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1
Rutledge, William Brennan. "Chaucer's Scatological Art in Three Fabliaux." MSSTATE, 2006. http://sun.library.msstate.edu/ETD-db/theses/available/etd-04122006-191112/.
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Chaucer's fabliaux, particularly The Miller's Tale, The Merchant's Tale, and The Summoner's Tale, combine the crude humor associated with the genre with features of ?higher? genres, most notably the courtly romance tradition (for the first two tales), and the homiletic and scholarly debate traditions (for the last tale). The marriage of the scatology present in fabliaux with the characteristics of literary art is Chaucer's unique achievement and differentiates his tales from their analogues. This marriage occurs when characters of one class arrogate the types of discourse usually associated with another class. As a result of this discourse switching, the balancing of art and scatology in these three tales blurs the distinction between crudity and sophistication and makes the tales scatological art.
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Pierce, Beth Suzanne. "Art in a sheltered-English multicultural classroom." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/803.
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Pedrosa, Sebastiano Gomes. "The influence of English art education upon Brazilian art education from 1941." Thesis, Birmingham City University, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332216.
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Clatworthy, Janine. "The art of magical narrative." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/10196.
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Bibliography: leaf 61.What is a magical narrative? How can the inconsistencies and strange repetitions in the plots of Malory's Arthurian cycle be explained? What are their purposes and why are they essential to the plot? In this dissertation, I have attempted to answer these questions by applying Anne Wilson's theory of magical narrative (The magical quest) to a selection of tales from the beginning of Malory's Arthurian cycle (The tale of King Arthur) and from the latter half (The book of Sir Launcelot and Queen Quinevere).
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Shaw, Phillip. "Personalism in John Donne's Art." TopSCHOLAR®, 2003. http://digitalcommons.wku.edu/theses/566.
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This study examines personalism in John Donne's art: to what extent his poems are a product of his personality over and above conscious invention and artifice. It argues that Donne writes the way he does because, for the most part, he fails to attain distance from his work. The subjects that he writes about regularly are straight from his own life, and his take on them is highly personal. This paper brings in some biographical details but in general is concerned with scrutinizing Donne's writings in order to understand his imagination. Its primary method is to trace the repetition, resonance, and echoes of words, ideas, and themes throughout Donne's opus. Donne uses the same word or phrase repeatedly throughout his writings to dissect a single idea, so this essay discusses letters and sermons at the same time as love poetry and divine poetry. All are the product of a single imagination, and no genre necessarily precludes personalism. The first chapter looks at Donne's approach to art. Because he rarely writes explicitly about art itself, his approach must be reconstructed from his work. An inter-chapter follows, examining the effect of apostasy on Donne's work. The second chapter treats Donne's memories of the past that appear frequently in his poems and prose. The third chapter shows how Donne's formal invention is itself a product of his irrepressible personality, and the fourth chapter looks at his uses of argument and conceit and examines the structure and sources of some of his ideas.
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Harris, Alexandra. "Coming home : English art & imagination, 1930-45." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440720.
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Samuel, Joan. "Intercultural competency in English art and design education." Thesis, UCL Institute of Education (IOE), 2009. http://eprints.ioe.ac.uk/20589/.
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The enquiry brings a generalist perspective to bear on the culture of art and design education. The disciplinary location is Intercultural Studies and the high modernist, constructivist framework justifies a critique of positivist approaches to research in the cultural field. Selected literary and visual texts are regarded as primary research data and are analysed from competing epistemological positions. The problem addressed IS an apparent neglect of the intercultural dimension of art education in England, and the need for greater attention to, and competency in, this area. English visual culture is featured, exemplified in National Trust properties and other English locations, including some associated with diasporic African Caribbean, South Asian and Jewish communities. Although the National Curriculum requires British citizenship to be addressed, exceptionally for the United Kingdom as a whole, local, English identity is largely ignored. The lack ofthis element of reflexivity is central to the problem. Three, theoretically conflicting, persistent, historiographic narratives explore intercultural competency in English art and art education - and they are each critically examined. Taken together, they demonstrate how extensive and com plex intercultural matters have become at the turn of the twen tieth century. They are supported by investigations of GCSE Art, and other examples of art educational practice identify interstitial dilemmas. It is concluded that art teachers need to become interculturally competent in the contemporary, globalised environment - and that this could be assisted through formal assessment. Proposed benchmarks include: multidimensional contextualisation of art "here and now, then and there"; theoretical rigour in engaging with contrasting narratives and ensuing difficulties; recognising the significance of Englishness within British identity and its integration into intercultural discourse. Proposals are made for change in the higher education of art teachers. The thesis claims to be original: in considering intercultural competency as a subject for assessment, in focusing on English identity, and in its even- handed respect for "traditionalist", "reforming" and "postmodernist" narratives.
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Chakraborty, Subhas Chandra. "The Art of Arnold Wesker the English dramatist." Thesis, University of North Bengal, 1985. http://hdl.handle.net/123456789/1180.
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Hoyle, Brian. "British art cinema, 1975-2000 : context and practice." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:5698.
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This thesis shall largely concern itself with examining two general aspects of British art cinema between 1975 and 2000; namely, how the British art cinema operates as an art cinema in the context of its 1960s and 1970s European counterparts54 and how the individual filmmaking practices of these British directors both conform to and deviate from classic definitions of art cinema. In this way, this thesis shall demonstrate the ways in which British art cinema can be characterised not only as a belated continuation of classic European art cinema but also a significant development from it. Therefore, it shall examine the work of key British art filmmakers in the context of art cinema history, linking it with earlier movements in European art cinema such as Italian neo-realism and the French Nouvelle Vague, individual forebears such as Resnais, Godard, Pasolini and Wenders, and previous examples of art films in Britain. Furthermore in examining the filmmaking practices of these leading British art cinema directors this thesis will demonstrate British art cinema's stylistic and thematic eclecticism. Taken as a whole, it engages not only with its European counterpart, but with a wide range of influences including classical Hollywood, pop art, structural cinema and music videos as well as more typically British cinematic traditions such as the documentary and social realism. British art film directors have also experimented with new and existing filmmaking technologies and techniques, and made advances in cinematic style and the treatment of subject matter from their European colleagues of the 1960s and 1970s. To investigate these claims, the chapters in this thesis shall not address individual films or filmmakers, but rather, to allow a greater breadth of analysis, will examine their individual attitudes towards factors such as realism and film narrative, and their ties with the cinematic avant-garde and Hollywood as well as European art cinema, that can help to contextualise their films in the traditions of both European art cinema and British cinema itself. Chapter One will provide a brief critical overview of art cinema in Britain before 1975, thereby contextualising contemporary British art cinema's place in British film history, and highlighting the changes in the British film industry that made the growth of British art cinema possible. Several key aspects of British art cinema shall then be examined individually to illustrate the way in which these factors have helped to shape and characterise British art cinema. Chapter Two will analyse the attitudes of British art filmmakers towards the modes of cinematic realism that have perhaps come to dominate British film history. Chapter Three addresses the attitudes of British art filmmakers towards narrative, and will examine the degree to which they have rejected the classical Hollywood narrative in favour of modernist, structuralist, and other less traditional methods of cinematic storytelling. Chapter Four will examine the avant-garde roots of several contemporary British art filmmakers and illustrate the ways in which some of the ideas and techniques of avant-garde filmmaking have carried over into their subsequent work in art-house feature films. Finally, Chapter Five will address the influence of both Hollywood and European art-house styles of filmmaking on British art cinema. It shall also demonstrate how these often contradictory influences have helped to mould the latter's distinctive shape, and highlight the disparity amongst British filmmakers between those who look towards Hollywood for inspiration and financial backing and those who choose to operate in the culturally richer but financially poorer European cinema.
