Dissertations / Theses on the topic 'Contemporary representation'
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Heathfield, Adrian. "Representation and identity in contemporary performance." Thesis, University of Bristol, 1998. http://hdl.handle.net/1983/3bfedf40-4124-4ca5-b729-355c0601d71a.
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Childs, Sarah. "Women's political representation in contemporary British politics." Thesis, Kingston University, 2000. http://eprints.kingston.ac.uk/20645/.
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The 1997 British general election saw the return of 120 women Members of Parliament. The central question of this thesis is whether this unprecedented number of women MPs makes a difference to the political representation of women. The research is applied political theory, in which conceptual analysis is informed by and informs the empirical research. Pitkin's seminal contribution The Concept of Representation and Phillips' The Politics of Presence are both considered. In particular, Phillips' 'shot in the dark thesis', which makes a link between women's numerical representation and the substantive representation of women by women representatives, is subjected to empirical analysis. The data are drawn from interviews with half of the Labour women MPs elected for the first time in the 1997 election. The introduction in Chapter 1 includes discussions of the research objectives and the research design and methods. Chapter 2 explores women's legislative recruitment within the Labour Party, focusing upon its policy of all-women shortlists. Chapters 3 and 4 examine Pitkin's and Phillips' ideas respectively. The next three chapters (Chapters 5, 6 and 7) utilise the empirical data to analyse in tum symbolic, microcosmic and substantive conceptions of representation. The last of these chapters centres upon the question of whether women representatives seek and are able to act for women at constituency, parliamentary and governmental levels. The analysis broadly supports Phillips' thesis. However, the intersection of party and gender identities is emphasised to a greater extent. It is also argued that women MPs may not have, at least as yet, secured the 'safe spaces' from which to act for women. These conclusions suggest both that the complexity of the concept of representation must be recognised and that combining conceptual and empirical analysis engenders a more sophisticated understanding of women's political representation.
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Dave, Paul. "Representation of class in contemporary English cinema." Thesis, University of East London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532539.
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This thesis is a study of the representation of class in English film culture which focuses primarily on films and written texts produced between 1978 and 2002. My approach to these representations takes the work of Ellen Meiksins Wood on the theoretical principles of historical materialism as its most general methodological guide. Thus, I seek to place representations of class within a conceptual framework which, like the one found in Wood's work, puts emphasis on approaching class as a relational and conflictual social phenomenon lying at the heart of capitalist society. Such a move involves establishing a dual-focus on both images of class and capitalism. Consequently I seek to embed my examples of the representation of class within a characterisation of the contemporary moment of capitalism as a specifically neo-liberal one. Related to this joining of the perspectives of class and capitalism is my attempt to explore, in the context of contemporary film and film criticism, Wood's historical thesis that Englishness forms the `pristine culture of capitalism'. Her idea that cultures of Englishness exaggerate class understood as an identity, and at the same time conceal its dynamic role as an antagonistic relationship central to capitalism, has determined my focus on an English rather than a wider, British cinema. The material for study has been drawn from diverse areas - examples of mainstream and experimental film are discussed here, as are different forms of criticism and literature. However, the intention is not to provide a systematic overview of national film production or patterns of criticism during this period, but rather to generate distinctive readings of films and critical texts from the particular historical materialist conceptualisation of class, capitalism and English referred to above.
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Yearwood, Susan J. "Representation of madness in contemporary Black literature." Thesis, Sheffield Hallam University, 2005. http://shura.shu.ac.uk/20589/.
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This thesis uses Bakhtinian theory, in particular the chronotope, as well as insights into my personal writing and other texts to look at the representation of madness in contemporary black literature. The representation of madness is reflected in three texts by writers of African descent: Breath, Eyes, Memory by Edwidge Danticat; Orange Laughter by Leone Ross and Paradise by Toni Morrison. I look at how madness as an instance of rupture and trauma relates to language used within the texts. I draw on Bakhtin's theories on language as a basis on which claims to madness in language, or text, are made. Bakhtin's theories are useful as he attempted to define social aspects of language in a way that illuminated the psycho-social in texts. In an attempt to further define aspects of the chronotope - which relates to the correlation between space and time within aspects of literature - it became useful to add the definition of the "mad" chronotope to aspects of language so that the literature in question could be seen through a new definition that was pertinent to the subject. The writers, Danticat, Ross and Morrison, all approach madness from differing viewpoints that help to emphasise the relationship between madness and the chronotope. This relationship is explored throughout the following chapters and helps to define the new concept of the "mad chronotope" as an aspect of language useful to the interpretation of texts. I analyse my personal writing by looking at madness and other relevant themes in relation to the novel and by relating ideas on Bakhtinian theory, notably the mad chronotope, to the creative process. In the second part of the novel, the protagonist suffers with schizophrenia within an extended period of time. At this point, the novel attempts to mirror the concerns of the thesis in relation to the mad chronotope and other themes relevant to the thesis so that there is a correlation between the two pieces of work.
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Saul, Joanne Elizabeth. "Displacement and self-representation, theorizing contemporary Canadian biotexts." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ53733.pdf.
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Guillén, Marín Clara. "The representation of migrants in contemporary Spanish cinema." Thesis, University of Bath, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665442.
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This study will focus on the analysis of eight films representing migrants in Spain. The films are documentaries and fiction films made by Spanish and non-Spanish filmmakers from 1999 till 2010. The main focus of this analysis is to explore the ways in which migrant and non-migrant filmmakers reframe the urban and rural space to create opportunities for a free, although contested, exchange between marginal voices and mainstream Spanish society. I will analyse to what extent the films challenge forms of exclusion, exploring how they represent ethnicity in a space that includes some and excludes others. It is my main aim to describe how and to what extent the films open the space for political argumentation. My main theoretical framework will derive from the work of French philosopher Jacques Rancière to demonstrate to what extent the films create scenes of dissensus. I will also draw upon Hamid Naficy’s characterisation of ‘accented cinema’, as well as upon theorists like Doreen Massey, Michel de Certeau and Henri Lefebvre, since their arguments will help the analysis of how the films represent space, time, power and movement. Apart from this, I will make use of Laura Marks’s theories on intercultural cinema made by the diasporic filmmaker and its capacity to create new kinds of sense knowledges through haptic perception. Other political theories from Giorgio Agamben, Fredric Jameson and Thomas Elsaesser, among others, will contribute to exploring how migrant characters are portrayed and to what extent this representation contributes to the creation of scenes of dissensus.
