Dissertations / Theses on the topic 'Expressionist art'
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Short, Christopher. "Friedrich Nietzsche and German expressionist art." Thesis, University of Essex, 1995. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706295.
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Jeppesen, Travis. "Towards a 21st century expressionist art criticism." Thesis, Royal College of Art, 2016. http://researchonline.rca.ac.uk/1812/.
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This thesis explores the following questions: What might a 21st century expressionist art criticism consist of? How does such a mode of “art writing” relate to oppositional strategies often employed by certain artists challenging the boundaries traditionally separating art from writing? What role does the body play in such a model of writing? What role might fiction play in an expressionist art criticism? The intended outcome is to render a new model of writing “in the expanded field,” to borrow Rosalind Krauss’s phrase. The essays and pieces of writing comprising this dissertation have been organized into four sections. The first part, “Bad Writing,” lays the groundwork for the three stylistic modes of expressionist art criticism that follow: the Expressionist Essay, Ficto-criticism, and Object-Oriented Writing. Prefaces before each section elaborate the conceptual thinking involved in arriving at each particular designation, as well as the positioning of each mode in the overall conception of a 21st century expressionist art criticism. This thesis begins with the argument that art criticism must first and foremost be understood as a literary art form. This is an issue of intentionality that must be asserted at the outset, one that resonates with John Dewey’s notion of criticism’s re-creative and imaginative aim. It is one of the essential qualities that distinguishes art criticism from the art historical endeavor. I contend that the practice of art criticism is an art form in and of itself, one that, following the poet-critic model (or, more aptly, anti-model) advanced by Baudelaire and Apollinaire, is essentially complementary to the art object. This complementarity is what the task of an expressionist art criticism hopes to achieve. Thus, this thesis should be considered as an example of an art writing practice in the context of a thesis-based dissertation.
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Thompson, Grant. "Limitlessness and the sublime illuminating notions : an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Art & Design, 2008 /." Click here to access this resource online, 2008. http://hdl.handle.net/10292/442.
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This project explores the basic tenets of abstract expressionism and is considered in relation to the idea of the sublime, limitlessness and the formless. In this research I am interested in investigating the progression from two-dimensional non-representational painting, through experimentation with light mediating materials to projection of the painting via the medium of film. Light is used to intensify the image with a view to expand the viewer’s awareness and understanding of the sublime. The research seeks to find ways that allow the viewer to explore the feeling of uncertainty and the sensation of wonderment. Through an ephemeral spaciousness that has no boundaries, the spectator is encouraged through contemplation to transform their experiences of the finite in order to approach the infinite and the sublime.
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Bryan, Sarah M. "African Imagery and Blacks in German Expressionist Art from the Early Twentieth Century." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1353179467.
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Carrasco, Clare. "The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c.1918-1923." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862862/.
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This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate revival of "linear" polyphony in fugues by Bach and late Beethoven. Chapter 4 then situates critical debates about the musical and cultural value of expressionism within broader struggles to construct narratives that would explain Germany's traumatic defeat in the Great War and abrupt restructuring as a fragile democratic republic. Against this backdrop, the later chapters explore critics' responses to public performances of specific "expressionist" chamber works. Chapter 5 traces reactions to a provocative performance of Schoenberg's Chamber Symphony, op. 9 (1906) at the Berlin Volksbühne in February 1920. Chapter 6 examines the interplay of musical-aesthetic and sociopolitical issues in critical reception of several postwar concerts that juxtaposed Schoenberg's "expressionist" Chamber Symphony with Franz Schreker's "impressionist" Chamber Symphony (1916). Chapter 7 considers how critics situated performances of Alexander Zemlinsky's Second String Quartet, op. 15 (1916) in relation to ideas about "expressionism" in music. Finally, Chapter 8 considers critical reception of performances of Béla Bartók's Second String Quartet, op. 17 (1917) in the context of two concert series sponsored by "expressionist" journals: the Anbruch-Abende in Vienna (1918) and the Melos-Abende in Berlin (1922 and 1923). Each of these final chapters uses contemporary criticism as a vehicle for a close reading of the relevant musical work, resulting in a portrait of "expressionist" music that is both contextually and musically nuanced.
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Bissa, Bi Nzue Astride. "Art et individuation : la rupture expressionniste." Dijon, 2008. http://www.theses.fr/2008DIJOL019.