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Poškaitė, Agnė. "Art of Persuasion in English and Lithuanian Political Rhetoric." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080806_133604-43876.
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The thesis concerns translation issues in Lithuanian translations of English rhetorical figures (anaphora and antithesis) in political speeches delivered by different politicians. Seven political speeches in English and their Lithuanian translations were analyzed from the perspective of translation strategies and translation problems. The study uses terms for translation strategies developed by Devies’ in order to comment on Lithuanian translations of English political speeches.
In order to carry out the analysis of the chosen political speeches comparative as well as contrastive analysis were chosen. Firs, the original extract and its translation were compared taking into consideration the issues of translation strategies that have been used in the process of translating. Second, the original extract and its translation were contrasted in order to notice how and why some aspects in the translation have been changed.
The main goal of the present paper is to see the differences and similarities of the two languages when dealing with political rhetoric. Moreover, it is extremely important to examine persuasive tools that are used most frequently in political rhetoric both in English and in Lithuanian.
The hypothesis of the paper is the following: as the two languages structurally are very different, translations of rhetorical figures in English political texts will contain many structural and stylistic deviations. Structural... [to full text]Šis baigiamasis darbas yra susijęs su vertimo aspektais, kai retorinės figūros (anafora ir antitezė), skirtingų politikų panaudotos angliškose politinėse kalbose, verčiamos į lietuvių kalbą. Atkreipiant dėmesį į vertimo strategijas ir vertimo problemas buvo išanalizuotos septynios angliškos politinės kalbos ir jų lietuviski vertimai. Siekiant aptarti lietuviškus angliškų politinių kalbų vertimus darbe vartojami Davies vertimo strategijų terminai. Siekiant atlikti politinių kalbų analizę buvo pasirinkti lyginamasis ir kontrastinis analizės būdai. Pirmiausia, buvo lyginama originalo ištrauka su jos lietuvišku atitikmeniu, atsižvelgiant į vertimo strategijas, kurios buvo panaudotos vertimo metu. Antra, originalo ištrauka ir jos lietuviška atitikmuo buvo supriešpriešinami tam, kad būtų įmanoma įžvelgti kaip ir kodėl tam tikri aspektai vertimo metu buvo pakeisti. Pagrindinis šio darbo tikslas yra įžvelgti dviejų kalbų panašumus ir skirtumus būtent politinėje retorikoje. Taip pat labai svarbu išanalizuoti įtikinėjimo priemones, kurios dažniausiai naudojamos tiek anglų tiek lietuvių politinėje retorikoje. Disertacijos hipotezė yra tokia: kadangi nagrinėjamos kalbos struktūriškai yra labai skirtingos, retorinių figūrų vertimas iš angliškų politinių kalbų į lietuviškas bus su stipriais struktūriniais ir stilistiniais nukrypimais. Struktūriniai kalbų skirtumai leidžia daryti prielaidą, kad atsiras daug skirtumų įvairiuose vertimo aspektuose. Darbas yra suskirstytas į šešias... [toliau žr. visą tekstą]
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Hilary, Kathryn Arnell. "Modern romanticism : four English art writers between the wars." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.559368.
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This thesis assesses the work of four art writers who were active in Britain between the wars, Laurence Binyon, Paul Nash, Herbert Read and Geoffrey Grigson. In a period that has generally been viewed as dominated by a formalist criticism, their art writing exhibited a persistent romanticism that was fundamental to their engagement with modernism and was also integral to their interpretation of the role of the artist in the modem world. The main contention of this thesis is that this sensibility, far from being regressive, was a vital "- factor in their understanding and active promotion of modernist movements such as abstraction and surrealism. The main period under consideration is the inter-war years, leading up to the year 1936 as a significant moment, with the International Surrealist Exhibition in London and the publication in Axis of Geoffrey Grigson and John Piper's important article 'England's Climate'. Chapter One focuses on Laurence Binyon, a key figure bridging late nineteenth-century romanticism and the new romanticism of the mid twentieth century who, in his writing on Asian art and in his studies of eighteenth and nineteenth-century English artists, found relevant exemplars for modem artists. Chapter Two examines the art writings of Paul Nash, whose explorations into abstraction and surrealism in the 1920s and 1930s were driven by a need to find an appropriate vehicle for his own artistic expression. A study of Herbert Read's art writing between the wars in Chapter Three demonstrates the extent to which his romantic sensibility and a desire for cultural continuity with the past informed his interpretation of modem movements, most notably surrealism. The fourth chapter reassesses the role of Geoffrey Grigson, a controversial but, I would maintain, crucial figure in the 1930s, and demonstrates the importance of his contribution to the promulgation of modernism in Britain.
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Hoffman, Nicholas D. "The Art of Information Management| English Literature, 1580-1605." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10013556.
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“The Art of Information Management” explores the ways that information technologies influence thought and take shape in imaginative works of literature at the turn of the seventeenth century in early modern England, from 1580 to 1605. Imaginative literature becomes a space for articulating the challenges presented by discourses perceived to have been unalterably expanded and amplified through technology, as well for experimenting with strategies to respond to those challenges.
Drawing on studies of early modern Materialism, New Historicism, Literary History, Digital Humanities, and Media Archeology, this project seeks to move the understanding of the role information technologies as agents of change forward by relocating debates concerning technology to the spaces imagined in early modern English literature of the fantastic: Thomas Nashe’s multi-modal London and ocean-sanctuary Yarmouth, Edmund Spenser’s Faery Land, William Shakespeare and Robert Armin’s holiday Kingdom of Illyria, and Samuel Daniel’s pastoral Arcadia. In each imagined space, this project looks at the printing press and beyond to attendant technologies in order to develop a better understand of the period’s relationship to our own.
The works considered here expose a moment of feverish innovation with regard to the rhetorical construction of authenticity, political expression, and right behavior. The first two chapters argue that the writings of Thomas Nashe and Edmund Spenser reflect a heightened sensitivity to the speed and timings associated with technologically-mediated discourse. The final two chapters examine the efforts of William Shakespeare, Robert Armin, and Samuel Daniel, as they sort through the solidifying perception of discourse structures outpacing traditional modes of thought and learning.
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Mayhew, J. "English Godly Art of Dying manuals, c. 1590-1625." Thesis, Oxford Brookes University, 2007. http://radar.brookes.ac.uk/radar/items/905a59a7-4b26-6a24-374f-e71748df926c/1.
