupasco), alliée au mythe. Cette approche n'envisage que l'œuvre musicale elle-même et non l'investigation dans la vie du compositeur comme pourrait le faire la psychanalyse. Par une voie sensiblement analogue - l'utilisation du mythe - elle parvient à l'explication des œuvres. Après une analyse musicale rigoureusement classique (factorielle, structurelle et dynamique) cet outil redonne leur sens aux structures et aspects remarquables mis en évidence. Il les coordonne et montre, par le parallèle avec le mythe, que le compositeur - consciemment ou non - suit un processus personnel de création qui s'inscrit dans le plan général du déroulement du mythe. Cet expose méthodique est né de la nécessité pédagogique d'expliquer rationnellement l'emploi d'un vocabulaire issu du sentiment. L'auteur serait satisfait de voir ce travail ne pas rester du domaine de la seule recherche et se diffuser vers l'enseignementThrough the analysis of two pieces - the exposition of the 1st movement of L. Van Beethoven’s sonata Appassionata, and Berlioz's Symphonie fantastique followed by Lelio ou le retour a la vie - the author tries to bring out the fertility and feasibility of what could become a new form (or application) of musical analysis. The author primarily uses a rational approach, reasoning through analogies applied to the logic of living things, binary and polarized (following the model of biologist S. Lupasco) linked to myth. This method only takes account of the musical piece itself and does not investigate the composers’ lives as a psychoanalytical approach could do. In a somewhat analogues fashion - the use of myth - the author is able to explain the pieces. Once analyzed in a strictly classical way (factorial, structural and dynamic), the use of myth not only gives meaning to the structures, but brings out remarkable aspects that demonstrate that the composer - be it consciously or not - has followed a personal creative process that inscribes itself in the general plan of the development of a myth. This methodical expose came about from the pedagogical necessity to explain rationally the use of vocabulary coming from sentiment. The author would be satisfied to see this work go beyond the field of research and into that of education
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Campbell, Alasdair James Islay. "Myth ascendant : issues of culture, media, and identity in the celebrity career of Glenn Gould." Thesis, University of Oxford, 2018. http://ora.ox.ac.uk/objects/uuid:6b53c88e-d9e7-4227-9144-bad890a0d3fc.
Abstract:
This thesis applies a sociological framework to the North American celebrity career of Canadian pianist and broadcaster Glenn Gould (1932-1982) to account for Gould's iconic status as an artist in modern musical culture. Despite the persistent cultural fascination with Gould, as evidenced in the seemingly endless supply of biographies, films, novels, and fan texts which narrate and celebrate his life and work, modern Gould scholarship has consistently neglected issues relating to his artistic reception. This thesis proposes that the modern Gould phenomenon is productively analysed in terms of the contexts of its historical production in North America, where it first originated. Focusing on the circumstances of Gould's career during his lifetime, it identifies three areas of overlapping conceptual interest that provide the basis for an explanatory account of his modern mythology: i) Gould's relationship to the culture of his time, particularly in Canada; ii) Gould's relationship to the mass media; iii) Gould's relationship to his own artistic identity. This approach is refined through the application of Stuart Hall's 'Circuit of Culture' model, which yields an understanding of Gould's celebrity in terms of the processes of its representation, production, regulation, and consumption. Against this theoretical backdrop, and consistent with the premise of my thesis, I ask some key questions: what was Gould's relationship to Canadian cultural nationalism and, specifically, a nationalist discourse of public broadcasting? How did media institutions brand his image, and for what commercial purposes? How did Gould mobilise understandings of his genius and Canadian identity through his artistic discourse and experimental media self-representations as a 'Northerner' and a technologist? Based on this analysis, the thesis concludes that Gould continues to fascinate because of the unique ideological work performed by his cultural identities, and because of the highly mediated nature of his celebrity. The ubiquity of his image on video-sharing websites and social media platforms is a vindication of his radical belief in the validity of a musical career pursued primarily through the electronic media.