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L’expressionnisme, considéré comme l’une des plus grandes avancées esthétiques du 20ème siècle, s’attache à une conception de la création artistique comme construction de la personne, mode d’individuation. Et, prenant le contre-pied des critères de définition habituels, le Beau ou la Forme, cette esthétique singulière née dans un contexte particulièrement difficile, représente pour l’art du début du 20ème siècle et toute la pensée esthétique contemporaine, un véritable catalyseur. En effet, l’expressionnisme induit une transformation totale du mode représentatif de l’art, celle de la figure du sujet humain et de son rapport au monde, donnant ainsi à l’art une nouvelle dimension anthropologique. Il marque donc une approche de l’art qui permet de mettre au jour ou de résoudre la question d’une éthique de l’humain, incompatible avec des définitions essentialistes. Ainsi, cette esthétique apparaît d’abord comme le rejet catégorique d’une réalité sociale, culturelle et politique particulièrement éprouvante, mais qui semble en même temps forger son caractère et déterminer ses orientations. L’émergence du primitivisme est à cet égard emblématique. Ce primitivisme qui apparaît comme acceptation, comme reconnaissance d’une altérité quasi radicale, quête de sens et d’identité, affecte l’expressionnisme et l’art contemporain dans leur conception de l’art et de la conception de la vie. Par conséquent, cette impulsion tout à fait particulière du primitivisme représente l’une des meilleures manifestations de la révolution esthétique du 20ème siècle mais aussi, fait de l’expressionnisme le creuset d’une conception de l’art et de l’homme en dehors de tout particularisme tranché et de formes arrêtéesExpressionism, considered like one of the most esthetic advanced of the 20th century, is related to an artistic creation conception like the person building, individuation mode. And, taking the opposite of usuals definiton critarials, Nice and Shape, this singular esthetic born in a difficult particular context, represent a real catalyzer for the art of the bigginning of the 20th century and the whole comtemporain esthetic thinking. Sure enough, expressionism induct a whole transformation of the representative mode of art, the one of the human subject face and his relation with world, thus giving a new anthropolical dimension to art. So this indicate an approach of art which permit to set or resolve the question of an human ethic, imcompatible to the essentialists definitions. Thus, this esthetic appears like first a categorical reject of a social, cultural and politcal reality particulary difficult, but which seems at the same time build his temperament and determine his orientations. The appearance of primitivisme is as this respect emblematic. This primitivism which appears like an acceptation, like a recongnition, like an altirity almost radical, seeks of identity and senses, affecting expressionism and comtemporain art in their conception of art and life. Consequently, this special impulsion of previtivism represent one of the most manifestations of the esthetic revolution of the 20th Century but also, fact that expressionism the melting pot of an art conception and human out of stand out and rules
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Cardoso, Renata Gomes. "A pintura de Anita Malfatti nos periodos iniciais de sua trajetoria : proposta de revisão a partir da analise de obras." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279121.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho analisa algumas pinturas dos períodos iniciais da trajetória de Anita Malfatti. Para tal propósito, toma-se como base a análise formal, procurado adicionar a essa reflexão uma revisão das fontes sobre a artista e sobre a arte moderna internacional, das quais são levantadas algumas questões fundamentais, que marcaram o debate sobre a sua obra no início do século XX e as consecutivas abordagens sobre a artista ao longo da história da arte brasileira
Abstract: This work analyses some paintings of the early periods of Anita Malfatti¿s career. For this aim, it based on the formal analyses, but includes in this reflection a review of the sources about the artist and international modern art, detaching from it some relevant questions, that marked the debate about her work in the beginning of 20th century and the consecutive approaches of the artist throughout the history of Brazilian art
Mestrado
Historia da Arte
Mestre em História
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Jorge, Janete Elenice. "A cidade expressionista de Roberto Arlt." Florianópolis, SC, 2009. http://repositorio.ufsc.br/xmlui/handle/123456789/92439.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2012-10-24T08:54:12Z (GMT). No. of bitstreams: 1 266559.pdf: 1570532 bytes, checksum: fee0dcfdbfad5aae730d3cabe1a6bacc (MD5)
A proposta deste trabalho é observar como foi construída a Buenos Aires ficcional de Roberto Arlt no texto Los siete locos e Los lanzallamas, e através das características da cidade que emerge da narrativa, verificar de que maneira o texto arltiano dialoga com o expressionismo alemão. Serão capturados alguns traços característicos do expressionismo, em especial da pintura expressionista, para reconhecê-los na escritura arltiana. Acredito que o espaço nos romances de Arlt, relacionado à modernidade e à urbanização como fator negativo, também pode ser encontrado no expressionismo alemão numa releitura que coloca em diálogo as inquietações de alguns artistas alemães com as do escritor argentino.