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Folch, Ausenda. "The Representation of Motherhood in Contemporary Catalan Fiction." FIU Digital Commons, 2011. http://digitalcommons.fiu.edu/etd/434.
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This dissertation analyzes four twenty-first-century Catalan novels which present the complex positions occupied by mothers in the last seven decades. Its conceptual framework posits motherhood as both a changing social construction and a political institution in a constant state of flux. In Inma Monsó´s Todo un carácter (2001), Eva Piquer´s Una victoria diferente (2002), Carme Riera´s La mitad del alma (2004), and Najat El Hachmi´s El último patriarca (2008) motherhood is explored as a metaphorical act, a gender-constructing experience, as well as the locus of expression with regard to gender and power relations. During the dictatorship of Francisco Franco (1939-1975), the majority of women were excluded from public spaces, and forced to stay home to care for their husbands and children. Furthermore, the state criminalized abortion, made contraception and divorce illegal, and promoted an ideal of femininity based on silence, sacrifice, and self-denial. The political changes of the late 1970s allowed women greater personal autonomy, and many women writers began to challenge stereotypical views of women’s social roles. Yet in the 70s and 80s, the narratives of Esther Tusquets, Ana María Moix, and Montserrat Roig represent the mother as a repressive figure whom the daughter must reject in order to liberate herself and regain her voice. It is not until the 90s when the novelists Mercedes Abad, Maruja Torres, Carme Riera, Imma Monsó, Eva Piquer, and María Barbal rehumanize the mother figure, recovering their matrilineal heritage. However, far from suggesting a unified trend in representations of motherhood in Catalan fiction, the diverse points of view of the novels under discussion here reveal that differences in attitudes among women authors about mother-daughter conflict are far from resolved. The theoretical background for this dissertation draws mainly on the work of Adrienne Rich, Nancy Chodorow, and Julia Kristeva. It includes psychoanalytic studies as well as sociologically based essays by Anna López Puig, Amparo Acereda, Jacqueline Cruz, Barbara Zecchi, Ángeles de la Concha, and Raquel Osborne, among others.
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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.
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Balikienė, Monika. "Representation of the evil eye belief in contemporary Lithuania." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20121009_093559-44651.
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1. Evil eye participates in the daily life of people of contemporary Lithuania in spite of urbanisation or achievements in the area of medicine and science. A
homogeneous yet at the same time very elastic construct of the evil eye helps evil eye believers to interpret their personal and social failures, unfavourable circumstances of life, and lack of luck or fortune.
2. As a cultural construct, the contemporary Lithuanian evil eye complex may be characterised by flexibility, vagueness, dynamism, and a wide variety of forms
of its representation. Developed perpetually in the processes of social and reflexive interactions, the evil eye representation in contemporary Lithuania undergoes endless modification, remaining, however, stable and resistant to changes.
3. In contemporary Lithuania, the fear of evil eye features not only among elderly people with relatively lower levels of schooling and livelihoods mostly connected with agriculture. The younger generation adopts the traditional notion of evil eye, enriching it with the elements of popular culture.
4. In contemporary Lithuania, the evil eye representation is not balanced from the point of view of gender. The idea of evil eye is expressed and stressed more intensively by females. Even in contemporary Lithuania, a typical possessor of the evil eye is an elderly dark-eyed female – an inquisitive, intrusive, talkative and envious neighbour, co-worker or relative.
5. It is commonly believed that the most vulnerable evil eye... [to full text]Remiantis interpretacinės antropologijos paradigma ir vadovaujantis trimis – paties tyrinėtojo, tyrimo dalyvių ir sociokultūrinio konteksto vaidmens blogos akies konstrukto kuriamajame darbe – perspektyvomis, daktaro disertacijoje nustatyta šiuolaikinio lietuviškojo blogos akies komplekso raiška. Siekiant atskleisti didelę individualių požiūrių ir sampratų įvairovę, darbe pabrėžiamos skirtingų nuomonių sankirtos ir sąveikos, akcentuojamas nepaliaujamas kūrybos vyksmas, dėl kurio randasi lankstus, griežtai neapibrėžtas darinys, leidžiantis bloga akimi tikintiems žmonėms aktyviai veikti, kurti, išreikšti daugybę įvairiausių prasmių ir asmeninių patirčių, interpretuojant asmenines bei socialines nesekmes, nepalankias gyvenimo aplinkybes ir laimės stoką. Šių dienų Lietuvoje blogos akies kompleksas pasireiškia kaip homogeniškas, tačiau drauge ir įvairiaprasmis kultūrinis konstruktas. Jo kūrime dalyvauja abiejų lyčių, įvairaus amžiaus, profesijos ir išsilavinimo žmonės. Lyties požiūriu, blogos akies komplekso raiška nėra vienoda. Moterys, lyginant su vyrais, intensyviau išreiškia ir akcentuoja blogos akies idėją. Pasitvirtino iškelta hipotezė, kad šiuolaikinėje Lietuvoje moterys anksčiau negu vyrai sužino apie kenkiamąją akių galią ir daugiau apie blogą akį išmano. Remiantis turimais duomenimis, galima teigti, kad blogos akies idėja moterims svarbesnė negu vyrams, kad moterys blogos akies idėją pabrėžia intensyviau ir net pačios blogaakystę noriai priskiria moterims. Blogaakiu... [toliau žr. visą tekstą]
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Weston, Daniel Peter. "Articulating place : representation and experience in contemporary literary landscapes." Thesis, University of Nottingham, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580278.
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This thesis examines the representation of landscape and place across a range of genres of contemporary literature and aims to look beyond literary studies to draw on interdisciplinary dialogues with research in other fields, particularly in cultural geography, to establish new exchanges. My work looks to critical paradigms from both disciplines to devise innovative new ways of thinking about landscape writing and to assess both the form and politics of place. As such, it addresses the poetics and narratives of spatial texts. The thesis attends to a survey of contemporary writing and comprises three extended single-author case studies - of works by Ciaran Carson, W.G. Sebald, and lain Sinclair - followed by a comparative study of texts by Robert Macfarlane and Kathleen Jamie. The key findings of this research are that these writers share a combinatory approach to writing landscapes that draws on experiential, practised engagements with place, but also situates this first-hand knowledge within longer literary and pictorial traditions and histories of representing those same places. Contrary to some critical formulations, in creative texts these two emphases have not been incommensurate. As a result, my work aims to contribute to critical and theoretical debates through close reading. Each case study matches a writer to a mode of apprehending place - Sebald with picturing, Carson with mapping, Sinclair with walking, Macfarlane and Jamie with engaging - to draw out a range of sites at which representation and experience interact. The thesis concludes with an assessment of these accounts not as definitive versions of places but as subjective testimonies intervening in their making.