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Blum, de Almeida Nina [Verfasser], Isabel [Akademischer Betreuer] Wünsche, Isabel [Gutachter] Wünsche, Corinna [Gutachter] Unger, and Matos Lúcia [Gutachter] Almeida. "Myths, Curious Incidents and Obstacles—Becoming an Artist in Portugal. The Early Career of German Sculptor Hein Semke / Nina Blum de Almeida ; Gutachter: Isabel Wünsche, Corinna Unger, Lúcia Almeida Matos ; Betreuer: Isabel Wünsche." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2019. http://d-nb.info/1202364667/34.
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Bonetti, Maria Cristina de Freitas. "O SAGRADO FEMININO E A SERPENTE: PERFORMANCE MÍTICA NA SIMBOLOGIA DAS DANÇAS CIRCULARES SAGRADAS." Pontifícia Universidade Católica de Goiás, 2013. http://localhost:8080/tede/handle/tede/757.
Abstract:
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Previous issue date: 2013-08-14This thesis investigates the survival and the camouflage of the Myth of the Serpent and the Cult to the Great Mother in mythic and ritualistic performances of the Sacred Circle Dances nowadays. For this, it remakes the myth trajectory since ancient times, exploring the imagery of creation and its various expressions in archaic cultures in the Western World. The main objective of the research is to demonstrate the survival the symbolism of the Mother Goddess and the Serpent Myth in different cultural expressions in dialogue with the Sacred Circle Dances. It also takes into to identify the hidden message that externalizes through body movements that generate archetypical expressions codified in the ritualistic dances and performances, and explores in the same way, the domains of the Great Mother and the Serpent; its symbolic polysemy and the way they are organized in artistic and spacial terms. The main issue of this thesis is that whether the symbolism of the serpent can be considered as a mythical theme survival in the contemporary Sacred Circle Dance. Taking as methodological inspiration the hermeneutic conception of analysis, in this thesis the purpose is to connect the Myth of the Serpent with the most relevant works regarding the Sacred Feminine, history, anthropology and the ritualistic performances. The literature will be reviewed in its thematic axles and in particular the authors and the known experts in the Sciences of Religion. Amid the conceptual interpretations this research produces surveys of recent works on the subject of study to discuss the meanings and the ramifications inspired by ancient traditions and with deep power refresher mythical; and in this discussion, focuses on the aspect of the dances that revive the serpent symbolism and ritually reframe the archaic myths. Traditional and Folk Dances, realized as artistic performances, or even spontaneously, come upon the space created by the traditional parties, replace and vivify myths and prehistoric rituals nowadays. It is considered, therefore, that the Serpent symbology is a mythical theme of the Mother Goddess who survived the performed and ritualistic acts in the contemporary Sacred Circle Dances.
Esta tese investiga as sobrevivências e a camuflagem do Mito da Serpente e do culto à Grande Mãe nas performances mítica e ritualística das Danças Circulares Sagradas na contemporaneidade. Para isso, refaz a trajetória do mito desde a antiguidade, explorando o imaginário da criação e suas diversas expressões em culturas arcaicas no mundo ocidental. O principal objetivo da pesquisa é demonstrar a sobrevivência da simbologia da Deusa Mãe e do Mito da Serpente nas diferentes expressões culturais em diálogo com as Danças Circulares Sagradas. Busca, ainda, identificar a mensagem oculta que se externaliza mediante os movimentos corporais que geram expressões arquetípicas codificadas nas danças e performances ritualísticas; e explora, do mesmo modo, os domínios da Grande Mãe e da Serpente, sua polissemia simbólica e a maneira como se organizam em termos artísticos e espaciais. A principal questão da tese é se a simbologia da serpente pode ser considerada como temática mítica sobrevivente na Dança Circular Sagrada na contemporaneidade. Tendo como inspiração metodológica a concepção hermenêutica de análise, nesta tese busca-se conectar o Mito da Serpente às obras mais relevantes no que tange ao Sagrado Feminino, à história, à antropologia e às performances ritualísticas. A literatura será revista em seus eixos temáticos e, em especial, nos autores e estudiosos reconhecidos nas Ciências da Religião. Em meio às interpretações conceituais, a pesquisa realiza levantamentos das produções recentes sobre a temática de estudo para discutir as acepções e os desdobramentos inspirados em tradições ancestrais e com intenso poder de reatualização mítica; e, nesta discussão, aborda-se o aspecto das danças que revivem o simbolismo da serpente e ressignificam ritualisticamente os mitos arcaicos. As Danças Tradicionais e Folclóricas, realizadas como performances artísticas, ou mesmo espontaneamente, sobrevêm ao espaço criado pelas festas tradicionais, reatualizam e vivificam mitos e rituais pré-históricos na contemporaneidade. Considera-se, portanto, que a simbologia da Serpente é uma temática mítica da Deusa Mãe que sobreviveu nos atos performatizados e ritualísticos das Danças Circulares Sagradas contemporâneas.
