Dissertations / Theses on the topic 'Beauty and art'
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1
Palmer, Christine Anne. "Beauty, Ugliness, and Meaning: A Study of Difficult Beauty." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/2312.
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The emergence of modern art, and subsequently contemporary art, has brought with it a deep-rooted deliberation of the definition of beauty and its role in the realm of art. Unlike many representational artworks, contemporary art less often contains a beauty that is readily available on the surface of an artwork- an easy beauty. Instead, it often possesses a beauty that requires substantial reasoning and understanding- a difficult beauty. Just as the definition of beauty has and will continue to be culturally and historically changing, so must our methodological and pedagogical practices in regards to beauty and Aesthetics. As Art Educators, I feel it is our responsibility to help students process artworks that may contain these complexities (such as difficult beauty), in search of meaning and understanding. Through understanding is derived fluency in processing the artwork, which, in turn, leads to appreciation, and pleasure. The study conducted in this thesis investigated the relationship between beauty, ugliness, and meaning and explored the reasons behind judgments of beauty. It can be concluded, through the results, that beauty and meaning are closely related, and that meaning can have both positive and negative affects on judgments of beauty. Judgments of beauty are both cognitive and affective and appear to have social and cultural foundations, as well as a relationship to personal experience and meaning. Ultimately, strong personal meaning and experience, both positive and negative, outweighed physical, social, and cultural judgments of beauty. Meaning and experience greatly affect judgments of beauty. As educators, we can take the information gleaned from this study to enhance the ability of students to process artworks which contain complexities and may require understanding. As students become more able to recognize and process beauty in its many forms, the fluency in which they process such artworks will increase, thus promoting more positive aesthetic experiences. The children's book, Terrible the Beautiful Bear, contained in Chapter Six of this thesis, is an example of how to teach this concept to young children. Helping students become aware that beauty exists in curious and difficult places, and prompting them to search for meaning, gives students a greater capacity to take part in its pleasure.
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Salov, Amanda. "An absurd beauty." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4982.
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Thesis (M.S.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 10, 2009) Includes bibliographical references.
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Sandy, Heather. "Beauty and the Synthetic." Thesis, Southern Illinois University at Edwardsville, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1591407.
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Nijsse, Jennifer Jean. "Beauty: deepening an understanding of contemporary art, art practice and theory /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2100.
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Barry, Marie Porterfield. "Lesson 05: Ideal Beauty in the Ancient World." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/6.
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Siebert, Chiung-Ling Jyan. "Beauty and Decay." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8982.
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The intention of the project is to create an environment where the viewer can explore and form a personal narrative in the process of organic interaction with the work. At first glance, the scale of the installation will attract the viewer to the exhibition, however, upon close investigation he will discover there is deterioration, decay, and mutation. The ideas of time, beauty, decay, mortality, and interdependence will be discussed in this paper. The visitors are invited to interact with the work. I hope through spontaneous interaction the arrangements from the viewer will result in evolution of the work. The balance and tension between patterns and evolution, between creativity and predictability will evolve naturally. I hope the viewer can build a meaningful experience based on his or her cultural, intellectual, and social background through interacting with the installation.
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Chan, Brian S. "The beauty of God and the art of worship." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Jones, Danielle Lynise. "Perception of cuteness and beauty." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002538.
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Goldbeck, Justina. "Beauty is in the eye of she who holds it." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1173.
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Justina Goldbeck
Artist Statement
My work explores themes of supernatural alternate universes and humans interaction with nature. Using the medium of photography I strive to create impossible realities, juxtaposing the real and the imagined. My work portrays mystical women interacting with surreal environments and seeks to portray the simple act of existing nature as a magical and spiritual experience.
As a female artist my work has often been criticized for being too beautiful and for this reason, void of substance. I believe that beauty has inherent value and goodness. My photos celebrate the beauty of female strength and the unmarred landscape. The mirror to me represents negative stereotypes of superficiality attributed to women female created art. Male painters and photographers thought history have become famous for portraying the passive female form. However, selfies or other images taken of women and by women are considered exercises in vanity. This series seeks to challenge that narrative.
The mirrors in my images add depth to the piece, showing a perspective one would not see otherwise. In most images the mirrors obscure the subject and reflect the environment she is in, uniting women with nature, and revealing something deeper within the subject. Photographs are taken far away from civilization and are not preplanned and are constructed without the use of elaborate technology. My practice is rooted in exploring, discovering new landscapes and new ways to photograph them. My work is notably not manipulated in photoshop. All of the seemingly impossible elements of the pieces are created in camera using mirrors and strategically placed colored camping lights. This lack of manipulation is intended to challenge the idea that images reflect unadulterated reality. It is also to contradict the idea that anything impossible must be photoshopped.