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Five examples of English Art of Dying literature from the period 1590-1625 are examined in this thesis. The rhetorical strategies of these texts are explored in detail, to demonstrate the means by which an activity, of death preparation, and a concept, of 'good' or 'godly' dying, are invented and made compelling to readers. An introductory chapter discusses the problems of classifying works in the Art of Dying genre, and the limitations of a strictly historical mode of analysis. Reasons are given for the decision to use rhetorical theory as a central analytical framework. The first chapter examines an exemplary deathbed narrative. Stubbes' portrayal of his dying wife in A Christal Glasse (1591) helps to establish a Protestant discipline of 'godly' dying, which combines elements of exemplary martyrdom with an older tradition of diabolic deathbed drama. The mirror image of Stubbes' title indicates that godly Art of Dying literature is intended to be used for self-reflection and imitation. In the central three chapters, the Art of Dying is considered as a godly regimen, created and conducted through printed manuals. Godly divines William Perkins, Nicholas Byfield and Samuel Crooke use various rhetorical methods to incite, regulate and suppress readers' emotions regarding the prospect of death. A final chapter returns to the use of personal examples in death preparation literature. Ward's Faith in Death (1622) collates the dying words of martyrs from Foxe's Acts and Monuments to invite readers' active contemplation of their own deaths. With 'lively' rhetoric, this text narrows the gap between celebrated and ordinary believers. It presents godly dying as an energetic, vocal, demonstrative act of testimony. In conclusion, the thesis finds that godly Art of Dying literature directs the way readers imagine death and so prompts active, emotional and behavioural responses.
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Hiebert, Lynnea Patricia. "Art as a mediated structure for English language learners." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2813.
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The purpose of this project is to focus on how art enhances written language among English language learners in third grade. It develops and designs curriculum through the mediated structure of art to develop English language learners' writing in narrative and expository genres, as well as develop second language proficiency.
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Hauch, Linda A. "The storyteller's voice: The dialogic art of Elizabeth Gaskell." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7872.
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Elizabeth Gaskell was a gifted storyteller. Her letters and her fiction attest to an imagination rooted in oral narrative, marked by the digressiveness and dispersiveness of living speech. She wrote her first novel, she said, as if she were "speaking to a friend over the fire on a winter's night," and the dynamic of telling and listening, the model of the oral narrative act, is paradigmatic of her own narrative. The incorporation of a listener's response into the telling of her story has both formal and semantic implications in Gaskell's fiction. It leads to what one critic has called that "congenial shapelessness of a voice expecting at any moment to be interrupted," and as such it can account, in part, for the shapelessness that has traditionally been deemed a formal weakness in Gaskell's art. As she tells her stories in anticipation of the active, often resistant, response of her listener, the stories take shape accordingly, and traditional norms of narrative with their notions of unity, shapeliness and authorial control must be reconsidered. Gaskell's approach stresses the dynamic of varying, often conflicting, voices in relationship with one another, suggesting her view of language and narrative as active agents in a process of exchange and contestation which calls for a redefinition of the nature of meaning in narrative. The shaping activity that occurs as voices come in contact with and question one another shows meaning to be produced through an open movement of relationship and response, not predetermined by finalized definitions; it is constituted through the transforming act of telling and listening. (Abstract shortened by UMI.)
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Christie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.
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The primary subject of this thesis is the work which Fredric Jameson has published since the year 2000. It argues that this date has functioned as a kind of watershed in thinking about Jameson, and that the work which appeared after it has not yet received close or rigorous enough critical attention, especially in comparison to his very widely read and discussed work of earlier decades; in particular his various writings from the 1980s on the subject of postmodernism. It claims that as a consequence the full significance of this writing has been broadly overlooked. The thesis identifies the existence of a 'modernist turn' within this later work which is focussed around three texts in particular; A Singular Modernity of 2002, Archaeologies of the Future of 2005, and The Modernist Papers of 2007. It claims that the mutation in regard to modernism which takes place in these works, and the emergence of modernism as the central concern of Jameson's thinking, is not just valuable in itself in terms of the wider contemporary movement within the academy towards an interest in global forms of modernity. It also constitutes a highly significant revision on Jameson's part of the foundations of much of the vast body of far more canonical work which preceded it. The aim of the thesis is to explore this revision and to effect a subsequent movement in the view of Jameson's thinking onto a far more firmly modernist footing. In asserting the value of this modernistic rethinking of Jameson's oeuvre the thesis argues for a resituating of Jameson's thought in relation to two wider theoretical traditions. The first of these is the Frankfurt School, and in particular the form of modernism associated with Theodor Adorno. The second is the current of post-structuralism contemporary with Jameson's 1980s work; in particular the alternative, post-structural model of postmodernism laid out by Jean-François Lyotard, and the deconstructive form of reading associated with Paul de Man. This argument takes place in four chapters. The first discusses the construction of modernism which occurs in Jameson's key works of the 1980s. The second outlines the revision which this construction is subjected to by his later modernist works. The final two chapters then develop the significance of this model of modernist revisionism by using it to intervene in two of the most widely-discussed and controversial areas of Jameson's career to date; the question of totality (the subject of the third chapter), and Jameson's engagement with the subject of 'Third-World Literature' (the subject of the fourth).
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Berenbeim, Jessica. "Art of Documentation: The Sherborne Missal and the Role of Documents in English Medieval Art." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10082.
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This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion—while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: 1. The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. 2. Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. 3. Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art—charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal’s subject matter and its modes of representation, and these “documentary” elements also relate closely to the larger ideological project of the Missal’s creators. As details of the manuscript’s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist—essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art.History of Art and Architecture
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Anderton, Joseph. "Beckett's creatures : art of failure after the Holocaust." Thesis, University of Nottingham, 2013. http://eprints.nottingham.ac.uk/29143/.
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The Beckettian creature is a product of dehumanisation and endures a variety of irresolvable tensions which culminate in a contingent mode of being that subsists in the nostalgia or hope for an authentic, meaningful life. This thesis examines Samuel Beckett's evocation of the 'creature' as an ontological concept to make the case for the oblique historical and political significance of his artistic forms. My work traces the aesthetic, biopolitical and humanistic resonance of the creature to contribute new ways of analysing Beckett's 'art of failure' in the post-Holocaust context. Through close readings of Beckett's prose and drama, particularly texts from the middle period, including Mol/ay, Ma/one Dies, The Unnamab/e, Waiting/or Godot and Endgame, I explicate four arenas of creaturely life in Beckett. Each chapter attends to a particular theme - testimony, power, humour and survival- to analyse a range of pressures and impositions that precipitate the creaturely state of suspension. I draw on the philosophical and theoretical writings of Theodor Adomo, Giorgio Agamben, Waiter Benjamin and Jacques Derrida to relate Beckett's creatures to a framework of critical theory that addresses the human condition and the status of art in the second half of the twentieth century. The key findings of this thesis are that Beckett's creatures traverse the edge of a bare life devoid of meaning, but live on through the debased idea of the human as they negotiate pressing obligations and melancholic repetition compulsions. Beckett invents author-narrators and narrative modes replete with epistemological and expressive failures, which act as an appropriate aesthetic response and pertinent reflection of the destabilised human after the Holocaust. As such, Beckett conveys the anti-humanist vision that attends the perverse or ineffective performance of humanist assumptions.
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Hallam, Jenny Louise. "A critical analysis of art education in English primary schools." Thesis, Staffordshire University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443635.