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Sweeney, Dwight Paul. "The connectors of two worlds: Chano Pozo, Dizzy Gillespie, and the continuity of myth through Afro-Cuban jazz." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2823.
Abstract:
Explains how Afro-Cuban culture influenced African-American jazzmen and led to the formation of Afro-Cuban or Latin jazz in 1947 by Dizzy Gillespie and Chano Pozo. Explores the musical connections between the physical plane of Cuba and the United States, and the esoteric spiritual world of the orishas and myths coming to life in sacred and secular music forms.
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Al-Hadid, Diana. "Magic Mountain." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/827.
Abstract:
My installations are propositions for an imaginary world that relies on its own internal logic, a world of believability without recognition. While the work references landscape it also emphasizes its contrivance, as it is automatically estranged in an "unnatural" gallery setting. I subvert or de-familiarize the materials and processes that I use in the service of creating a fictitious environment. My places are impossible places. They are irregular, illogical, and unstable. Our imagination can be one of most dangerous things to psychological stability as it is an inventory of all things possible, no matter how irrational or improbable. The irrational is always an option, a lingering threat. The imagination seems to hate permissions and limitations, but is nevertheless lodged within them. I want to create a sense of nonsensical logic. If all things that can be imagined are logical possibilities, I want to find the place where fantasy seems to be just barely reality. If I can't have an inherent contradiction, I'll take an apparent one.
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Gilkes, Brian Eric, and pharoseditions@bigpond com. "The lion and the frigate bird: visual encounters in Kiribati." RMIT University. Media and Communication, 2010. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20100304.105048.
Abstract:
In order to explain some of the paradoxes and mysteries of the artist's cross cultural experience in Kiribati, he constructed an Artist's Book depicting through visuality, anecdote and reflection, his research process, engaging with current visual perceptions through negotiation with the past. In Kiribati previous encounters with Europeans and Islanders was dominated by English and I Kiribati with significant contributions by French missionaries. Each viewed the other through cultural filters of identity, which were informed by concepts of myth-historical, often heroic pasts, modified by contemporary purpose such as power, trade, evangelism or personal gain. The method of transmission of beliefs about the past differed fundamentally as the Europeans were predominately informed by writing and the I-Kiribati by orality and performance. The non-literary epistemology of the I Kiribati contributed to a cosmology of non-iconic symbols that defined belief systems and social structures. These symbols connected place and space with time, self and group identities. The research found that the all surrounding visual symbol system of sacred meeting house (maneaba), dwelling (bata) and canoe (waa and baurua)) could be partly understood as an ongoing struggle since Deep Time, between the forces of the Ocea n represented by Bakoa, The Shark, and that of the triumph of the coming onto the Land and its people (aba) represented by Tabakea, The Turtle. The performative outcome of this triumph and the spirit of identity (Te Katai ni Kiribati) it engenders is expressed primarily in the ubiquitous I Kiribati Dance. The Artists Book is inspired by the creative classic I Kiribati form of oratory known as Te Kuna, using a structure analogous to the symbolic forms of narrative of Oceanic Voyaging traditionally employed by the I Kiribati. Differences in visual perceptions across cultural interface are understood not only as having the potential for conflict but also as providing positive dynamic force by the interchange of understood differences. The project contributes specifically to the ethnography of English and I Kiribati, semiotic systems and visual epistemologies, indicating directions towards positive outcomes in cross-cultural encounters.
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Pollock, Asher W. "Phase Shift." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1492781853322151.
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Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
Abstract:
The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation. The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.https://www.uniartsplay.se/slin
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Assumpção, Flora Romanelli. "A natureza e o fantástico através da experiência visual." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-24112014-150504/.