My work is influenced by magical realism as well as surrealist photography. As a female photographer working with female subjects it is important to me to escape the traditional relationship between active artist and passive subject. Each photo I take is a collaboration with my female subject as well as a collaboration with nature. Through my photos I seek to emphasize a non objectified female form as she interacts with nature and portray my subject as a magnetic and powerful force uniting in spirit with her natural environment.
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Ka'ili, Tēvita O. "Tauhi Vā : creating beauty through the art of sociospatial relations /." Thesis, e-Book (PDF), 2008. http://www.library.auckland.ac.nz.ezproxy.auckland.ac.nz/eproducts/ebooks/Tauhi_Va_Creating_Beauty_Final_Copy.pdf.
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Meli, Alisa A. "Eye of the beholder: Children respond to beauty in art." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3081/.
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The purpose of this study was to determine if beauty was important to elementary age children when exploring and making aesthetic judgements about works of art and to determine the criteria elementary students used in judging beauty in works of art. This study also explored beauty as a concept that could be used as an organizing idea for designing a thematic unit with the purpose of introducing elementary students to postmodern art and issues. One hundred and sixty first grade and fourth grade students looked at 20 pairs of art reproductions and picked the artwork they considered the most beautiful. The criteria elementary students use for determining beauty in artworks was found to be color, realism, subject matter and physical appearance of the subject of the work of art.
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Lynch, Liam Joseph. "Complex truth from simple beauty: Oscar Wilde’s philosophy of art." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/195.
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In this thesis I analyse a selection of the works of playwright, poet, novelist and essayist, Oscar Wilde, with the purpose of interpreting his philosophy of art. The thesis interprets Wilde’s philosophy of art as embodying a dialectical relationship, in the Hegelian sense, between the aesthetic, sensual experience of art, and the cognitive contemplation of the artwork.
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Seniw, Thomas. "Plotinus, the term and the way : theory of art and beauty." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79978.
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Ammonius Saccas instructs Plotinus towards a synthesis of ancient Greek philosophy. A brief introduction to the historical Plotinus is offered. The Hypostases: The One or Supreme Reality, the Divine Mind, Nous, and the Universal Soul, Logos, are discussed in the context of Plato's eternal ideas, Beauty, Truth and Good.An examination of the dialogue Plotinus has with art and beauty is offered. The relationship between Plato's divine intelligibles and art is discussed in context of the treatise On Beauty. The intelligible beauty of ideas, cosmos, nature and art are examined in context of the treatise On Intellectual Beauty. Plotinian theory of art is summarized.
Plotinus advances an "iconic" dialectic that serves his theological theory of art. The more important critical issues that arise from his description of the realm of art are addressed. Plotinian mysticism, and the subject of matter and form, identity and difference, is discussed. The opposing ways of the "picture" and the "word" are briefly summarized.
The appearance of theos is an event of hierophany . The meaning of art points towards the object of our ultimate concern. A Plotinian studio program for the painter concludes the thesis.
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Risser, Rita. "A broad aesthetic : beauty, truth, and goodness." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84542.
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The dissertation A Broad Aesthetic: beauty, truth, and goodness , takes into consideration three distinct but related aspects of aesthetics: perception, appreciation, and evaluation (beauty, truth, and goodness respectively). A central concern in an avowedly broad aesthetics is to attend, equally, to the bounds of the experiences or activities under consideration. Hence, this dissertation is a exploration of the breadth, but also of the limits, of certain aesthetic experiences and art-based activities (e.g., the appreciation and evaluation of artworks). It is a consideration of what shapes these experiences, and, also of the delimitation of these experiences and activities. Section one (beauty) considers the nature of aesthetic perception, and the limits of its reach. Section two (truth), looks at the role of style, both its scope and limit, in the classification and appreciation of a certain genre of fine writing (philosophy), as well as a certain genre of filmmaking (the documentary). Section three (goodness) looks at the role and relevance of moral values and interests in the evaluation, as well as in the curation, of artworks.
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Van, der Westhuizen Cara. "Venus revisited : reflecting sights/sites of beauty and its embodiments." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/12520.
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Includes bibliographical references (p. 82-86).In this project the idealised body of Venus represents an uncomfortable whole. She symbolises the richly divergent, contrasting, and often thematic concerns of female beauty that my, work has attempted to represent. She signifies arid originates the centuries of fluctuating meaning and contesting truths about women and the way in which they are represented that are at the centre of my research - in an image that resists resolution. As the title of the body of practical work implies, Venus Revisited points to a journey of return. It refers to a recurrence of ideas about the idealised female body informed by its origins in Greek myth. Venus still informs current Western visual culture - the female body remains 'the map on which we mark our meanings' (Mullins, 1985: 331).
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Magnusson, Oscar. "Rebirth of the cool : to awake a sleeping beauty." Thesis, Konstfack, Industridesign, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-857.