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Pearn, Julie. "Poetry as a performing art in the English-speaking Caribbean." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1796/.
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This thesis seeks to demonstrate that there is a direct relationship between the emergence of poetry as a performing art in the English speaking Caribbean and phases of nationalist agitation from the uprisings against unemployment, low pay and colonial neglect during 1937-8 to the present. Though the poetry has many variations in scope, ranging from light-hearted entertainment, its principal momentum has been one of protest, nationalism and revolutionary sentiment. The thesis seeks to relate tone, style and content both to specific periods and cultural contexts, and to the degree of engagement of the individual artist in the political struggle against oppression. Frequently theatrical, the poetry has commanded a stage and a popular audience. Though urban in style, it is rooted in older, rural traditions. Creole, the vernacular of the masses, is a vital common denominator. The poetry is aurally stimulating, and often highly rhythmic. The popular music of the day has played an integral part, and formative role in terms of composition. The fundamental historical dynamic of the English-speaking Caribbean has been one of violent imperialist imposition on the one hand, and resistance by the black masses on the other. Creole language, with its strong residuum of African grammatical constructs, concepts and vocabulary, has been a central vehicle of resistance. It is a low-status language in relation to the officially-endorsed Standard English. The thesis argues that artists' assertion of Creole, and total identification with it through their own voice, is a significant act of defiance and patriotism. Periods of heightened agitation in the recent past have each led to the emergence of a distinctive form of performance poetry. Chapter two examines the role of Louise Bennett as a mouthpiece of black pride and nationalist sentiment largely in the period preceding independence. Her principal aim is the affirmation of the black Jamaican's fundamental humanity. She uses laughter both as a curative emotional release and as an expression of mental freedom. She lays the foundations of a comic tradition which does not fundamentally challenge the contradictions of the post-independence period. Chapter three relates the emergence of the Dub Poets of Jamaica to the development of Rastafarianism into a mass post-independence nationalist revival, and to the contribution of intellectuals, most symbolically Walter Rodney, to the process of decolonization. Reggae music, the principal creative response to the dynamics of the period both in terms of lyrics and rhythmic tension, infuses the work of Michael Smith, Cku Onuora, Mutabaruka and Erian Meeks examined in this study. Chapter four illustrates the development of performed poetry in the context of periods of insurrection and revolution in the East Caribbean. It examines the Black Rower movement as a stimulus to cultural nationalism and revolutionary sentiment, and its transcendence to internationalism and socialism in the context of the Grenada Revolution. Abdul Malik straddles and exemplifies the creative dynamic which exists between urban, industrial Trinidad and its tiny, rural and poor neighbour, Grenada.
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Lowe, Jeremy. "Desiring truth : the process of judgment in fourteenth-century art and literature /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9463.
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Paryas, Phyllis Margaret. "Making a life from the margins: The oblique art of Barbara Pym." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7573.
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This study examines the grounds of dissonance in the comic novels of Barbara Pym (1913-1980) from a pluralist critical perspective. Pym's restrained and indirect style is considered as a manifestation of the marginal positioning of a middle-class woman writer within the specific cultural milieu of pre- and post-war Britain. Structuralist, post-formalist and feminist criticism are utilized in an attempt to shed light on the contradictory forces discernible in her subtle prose. Six books were published between 1950 and 1961, followed by her publisher's rejection of a seventh novel in 1963. Pym's career was eclipsed for sixteen years but she was rediscovered in 1977, enabling three additional novels to be published before her death in 1980. Four complete novels, along with three finished short stories and three novel drafts, have been printed posthumously. The introduction provides an overview of the common preoccupation of Pym criticism to date with the ambiguities and tensions in her work. Chapter One presents the argument for a pluralist approach and discusses scholars whose work illuminates Pym's style. These include Northrop Frye, M. M. Bakhtin, Frank Kermode and anthropologists Edwin and Shirley Ardener. Anglo-American critics Elaine Showalter, Nancy K. Miller and Rachel Blau DuPlessis, among others, contribute a feminist perspective. The remaining four chapters explore the language of Pym's protagonists, the characterization of her "excellent women," the fruitfulness of applying dialogic analysis to her prose, and the revisions of plot teleology which she initiates. Pym finally is seen as an essentially optimistic but divided woman writer negotiating painful compromises for her marginal comic heroines within the formidable constraints of the dominant culture.
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West, Jeffrey Keith. "The origin and development of English Romanesque foliate ornament." Thesis, Courtauld Institute of Art (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363096.
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Van, Pletzen Ermina Dorothea. "The language of painting in nineteenth-century English fiction." Doctoral thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/21770.
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Bibliography: pages 322-332.This thesis examines the material and aesthetic sustenance which the novel as developing genre drew from the burgeoning popular interest in the visual arts, particularly the pictorial arts, which took place during the course of the nineteenth century in Britain. The first chapter develops the concept of the language of painting which for the purposes of the thesis refers to the linguistic transactions occurring between word and pictorial image when writers on art formulate their impressions in language. This type of discourse is described as governed by conceptual repetition and firmly established techniques of ekphrasis, as well as by indirect and peripheral modes of reference, not to the concrete stylistic features of the works of art under consideration, but to their effect on the viewer, the metaphors they call to mind, and the processes which can be inferred about their conception. The first chapter also gives a survey of the most important thematic strains and structural developments which had been imported into literature by the end of the eighteenth century. A chapter is then dedicated to each of five nineteenth-century novelists, Jane Austen, William Makepeace Thackeray, Charlotte Bronte, George Eliot, and Henry James, mapping out their individual grasp and knowledge of pictorial art in their particular circumstances, their experience of the art world, and the extent to which their experience of art is mediated by current painterly discourses. Each chapter next considers how pictorial material is appropriated in these novelists' fiction and whether the fiction draws structural support and meaning from pictorial concepts. The thesis furthermore investigates the inverse question of how the fiction itself becomes a context which not only reflects, but also shapes and alters inherited languages of painting. The second chapter approaches Austen's social satire against the background of the aesthetic traditions which she inherits from the eighteenth century. It is argued that her own novelistic aesthetic gains more from the discourses surrounding the practice of picturesque landscape appreciation (and related forms) than from Reynolds's doctrine of the general and ideal dominating the mid to late eighteenth century.
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Murphy, Anna. "The people's princess : Grayson Perry and English cultural identity." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:d53f1307-9cce-489c-ad27-0354d3f99b03.
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This thesis will consider the art and persona of Grayson Perry in relation to ideas of national identity. In particular, it will argue that Perry has been occupied with ideas of class and national identity throughout his career, but that these underlying concerns have often been subsumed, or obfuscated, by the foregrounding of other more obvious aspects of his work, such as his transvestism. At the centre of this thesis is the argument that Perry's vision of England, and the purportedly ambivalent way in which he presents it, functions as a way of negotiating - and repatriating - English national identity at a time of crisis. I want to further argue, however, that this has been complicated by Perry's self-positioning, and I propose that he has cultivated an air of subversion and transgression that has tempered the more affirmative aspects of his work. This half-subversive, half-affirmative stance allows him and his work to resonate with both those critical of the usual institutions of contemporary art - including many sections of the public and certain newspapers, tabloid and broadsheet alike - as well as the institutions themselves. This stance has implications not only for Perry's engagement with contemporary art but for his considerations of national identity as well, enabling an enquiry into, and ultimately a restitution of, 'Englishness' (and, to a lesser extent, 'Britishness'), by framing it within a rhetoric of ambivalence and diminishment rather than overt nationalism, the latter of which would have more problematic associations. Similarly, I want to suggest that it is this stance and its mediatory properties, coupled with his earlier self-positioning and his subtle but consistent foregrounding of domestic and demotic issues of national identity throughout his career, that has made Perry such a popular candidate to take on the task of reinvigorating this identity now.