Abstract:
Este projeto artístico equivalente à dissertação para o mestrado em poéticas visuais é composto pela documentação do processo criativo, que é em si o mestrado em poéticas visuais, e por uma pequena seleção de fotogravuras originais da série \'Pequeno Compêndio dos Mares\'. A documentação consiste em três partes: primeira, registro de obras e exposições já realizadas e obras em processo; segunda, notas visuais e de texto; e última, uma seleção de trabalhos precedentes ao período do mestrado. A organização desta documentação do processo artístico foi feita priorizando o conjunto das imagens e considerando a linguagem visual como uma linguagem diversa e do mesmo valor da verbal, pois que assim como a palavra, o visual opera através de raciocínios intelectuais e sensíveis - e pode estar na universidade sendo debatido por artistas que trabalham com esta linguagem, medido dentro das particularidades da visualidade. Portanto apresento o registro e as obras materializadas como parte de um processo onde reflexão e fazer são o mesmo ato criativo e cuja complexidade intelectual existe desvinculada da necessidade da articulação pela palavra e independente de uma tese pré-formulada verbalmente, os textos aqui cumprem outra função: relacionam interesses, técnicas e influências temáticas de outras áreas do conhecimento.This artistic project, equivalent to the Master dissertation in visual arts, is composed by the documentation of the creative process, which is itself the Master degree in Visual Arts, as well as a small selection of photoengraving originals entitled \"Small Compendium of the Seas\". The documentation consists in three parts: first, art works and record of past exhibits and works in progress; second, visual and text notes; and last, selection of works preceding the period of Masters in Visual Arts. The organization of the documentation of the artistic process was made by prioritizing the body of work and considering the visual language as a diverse language but with the same legitimacy of verbal language, as well to the word, the visual knowledge operates through intellectual and sensible reasoning - and may be in the university being debated by artists who work with this language, measured within the particularities of visuality. Therefore I present the record and the materialized art works as part of a process where thinking and doing are the same creative act and in which intellectual complexity exists detached from the necessity of articulating word and independent of a pre-formulated verbal thesis, the texts here have another function: related interests, techniques and thematic influences from other areas of knowledge.
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Gontovnik, Monica. "Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
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Cahill, James Matthew. "The classical in the contemporary : contemporary art in Britain and its relationships with Greco-Roman antiquity." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271333.
Abstract:
From the viewpoint of classical reception studies, I am asking what contemporary British art (by, for example, Sarah Lucas, Damien Hirst, and Mark Wallinger) has to do with the classical tradition – both the art and literature of Greco-Roman antiquity. I have conducted face-to-face interviews with some of the leading artists working in Britain today, including Lucas, Hirst, Wallinger, Marc Quinn, and Gilbert & George. In addition to contemporary art, the thesis focuses on Greco-Roman art and on myths and modes of looking that have come to shape the western art historical tradition – seeking to offer a different perspective on them from that of the Renaissance and neoclassicism. The thesis concentrates on the generation of artists known as the YBAs, or Young British Artists, who came to prominence in the 1990s. These artists are not renowned for their deference to the classical tradition, and are widely regarded as having turned their backs on classical art and its legacies. The introduction asks whether their work, which has received little scholarly attention, might be productively reassessed from the perspective of classical reception studies. It argues that while their work no longer subscribes to a traditional understanding of classical ‘influence’, it continues to depend – for its power and provocativeness – on classical concepts of figuration, realism, and the basic nature of art. Without claiming that the work of the YBAs is classical or classicizing, the thesis sets out to challenge the assumption that their work has nothing to do with ancient art, or that it fails to conform to ancient understandings of what art is. In order to do this, the thesis analyses contemporary works of art through three classical ‘lenses’. Each lens allows contemporary art to be examined in the context of a longer history. The first lens is the concept of realism, as seen in artistic and literary explorations of the relationship between art and life. This chapter uses the myth of Pygmalion’s statue as a way of thinking about contemporary art’s continued engagement with ideas of mimesis and the ‘real’ which were theorised and debated in antiquity. The second lens is corporeal fragmentation, as evidenced by the broken condition of ancient statues, the popular theme of dismemberment in western art, and the fragmentary body in contemporary art. The final chapter focuses on the figurative plaster cast, arguing that contemporary art continues to invoke and reinvent the long tradition of plaster reproductions of ancient statues and bodies. Through each of these ‘lenses’, I argue that contemporary art remains linked, both in form and meaning, to the classical past – often in ways which go beyond the stated intentions of an artist. Contemporary art continues to be informed by ideas and processes that were theorised and practised in the classical world; indeed, it is these ideas and processes that make it deserving of the art label.