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Rinaldi, Lucia. "Postmodernity, identity and representation in contemporary Italian crime fiction." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442052.
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Wong, Sui Fai. "The politics of representation in contemporary ethnic Chinese writing." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/71950/.
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With the increasing mobility of the Chinese to the West, there has been an increase in publication and popularity of literary works by ethnic Chinese writers living in the West. This thesis proposes to investigate the image of China and the West in ethnic Chinese writing focusing on autolbiographies and novels, and to explore the role of 'representation' in the diffusion of these texts, a topic that has not yet been systematically and substantially studied. Since ethnic Chinese writers are immigrants or descendants of immigrants who live in-between nations, cultures or languages, the representational issue is examined from both Western as well as Chinese standpoints, using theories developed by Michel Foucault, interpreted by Edward Said and Xiaomei Chen. Different representations of China and the West affect divergent, and often contradictory, receptions of these texts between Western audiences and Chinese readers. The thesis suggests that through negative depictions of China, ethnic Chinese bestsellers in the West concede to a Western positional superiority which assigns China to the position of culturally and politically inferior Other. This in turn often entails criticism of the West and a rejection of these books in China or in the ethnic Chinese community in the West.
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Al-Matrafi, Huda. "The representation of women in contemporary Arab-American novels." Thesis, University of Essex, 2012. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.570661.
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Contemporary Arab-American women's writing is preoccupied with the ambivalence of the Arab-American identity. Analyzing Soheir Khashoggi's, Diana Abu-Jaber's, and Laila Halaby's novels, this thesis investigates what is meant by 'Arab-American' in these works by comparing and contrasting the representation of women as citizens both of an Arab world and an American one. Examining their novels from feminist and social perspectives and using these paradigms to understand Arab-American literature, the study shows how the three novelists introduce specific key themes concerning the lives of women, such as individuality, dignity, love, violence, the veil, virginity, honor killing, marriage, marital rape, and labor. A key feature of the three novelists' texts is the manner in which their fiction highlights the idealization of western civilization and the portrayal of Arab culture as backward. This generates two opposed worlds and clashing cultures, which introduce the reader to the issue of 'otherness', whether that of being a woman, an Arab, or an Arab- American. In others words, this study draws attention to how these authors' fiction testifies to the segregation and oppression of Arab women, on one hand, and demonstrates the resilience and strength of Arab-American women on the other. In order to do this, the authors frequently have recourse to authentic religious sources and traditional practices, as well as to political crises, such as the 9/11 attacks. This study aims therefore to show how these novelists, who are all Arab-American women living in the dilemma of political disasters occurring between the Arab world and the American world, have managed in their writings loudly to call for changes on personal, social, and political levels. Furthermore, it examines how the novelists involve the reader in the victimization of the female characters in order either to highlight, or to criticize the popular stereotypical image of Arabs and of Arab-Americans that exists today.
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Luk, Siu-leng. "The dialogics of representation : Shanghai in contemporary Hong Kong films /." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/HKUTO/record/B38628752.
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Polley, Jason S. "Acts of justice : risk and representation in contemporary American fiction." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102824.
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Spectacles of justice preoccupy contemporary American culture. Legal culture---including the Watergate trials, the Lewinsky scandal, and OJ Simpson's trial for alleged murder---assumes a central place in the American imaginary. Configurations of the law are not limited to media reportage and televised docudramas. Nor are arbitrations confined to law faculties and the spaces of formal courts. Working through depictions of due process in different ways and in different zones, contemporary American writers point up the prevalence of legality in everyday life. Whether on college campuses, in TV studios and suburban homes, or at theatres and racetracks, justice mediates interpersonal relations. Personal narratives proliferate as modes of self-justification. Everyone has a right to represent her side of a story. As interpretations of reality, however, none of these stories can claim absolute justness. No one has a monopoly on the law or victimhood.This dissertation inspects how Jonathan Franzen, Don DeLillo, and Jane Smiley present the inconsistencies of the law. These American novelists emplot global escapes into their work as a means to inform notions of liberty and jurisprudence. For these writers, freedom requires the recognition of contradictory---and unanticipated---narratives. "Justice Theory" emerges where media, gambling, performance, and suburban studies intersect with ethics, globalism, and narratology. In Franzen's novel The Corrections and essay collection How to Be Alone, self-validation requires the appreciation of the stories of others. In DeLillo's later works, particularly the plays The Day Room and Valparaiso, justice materializes in terms of isolation and the will to alter personal stories. For Smiley, as construed in her long novels The Greenlanders and Horse Heaven, dynamic responsive actions attend risky, unpredictable encounters in competitive milieus like the racetrack. These authors reveal that executions of justice and the perpetration of injustice involve varied consequences. The law is not only about punishment and recompense. Rather, legality directs the consequences of its applications toward the ideal of justice, which evolves alongside the subjects that it serves and the stories that they relate.
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Luk, Siu-leng, and 陸小玲. "The dialogics of representation: Shanghai in contemporary Hong Kong films." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B38628752.
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Boccardi, Mariadele. "The representation of past and present time in contemporary fiction." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431541.
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Nekrasova, Alena. "The Representation of the Soviet Past by Contemporary Russian Writers." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/13436.
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The Soviet Union had existed for 70 years and was labeled as the "evil empire". Its technological achievements and geographical discoveries are amazing. However, its dark aspects such as censorship, "purges", and freedom restrictions are shocking as well. The effects of its collapse in 1991 were felt throughout the world in many aspects of peoples' day-to-day lives. Nowadays, many average Russians feel tenderness and nostalgia for what they had back then.
This thesis addresses the perception of the Soviet past by two contemporary Russian writers, Elena Chizhova and Elena Katishonok. Despite the common tendency to idealize the Soviet epoch, the authors represent it as a period that is not worthy of nostalgia. The thesis explores the world picture created in both novels by means of the analysis of such themes as the space structure, death, and memory that recur and function on different levels of the target texts.
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Molema, Moratiwa. "Layering time : the representation of tradition in contemporary multimedia performance." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8126.
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DVD entitled: Water feels / directed by Moratiwa Molema.Includes abstract.
Includes bibliographical references (leaves 35-37).