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My project is split in two, one theoretical part and one empirical part. The first part is based on existing theories within design and marketing. I focused my research on management theories, research methods and consumer behavior theories. The second part is based upon a case study "Rebirth of the airship", where I test the method identified in the first part. The case study also includes a straight forward design process and a qualitative field research. In the final part of the project I conclude my findings and reflect upon the work method and the result at hand.
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Myers, Cerise. "BETWEEN THE FOLLY AND THE IMPOSSIBILITY OF SEEING: ORLAN, RECLAIMING THE GAZE." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143500239.
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Allan, Judith Rachel. "Simonetta Cattaneo Vespucci : beauty, politics, literature and art in early Renaissance Florence." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5616/.
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My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical manna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. It is an account of the Florentine circles that used women to forge a collective sense of identity, of the emergence of Simonetta and her equally idealised peers as touchstones in contemporary debates regarding beauty and love, and of their corresponding lack of importance as 'real' women in the conservative republic in which they lived. In doing this, my thesis makes an important contribution to our understanding of how and why female beauty was commodified in the poetry and art of fifteenth- and sixteenth-century Florence.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Guarda, Chiara. "The aesthetic appreciation of art philosophical reconsiderations of the relationship between art and beauty : supported by case studies /." [S.l.] : [s.n.], 2005. http://www.zb.unibe.ch/download/eldiss/05guarda_c.pdf.
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Goldman, Saundra Louise. ""Too good lookin' to be smart" : beauty, performance, and the art of Hannah Wilke /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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McDonald, Deidre Ann. "Beauty and Truth: Re-defining Legal Artistry's Normative Aspirations." The University of Waikato, 2007. http://hdl.handle.net/10289/2365.
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Abstract Judges are responsible for creating case law, and each case is important, because each develops (in theory) the body of law as a whole. Each judgment should be able to meet the definition of 'art' that I will set out and apply in this thesis. Where a judgment meets that test of art, it will be successful in relaying the 'truth' of the law in a rich, lasting and forceful manner. It is important for case law to relay the truth of the law in such a way because case law's function is to communicate and reinforce social values by recognising and applying universal principles of justice and fairness to situations that arise from social life. In summary, this thesis examines whether the each of the main cases that have developed the duty of care test in negligence meets the criteria in the definition of art set out in this work, so that they may be called works of art. Each of the relevant cases will be evaluated to see: whether each embodies a 'system of rules and principles' (rules and principles being separate concepts) as these relate to the duty of care test; and whether each may be called beautiful. For, a work of art is one that incorporates all of these aspects: rules, principles and beauty. I will define what art is, and I will describe art's function in the world. I will explore and define the concept of truth, as it relates to this thesis, and I will attempt to make clear the analogy between truth as Idea (in the Greek sense) and the law as Idea. Further, I will look at the context in which the judicial opinion is created, and I will consider the responsibilities judges have to reason by analogy under the doctrine of precedent. Then, I will consider the concept of beauty itself, and how it affects us as those who experience the work. Finally, I will show that the concept of 'duty of care' in negligence, leading up to and culminating in Lord Atkin's dictum in Donoghue v Stevenson (1932) AC 562 (HL), has been developed by judges so that only 50% of the cases considered meet the test of: a system of rules and principles governing that particular aspect of the law; and beauty. Thus, only the cases that meet the test will be considered to be successful in conveying the truth of the law (and allowing us to access that truth) in a rich, lasting and forceful manner, because this is art's function in the world.
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Aske, Katherine. "'It is virtue and goodness only, that make the true beauty' : understanding female beauty in the eighteenth century." Thesis, Loughborough University, 2015. https://dspace.lboro.ac.uk/2134/17624.
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This thesis addresses how female beauty was understood in the eighteenth century and aims to build on and expand the existing scholarship from Robert Jones, Tita Chico, Tassie Gwilliam, G. J. Barker-Benfield and Naomi Baker, amongst others. Each of these scholars has discussed various areas of beauty, including taste, cosmetics, sensibility, gender and, for Baker, the opposite to beauty, ugliness. Building on these areas of study, this thesis will address the concept of beauty in both its physical and moral sense. That is, the connection of the beautiful body with the ideas or associations it has come to signify. For example, the beautiful female body usually informs readings of virtue, morality, goodness, but, in some cases, beauty can be read as wantonness, immorality and foolishness. In order to navigate these contradictory associations, the thesis has been split into category chapters and divided into two parts. The first part will examine beauty's physiognomic origins, its role in aesthetic philosophy, and its artistic expression. In the second part, with a more literary focus, the concept of beauty will be discussed in connection to its moral associations, the effects of cosmetics and health, and how concerns for reading the body are considered in the mid-century's moral novels. The evidence for the thesis will include various types of literature, including scientific and artistic treatises, fairytales, letters, advertisements, recipe books, cosmetic manuals, poetry and prose fiction. Although the scope of this thesis is wide reaching, the relationship between the body and mind, that is, the legibility of the inner qualities on the external signs of the body, remains very much at its centre. These numerous and varying examples have been chosen to demonstrate how influential this connection really was in the period, and how it informs the understanding of female beauty in the eighteenth-century.