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Österberg, Susanna. "Den qvinnliga konstnären: : representationer i tidskriften Palettskrap 1877 –1904." Thesis, Södertörns högskola, Konstvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32264.
Abstract:
Jag har ägnat denna uppsats åt att undersöka Kungliga Konstakademiens elevtidning Palettskrap från och med att det grundades 1877 till och med 1904.Tidningen består av anteckningar, protokoll och en mängd med bilder såsom porträtt, illustrationer och skämtteckningar. Mitt syfte har varit att se hur konflikten kring kvinnorollen generellt och kvinnliga konstnärsrollen specifikt kommer till uttryck under det sena 1800-talet i en intern elevtidning som Palettskrap. Jag har huvudsakligen utfört bildanalyser men även lyft fram text ur Palettskrap som har varit relevant för mitt ämne. Jag har analyserat bildernas uttryck och bildbudskap utifrån Roland Barthes semiotiska metod. För en genusmedveten och kritisk blick på det konsthistoriska sammanhanget, har jag har tillämpat ett feministiskt perspektiv som varit verktyg för att dekonstruera den maskulina myten om modernismen och konstnären. Min undersökning visar att det finns två etablerade stereotyper/kategorier av den kvinnliga konstnären: den ”okvinnliga” konstnären och ”amatören”. Dessa två stereotyper återspeglar den borgerliga synen på kvinnlighet/femininitet som oförenlig med konstnärsrollen.I have dedicated this essay in researching the journal Palettskrap founded by students at the Royal Swedish Academy of Arts in 1877. Palettskrap consists of notes, protocols and a variety of images such as portraits, illustrations and satirical cartoons. My purpose has specifically been to see how the conflict of the woman artist is articulated during the late 1800's in a student journal such as Palettskrap, and also more generally, how the woman's role in society is articulated. I have primarily analyzed images but I have also exposed text from Palettskrap which has been relevant to my subject matter. By using Roland Barthes' semiotics, I have analyzed the images' expression and message. For a gender-sensitive and critical eye on the art historical context, I have applied feminist theory which has been useful in deconstructing the masculine myth on modernism and ”the artist”. My research shows that there are two established stereotypes/categories of the woman artist: the ”unwomanly” artist and the ”amateur”. These two stereotypes reflect the bourgeois notions of womanhood/femininity as incompatible with the role of the artist.
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Yu-Kuo, Chang, and 張毓國. "Yu - Kuo Chang’s Artistic Creation of Taiwan Aboriginal Myth." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/68021244976446371963.
Abstract:
碩士國立臺中教育大學
美術學系碩士班
101
The artistic creation is based on the myth of Taiwan aboriginal exploring the relation between life and legend. Myth is from the very beginning of the nation; by the time pass day after day, month after month, year after year the myth is not fade away but increasing its thickness and width even turn out to be the pivot connecting generations and generations. I hope that the process of this creation will form a huge strength and significant value and elevate myself to a higher place where I can see things more clear , know things better and tell things more conviction about the aboriginal culture ,especially about its sustainability. In my opinion, Artistic creation is the combination of imagination and reality, which somewhat makes unfold the value of the aboriginal culture. Being a son in law of Atayal tribe, it seems to be a destiny for me to unveil the secret of the culture to introduce the legend to the world. I am so fortune that I have the Opportunity to grab the aborignal as my painting element. My aboriginal series reflect the paradox and impact, the humanity, and the value of truth; and I also use the academic style to show the way they live, the myth and the legend; metaphor their tradition life, interpreting their culture, analyzing the aboriginal documents, the icons, the implied meaning of those pictures meantime I always fascinate the romantic spirit inside the nation. The way to express esthetics between different periods of Taiwan aboriginal is the theme I research and I divide it into four phases as follow: 1.Interaction between spirit and human 2.The life-force inside culture ritual 3.The aboriginal’s image in the time channel 4.The totem imagination Keywords：life, legend, Taiwan aboriginal
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Gaffuri, Flora. "La promotion sur Internet : analyse d’un discours sous l’angle du mythe. Le cas de labels indépendants de rap au Québec." Thèse, 2012. http://hdl.handle.net/1866/8834.