As a culminating thesis project my Master of Fine Arts degree in Film and Television, chose to create a theatrical production that incorporated multiple video projections as well as performance forms such as dance, drama, music and ritual. This explication then begins answering the question, 'how does a student of film and television production engage with live performance and create a theatrical event as opposed to a DVD as a final outcome?' The 'why' lies in the hypothesis contained in the title of the explication "Layering Time: The Representation of Tradition in Contemporary Multi Media Performance." I was exposed to multimedia techniques at the University of Hartford in America while pursuing a Bachelor of Fine Arts degree. Through the Master of Fine Arts in Film and Television programme at the University of Cape Town, South Africa, J wished to expand and deepen what I had learnt as an undergraduate student. The result of this effort was my thesis production. The theme of the production and the concept of layering time dealt with the importance of continuity and representations of traditional culture in a contemporary world, which is a layering of past and present. As a multi-media production,WaterFeels, was also an exploration of conceptual relationships between different art forms and the potential in this use of mixed media for notions of past and present time to exist simultaneously.
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Venn, Jonathan Edward. "Madness, resistance, and representation in contemporary British and Irish theatre." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27675.
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This thesis questions how theatre can act as a site of resistance against the political structures of madness. It analyzes a variety of plays from the past 25 years of British and Irish theatre in order to discern what modes of resistance are possible, and the conceptual lines upon which they follow. It questions how these modes of resistance are imbibed in the representation of madness. It discerns what way these modes relate specifically to the theatrical, and what it is the theatrical specifically has to offer these conceptualizations. It achieves this through a close textual and performative analysis of the selected plays, interrogating these plays from various theoretical perspectives. It follows and explores different conceptualizations across both political and ethical lay lines, looking at what composes the theatrical practical critique, how theatre can alter and play with space, how theatre capacitate the act of witnessing, and the possibility of re-invigorating the ethical encounter through theatrical means. It achieves this through a critical engagement with thinkers such as Michel Foucault, Henri Lefebvre, Jacques Derrida and Emmanuel Levinas. Engaging with the heterogeneity of madness, it covers a variety of madness’s different attributes and logics, including: the constitution and institutional structures of the contemporary asylum; the cultural idioms behind hallucination; the means by which suicide is apprehended and approached; how testimony of the mad person is interpreted and encountered.
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Joyce, Samantha Nogueira. "Race matters: race, telenovela representation, and discourse in contemporary Brazil." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/525.
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In Race Matters: Race, Telenovela Representation, and Discourse in Contemporary Brazil I investigate the primetime telenovela Duas Caras (2008), examining how different factors such as narrative, audience reaction, as well as media criticism and commentary played a dynamic role in creating a meta-discourse about race in contemporary Brazil. In a larger sense, I examine how the social discourse about contemporary race relations and racism in that country were circulated, constructed and reconstructed during the time the program aired. Additionally, I explore the role of the media, particularly the telenovela, in debunking the idea that Brazil is a racial democracy. Secondly, the research incorporates the Brazilian notion that telenovelas are "open texts", meaning they are co-authored by a variety of industrial, creative, cultural and social actors, into a methodological approach that expands the traditional idea of textual analysis. In addition to reading the telenovela text itself, this study investigates the production process, audience responses and broader media coverage. Thus, the public discourse about the telenovelas is a key part of the text itself.
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Babbage, Frances. "Re-visioning myth : feminist strategies in contemporary theatre." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/36354/.
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This thesis examines the strategy of re-visioning myth within contemporary European feminist theatre, a strategy which has proved popular over time and across cultures but which has received insufficient critical attention. This study seeks to fill that gap by offering a framework through which this practice can be considered, exploring the diverse motivations of individual playwrights, and evaluating the achievements of particular plays in context. Twelve case studies are included, grouped together to demonstrate a variety of approaches to re-visioning ranging from utilisation of myth as pretext for examination of social issues, to an apparent abandonment of contemporary reality for a utopian otherworld. However, it is argued first that mythical, social and psychological strands remain intertwined, and second that the diversity of approaches reflects the importance for feminist theatre of selecting strategies to meet specific needs, and that these strategies can thus be viewed as complementary rather than in conflict. Chapter One introduces selected critical perspectives on myth, re-visioning and feminist theatre, framing these within Rita Felski's model of the feminist counter-public sphere. Chapter Two discusses plays by Hella Haasse, Franca Rame and Sarah Daniels, which examine myth as ideological narrative. Plays by Maureen Duffy, Caryl Churchill and David Lan, and Timberlake Wertenbaker, considered in Chapter Three, investigate myths of female violence. Chapter Four looks at plays by Andree Chedid and Angela Carter which use myth to confront women's complicity in maintaining the status quo. Plays by Serena Sartori, Renata Coluccini and Helene Cixous, discussed in Chapter Five, offer psychological investigations into women's relationships with myth, language and power. The thesis concludes with a summary of the research findings, and assesses their significance.
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Ashaolu, Olubunmi Oludolapo. "Representation of sub-Saharan Africa in contemporary French literature and film /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.
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Grace, Jennifer Elizabeth. "The representation of dogs as family in contemporary American documentary film." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/grace/GraceJ0810.pdf.
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The American family dog is a social construct that blurs the ontological boundaries of nature/culture dualism and which contemporary American documentary filmmakers represent by employing alternate tropes of 'dog as human' and 'dog as animal.' In filmic and practical use, these tropes are in flux and are confusing. The position of the dog as a paradox of nature and culture and member of the contemporary inter-species family makes the decision to euthanize it ethically challenging. Non-fiction dog programming is more popular than ever and most shows employ the 'dog as human' trope. But few address at what point that trope breaks down and how to find the line between 'dog as human' and 'dog as animal' when making ethical decisions for dogs. I will prove this by describing movies like Why We Love Cats and Dogs (Ellen Goosenberg Kent 2009) that rely on removed experts to explain the how humans are similar to dogs and those like Shelter Dogs (Cynthia Wade 2003) that follow devastating moments of loss with cheery depictions of renewal. My thesis film Soul Dog instead dives into the deep emotional conflict that many of us face in a society where dogs have become surrogate for family. Using personal subjective storytelling techniques like that in Sherman's March (McElwee 1986) and quirky vox pop interviews similar to those in Gates of Heaven, (Morris 1978) I focus on the personal stories and popular wisdom that influence our actions.
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Mongeau, Gilles. "Representation of corporate persons: Marsilius of Padua and contemporary political theory." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7523.