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Adamowicz, Emily. "Viennese Expressionism : from sickness to spirituality in the new aesthetic theory 1909-1913." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99567.
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Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision.Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.
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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.
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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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Coffey, Roland M. "Expressionism and Ethnography: Max Pechstein in Nidden and Palau." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4004.
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This thesis offers a new way to conceptualize Hermann Max Pechstein’s “primitivism” as a kind of ethnographic “primitivism.” By creating a constellation that connects Pechstein’s Nidden and Palau-based projects, Paul Gauguin’s “primitivist” aesthetic, and the research produced by German ethnographers, I argue that the “documentary” nature of Pechstein’s work paradoxically merges the “scientific” aspects of ethnography with his, and more generally, other Expressionists’ interest in the “primitive.” In addition, the following work demonstrates that the purportedly “scientific” representations and visual accounts of South Seas natives that ethnographers like Otto Finsch produced in the late 1800s and early 1900s heavily and problematically relied on an aestheticization of these foreign people that renders them as decorative, “exotic” objects, which are in many ways subjugated to the gaze of and “on display” for the Westerners examining them. This thesis ultimately focuses on how Pechstein’s representations of people from Palau effectively combine the style typical of most Expressionists and an impulse towards ethnographic depiction not seen in the work of his Brücke colleagues.
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Watrous, Shawn. "Undersound: An Investigation of Painting as a form of Expression." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366359903.
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Wexler, Thomas. "Collective Expressions: The Barnes Foundation and Philadelphia." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1383558977.
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Steele, Nancy Joanne. "Etched images of the human form in relation to society and environment." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941715.
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The vitality of the human figure has been an unending source of curiosity for artists from the beginning to now. Although many artists have focused their creativity to searching for the perfect, in fact, beautiful, human form, others have striven to convey the human experience within the spirit of their own era. The latter is true of this creative project, which has addressed the following problem: hog: could large-scale intaglio printmaking be used to 02arify the negative impact our rigid contemporary notion of beauty can have on individual women? The project was inspired by the work of Kaethe Kollwitz, German artist of the early 20th century whc used her technical drawing skills to translate her knowledge of war and famine shattered women into forceful lithographs and etchings. The insight she Portrayed vividly combined her intensely personal vision the Vicious events of her times: social commentary at its finest.The significance of the project has been, first of all, its benefit to myself, the artist. The journey which I undertook through historical research on Kollwitz; conceptual investigation of women and rigid norms for beauty; and extension of my technical expertise as an etcher-has produced insights about creating art that are invaluable to the mature artist. The second significance involves the viewer, whom I hope reconsiders the images of women displayed in contemporary society.The project’s five large-scale etchings of the female figure portray in a series my ideas about roles women are expected to assume in contemporary American society. These ideas unfolded especially during the creation of the first and second etchings.The report of the project deals extensively with the drawing and etching techniques used for each print; a description of each of the works; the ideas which inspired the content of the works; how these ideas were transformed into visual images; and the technical competencies that I acquired while working through each plate.Department of Art
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Barry, Marie Porterfield. "Lesson 17 Part 2: Reactions to the Modern World-Post-Impressionism and Expressionism." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/19.
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This lessons covers the difference between impressionism and expressionism. Post-impressionism is represented through artworks by Vincent Van Gogh, Paul Gauguin, Paul Cèzanne, and Henri de Toulouse-Lautrec. Expressionism is represented through artworks by Edvard Munch, Henri Matisse, Ernst Ludwig Kirchner, and Vassily Kandinsky.
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Murphy, Christopher Eric. "Reconstructing paradigms of expression." Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/spring2007/christopher_e_murphy/Murphy_Christopher_E_200701_mfa.pdf.
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Thesis (M.F.A.)--Georgia Southern University, 2007."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." In Art, under the direction of Patricia J. Walker. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 37-38)
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Fay, Deane Colin. "Spirit, vision, heart /." Online version of thesis, 1990. http://hdl.handle.net/1850/10934.
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Haskaris, Jean. "De l'architecture expressionniste à l'architecture visionnaire : Allemagne, 1906-1921." Paris 1, 1987. http://www.theses.fr/1987PA010546.