Abstract:
À l’heure où l’industrie de l’enregistrement sonore connait un certain nombre de bouleversements, Internet apparait à la fois comme un responsable d’une crise du disque et comme une plate-forme de diffusion et de promotion de la musique enregistrée. C’est dans ce contexte de mutations des industries culturelles que sont les industries de la musique que les labels indépendants voient les possibilités liées à la promotion se multiplier. Notamment par le biais des sites internet que j’envisage ici comme discours encodé et diffusé. Ce mémoire explore deux sites internet officiels de labels indépendants de rap québécois à l’aide de la proposition de la présence du mythe dans le discours de promotion. S’appuyant sur la théorie de Barthes, mon analyse s’articule autour de l’étude de la signification afin de mettre en lumière la façon dont le mythe fonctionne dans le discours. En m’intéressant principalement à l’image et au texte, je mets notamment en valeur le traitement de l’artiste, de la création musicale et du label dans le discours.At a time when the music recording industry is going through some shake ups, Internet is seen both as a responsible for a disc crisis and as a plateform for diffusion and promotion of recorded music. This cultural industries' mutations context is now revealing multiple promotion opportunities for independant labels, as part of the music industries. This can be seen through websites which I consider to be a broadcasted, encoded and decoded discourse. This master thesis explore two independant record companys’ websites, both producing rap music in Québec, with the proposal of the presence of the myth in the promotionnal discourse. Based on Barthes' theory, my analysis is built around the study of the signification in order to outline the way the myth works in the discourse. While focusing on images and text, I mainly emphasize the treatment of the artist, the musical creation and the record label in the discourse.
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Lin, Hsiu-lien, and 林秀聯. "『Camouflage, Totem, Myth』--A Study of Artistic Creation of Mask by Lin Hsiu Lien." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/g8kdsm.
Abstract:
碩士南華大學
視覺與媒體藝術學系
101
In this thesis I design my individual artistic creation by the creative discourse of mask, which is discussed in three parts: Camouflage, Totem and Myth. The configuration design of mask is consisted of semi-solid and three-dimensional formation by decomposed/restructured/folded the two dimension plane. I express my personal creative style by the diverse images combined with point, line, surface, color and light. The thesis is divided into five chapters to describe my creative idea:Chapter one: Introduction,Chapter two: Traditional mask images in art history,Chapter three: Camouflage, totem, Myth and Mask image---(1) Camouflaged mask (2) Totem and Mask (3) Rituals, Myth and Mask, Chapter four: Creative ideas of mask, Media of mask and Formation of mask by Lin Hsiu Lien,Chapter five: Conclusion. The aim of this study is to enhance personal aesthetic and creative idea in artistic formation.
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Novais, Beatriz Maria Fernandes Pinto. "Possession : A romance : mitos femininos revisitados na representação da mulher - artista." Master's thesis, 2012. http://hdl.handle.net/1822/23994.
Abstract:
Dissertação de mestrado em Língua, Literatura e Cultura InglesasEsta dissertação tem como objetivo a identificação e discussão de mitos culturais ligados a representações do feminino na obra ficcional de A. S. Byatt, nomeadamente em Possession: A Romance. Para tal, numa primeira parte avalia-se criticamente o enquadramento ideológico em que a obra se situa, nomeadamente o ponto de vista dos pensadores contemporâneos considerados relevantes para a clarificação do conceito do mito, assim como a problemática da linguagem nas pensadoras femininistas. Numa segunda parte, analisa-se de que maneira a escrita de A. S. Byatt se enquadra nos movimentos contemporâneos do feminismo. Também questiona a inserção desta escritora no contexto pós-moderno, e de que maneira em Possession a revisitação da época vitoriana instaura a importância do passado na sua fusão com o presente. Finalmente, centra-se no modo como mitos medievais/clássicos se refletem na representação do feminino, entretecendo-se simultaneamente com representações de mulheres de cariz mais realista. Assim, mitos com os da fada Melusina, de Deméter e Perséfona, da “Lady of Shallott”, de Cassandra e de Aracne são analisados à luz de identidades que os espelham em dimensões do contemporâneo. A partir do feminismo pós-moderno, procede-se à análise de revisão das representações das várias faces que a identidade feminina pode revestir, nomeadamente na problemática da criação da mulher-artista. Procurase estabelecer relações entre aqueles mitos e a descrição da busca de uma identidade autónoma por parte das personagens femininas do romance.