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Dodd, Alexandra Jane. "Secular séance: Post-Victorian embodiment in contemporary South African art." Doctoral thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12814.
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Includes bibliographical references.In this thesis I explore selected bodies of work by five contemporary South African artists that resuscitate nineteenth - century aesthetic tropes in ways that productively reimagine South Africa’s traumatic colonial inheritance. I investigate the aesthetic strategies and thematic concerns employed by Mary Sibande, Nicholas Hlobo, Mwenya Kabwe, Kathryn Smith and Santu Mofokeng, and argue that the common tactic of engagement is a focus on the body as the prime site of cognition and "the aesthetic as a form of embodiment, mode of being-in-the-world" (Merleau - Ponty). It is by means of the body that the divisive colonial fictions around race and gender were intimately inscribed and it is by means of the body, in all its performative and sensual capacities, that they are currently being symbolically undone and re-scripted. In my introduction, I develop a syncretic, interdisciplinary discourse to enable my close critical readings of these post - Victorian artworks. My question concerns the mode with which these artists have reached into the past to resurrect the nineteenth - century aesthetic trope or fragment, and what their acts of symbolic retrieval achieve in the public realm of the present. What is specific to these artists mode of "counter - archival" (Merewether ) engagement with the colonial past? I argue that these works perform a similar function to the nineteenth - century séance and to African ancestral rites and dialogue, putting viewers in touch with the most haunting aspects of our shared and separate histories as South Africans and as humans. In this sense, they might be understood both as recuperations of currently repressed forms of cultural hybridity and embodied visual conversations with the unfinished identity struggles of the artists’ ancestors. The excessive, uncanny or burlesque formal qualities of these works insist on the incapacity of mimetic, social documentary forms to contain the sustained ferocious absurdity of subjective experience in a "post - traumatic", "post - colonial", "post - apartheid" culture. The "post" in these terms does not denote a concession to sequential logic or linear temporality, but rather what Achille Mbembe terms an "interlocking of presents, pasts and futures". This "interlocking" is made manifest by the current transmission of these works, which visually, physically embody a sense of subjectivity as temporality. If the body and the senses are the means though which we not only apprehend the world in the present, but through which the past is objectively an d subjectively enshrined, then it is by means of the ossified archive of that same sensory body that the damage of the past can be released and knowledge/history re - imagined. Without erasing or denying South Africa’s well - documented history of violent categorisation, the hypothetical tenor of these works instantiates an alternate culture of love , intimacy, desire and inter - connectedness that once was and still can be.
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Schmid, Julie Marie. "Performance, poetics, and place: public poetry as a community art." Diss., University of Iowa, 2000. https://ir.uiowa.edu/etd/189.
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This dissertation refuses the assumption that poetry is a dying art form. In this study, I focus on poets Marc Smith, David Hernández, Patricia Smith, and Bob Holman. I place the work of these four poets within the context of the contemporary performance poetry movement and argue that from their position on stage, in the recording studio, or in front of the camera, they use the performance to forge bonds across racial, ethnic, class, and gender divides. Throughout this study, I trace the evolution of the contemporary performance poetry movement from the local to the national, the embodied to the virtual. I combine original research on public poetries such as the poetry slam, the poetry-music ensemble, and video-poetry and synthesize a variety of critical approaches, including cultural studies, postcolonial theory, and ethnomusicology. I analyze specific elements of the performance--the voice, music, the body on stage, and the dialogic relationship betwee performer and audience--and discuss how these poets use the poetry event to articulate a poetry-community-in-the-making. Throughout this study, I argue that these poetry events demand our active engagement with the performance and use emergent technologies to document and analyze this poetry community. As such, "Performance" ultimately demands that we not only rethink the relationship between these poets and their communities, but that we rethink the place of poetry in contemporary American culture.
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Hunt, Arnold Conway. "The art of hearing : English preachers and their audiences, 1590-1640." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/251796.
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Sawday, Jonathan Hugh. "Bodies by art fashioned : anatomy, anatomists, and English Poetry 1570-1680." Thesis, University College London (University of London), 1988. http://discovery.ucl.ac.uk/1317606/.
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The thesis explores the way in which anatomical discussion of the human body in the period c.1570-c.1680 informs a range of 16th and 17th century poetic texts. It begins with an account of the study of anatomy in England in the years between the publication of Vesalius' observations of the body and the appearance of Harvey's ideas on the circulation of the blood in 1628, and argues that the language, the religious significance, the practice, and the patterns of symbolism in the Renaissance anatomy lesson were all factors which were well understood by poets as diverse as Spenser, Sir John Davies, John Davies of Hereford, and, above all, Donne. The style of enquiry which was fostered by anatomists, and in particular the methodological problems associated with the dissection of the human body, are traced in anatomical text-books of the period, in theological writing, and in the work of the "Encyclopaedic" authors of the 16th century: Ambroise Paré, Phillipe de Mornay, and Pierre de la Primaudaye. The poetry of Phineas Fletcher, in particular his epic poem The Purple Island (1633), represents the climax of this conjunction between anatomical and poetic discourse. An extended discussion of this poem shows it to be an attempt at transforming the language and practice of anatomy into a means of expressing religious, political, and methodological confrontation. Fletcher's poem can be understood not as an incongruous fusion of poetry and science, but as an extended rehearsal of a well-established tradition of poetic accounts of the body discernable in the writings of Spenser and Donne, and in the poetic anatomization found in Sylvester's translation of the Divine Weekes of Du Bartas. Fletcher's poem is, however, virtually the last attempt at exploring this tradition. With the single exception of Joseph Beaumont's Psyche (1648), which is discussed in relation to The Purple Island, the history of anatomy and poetry is now one of disjunction. This theme is considered in the second half of the thesis. The replacement of intellectual systems of enquiry based on an understanding of "correspondence" by "mechanistic" accounts of the body is held to be at the root of the fracture between anatomists and poets. The language of figures such as Ross, Van Helmont, Harvey, Willis, Collins, and Charleton, together with the work of the theoreticians of language associated with the early years of The Royal Society, are compared to older styles of anatomic writing to reveal poetic accounts of the human body to be indebted to increasingly anachronistic images and ideas. After Harvey's work has become generally known in England it appears that poets such as Thomas Randolph, Margaret Cavendish, and John Collop resort to a language which is no longer the shared preserve of the scientist and the poet. This break-down of shared assumptions results in the transfer of attention, on the part of the poets, from the body itself to the scientist who explores the body. In the writings of Cowley, Dryden, and Jane Barker, the scientist emerges as a central figure. Imagined as a new Apollo, a heroic discoverer, his strangest transformation is that whereby he is imagined as the microcosmic voyager and narrator of the body. The displacement of the body from poetry is, however, challenged in the writings of Thomas Traherne. The final chapter of the thesis (which functions as a conclusion to the study as a whole) argues that, in Traherne's poetry and prose, an attempt at synthesizing the poetic and the scientific understanding of the body is discernable. Traherne's writings are discussed in the context of both the Royal Society's pronouncements on language and the work of the group with which he has been most closely'associated - the Cambridge Platonists. What is revealed is that Traherne is not (as has often been claimed) an Intellectual "conservative", but rather he asserts the view that fideism and rationalism can be harmonized under a system in which the anatomist and the poet once more share a common task.