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The thesis which follows is concerned with developing a new approach to political theory as it is practiced in the Anglo-American tradition. This tradition has been characterized by certain assumptions regarding the foundations of political theory, the most important of which has been the primacy accorded to the individual and to the political rights which develop to protect this primacy. Recent political experience in the West presents a strong challenge to the individualist stance. The rise of political interest groups, which serves as the empirical starting point for this thesis, has brought out the shortcomings of our democratic theory into the open. Various critiques, from a feminist, Marxian, ecological or other point of view, have shown how the individualism of our tradition has reached certain limits. These also show the need for a new development in political thought. The thesis is divided into two parts. The first part is diagnostic in nature: it seeks to isolate a specific question to be asked, a heuristic notion of representation that can serve as a template for further inquiry. This first part is made up of two chapters. The first chapter looks at representation from the point of view of the representative. The second chapter turns to the interests of the represented. In the second part, which is made up of three chapters, the work of Marsilius of Padua is studied to try to glean a possible solution to the heuristic notion developed earlier. Marsilius' understanding of politics is founded on a corporate notion of the individual, which is why his work is of interest. The chapters develop, in order, Marsilius' historical context, some key notions in his text, and finally some conclusions for our own theoretical enterprise. (Abstract shortened by UMI.)
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Selway, Matthew. "Mental disorder in the contemporary American biopic : representation and national identity." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/61877/.
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This thesis considers the representation of mental disorder in the contemporary American biopic from 1999 onwards, focussing upon how such representations of the biographical subject’s experience of mental illness can be read as interrogating many of the central features and ideologies of American national identity. Though long overlooked in academia, a recent surge in scholarly attention has repositioned and illuminated the biographical film (biopic) as a dynamic genre that warrants greater appreciation and investigation. This thesis contributes to current debates and understandings of the genre by critically interrogating the representational strategies and tropes present in depictions of mental disorder in the genre and contextualising these aspects in regards to wider cultural issues. Much like many critiques of the biopic genre, the portrayal of mental disorder in film and media has often been criticised for lacking authenticity or accuracy. Where critics and filmgoers bemoan the biopic’s over-celebratory nature and malleable relationship with history, so too psychiatric professionals and members of the public lament derogatory stereotypes and images of mental disorder that contribute to the perpetuation of stigma. However, this project realises a conscious move away from subjective debates concerning accuracy whilst still engaging with psychiatric research as a means of demonstrating the valuable interdisciplinary overlaps between psychiatry and film studies. Where critical considerations of mental illness representation largely focus upon the impact of film and media on cultural attitudes, the analyses in this thesis instead consider the influence of American culture on film representation. Whilst engaging with key ideas associated with the construction of national identity (primarily gender, race and class) this thesis also includes critical considerations of the portrayal of mental disorder and its intersections with many other socio-culturally significant aspects of American character and identity, including capitalism, sexuality, celebrity, religion and regionality.
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Robinson, Sally. "Engendering the subject : gender and self-representation in contemporary women's fiction /." Thesis, Connect to this title online; UW restricted, 1989. http://hdl.handle.net/1773/9433.
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El-Kadi, Aileen. "The representation of urban violence in contemporary Colombian and Brazilian narrative." Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3284410.
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Kane, Peter William. "Representation and meaning : the erasure of mediation in contemporary text theory." Thesis, University of Canterbury. Department of English, 1988. http://hdl.handle.net/10092/3801.
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This thesis undertakes an examination of theories describing the generation of meaning in
various forms of representation, with specific reference to literary texts, photography and
cinema. Proceeding from Derrida's claim that all signification may be classed as a
general form of Writing, I consider the consequences of analysing the individual forms of
representation from within a general system.
The classical representation of self-presence in speech is examined, and the
metaphysical notions derived from the apparent proximity of voice to thought, on the
basis of instantaneous production, are challenged. As a result, the claims regarding
presence and atemporality in the analogical representation of the photograph and the
motion picture projection are critically examined; and the closure of mediation and
meaning in the speech/writing and author/text hierarchies is subjected to deconstructionist
analysis. Text theory often acknowledges Lacanian psychoanalysis, and Lacan's theory
of the signification of desire is evaluated for its relationship to traditional models of
representation. The Lacanian influence in Barthes's work is traced through the notion of
textual desire developed in SIZ, and Barthes's claims regarding the meaning of myth and
code are examined for their erasure of textual mediation.
With the conclusion that claims to "truth" and the original encounter of
"presence" in representation are founded on erasure and the privileging of secondary
phenomena, the thesis incorporates examples of texts, such as Desperately Seeking
Susan, which evoke the traditionally elided material; because the label "feminine" is
usually applied to the excluded features of representation, the contemporary work in this
area often takes a feminist approach, challenging the phallogocentric tradition of Western
society.
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Haddock, Brian Douglas. "Wonder, the natural world and its representation in contemporary fine art." Thesis, University of Reading, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430921.
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Sözalan, Hürriyet Özden. "The representation of the female subject in contemporary women's dramatic writing." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310122.
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SILVA, EDUARDO MIRANDA. "THE MINEFIELD OF REPRESENTATION OF THE OTHER IN CONTEMPORARY BRAZILIAN CINEMA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29541@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta tese volta-se para a problematização do papel do cineasta como tradutor de demandas sociais no cinema brasileiro contemporâneo, tendo em vista o que se convencionou chamar, a partir dos anos de 1970, de virada antropológica da narrativa cinematográfica. Investiga-se a construção da narrativa em primeira pessoa na ficção do cinema brasileiro pós Retomada, levando em conta a crítica que se fez à voz do saber e ao uso da terceira pessoa, predominantes no discurso do Cinema Novo: isto é, num período em que as artes caminhavam em consonância com um projeto coletivo e igualitário de nação. No intuito de refletir sobre a relação entre opções estéticas e políticas no que diz respeito às práticas de enunciação, a tese privilegiou filmes baseados em obras literárias que suscitam o questionamento do lugar de fala do narrador (A Hora da estrela, Abril despedaçado e Cidade de Deus) e pares de filmes a partir dos quais se pode caracterizar o movimento pendular da produção contemporânea entre o cineasta-intelectual que arroga para si o papel de falar sobre e pelo outro e o cineasta-etnógrafo que cede espaço para a fala do outro de classe. Os pares Tropa de elite e Notícias de uma guerra particular, Carandiru e O Prisioneiro da grade de ferro e, por último, Cinco vezes favela e 5X favela – Agora por nós mesmos foram analisados à luz das questões levantadas.