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Dans le cadre d'une révision de l'historiographie du mouvement moderne en architecture, cette étude cherche à mettre en valeur l'œuvre de certains architectes, proches à cette époque du mouvement expressionniste en Allemagne. Elle englobe le débat qui a conduit à la fondation du Bauhaus, débat longtemps occulté par les théories officielles du modernisme architectural. Tout comme l'approche artistique du baroque et du maniérisme avait déplacé la persuasion vers la sensation, l'alternative expressionniste en architecture, entre 1906 et 1921- porteuse de tout l'enseignement esthétique du XIXème siècle et du romantisme allemand - traduira dans le jeu de l'imagination créatrice la notion du devenir comme une expérience émotionnelle et dynamique. L'essentiel n'est pas ici la forme d'une œuvre particulière mais la vitalité de l'ensemble, dans le caractère ouvert d'une variation infinie, l'utilisation expressive des matériaux et les lignes de force des volumes des œuvres analysées. Le rapport entre l'évolution sociale et l'architecture sera aussi un thème spécifique du débat, présent dans l'esprit révolutionnaire de la jeune République de Weimar, tandis que la problématique sur l'artisanat et la notion de tradition seront perçues dans leurs valeurs spécifiques, comme résultat d'une longue tradition sans interruption. Œuvres imaginées et réalisées seront ici directement concernées et le rêve visionnaire de la "Zukunftkathedrale" constituera une contribution précieuse à la naissance et au développement d'un fonctionnalisme architectural, synthétique et expressif.
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Kappers, Michael. "VIRTUALLY ABSTRACT." Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4011.
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My most recent body of work frees me from traditional animation and graphic design principles that had become second nature in my creative practice over years of commercial work in industry. I now find myself unconsciously creating shape and form without a preconceived vision of the final outcome. This allows for a free-flowing approach to my canvas. The canvas in which my forms are created is virtual space and can be described as an infinite cube. The first step I take in each of my pieces is creating a cube with the center residing at Cartesian coordinates 0,0,0. From there, I make the decision either to subdivide the cube into sections or extrude faces from the cube. In either case, I begin to see the possibilities in which the form can take. Some forms are organic and rhythmic while others become machined and rigid. At this stage, color and light are not a part of the equation.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Goodhue, Laura. "Creative Expression: An Imminent Clash as Experienced by Three Artists." Thesis, Boston College, 2005. http://hdl.handle.net/2345/4427.
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Thesis advisor: Judith BookbinderThe Nazis arranged an exhibition of "degenerate" art (Entartete Kunst), shown in Munich in 1937 to insult and degrade artists who are recognized today as some of the most talented artists of the twentieth century. The success of the exhibition affected each artist in a different manner. Many fled Germany and ventured to the United States while others unwilling to leave their homeland suppressed their creative impulses for a life of fear and psychological torture in Germany. The horrific and irreversible effects on the German artists and culture can only be adequately discussed in the context of the time period preceding the exhibition. The movement toward abstraction and expression in art clashed with the rise of Nazi aesthetics to culminate in the exhibition of "degenerate" art. The lives of three artists Ernst Barlach, Max Beckmann and Oskar Schlemmer are detailed in this paper
Thesis (BA) — Boston College, 2005
Submitted to: Boston College. College of Arts and Sciences
Discipline: Fine Arts
Discipline: College Honors Program
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Strahl, Lisa Beth. "Gender Construction and Manifestation in the Art of Elaine de Kooning." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/44952.
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Art HistoryPh.D.
As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning’s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe’s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue’s writhing male musculature; and in her bull and bison series she worked with the clichéd animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism’s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality.
Temple University--Theses
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Singer-Delaunay, Hélène. "Expressions du corps interne." Paris 1, 2005. http://www.theses.fr/2005PA010662.
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Le titre de cette thèse, " Expressions du corps interne ", se présente comme une énigme: que signifie le " corps interne ", de quelle nature sont ses expressions? La solution recherchée passe par l'analyse de créations de l'auteur (des performances vocales), où elle se met en scène pour produire une matière sonore qui se situe au croisement du cri et du chant. Elle nomme cette création visuelle et vocale " chant plastique ". Elle tente par lui d'exprimer le " corps interne ". Ce chant se différencie du chant lyrique, tout en s'y référant; il apparaît comme un "hors chant" et un "en deçà du langage". Cette pratique vocale expérimentale relie différents domaines tels que le chant lyrique, le rock, le chamanisme, l'animalité et le burlesque. Le "corps interne" est un corps inconnu, invisible; seul le chant plastique pourrait l'exprimer, le rendre manifeste: il en donnerait une " visibilité auditive".
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Pasek, Jeffrey Douglas. "Worry My Head: An Exploration of Head-Like Forms as an Expression of Existential Concerns." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385383454.