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Karim-Cooper, Farahnaz Vera. "'Beautied with plast'ring art' : cosmeticism in English Renaissance drama and culture." Thesis, Royal Holloway, University of London, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401770.
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Duvall, Allison G. "Art - A Tool For Teaching English To ESL Level I Students." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1470.
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Today's classrooms are filled with an ethnically and linguistically diverse population of students. In order for Limited English Proficient (LEP) high school students to be academically successful and meet the goals of No Child Left Behind 2001, they must learn academic English. As an art teacher, I understand the importance of art in a student's general education. However, could a high school art class, also, act as a tool for teaching LEP students the English language? My goal, through the use of action research, is to find an effective way to set up an English as a Second Language (ESL) Level 1 art class, thus, giving students the benefits of art while furthering their English language development.
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Good, Caroline A. "'Lovers of art' : early English literature on the connoisseurship of pictures." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5694/.
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English writers and enthusiasts on the arts that existed prior to the eighteenth-century have largely come to be identified in modern scholarship as virtuosi, those who had little or no separate aesthetic appreciation for works of art, but an insatiable curiosity for all manner of natural and mechanical wonders. This thesis examines English literature on painting from the period, and contests the idea that it was only in the eighteenth century that English authors began to write critically about the pictorial arts. Printed literature in fact reveals a sustained interest in the judgement and value of painting from the mid-seventeenth century onwards, authored by, and addressed to, the more specialised lover of art. The chapters that make up this thesis are subsequently built around close readings of varying forms of literature through six case studies of texts published between 1658 and 1706: Chapter One examines William Sanderson’s Graphice (1658) which combines material drawn from earlier literature with original observations and ideas. Chapter Two explores John Evelyn’s translation of Roland Fréart de Chambray’s Idée de la Perfection de la Peinture (1662) as An Idea of the Perfection of Painting (1668), and William Aglionby’s Painting Illustrated in Three Dialogues (1685) based on the work of French critic Charles Alphonse Dufresnoy, in relation to both authors’ time spent abroad and their simultaneous celebration of the primacy of Italian painters and history painting. Chapter Three focuses on the most commercially successful literary work on the visual arts of the period, Polygraphice. Authored by the quack empiric William Salmon, the text went through eight editions between 1672 and 1701, each edition growing as its contents were expanded and added to with a diversity of material. Chapter Four compares Richard Graham’s ‘Short Account of the most Eminent Painters both Ancient and Modern, Continu’d down to the Present Times According to the Order of their Succession’ (1695) which presents an inaugural literary national art history presented within a pan-European context, and Bainbrigg Buckeridge’s ‘Essay Towards an English School, With the Lives and Characters of above 100 Painters’ (1706) presenting an alternative account of English taste and practice in painting in the seventeenth century.
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Zheng, Huangyuying. "Observation and combination of Chinese and English typography." Thesis, University of Iowa, 2016. https://ir.uiowa.edu/etd/3229.
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The interests in the similarities and differences between Chinese characters and English words lead me to study how various shapes between two languages will affect designs significantly. The curiosity inspired the development of making these two different language forms appear more aesthetically compatible. Moreover, from questioning the characteristics of Chinese and English, I developed interest in recreating a new multi-purpose visual language system which can be read in both Chinese and English without losing any character's original form. Through out my study, I rediscover the meaning and origin behind Chinese and English character, rethink the history and explore the formation of the characters. The interactions between oriental and occidental letters create a new series of forms that serves as a bridge between the visual and the verbal, and brought a fresh visual language to the surrounding world.
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Garza, Ana Alicia. ""Art for the sake of life" : the critical aesthetics of Vernon Lee." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/472.
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This thesis explores the critical aesthetics of Vernon Lee (Violet Paget 1856-1935) and the ways in which her theory of aesthetic harmony informed these studies. Arguing for a more inclusive view of her interest in aesthetics, this thesis takes as its focus the ways in which Lee applied her aesthetic methodologies to the questions of aesthetics with which she was concerned – What is the relationship between the artist and his or her art, and between the artist and the aesthetic critic? How do the various art forms differ and how do these differences impact on the aesthetic experience? How does the mind, the body, and the emotions work together in the aesthetic experience? And ultimately, what is the relationship between art and life, and between beauty and the ideal? This study argues that these questions are evident in essays that are not usually associated with aesthetics. Whilst studies on Lee tend to divide her varied interests into phases in her career, such as her fiction, literary criticism, historical writings, travel writings, and psychological aesthetics, the current study argues that an investigation into the ways in which these studies can be seen to interact leads to a more thorough and fulfilling engagement with her impressive body of work. This thesis fills a critical gap in Lee studies by approaching her writings through the lens of her interest in aesthetics and by suggesting a way of reading her work that takes into consideration the ways in which her aesthetic theories influenced the writing style through which she experimented with, expressed, and in some cases, performed her aesthetic theories.
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Stringer, George P. "Tilly Kettle's portraiture and the art of identity in eighteenth-century Britain and India." Thesis, Keele University, 2018. http://eprints.keele.ac.uk/5189/.
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This thesis examines the work of Tilly Kettle (1735-1786), the first professional British artist to work in India, and focuses on his portraiture in a quarter-century that saw Britain defeat European rivals during the Seven Years’ War, gain India, and lose America. One of an emergent group of artists responsible for creating a British school of portraiture, Kettle has never received a great deal of credit for his achievement, especially from art historians. Aside from J.D. Milner’s monograph in 1927, there has been no biographical appraisal of Kettle, who left no known writings but was a prolific artist, working in nonmetropolitan locations that have also received limited scholarly attention. This study uses Kettle’s paintings, primary evidence and newly discovered material to show how personal, artistic or national identities were being unsettled, reformed or re-framed during his day, and contends that portraiture reflected and impelled these changes, with social and cultural attitudes co-policed by empirical observation and aesthetic distinction. My analysis of Kettle’s artworks, the circumstances of their creation, and what can be inferred of his experience will relate him to these processes of identity formation, showing that he helped to shape debates as well as being controlled by them. In particular, I examine how his work influenced or echoed the motives behind national and imperial expansion. Kettle’s identity is seen as a three-part social construct: as a self-reflexive individual, as a national subject, and as a professional artist. My study timeframe allows a parallel view of history from Kettle’s perspective, connecting his key portraits with issues and events, from miraculous victories in 1759 to shock after American triumph in 1783. I conclude that Kettle’s art and career reflect an unfinished artistic self, patriotic but defensive, driven by the vagaries of taste, ambition and progress, and the futility of empire.