In this MA thesis we intend to identify and discuss cultural myths connected with feminine representations in the ficcional work of A. S. Byatt., mainly in Possession: A Romance. In the first part we critically evaluate the ideological framing of this dissertation, mainly the perspectives of the contemporary theorists who are considered important to clarify the concept of myth. We also study the concerns with language of feminist philosophers as a way to renew old ways of thinking. In the second part, we analyze the ways A. S. Byatt’s writing relates to the present feminist movements. It also questions the insertion of this author in postmodernism and how Possession establishes the importance of the past in the contemporary. In the third part, we focus on the ways medieval /classic myths emerge in representations of feminity, simultaneously connected with representations of real women. Therefore, the persistence of old myths such as as the Fairy Melusine, Demeter and Persefone, the Lady of Shallot, of Cassandra and Aracne are analysed and linked to identities which mirror them under the light of contemporary dimensions. Under the perspective of the postmodern feminism, we make a revision of different ways feminine identity can be represented, mainly the creative woman-artist. We try to establish relations between those myths and the depiction of the search for an independent identity by feminine characters in the novel.
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Bagińska, Agnieszka. "Pracownia artysty i jej obraz w sztuce polskiej drugiej połowy XIX i początku XX wieku." Doctoral thesis, 2014. https://depotuw.ceon.pl/handle/item/908.
Abstract:
Ze względu na uprzywilejowaną pozycję sztuki i artysty w kulturze europejskiej drugiej połowy XIX i początku XX wieku, jego pracownia zyskała szczególne znaczenie. Była ona nie tylko miejscem powstawania dzieła, ale też przestrzenią świadomie konstruowaną przez artystę przy współudziale odbiorców sztuki. W niniejszej pracy omówione są zarówno pracownie konkretnych polskich malarzy i rzeźbiarzy wybranego okresu polskiej kultury, jak i „recepcje” ateliers w różnych mediach. Kluczowym problemem dysertacji jest strategia posługiwania się pracownią przez jej właściciela w celu stworzenia określonego obrazu siebie i swojej sztuki w oczach publiczności. Materiał badawczy stanowią zarówno dzieła polskiego malarstwa i literatury, w których podejmowany jest temat atelier, jak i fotografie, opisy i „interpretacje” konkretnych pracowni (lub obrazów pracowni) pochodzące z ówczesnej prasy. Uzupełniają je fragmenty pamiętników i korespondencji artystów. Analiza materiałów prowadzi do wyłonienia złożonych funkcji pracowni, zarówno wobec nich samych i ich użytkowników, jak i wobec odbiorców.