The thesis turned its attention to questioning the role of the filmmaker as a translator of social demands in contemporary Brazilian cinema, specifically 1970 s anthropological approach of narrative film. The work investigates the construction of the first-person narrative in Brazilian cinema after the so-called Retomada, taking into account the criticism of the voice of God and the use of the third person, which are predominant in the speech of the Brazilian movement Cinema Novo: That is, a period in which the arts were in line with a collective and egalitarian notion of nation. In order to discuss the relationship between aesthetic approaches and policies with regard to the statement of these practices, the thesis focused on films based on literary works that raise the question of the place of the narrator (Hour of the Star, Behind the Sun and City of God) and pairs of films from which one can characterize the pendulum of contemporary production between the filmmaker-intellectual who apropriate to themselves the role of talking about and for each other, and the filmmaker-ethnographer, that provides room for the speech of another class. The films Elite Squad and News From a Personal War, Carandiru and Prisioneiro da grade de ferro, and finally Cinco vezes favela and 5X Favela - Now by Ourselves were analyzed in the light of the issues raised.
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Magagnoli, P. "Reclaiming the past : historical representation in contemporary photography and video art." Thesis, University College London (University of London), 2012. http://discovery.ucl.ac.uk/1355956/.
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Since the late 1990s a new tendency has emerged in contemporary art whereby artists deploy archival research to explore the mechanics of historical representation and evoke the past. This thesis examines the works of some of the most relevant practitioners of the new tendency who are working with video, photography and film and explores the reasons for the return of historical representation in art. In the introduction the study sets the tendency against the background of modernist, postmodernist theories and the historiographic debates of the last thirty years. The first chapter attempts a critical re-evaluation of the concept of nostalgia; by examining the works of Tacita Dean, Joachim Koester, and Matthew Buckingham, a more nuanced concept of nostalgia emerges, for which this approach to the past does not appear as a sentimental and escapist fantasy but, on the contrary, as a strategy to reflect critically on the present and re-imagine the future. In my second chapter I focus on the experimental documentaries of Anri Sala, Walid Raad and Hito Steyerl. These works are based on a sophisticated notion of truth that overcomes the Platonic dualism between truth and appearance. The third chapter considers the photographic archives of Zoe Leonard, Rachel Harrison, and Jean-Luc Moulène. These archives represent recent historical events through the figure of the commodity. I ask whether these works should be considered as amnesiac archives and whether they confirm the Marxist notion of the commodity as memory disturbance. The fourth chapter examines the use of digital images and technologies by Sean Snyder, Hito Steyerl and Paul Chan. These artists challenge the narrative of crisis and catastrophe predominant in 1990s theories of new media, which considered the digital image in term of a profound loss of memory and historicity. The dissertation concludes with a critical assessment of the political importance of the artistic tendency.
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McKay, Robert Ralston. "The literary representation of pro-animal thought : readings in contemporary fiction." Thesis, University of Sheffield, 2004. http://etheses.whiterose.ac.uk/14846/.
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This thesis analyses the representation of pro-animal thought in literary fiction published over the last thirty years. Recently, critics have begun eclectically to trace animal rights arguments in past literature, attaching criticism to politics in a familiar way (considering the recent history of the literary academy). However, they have neither explained the holistic picture of human-animal relations in individual texts, nor how such questions relate to a specific literary context. This thesis, on the other hand, involves more a pinpointing of the particular value of literary works for extending the horizon of current ethical debates about animals than a partisan mobilisation of literary criticism in the service of animal rights. To that end, each chapter offers a thoroughgoing reading of an important text in the story of contemporary fiction's ethical encounter with the animal. I contextualise these extended readings with more succinct discussion of the wide range of contemporary authors who represent proanimal thought. This approach requires several theoretical methodologies, though all are within the realm of feminist post-structuralism. Butler's work on the discursive production of sex illuminates the ethical representation of species in Atwood's Surfacing. The representation of animals (both literary and political) in Walker's The Temple of My Familiar is explained by situating the animal within feminist debates about the relation of literary writing to the discursive formation of race. Levy's avant-garde representation of the animal in Diary of a Steak is explained by placing a literary-theoretical reading inspired by Bakhtin and Irigaray within a broader cultural study of the BSE crisis. Derrida's recent work on ethics and the question of the animal helps me explore the literary representation of ethical vegetarianism in Coetzee's The Lives of Animals. My concluding remarks suggest how the results of my research might impact on the future role of animal ethics in literary criticism.
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Fratini, Claudia Caia Julia. "Beyond the invisible a representation of magic in contemporary fantasy literature /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-06172005-113436/.
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Bucknell, H. D. "Contemporary radio comedy drama and the representation of British national identity." Thesis, University of Worcester, 1999. http://eprints.worc.ac.uk/7126/.
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Boon, Lucy. "Sexual assault and the ethics of non-representation in contemporary fiction." Thesis, Boon, Lucy (2016) Sexual assault and the ethics of non-representation in contemporary fiction. PhD thesis, Murdoch University, 2016. https://researchrepository.murdoch.edu.au/id/eprint/29795/.
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This thesis consists of a critical component and a creative component in an examination of how non-explicit representations of sexual assault against women can function in an ethical manner in contemporary fiction. In particular, the thesis argues that representations which veil or otherwise deny the reader direct access to the sexual assault scene can create productive, ethical spaces which invite the reader to reflect on cultural assumptions. The thesis analyses J.M. Coetzee’s Disgrace (1999) and Toni Morrison’s A Mercy (2008) and explores current debates concerning the representation of suffering. The thesis raises the question of what is at stake in the representation of sexual assault. In Disgrace, Coetzee’s use of an unreliable narrator and a limited point of view, among other strategies, confronts the reader with the unknowable and directs the reader’s attention to issues of sexism, racism and violence in post-Apartheid South Africa. A Mercy represents sexual assault obliquely and uses euphemism to refocus readers away from the immediate ‘body in pain’, representing sexual assault as a systemic (and historic) culture with social implications for the understanding the present.
In the creative writing component, my novella titled Taking Care of Amy explores the issues raised in the thesis. The story, set in present-day Western Australia, centres on a single mother who is raising her three daughters — two teenagers (one of whom is disabled) and a toddler — under difficult circumstances.
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Chadwick, Eleanor. "Shakespeare, the Middle Ages, and contemporary historically-responsive theatre practice." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/106492/.