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Townley, Sarah Ruth. "Redefining British aestheticism : elitism, readerships and the social utility of art." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/14539/.
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British Aestheticism’s demand for an elite audience has been conceived as emblematizing its reputation as a socially-disengaged movement. This thesis revises literary historical accounts of the movement by challenging such long-held assumptions. It aims to develop a more complex understanding of Aestheticism’s theorized reading practices in order to examine how the movement’s elitism evolves out of a concern for specialized methods of critical engagement with form, which are conceived as having ethical consequences. For authors and critics associated with British Aestheticism, a specialist appreciation of form, far from being a retreat from ethics, represents a refined mode of social engagement. In short, this study considers how the movement’s theories of art’s social utility are held to depend upon its elitism. Scholarship has tended to utilize recuperations of Aestheticism to suit certain theoretical agendas and in the process has revised our understanding of the movement’s elitism. Feminist scholarship, for example, has defined a broader, more inclusive and capacious movement in which the link between art’s social utility and aesthetic value is redefined so that Aestheticism is open in principle to anyone, including the public at large. Nicholas Shrimpton has pointed out that the use of the term Aestheticism in recent scholarship ‘as a chronological catch-all [means] the term “Aesthetic” has been stretched so thin that it is [in] danger of collapsing.’ This thesis aims to recuperate the elitism of British Aestheticism, arguing that we should not allow modern values and priorities to reconstruct our understanding of Aestheticism’s critical terms and concepts. In doing so, it aims to re-historicize the Aesthetic Movement. More precisely, it shows how Walter Pater, Henry James and Vernon Lee (pseud. Violet Paget) formulate frameworks of ‘ideal’ aesthetic response against the backdrop of their engagements with intellectual and literary culture. Each chapter traces a number of connecting threads concerning stylistic supremacy, readerly ethics and artistic responsibility that run between the works of these three figures. The first chapter reassesses Aestheticism’s elitist critical practices in relation to its readerships. This chapter pays close attention to the relationship between Pater, James and Lee’s aesthetic theories and authorial strategies expanding our traditional picture of the evolution of Aestheticism to encompass a more complex understanding of its theorization of its readerships. The second chapter traces the influence of the philosophical concept of Arnoldian disinterestedness as a negotiated framework of ‘ideal’ aesthetic response. It considers how a tension between elitism and ethics underlies this critical practice. Whilst this activity preconditions its practitioners for social interaction, it requires a specialist critic to undertake it. The third chapter examines how late-19th century psychological discourse informs our understanding of the tension between elitism and ethics which inhabits Aestheticism’s appropriations of disinterestedness. Overall, the argument of this thesis aims to reassess to the movement’s traditional emphasis on artistic integrity, readerly ethics and stylistic supremacy, but, at the same time, to rethink the periodicity and capaciousness of Aestheticism itself.
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Roach, Rebecca C. "Transatlantic conversations : the art of the interview in Britain and America." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:117b36f3-feda-4faa-9e68-2fa77ae3a0a6.
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This thesis assesses the role of the interview form within literature from the late nineteenth century to the present day. The project contends that the interview, although styling itself as a revealing, authentic, private confession, is a genre of life writing that deeply troubles the model of singular Romantic authorship that it simultaneously promotes. The thesis argues that the interview has been a key site for negotiating conceptions of authorship since its inauguration. Exploring issues of publicity, life writing and gossip, through nineteenth-century newspaper depictions of scandals (chapter one), I argue that the act of interview publication is a staging of the speaking self in the public sphere. In chapter two I triangulate discussions of journalism, celebrity and material modernism to argue that the characteristic modernist authorial persona, far from being revolutionary, avant-garde or iconoclastic, was in fact deeply retrograde. Chapter three examines how the interview operated as a negotiation of the study, the marketplace and the middlebrow in the 1930s, with reference to the popular Everyman magazine series “How Writers Work.” The development of an interrogative interview model in the postwar era forms the subject of chapter four, as I demonstrate how the backdrop of the Cold War transformed the ways in which writers as diverse as Ezra Pound and the Beat poets responded to the interview in their work. The penultimate chapter argues that the Paris Review interview offers a hitherto unrecognised link between New Criticism and New Journalism and can revitalise discussions around the historical institutionalisation of literary studies. Chapter six considers the interview’s prominent contemporary position within world literature as a purveyor of literary value and archive of global cultural memory. Overall, the project illustrates how central the interview has been in the cultural construction of authorship in the last 150 years.
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Pittman, William E. "Morphological Variability in Late Seventeenth and Early Eighteenth-Century English Wine Bottles." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625576.
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Greer, Alana. "Teaching English Language Learners in the Art Classroom: A Survey of Approaches." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/192.
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This study consisted of an online survey of members of the National Art Education Association Elementary Division in which 29 participants answered questions related to their instruction of English language learners in the elementary art classroom. Four participants participated in follow-up interviews as the researcher sought to answer the research questions: What pedagogical and curricular adaptations in the art classroom may be effective strategies for teaching English language learners? What are the perceived challenges of having a linguistically diverse art classroom? Participants offered a variety of pedagogical adaptations but suggested few curricular adaptations. Participants revealed challenges related to their teacher preparation and efforts to communicate clearly with students. The findings of the study also raise concerns that the needs of English language learners may not be recognized or met due to some educators’ lack of awareness of cultural differences and the assumption that art is a universal language.
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Keppie, Margaret Buie. "Questioning the role of art in Waldorf and English Canadian mainstream education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq24748.pdf.
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Myles, John F. "Postmodernism and cultural intermediaries : a qualitative study of the English art world." Thesis, Lancaster University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246132.
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Nead, Lynda Daryll. "Representation and regulation : women and sexuality in English art c. 1840-1870." Thesis, University College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369506.
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Wolf, Johannes. "The art of arts : theorising pastoral power in the English Middle Ages." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278517.
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Gregory the Great described the government of souls as ‘the art of arts,’ a sentiment that the Fourth Lateran Council would echo in 1215. This thesis takes as its fundamental proposition that this ‘art’ can be understood as a ‘craft’, one that is responsible for producing and maintaining a Christian subjectivity marked by introspection, inwardness, and a strong distrust of externalities. Using a theoretical framework influenced by Michel Foucault I suggest a tradition of administering and producing these subjects through ‘pastoral power.’ Charting the trajectory of these ideas from the ascetics of the early church through to fifteenth-century Middle English texts, I explore the dynamics produced by texts invested in producing this specific form of subjectivity as they expand their reach from a specialised audience of monks to an increasingly laicised vernacular sphere. This investigation is broken into two halves. The thesis begins with a re-reading of Michel Foucault’s theories of power and subjection. Here I suggest that there are important conceptual connections between Foucault’s concept of ‘discipline’ and medieval approaches to the care of the soul. The first half of the thesis stresses the longue durée development of pastoral power, focussing on two particular historical moments. The first of these chapters engages with the pastoral and monastic thinkers of the early church, who developed two overlapping regimes – that of body and spirit. The second turns to the Ancrene Wisse, arguing that the it responds to the developments of twelfth-century spirituality by suggesting a form of spiritual engagement that is increasingly imbricated in the mundane world. The second half of the thesis focuses on a number of texts produced in Middle English during the fourteenth and early fifteenth centuries. Two chapters focus on a collection of pastoral texts produced in the fourteenth and fifteenth centuries. The first focuses on the hermeneutic dynamics of these texts whilst second chapter assesses the use of documentary imagery and theories of legal accountability in the same texts. The final chapter suggests that certain proto-autobiographical texts, represented by the work of Julian of Norwich and Margery Kempe, are conditioned by the concerns and dynamics of pastoral power, which also affects the practices modern readers bring to bear on them.