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Altmann, Ulrike [Verfasser]. "Beyond beauty - affective and aesthetic processes in reading and art perception / Ulrike Altmann." Berlin : Freie Universität Berlin, 2018. http://d-nb.info/1155420829/34.
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Gartside, Philip Oswin. "The call of beauty across faiths : a Christian theological engagement with Japanese art." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3351/.
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This thesis explores the significance for Christians of the attractiveness of Japanese art, seeking to be true both to its distinctive religio-aesthetic milieu and to Christian believing. Its concern is for faithful,open hearted living in a plural world. Recognising in the trust which the beauty of the art evokes the operation of the Holy Spirit in redemption,it asks how we may hold together the person of Jesus Christ and the diverse meanings of the faiths. In answer it understands, from our life in God as ever extending& and necessarily hidden from us, a plenitude of meaning. Drawing on Ben Quash’s presentation of Christian living as enhanced theo dramatics of unframed reading of events with Christ, it offers a practice of juxtaposition. Examples are given from rock gardens, nō stage and shrine mandalas. More than dialectics, this is creative poiesis, illustrated by framing the metaphor ‘Christ is ma, where ma is that space marked by trace figuring emptiness, seen in these Japanese arts. The metaphor opens our eyes to evanescence, suchness and nothingness, and the faiths they articulate, as held by God within a field of loving trust. Such practice is dynamic and moral; ways are suggested in which it extends perspective, including in Christian performance of mission, dialogue and inculturation. Hence the thesis argues for the continuing importance of experience of difference. This is understood by means of Mutō Kazuo’s Field of the Inversion of Polarities under the mediating sign of Christ crucified and risen. Difference ultimately derives from and speaks of the dissimilitude between the Persons of the Trinity, origin of God’s ever greater nature as love. The gap of meaning between incommensurate but compelling faiths is to be received as space given by God for growth in love, participant in the loving relations of the Persons of the Holy Trinity.
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Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16277/.
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This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.
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Jones, Danielle. "Perceptions of Cuteness and Beauty." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4160.
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Upbringing and psychological make-up inspire individual norms for beauty and cuteness. The mannerist approach in my work is a product of the figural liberties found in cartooning, illustration and art history. By altering facial and bodily features, I relate the proportions of an infant to cuteness and innocence. However, I tailor the photographs to empower the subjects all the while mirroring trends in contemporary pop culture. I'm interested in themes of everyday life, vitality and emotion placed in obscure, imaginary or exaggerated venues. I fictionalize subjects of my reality to compel viewers to identify with and fancy emotions, circumstances, moods and relationships. The intent is to amplify, yet be truer to their existence and idiosyncrasies through figural adaptations.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Jang, Se Hee. "Beauty in Imperfection: Post-hyperreal Cosmetic Containers." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5830.
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An unhealthy reliance on vision alone, fed by pervasive, doctored, hyperreal imagery in the mass media, suppresses a more balanced use of other senses, reinforcing superficial beauty standards. Trapped by an uncritical preference for the visually “perfect” and harmonious, people increasingly seek to remove physical attributes they consider “imperfect,” without first considering how these “imperfections” benefit and distinguish them as unique individuals.
This thesis addresses superficial beauty standards by shifting focus from singularly visual experience to a more nuanced sensory aesthetic that also considers haptic qualities. Through a combination of research writing and targeted making, my work examines society’s understanding of flaws and imperfections by strategically embedding natural qualities of texture and randomness—blemishes—into ceramics, a medium treated as analogous to human skin.
The resulting tools and objects, designed to support a healthy, ritualized daily skincare routine, examine beauty through the lens of wabi-sabi—the philosophy of things imperfect, impermanent, and incomplete.
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Myers, Cerise Joelle. "Between the folly and the impossibility of seeing Orlan, reclaiming the gaze /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143500239.
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Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16277/1/David_Cross_Thesis.pdf.