Pierwszy rozdział pracy jest poświęcony publicznym aspektom pracowni, która za sprawą działań artysty i publiczności przybiera postać zbliżoną do salonu wystawienniczego, narodowej „świątyni”, lub autonomicznego dzieła sztuki. W rozdziale drugim prezentowane są prywatne aspekty atelier, wynikające z jego „nie-pokazowych” funkcji. Należą do nich zjawiska z obszarów: codziennej pracy, relacji rodzinnych i towarzyskich artysty, a także jego kondycji psychicznej, ujawniającej się np. w potrzebie samotności. Istotnym jest, że prywatna „sfera” atelier staje się dla twórcy podstawą do formułowania w jego dziele generalnych refleksji o pozycji artysty i indywidualnych koncepcji sztuki. Kolejny rozdział dysertacji dotyczy pracowni jako przestrzeni współtworzącej mit nowoczesnego twórcy, będącej zarówno tłem, jak i „odbiciem” jego losu: społecznego odrzucenia, artystycznego niespełnienia, choroby i śmierci. Wreszcie rozdział ostatni jest poświęcony przedstawieniom atelier jako miejsca spotkania świata artysty z porządkiem „nierzeczywistym”. W pomieszczeniach pojawiają się duchy, szkielety i Muzy, za sprawą których rzeczywistość sztuki ulega rozszerzeniu o obszary „pozaartystyczne”. Obraz atelier (malarski czy literacki) może stać się wypowiedzią na temat narodowej historii czy kwestii ostatecznych i odnoszącą sztukę do tych problemów.Because of the privileged role that art and artists played in the European culture of the late 19th and early 20th century, the artist’s studio gained immensely in importance. It was no longer only a place where the work of art was created but it became a space which was consciously and actively shaped by an artist and the audience encountering a work of art. This thesis describes studios of the chosen Polish painters’ and sculptors’ who were active during the aforesaid periods of Polish culture, as well as “the welcome” ateliers were met with from various media. The main issue of the dissertation is the art studios owners’ usage strategy applied to create the artists’ and their art’s image in the eye of the beholder. The research material includes various paintings and works of fiction raising the subject of atelier, as well as photographs, descriptions and “readings” of particular studios (or paintings of them) derived from the press of the previous times. Extracts from diaries and artists’ correspondence make the picture complete. The research material analysis reveals different complex roles played by a studio, taking into consideration not only studios alone, but the users and the audience as well. The thesis first chapter is devoted to the public side of the artist’s studio which in the result of various artistic doings and because of the audience becomes a showroom of a kind, a national “temple” or even an independent work of art. Chapter two deals with the private sides of atelier, which are the result of factors “not for display”, including, but not limited to daily work, artists’ family and social relations or their mental well-being showing for example in the need of solitude. The important thing is that the private side of atelier enables artists to muse over their role in the world and to shape their own art ideas. The next chapter of the thesis deals with studio as the space contributing to the modern creator myth, being the background as well as “the reflection” of an artist’s fate: social rejection, artistic disappointment, illness and death. Finally, the last chapter is devoted to atelier being the meeting place of an artist and “the unreal”. Ghosts, skeletons and Muses come to life and expand the artistic reality beyond its realms. A representation of atelier (in the form of a painting or work of fiction) can become a statement about such matters as national history or life and death, and may turn art’s attention to the aforementioned subjects.
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Sherman, Louisa Elizabeth. "Unmasking the heroes : sources of power in Afrikaner mythologising." Diss., 1998. http://hdl.handle.net/10500/16023.
Abstract:
Unmasking the heroes: sources of power in Afrikaner mythologising is a personal, visual and theoretical exploration of the underlying
sources of power which governed the development of Afrikaner nationalism, particularly the years spanning the late 1980s and the
early 1990s. The practical work, a series of drawings and relief cut-outs, sets out to unmask the beliefs, customs, traditions and
attitudes particular to Afrikaner culture. It does so through the processes of deconstruction and reconstruction of selected mass
mediated images whereby different symbolic paradigms are juxtaposed through the devices of collage and allegory to uncover layers
of meaning. This art-making approach was informed by theoretical and visual research into the tradition of Western mythology,
including related topics such as linguistics, psychology and sociology, Afrikaner history and historiography, and the mechanisms of
contemporary cultural reproduction, particularly the South African mass media and fine arts.History of Art and Fine Arts
M.A. (History of Art and Fine Arts)
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NOVOTNÝ, Tomáš. "Autorská kniha - inspirace řeckou mytologií." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-152941.
Abstract:
This Thesis consists of two parts theoretical and practical. The theoretical part forms an integrated theoretical conception that seeks inspiration from Greek myths and offers creative starting points for the practical part which is the creative project of realization of an artist book. There are also described the origins and development of the mythical tradition in Greece. The main source of inspiration is found in the myths of origin by the epic poet Hésiodos. The mythical perspective on the origin in chaos is enhanced by the views of Pre-Socratic philosophers who influenced by the mythical tradition sought the rational origin, the primaeval existence. The artist book inspired by the myth of origin is produced in a shape of a folder of ten sheets in A2 format.