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Helguera, Pablo. "The rhetoric of contemporary art : social and pedagogical scripts." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26604/.
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Gavling, Anna. "The art of translation : A study of book titles translated from English into Swedish and from Swedish into English." Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1748.
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The purpose of this paper is to investigate the process of translating a book title from English into Swedish and vice versa. I have investigated the different methods used when translating a title, as well how common each strategy is. By contacting publishing companies and translators in Sweden, I learned of the process of adapting a title from the source language into a foreign market and the target language. Studying 156 titles originally published in English, and 47 titles originally written in Swedish, I was able to see some patterns. I was particularly interested in what strategies are most commonly used.
In my study I found nine different strategies of translating a book title form English into Swedish. I have classified them as follows: Keeping the original title, Translating the title literally, Literal translation with modifications, Keeping part of the original title and adding a literal translation, Adding a Swedish tag to the English title, Adding a Swedish tag to the literal translation, Translation with an omission, Creating a new title loosely related to the original title and finally Creating a completely different title. In the study of titles translated from Swedish into English, I found eight different translation strategies; seven of the strategies were the same as in the translation of titles from English into Swedish. The one method that differed is called Translation with an addition. The study of titles originally published in Swedish was much smaller; and yet more variety and creativity was shown in the translations. The conditions for translating from Swedish into English are different since English readers normally have no knowledge of Swedish. Names of characters and places for example, are very likely to sound very odd to an English reader, and therefore more translations are necessary. Swedish readers on the other hand are generally relatively proficient in English since they are exposed to the language naturally in their everyday lives through for example, television. Therefore it was easier to stay close to the original in the translations from English into Swedish.
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Hong, Huili, Karin Keith, and Renee Rice Moran. "Reflection on and for Actions: Probing into English Language Art Teachers' Personal and Professional Experiences with English Language Learners." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5575.
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Effective ELL teaching and learning is profoundly influenced by the teachers' personal experiences and personalities (Farrell, 2016), their experience as language learners as well as language teachers (Farrell, 2007), and their beliefs about learning and teaching a second language (Farrell, 2015; Farrell & Ives, 2015). This study honored and examined in-depth the often-discounted stories/reflective narratives of our teachers. This paper reports a qualitative cases study that explores three veteran teachers' reflection on their personal and professional experiences with ELLs for self-discovery over years (Cirocki & Farrell, 2017) so that they can further reflect for their future actions with ELLs (Burns & Bulman, 2000; Farrell, 2007; Farrell & Vos, 2018). Data analysis revealed the teachers' different strengths and needs in working with ELLs. Four major dimensions (language, culture, culturally and linguistically sensitive pedagogy, and collaborative community) were identified as critical to effective teaching of ELLs and preparation of second language teachers.
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Alsulami, Iftikar Saeed, and Danyah Abdulaziz Aleisa. "BUILDING BRIDGES FROM CURRENT ENGLISH CONTENT TO AN IMAGINED ENGLISH FUTURE." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/380.
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Learning English as a second language is a key factor to promote globalization, because the language has spread widely. Furthermore, learning English vocabulary for the fast-paced global business environment is highly dependent on the imagined future of a business major; he or she must imagine in what context the business career will take place: what sphere of activity will be involved, in which scenarios of language usage, and what lexical items will be needed. Vocabulary learning has long been characterized by the use of decontextualized vocabulary academic word lists. As an alternative, this project researches the use of an integrated language thematic mode--the theme being business communication-with a focus on incorporating various linguistics aspects of learning English. This research will emphasize the integrated linguistics approach to the acquisition of academic vocabulary. Additionally, the project explores the use of an individual’s imagined community in setting vocabulary goals and second-language-acquisition strategies. The study took place at the English Language Program and College of Business and Public Administration (CBPA) at California State University, San Bernardino in the spring of 2016. International students were asked to participate in a survey; an interview questionnaire was designed to discover the students’ preferences strategies and in learning English with respect to their future career. The results varied based on students’ backgrounds, their specific majors, and their personalities and preferred ways of learning.
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McCue, Maureen Clare. "British Romanticism and Italian Renaissance art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/2680/.
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This study examines British Romantic responses to Italian Renaissance art and argues that Italian art was a key force in shaping Romantic-period culture and aesthetic thought. Italian Renaissance art, which was at once familiar and unknown, provided an avenue through which Romantic writers could explore a wide range of issues. Napoleon’s looting of Italy made this art central to contemporary politics, but it also provided the British with their first real chance to own Italian Old Master art. The period’s interest in biography and genius led to the development of an aesthetic vocabulary that might be applied equally to literature and visual art. Chapter One discusses the place of Italian art in Post-Waterloo Britain and how the influx of Old Master art impacted on Britain’s exhibition and print culture. While Italian art was appropriated as a symbol of British national prestige, Catholic iconography could be difficult to reconcile with Protestant taste. Furthermore, Old Master art challenged both eighteenth-century aesthetic philosophy and the Royal Academy’s standing, while simultaneously creating opportunities for new viewers and new patrons to participate in the cultural discourse. Chapter Two builds on these ideas by exploring the idea of connoisseurship in the period. As art became increasingly democratized, a cacophony of voices competed to claim aesthetic authority. While the chapter examines a range of competing discourses, it culminates in a discussion of what I have termed the ‘Poetic Connoisseur’. Through a discussion of the work of Lord Byron, Percy Shelley and William Hazlitt, I argue that Romantic writers created an exclusive aristocracy of taste which demanded that the viewer be able to read the ‘poetry of painting’. Chapter Three focuses on the ways in which Romantic writers used art to produce literature rather than criticism. In this chapter, I argue that writers such as Byron, Shelley, Lady Morgan, Anna Jameson and Madame de Staël, created an imaginative vocabulary which lent itself equally to literature and visual art. Chapter Four uses Samuel Rogers’s Italy as a case study. It traces how the themes discussed in the previous chapters shaped the production of one of the nineteenth century’s most popular illustrated books, how British art began to appropriate Italian subjects and how deeply intertwined visual and literary culture were in the period. Finally, this discussion of Italy demonstrates how Romantic values were passed to a Victorian readership. Through an appreciation of how the Romantics understood Italian Renaissance art we can better understand their experience and understanding of Italy, British and European visual culture and the Imagination.
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Diaper, Hilary. "The English reaction to modern French painting circa 1850-1880." Thesis, University of Leeds, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238657.
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Bourke, Allyson McMahon. "Tennyson's Lady of Shalott in Pre-Raphaelite Art: Exonerated Artist or Fallen Woman." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626054.
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