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This thesis investigates, through a body of interdisciplinary artwork, the representation of the grotesque body. It examines how it might be possible to manipulate the iconography of attraction and repulsion in contemporary art with the aim of confusing the binary opposition of what signifies pleasure and disgust. Each of the three artworks function to draw the audience into a powerful and affective relationship with representations that are simultaneously appealing and revolting. Using a number of modes and techniques to disrupt the dyad, including audience interaction and the use of seductive visual forms, the work focuses on my body as a site for the development of new knowledge about the representation of the non-preferred body. By bringing together otherwise unrelated discourses such as horror and formalist abstract painting, the artwork in this study attempts to call into doubt received wisdom about the nature of beauty and ugliness. There are a lexicon of different artistic mediums explored in this project including performance, installation, video and photography. The engagement with these disciplines represents an attempt to speculate on how we know and experience the body in an increasingly mediatised world. This research is also a key means of highlighting how our understanding of the body is informed by the differing effects of timebased, photographic and performative media. By creating a series of dialogues between the live and the virtual, timebased and static imagery, and the fragmentary body and its relationship to the holistic body, this project seeks to activate in the viewer/participant, a critical self-reflexivity. I ask how it is possible to know and experience corporeality in a virtual world of digitally manipulated bodies.
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Haywood, Mark. "Venus in chairs : a neo-Darwinian analysis of classical beauty in art and its subsequent passage from art to design." Thesis, Royal College of Art, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326050.
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Stoltenow, Petersen Kelsi K. "YouTube beauty vlogs: How social media blurs social boundaries." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523368597591707.
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Robinson, Hilary. "Becoming beauty : the implications of the writings of Luce Irigay for feminist art practices." Thesis, University of Leeds, 1998. http://etheses.whiterose.ac.uk/391/.
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This thesis aims to identify aspects of Luce Irigaray's work which are of significance for feminist discourses of art, including art practices and critical analyses of art works by women. Her writings have been analyzed and employed in academic fields, such as Literature, Philosophy, and Theology, but rarely to date from within art history, criticism or theory. This thesis establishes the wide-ranging implications of her work for these disciplines. The thesis is in two parts. Part 1 outlines Luce Irigaray's analyses of phallocentrism's representational structures, and her arguments for developing representational structures appropriate for women. It aims to outline Luce Irigaray's philosophy of sexual difference in so far as it impacts upon the production of meaning in the realm of the visual, and visual aesthetics. The first two chapters focus upon mimetic practices, including mimesis, masquerade and hysteria. They identify the maintenance mimesis in phallocentrism, and the productive mimesis which develops structures of resistance. Chapters 3 and 4 attend to Luce Irigaray's analyses of the visual, including phallocentric structures of sight and visible representation. The possibility of a syntax in the Symbolic appropriate to women is explored. Building upon this, Part 2 engages moments of contemporary art practice by women with further aspects of Luce Irigaray's thinking. Her concept of morphology is explored in relation to work by Laura Godfrey-Isaacs, Jenny Saville, Bridget Reilly and Rachel Whiteread, in order to establish possible mediative function of art works. Luce Irigaray's understandings of gesture are read in conjunction with work by Louise Bourgeois. Finally, Luce Irigaray's arguments about women's genealogies, and concepts of the divine, the universal, and the transcendental appropriate to women, are tested against the representation, `woman', in Irish visual culture, and moments of resistance in works by Irish artists Rita Duffy, Louise Walsh, Pauline Cummins, and Fran Hegarty. The thesis concludes that, through careful attention to the structures and use of terminology developed by her, it is possible to identify areas where Luce Irigaray's work can be productively juxtaposed with and interrogated by current feminist theories of art in order to develop those practices, increase the legibility of art works by women, and provide spaces of discourse in which artists can work in the future.
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Valladares, Gisel Corina. "Maybe She's Born With It, Maybe it's Mexicanidad: Depictions of Mexican Feminine Beauty and the Body in Visual Media During the 1950s." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1493336026688153.
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Hearne, Auna R. "A Fortress Where Beauty is Cherished, Protected and Cultivated: The South Side Community Art Center, 1940-1991." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1439281557.
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Fowler, Michael Anthony. "Reflections on Beauty and Ugliness: An Exceptional Archaic Greek Mirror at the Getty." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etsu-works/8906.
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This paper consists of a focused, formal, and iconographic analysis of a unique Late Archaic bronze hand mirror said to originate in Magna Graecia, now in the Getty Museum. Of particular interest is the way the object fuses and juxtaposes two semantically dense and interrelated devices from the ancient Greek world: the mirror and the severed head of the Medusa (gorgoneion). While gorgoneia are generally encountered as ornaments on Greek mirrors, the Getty example is the only extant case in which Medusa’s head occupies the entire backside of the mirror, effectively functioning as a Janus-faced counterpart to the user’s face reflected in the disc. Scholars tend to explain the significance of gorgoneia on objects like the Getty mirror with reference to apotropaic and/or humorous effects. Yet Fowler proposes that the mirror’s incorporation of the gorgoneion may be appreciated on deeper conceptual and phenomenological levels: as a visual “comment” on the nature of the image (representational and reflected) and of (female) beauty and ugliness, which is accomplished by, and experienced through, using the object. Close examination of the Getty mirror thus offers critical insights into the complex interplay between gender, aesthetics, image-making, and visual experience in ancient Greek culture.