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This thesis explores the notion that the emergent language of theatre, and more generally of modern culture, has links to much earlier forms of storytelling and an ancient worldview, and raises questions as to how theatre practitioners might best understand and utilise early modes of entertainment and ideologies in the creation of performance work today. It examines the emergence and history of theatrical performance in Britain, with particular focus on how medieval ideologies and theatrical forms were absorbed into the practices of the first professional theatres in the early modern age, using Shakespeare’s work as a core example. Further, it uncovers and interrogates, through practice, links between performance approaches today and the ritual roots of native theatrical tradition: links which have been largely lost in Britain and much of the Western world, but which still exist in certain other cultures. The thesis includes analysis of how Shakespeare’s medieval inheritance shaped the drama he created, and demonstrates (through practice-based research) how a practical, psychosomatic understanding of residual as well as emergent modes in the plays can not only benefit practitioners seeking to stage Shakespeare’s work for today’s audiences, but also provide inspiration for the creation of new work. This research has practice as its core: drawing directly on my own theatre work, and exploring an alternative kind of ‘knowing’ through the body. It relates current trends in modern theatre practice (the immersive, the psychosomatic, the multisensory, the site-specific and so on) to the ritual, amalgamative, communal and visceral modes of early performance, interrogating particular elements such as mankind’s position in the universe, time and space, language and the body, universality versus specificity, and ritual behaviour in performance. The work concludes that the ritual, embodied, hierophanic and communal mode of medieval performance is not only what practitioners today are searching for in their experimental practice and in the intercultural engagement with other (ritualised) cultures, but also presents a way of understanding and dealing with the traumas and anxieties of society that is efficacious and malleable to any period in human history, and is especially relevant to times of great change and upheaval, such as both the early modern age of Shakespeare and our own time.
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Wei, Shu-Mei. "Unpacking identities : performing diasporic space in contemporary Taiwanese theatre." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/1201/.
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My thesis interrogates the complex and indeterminate nature of Taiwanese identity as it is articulated in post- I 980s Taiwanese theatre productions. I argue that Taiwanese identity is negotiated in a 'diasporic space' that has manifestations through cultural hybridity, spatio-temporal disruption and homing in travelling. Initially, I establish the conceptual framework of diasporic space through critical investigations of the sociality of modem diaspora, post-dolonial notions of cultural difference and hybridity (Homi Bhabha) and space-time dynamics as elaborated in Foucault's conception of heterotopias. The subsequent chapters consist of performance analyses and provide dramatic illustrations of these theories as they are imbricated in diasporic space. Subsequently, I examine the appropriation of Beijing Opera aesthetics in a Taiwanese context, and argue that it engenders a hybrid identity by defying the totalising force of Chineseness. I also consider how national space and its attendant essentialist identity is attempted via a sacralised home of homogeneous constitution, thus arguing for the impossibility of identifying a stable national cultural identity due to infracultural differences in the diasporic community of. Taiwan. To fully account for the lived experience of the Taiwanese, I then explore the dialectic force of history that shapes the cultural imaginary of home and identity in ten theatrical productions. I argue that, rather than being bound to a fixed home/land, Taiwanese identity is mediated in the spatio-temporal difference between the homes in the past in China and the present in Taiwan. In addition, I examine the internal conflicts in present-day Taiwan that are unfolded through stories depicting everyday life. The Taiwanese constantly travel in and out of the present locality, and each journey in its own particularity touches upon broader cultural politics of locating home identity. Probing the various manners in which these chosen performances locate Taiwanese identity, I evaluate their achievement in presenting a multiplicity of theatrical possibilities and alternative perspectives of cultural reality that helps envision a 'new' 'diasporic' understanding of homing through travelling, inhabiting shifting moments and movements when/where identity is always being re-configured.
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Kukolova, Monika. "Rethinking representations of identity in contemporary Francophone West African cinemas." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/rethinking-representations-of-identity-in-contemporary-francophone-west-african-cinemas(1ff03482-d3d7-4bc0-b9bd-7c334c172a67).html.
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This thesis examines representations of identities that are specific to Francophone West Africa, as depicted in the films produced in the region since the 1990s. The films are set in the countries of Senegal, Mali and Burkina Faso, among the ethnic groups that form the diverse demographic landscape of the region, and they portray stories and characters that strongly relate these films to the local ways of belonging. While existing research in the field of African film studies focuses on how films from Francophone West Africa portray postcolonial or national identities, very little scholarly attention has been paid to the depiction of identities that are linked to the regionâs ethnic cultures. This thesis demonstrates that the local ways of belonging and the practices, rituals and beliefs which these identities rely on continue to have vital significance for representation in Francophone West African cinemas. Using textual analysis as a base for its arguments, this thesis is underpinned by an interdisciplinary theoretical framework that combines extensive contextual research into various West African practices, rituals and beliefs with the philosophical works on cinema by Gilles Deleuze. A number of the concepts Deleuze defines help significantly in the understanding of time and identity in the films, and the interpretative nature of Deleuzeâs work offers the opportunity to bridge the gap in film theory application in studies of Francophone African cinema. By applying this diverse theoretical approach to its investigation of the intertwining local identities, the thesis highlights the necessity of an intersectional approach to analysing identity representation in Francophone African cinemas. It is the first study of representations of ethnically-linked identities in the field of African film studies.
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Bueschges, Kerstin Leni. "On hair, fishtails and voices : resisting femininity in contemporary performance practice." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521045.
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Gomez, Elizabeth. "Voice and identity in contemporary Canadian art: perspectives on vocality and representation." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66664.