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Shah, Diti. "An abstract expression of September 11, 2001." Texas A&M University, 2006. http://hdl.handle.net/1969.1/4448.
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Historical events captured in an abstract manner have the ability to produce a
profound effect on the emotions. The purpose of this research is to create a time-based
computer media work, using dialogue from playwright Anne Nelson's The Guys, based
on the September 11, 2001 attacks on the World Trade Center in New York City, with
emphasis on visual imagery, particularly the use of line and color, to enhance the
dramatic and emotional content of the piece. The stylistic direction of the thesis work is
greatly influenced by selected works of abstract expressionists Robert Motherwell and
Franz Kline, whose artwork was shaped by the social backdrop of World War II.
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Palou, 1961. "Luís Claramunt. Cuaderno de Bitácora." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668217.
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La tesis trata de la extensa, valiosa y desconocida obra del singular pintor Luis Claramunt, (Barcelona 1951- Zarautz 2000). La obra se ha analizado y clasificado a través de la investigación llevada a cabo en el archivo del propio artista, archivo cedido al MACBA (Museo de Arte Contemporáneo de Barcelona) por su familia, con motivo de la exposición antológica que el Museo le dedicó en el año 2012. La tesis también incorpora los testimonios de personas de diferentes ámbitos de su entorno. Con este material se ha realizado una personal clasificación de su pintura en tres etapas y trece series temáticas. Series ordenadas cronológicamente y contextualizadas en el panorama artístico internacional, a las que se incorporan dibujos, fotografías, artículos de prensa, los textos de los críticos del momento, y los del propio artista. Las series también se acompañan de los testimonios de la familia, amigos y galeristas. Voces que sitúan la obra en el contexto en el que fue creada. El resultado es un bricolaje de documentos, muchos de ellos inéditos, de diferente origen, índole y formato, que permiten percibir el peculiar y rico mundo del artista, su visión plasmada en su obra, su mirada, su vocación de narrador. En esta recopilación adquiere un especial interés el estudio del contenido y significado de sus libros autoeditados, sus documentos más personales e intimistas que realizó en la última etapa de su vida. La clasificación de la obra, la exploración en la vida de Luis Claramunt y el análisis de la forma y contenido de sus cuadernos, son las herramientas utilizadas para presentar la obra y el artista y así tratar de aventurar una interpretación particular de las líneas que siguen sus trabajos, presentados buscando su procedencia en su particular cuaderno de bitácora.The scope of this thesis is to give insight on the extensive, valuable and relatively unknown artwork of the singular painter Luis Claramunt (Barcelona 1951-Zarautz 2000). Such artwork has been analysed and classified after carrying out an investigation into the archives of the artist, which were transferred to MACBA (Museum of Contemporary Art of Barcelona) by the family when in 2012 the museum held an anthological exhibition. In this thesis it can also be found the testimonies of relevant people from the different circles of the artist. With such material the artwork has been classified into three stages and thirteen thematical series. Such series are sorted chronologically and contextualized with the international artistic panorama, which include drawings, photographs, press articles, critical writings of the time, as well as those of the artist himself. Along with the series, testimonies of relatives, friends and gallerists can also be found. The result yields a vast number of documents, a significant amount of which had never been published, from different origins, nature and format that allows the reader to perceive the unique world of the artist. Within this recompilation, it is compellingly interesting the study of the content and meaning of the artist's self-published books, the most intimate element of his artwork, developed during the latter stage of his life. The methodology used to present the artwork and the artist includes the classification of the artwork, research into the Luis Claramunt's life and analysis of form and content, this approach allows a unique interpretation of the tendencies followed by his pieces and presents it looking far its origins in the artist's particular logbook.
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Alvarez, Andrea. "Art Criticism, Scholarly Interpretation, and Curatorial Intent: A Reassessment of the 1998 Jackson Pollock Retrospective at the Museum of Modern Art." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/439.
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In 1998, the Museum of Modern Art held a retrospective exhibition of artworks by Jackson Pollock. Curators Kirk Varnedoe and Pepe Karmel worked in an art historical context that had been significantly shaped by the early critical writings by Clement Greenberg and Harold Rosenberg. The curators’ stated intention for the exhibition installation was to provide “a fresh chance for new generations of artists to come to terms with a legendary figure” and to enable “the broader public to reassess a quintessentially American artist in light of three decades of new scholarship,” without “ hewing to any particular critical dogma.” Despite this curatorial intention, this thesis examines the ways in which the retrospective inscribed Greenberg’s and Rosenberg’s theories, while disregarding subsequent scholarship that did not explicitly inscribe or align with the mid-century criticism in its account of Jackson Pollock.