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Senguttuvan, Vinoad. "Shutters." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_theses/290.
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Shutters is a fragmented novel that employs various prose and poetic elements to document the life and endeavors of photographer-writer Ishi in present day New York City. The work follows his quest for emotional and physical connection, and his artistic project where he photographs and writes about suicide survivors. The work explores the observer-observed divide that often manifests in fiction and addresses the themes of physical beauty, art, death and the human condition.
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Berrios, Ruben Ernesto. "Nietzsche's aesthetics." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.
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Wolken, Christine Chiorian. "Beauty, Power, Propaganda, and Celebration: Profiling Women in Sixteenth-Century Italian Commemorative Medals." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1339555478.
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Eccles, Tim. "Looking for beauty: a call to educators to address the need for aesthetic education in our classrooms /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2204.
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Rusconi, Gloria. "Beauty Without Pity, Ambition Without Remorse: Lucrezia Borgia and Ideals of Respectable Femininity." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619440010113221.
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Gatty, Fiona K. A. "Ideal beauty in late eighteenth- and early nineteenth-century French art and art criticism with special reference to the role of drapery and costume." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9c3f5f9e-0a0c-4c1e-a7c1-62ed972cfd12.
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Scholarly attention to late eighteenth- and early nineteenth-century French art has focused on the importance that Johann Joachim Winckelmann attributed to the male nude figure in his definition of ideal beauty, and the impact of his work on debates over the 'beau idéal' in French art and art criticism. In contrast, Winckelmann's extensive interest in the detail of ancient costume, the folds of drapery, and the teleological and aesthetic significance that he ascribed to them, has been underplayed. The role played by costume and drapery as components of the 'beau idéal' in French art and aesthetics has also not been fully explored. This thesis examines the way in which costume and drapery formed an important component and embodiment of ideal beauty in the work of Winckelmann and in late eighteenth- and early nineteenth-century French artistic circles, providing new insights into the arguments over the meanings of Truth, Beauty and Nature in this period. The thesis proposes that ideal beauty in late eighteenth- and early nineteenth- century France was conveyed in works of art through the accurate rendering of costume and the expressive qualities of drapery in combination with the perfect form and contour of the nude body. The first part of the thesis sets up a proposition that costume and drapery formed part of the definition of ideal beauty in the work of Winckelmann. Highlighting the significance of Winckelmann's work on costume and drapery in French art theory, it demonstrates how the definition of ideal beauty in France also incorporated the accurate rendering of costume and the aesthetic impact of drapery. In demonstrating the significance of costume and drapery to both Winckelmann and French theorists it is proposed that the application of a meta-historical approach of costume and drapery to French art theory can provide new understandings and readings of the definition of ideal beauty, the hierarchy of the genres and the broader aesthetic concerns of late eighteenth- and early nineteenth- century French art. The second part of the thesis applies the proposed hermeneutic of costume and drapery to a small selection of theoretical work on the nature of ideal beauty and on a significant collection of Salon criticism. With this approach to the primary material this thesis demonstrates how French artists were able to express the 'beau idéal' within the traditional academic conventions and hierarchies, and negotiate the sense of public unease over the use of nudity in contemporary art.
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Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings /." View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.
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Thesis (Ph.D.)--University of Western Sydney, 2004.A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.
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Skelly, Julia. "No strangers to beauty : contemporary black female artists, Saartje Baartman and the Hottentot Venus body." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97824.
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Saartje BaartJnan was a South African woman who signed a contract in 1810 that effectively made her the property of two white men wishing to exhibit her in Europe because of the shape and color of her body. In this text 1 examine two very different categories of representations of Baartman. First, I discuss images that were produced during Baartman's lifetime that discursively transformed her from a black woman with an identity into a pathologized body known as the Hottentot Venus, and second, I discuss the contemporary black female artists who are producing art inspired by Baartman in order to problematize the racist and sexist assumptions that have been inscribed on the black female body. My research encompasses important scholarship done by white feminist art historians, as well as that by black feminist theorists, and my thoughts on this subject have also been informed tremendously by work that has been done on the visual culture of slavery and on racist stereotypes by post-colonial scholars.
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Lotz, Felix. "A conversation between Art Nouveau and Digital design." Thesis, KTH, Arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-193091.
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The study contrasts the architecture of the Art Nouveau period 1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way?Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition, fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.
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Crossley, Elizabeth Ellen. "Changes in the image of the feminine from Giotto to Raphael." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1009448.