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This thesis argues that voice is defined through both its material and representational status and is fully integrated within the construction of gendered and raced identities, as well as the process of identification itself. At the centre of each chapter is the notion that voice can be an alternate mode of encountering and experiencing the other. As an examination into the issues of contemporary Canadian art, this discussion is initiated from context of art practices but is not limited to this field. Using the works of Janet Cardiff, Geneviève Cadieux, Ken Lum and Rebecca Belmore, this dissertation connects artistic practices to the distinct themes of narrative, embodiment, representation, and place. All of these artists and themes are integral in explaining the connectivity of voice to identity and how this topic is relevant to and reflective of current issues of race and gender within Canadian society. The use of non-visual artistic practices is also evidence of how constructions of identity, when restricted to the visual field are regimented and informed by the ideological structures of the term 'visibility'. 'Visibility' and its metonymic link with overt politicized terminology such as 'visible minority' is a limiting factor in daily existence for many citizens who face discrimination based on regimes of viewing. This dissertation makes a case not only for expanding the critical terms from which to discuss contemporary Canadian art that falls outside of visual parameters, but it is also an examination of existing critical theories of identity. Aside from critiquing aspects of visuality, the following chapters will consider voice as an aspect of the material body and the represented body that is ever present, but rarely considered critically. Through the use of interdisciplinary feminist and postcolonial texts, this thesis constructs a critical framework from which 'voice' can be applied not only toCette thèse soutient l'idée que la voix est définie tant par son corps matériel que par son statut de représentation et qu'elle est inhérente à la construction des identités, de genre et de race, ainsi qu'au processus d'identification lui-même. Chaque chapitre se construit autour de la notion de voix comme constituant une modalité alternative de rencontre et d'expérimentation de l'autre. Dans le cadre d'un examen de l'art contemporain canadien, mon propos s'enracine dans un contexte de pratiques d'art, mais ne se limite pas à ce seul champ. Se référant aux oeuvres de Janet Cardiff, Geneviève Cadieux, Ken Lum et Rebecca Belmore, cette discussion propose la mise en relation étroite entre pratiques artistiques et thèmes du récit, de l'incarnation, de la représentation et du lieu. Artistes et thèmes viennent soutenir l'explication de la connectivité entre voix et identité, et confirment que ce propos est le reflet - autant que le produit - des problèmes actuels de race et de genre existants au sein de la société canadienne. L'utilisation de pratiques artistiques non-visuelles montre également comment les constructions de l'identité, lorsqu'elles sont confinées au champ du visuel, sont régies et nourries par les structures idéologiques du terme « visibilité ». La « visibilité », et son lien métonymique avec la terminologie surpolitisée de « minorité visible », est un facteur limitant dans la vie quotidienne de nombreux citoyens, qui subissent des discriminations basées sur la loi du visible. Cette dissertation propose non seulement d'élargir le vocabulaire critique permettant de discuter de l 'art contemporain canadien sortant des paramètres visuels, mais fait aussi l'examen des théories critiques existantes sur la notion d'identité. En plus d'une critique des aspects de la visualité, les chapitres suivants traiteront de la voix comme aspect du corps matériel
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Merriman, Victor Nicholas. "Dramas of postcolonial desire : nation, representation and subjectivity in contemporary Irish theatre." Thesis, Staffordshire University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402736.
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Schmidt, Theron. "The politics of theatricality, community and representation in contemporary art and performance." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538671.
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Scoones, Ian Michael. "'I mistrust the poem' : the crisis of representation in contemporary British poetry." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343014.
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White, Duncan. "In the territory : place and representation in contemporary American literature and art." Thesis, Kingston University, 2006. http://eprints.kingston.ac.uk/20743/.
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Phillips, Malcolm. "Experiment and representation : the domestic surreal in contemporary British and American poetry." Thesis, University of St Andrews, 2004. http://hdl.handle.net/10023/14707.
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In order to counter what I regard as premature and reductive formulations of a 'native' British postmodernism, I identify a specific tendency in contemporary writing which I name the domestic surreal, and which I trace through the poetry of John Ashbery, Frank O'Hara, Roy Fisher, Christopher Middleton, John Ash, Peter Didsbury and Ian McMillan. Through close reading and a comparative approach, I uncover key preoccupations with idiosyncratic perception, shared experience, urban space and poetic play. I also describe a network of allegiances and influence among these writers which reveals the domestic surreal to be one of the contemporary manifestations of an imaginative tradition which stretches back through the Surrealist and Cubist movements to Baudelaire and Rimbaud. For the poets of the domestic surreal, engagement with an aesthetic tradition is inextricably linked with their response to contemporary conditions. Drawing on dialectical and poststructuralist perspectives, I propose that the domestic surreal attempts to resist the constraints of social and aesthetic consensus in Britain and America in the period following the Second World War.
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Haines, Cory. "Race, Gender, and Sexuality Representation in Contemporary Triple-A Video Game Narratives." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/94573.
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By conducting both qualitative and quantitative analysis of data from interviews and game content, I examine representations of race, gender, and sexuality in contemporary video-game narratives. I use data from interviews to show how they view their representations in this medium and to set categorical criteria for an interpretive content analysis. I analyze a sample of top-selling narrative-driven video games in the United States released from 2016-2019. My content coding incorporates aforementioned interview data as well as theoretical-based and intersectional concepts on video game characters and their narratives. The content analysis includes measures of narrative importance, narrative role, positivity of representation, and demographic categories of characters, though the scale of this study may not allow for a full test of intersectional theory of links between demographics and roles. Interview and content analysis results suggest an overrepresentation of white characters and extreme under-representation of non-white women.I examine representations of race, gender, and sexuality in contemporary video-game narratives. I use data from interviews to show how people view their representations in video games and to set a guide for analyzing the games themselves. I analyze a sample of top-selling narrativedriven video games in the United States released from 2016-2019. My content coding incorporates aforementioned interview data as well as theoretical-based and intersectional concepts on video game characters and their narratives. The content analysis includes measures of narrative importance, narrative role, positivity of representation, and demographic categories of characters, though the scale of this study may not allow for a full test of intersectional theory of links between demographics and roles. Interview and content analysis results suggest an overrepresentation of white characters and extreme under-representation of non-white women.
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Cruz, Samuel. "São Paulo and Buenos Aires: Urban Cinematic Representation in Contemporary Latin America." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439933733.
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Warton, John Phillips. "The aesthetics of destruction in contemporary science fiction cinema." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25992.
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Mass destruction imagery within the science fiction film genre is not a new cinematic development. However, a swell of destruction-centred films has emerged since the proliferation of digital technologies and computer-generated imagery that reflect concerns that extend beyond notions of spectacle. Through illusionistic realism techniques, the aesthetics of mass destruction imagery within science fiction cinema can be seen as appropriating the implied veracity of other film traditions in order to create a baseline of visual credibility, even to the extent of associating its own fantastical fictions with recent historic destruction events. This thesis investigates the representation of mass destruction across the spectrum of contemporary science fiction films emerging from around the world by examining the various methods employed to affect the spectator. The study is divided into four sections: realism, spectacle, sublimity, and correlation. It is structured so as to escalate from the establishment of a baseline of vraisemblance of the spectator’s empirical understanding of the world, to new representations of death and destruction, whereby visual aesthetic correlations emerge between science fiction and historical fact. My study attempts to contribute to the current discourse on science fiction cinema by focusing on the relationship between the aesthetics of realism and spectacle and their impact on spectatorial affect. By re-defining notions of film realism and the cinematic sublime, and through close textual analyses of a number of contemporary science fiction films, the intent of this paper is to present a greater understanding of the complicated inherencies borne by mass destruction spectacle.