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From Introduction: The ideal of femininity which developed in Renaissance painting, was a visual and psychological type which was to become the Western European Christian formula of the feminine. This type has survived until the present day, so a discussion of its origins can be revealing for us in the twentieth century, especially as it has been neglected in traditional art historical works. In this essay, the changes in the image of the feminine, in just under three hundred years of Florentine painting, starting with Giotto1. and ending with Raphael~· will be covered. The images will be taken from the wo rk of artists who were Florentine in training, who worked in the city or who were strongly influenced by the Florentine style of painting. I have divided the paintings I have studied into three sections. In the Religious section the paintings are mainly of Mary. The Mythological images refer to Greek and Roman myths and the humanistic interpretations of them. Finally, the Portrait and Genre images are selected on the following basis: In the genre paintings they are sometimes part of works related to religion or mythology, but, in their handling, the painters treat the figures as real human beings rather than holy or mythological figures. In others they are bona fide portrait representations. 3. I have made the above distinction because I expect that the gap between religio-mythological images and portraits will give some indication of the difference between the ideal and the reality for women of that time. The images will be analysed and changes noted in favoured types, gestures, expressions, movements, placing in the composition, relationships to others, favoured themes, costume, colour and symbols. I will point out as I proceed the effects that these elements had on the mood and tone of each image.
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McCann, Ishbel A. "Facing the World: The Unapparent Merits of Makeup." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1176.
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The act of applying makeup is a ritual shared by many, often beginning at an early age. Though makeup is presented as a final product in the public sphere, the process of applying makeup can be just as, if not more important. This thesis acts as the theoretical basis for my digital art project, Facing the World. My work gives insight into the lesser understood motivations behind wearing makeup while shedding the stigma that wearing it is merely a superficial act or sign of vanity. The project Facing the World presents the makeup routines and personal narratives of seven women to uncover the merits of cosmetics as a means of identity creation, self-care, and mindful reflection. The work is exhibited as a single channel looped video of approximately twenty minutes with the corresponding subject’s audio portion played over headphones.
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Wolf, Bettina. "Revealing Essence." Thesis, Virginia Tech, 1997. http://hdl.handle.net/10919/36713.
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There is a fine line between the "simple" and the "simplistic". The simple such as the plain, the pure, and the
truthful holds a complexity within, which is extremely hard to obtain. It ultimately results in beauty. The
simplistic embodies nothing more than obviousness and boredom. My aim is to strive for simple beauty.
Concerning objects and architecture, to simplify means to reduce by eliminating the superficial and the
superfluous, to unmask what is essential. Quality materials and craftsmanship are prerequisites. In
combination with the accuracy of the design they help to attain the desired result which speaks of precision
and clarity.Master of Architecture
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Naoi, Nozomi. "Beyond the Modern Beauty: Takehisa Yumeji and the New Media Environment in Early Twentieth Century Japan." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11556.
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This thesis focuses on the modern Japanese artist Takehisa Yumeji (1884-1934) and his diverse range of graphic production, from illustrations in socialist newspapers and magazines with images of anti-war and leftist sentiment to fashionable images of beautiful women, referred to as "Yumeji-style beauties" (Yumeji-shiki bijin) in newspaper illustrations, coterie magazines, postcards, frontispieces, posters, and advertisements. Such works circulated widely and within the context of a growing female readership and the emergence of a new media environment that transformed the print medium from its "floating world" profile of the previous century into a technically diverse medium of modern visual culture and avant-garde pictorialism. Yumeji's graphic works participated in the generation of new kinds of modern identity. An extensive consideration of Yumeji's life and works reveals his role in the cultivation of a new demography of viewers and readers.History of Art and Architecture
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Rieu, Sophie. "la beauté limite ou le réveil du sublime sur les scènes contemporaines." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30042.
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Après une première phase de réflexion portant sur les traces d’un sacré bataillien chez Jan Fabre, tout en élargissant le corpus à d’autres artistes contemporains (Abattoir fermé, Romeo Castellucci, Pippo Delbono, Yves-Noël Genod, Alain Platel, Gisèle Vienne et quelques autres), cette thèse propose de mettre en lumière les manifestations, sur les scènes contemporaines, d’une beauté atypique, amorale, parfois obscène, que nous avons choisi de nommer « beauté-limite ».La première partie de la thèse tente de définir ce concept en parcourant les multiples définitions qu’a pu revêtir la beauté à travers les âges : divine, synonyme d’harmonie ou de vérité, bizarre (Baudelaire), disloquée (Expressionnisme), extraordinaire et intense (avant-gardes), etc. Aussi surprenant que cela puisse paraître, la beauté-limite n’est parfois pas étrangère à l’effroi ni au dégoût. Parce qu’elle est excessive, elle est arrachement. Et elle tisse avec le spectateur un lien émotionnel et sacré tel qu’elle s’apparente au sublime. Pourtant, cette question est absente de la recherche en arts du spectacle ; il nous a donc fallu nous appuyer sur les travaux existants en arts visuels, en esthétique et parfois en psychanalyse.Le merveilleux, le rêve et le conte, les motifs populaires du carnaval et du cirque font souvent partie des compositions scéniques actuelles. Par ailleurs une « terreur belle » - souvent imprégnée d’un romantisme monstrueux et proche du sublime - caractérise certains spectacles (ceux de Romeo Castellucci par exemple). L’apport de la poésie, de la danse, de la musique, l’intégration de techniques cinématographiques sont autant d’éléments dont la combinaison peut susciter le sentiment du sublime. Nous nous sommes également interrogée sur le corps ; particulièrement présent, parfois sursignifiant, ne serait-il pas, dans certaines circonstances, source de sublime ? Le corps, en effet, qu’il soit naturel, organique, informe, érotique, sacrifié, nous ouvre des mondes d’où surgit une beauté «terrible».Mais pour accéder au sublime, explique Baldine Saint Girons, il faut accepter de voir le réel sans les yeux de la raison et de la logique. Autrement dit, il ne suffit pas que le spectateur soit confronté à l’illimité ; encore faut-il qu’il consente à se laisser porter par l’incertitude (et parfois l’abstraction) qui caractérise certaines formes dites postdramatiques. Nous avons tenté d’analyser ce qu’il peut alors se produire dans le corps du spectateur. La« pensée iconique » - développée par Nicole Everaert-Desmedt à partir de la sémiotique peircienne – est particulièrement adaptée à l’analyse de spectacles déroutants, qui tirent le regard vers le mystérieux et l’invisible. Restent des points d’interrogation : quels sont les effets du sentiment sublime ? Peut-on, à l’instar de certains metteurs en scène, parler raisonnablement d’effet cathartique ? À quoi bon provoquer une « commotion émotionnelle » ? N’y a-t-il pas là un effet purement spectaculaire et gratuit ? … Ou, au contraire, n’est-il pas envisageable que, faisant l’expérience du sublime, le spectateur entrevoit la possibilité de se libérer d’une «vie à contrecoeur » ? (Breton)After a first phase examining the traces of a the Batallian Sacred in the work of Jan Fabre, while widening the corpus to other contemporary artists (Abattoir fermé, Romeo Castellucci, Pippo Delbono, Yves-Noël Genod, Alain Platel, Gisèle Vienne and a few others), this thesis aims to highlight the manifestations, on contemporary scenes, of an unusual, amoral, and sometimes obscene beauty that we have named 'borderline beauty '.The first part of the thesis attempts to define this concept. To this end, we have moved through the many definitions of beauty developed in the history of art : divine, synonymous with harmony or truth, bizarre (Baudelaire), dislocated (Expressionism), wonderful and intense (avant-gardes), etc. Whilst it may seem surprising, borderline beauty is also sometimes close to fear and horror, or even disgust. Because it is excessive, it is uprooting. Given borderline beauty connects the viewer with such strong feelings and establishes such a sacred link, it is also related to the sublime. However, this question is not researched within the field of performing arts and we therefore had to rely on material from visual arts, aesthetics and psychoanalysis.The marvelous, dreams and tales, the carnival and the circus are elements that often form part of contemporary performing arts. Moreover, a ‘beautiful terror’ – which is often influenced by monstrous romanticism and is close to the sublime – characterizes some shows (Romeo Castellucci’s ones for instance). The contributions of poetry, dance, music, and cinematographic techniques, when combined, contribute as well to the feeling of the sublime. Central to performing arts, the body is then at the core of this signifying process. As it is strongly present and sometimes over-signifying, is it a source of the sublime as well ? Be it shown as natural, organic, amorphous, erotic, or sacrificed, the body is actually the vessel for a ‘terrible’ beauty.Although, in order to reach the sublime, as Baldine Saint Girons explains, one must accept to see reality without the eyes of reason and logic. In other words, it is not enough for the spectator to be confronted with the unlimited; it is necessary to consent to let oneself being carried away by the insecurity (and sometimes the abstraction) that characterizes certain so-called postdramatic forms. In that context, we have analyzed what may happen to the body of the spectator. ‘Iconic thinking’ – a term coined by Nicole Everaert-Desmedt from the theory of signs developed by C.S. Peirce – is particularly adapted for the analysis of disturbing spectacles which are interested in the mysterious and the invisible. Some questions remain: what are the effects of the sublime? Some directors talk about cathartic effects: can it be considered as such ? What are the advantages of provoking an ‘emotional shock’? Aren’t such shocks purely based on spectacular and theatrical effects? Or, on the contrary, could we consider that when experiencing the sublime, the spectator catches a glimpse of freeing himself from what André Breton called a “life with reluctance”?