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Harmon, Susan Lee. "Poiesis." Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/summer2007/susan_l_harmon/Harmon_Susan_L_200708_MFA.pdf.
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Thesis (M.S.)--Georgia Southern University, 2007."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Under the direction of Patricia Walker. ETD. Electronic version approved: December 2007. Includes bibliographical references (p. 55-56) and appendix.
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Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.
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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005."A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.
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Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.
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This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.Department of English
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Dias, Fernando Paulo Leitão Simões Rosa. "Ecos expressionistas na pintura portuguesa (1910-1940)." Master's thesis, Instituições portuguesas -- UNL-Universidade Nova de Lisboa -- FCSH-Faculdade de Ciências Sociais e Humanas -- -Departamento de História da Arte, 1996. http://dited.bn.pt:80/29877.
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Stafford, Francesca. "My pictures are all moments of my life : representations of time and space in the work of Gabriele Munter and Else Lasker-Schuler." Thesis, Lancaster University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.288955.
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Nauronis, Gintautas. "Abstrakti vizija." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120211_115650-43829.
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Darbais kuriame savo istoriją, tarsi stebuklinį mitą, kuris tampa savotišku veidrodžiu, rodančiu regimus ir neregimus mūsų sielos pavidalus. Gintauto Nauronio tapyba taip pat jo gyvenimo metraštis, abstraktūs vaizdai, žmogaus pažvelgimas į save, į savo vidinį pasaulį, charakterio, temperamento savybes, egzistenciją.
Aliejinės tapybos darbų kolekcija "Abstrakti vizija"- tai sielos harmonija, kurios nereikia filosofiškai paaiškinti – užtenka išgyventi, pajusti, nuspėti.
Dailininko prigimtis, įvaldyta tapybinė technika, sugebanti įkvėpti gyvybę drobei. Įvairiausių spalvų ir atspalvių deriniai, kompozicijose panaudota linija, tapybos ciklui suteikia ypatingo skambesio. Darbuose dvelkianti ramybė, nuoširdumas, tyrumas, fantazija, jautrumas, optimizmas, ryžtas, geros, šviesios mintys užpildo naujais pojūčiais kiekvieno žiūrovo sielą ir gerą nuotaiką…
Dinamiškas modernistinis tapymo būdas, kurio pagrindas - tikėjimas, esą vidines pajautas, intuicijas, jausmus, potyrius bei būsenas betarpiškai perteikia spontaniška estetinio impulso raiška, suardanti nusistovėjusį pasaulį, jo vaizdą ir deformuojanti jo pavidalus.
Magistro darbas susideda iš dviejų dalių: teorinio aprašo ir praktinio kūrybinio darbo.
Teorinėje dalyje apžvelgiama kolekcijos koncepcija, idėjos ir temos paieška, darbe nagrinėjama problema, darbo tikslo bei uždavinių konkretizavimas, apžvelgiamos abstrakcionizmo, ekspresionizmo, fovizmo temos, spalvos reikšmė mene, kompozicijos... [toliau žr. visą tekstą]By works we create own history, sort of magic myth, which becomes a peculiar mirror showing visible and invisible our shapes of soul. The painting of Gintautas Nauronis and also his chronicle of life, abstract images, and human’s look into himself, his inner world, character, temperament’s features, existence. The creative collection of oily paintings Abstract Vision – it is soul‘s harmony, which is needn‘t to explain philosofically – it is enough to outlive, feel, foresee. The nature of painter, acquired pictorial technique, which is able to animate for a linen. The combinations of various colours and tones, a line used in the composition give a special sound for cycle of painting. The calm, warm, energy, breath, optimism, strength, sensibility and even love whiffling in the paintings, fill every spectator‘s soul and moode by new feelings... Dynamic modernistic method of painting, whose principle - belief that sensations, intuitions, feelings, experiences and states are proximately conveyd by spontaneous aesthetical expression of impulse, which destroys a well-established view of life and deforms its shapes. Dissertation consists of to parts: theoretical schedule and practical creative work. In the theoretical part it is overlook ideas and search of theme, the significance of abstractionism, expressionism, fovism and colour in the art, conception of composition, it is also provided theoretical material of Dr. Robert Belton What is Art?, What is... [to full text]
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Dubourg, Christine. "Les expressions du naturalisme dans les arts graphiques du Paléolithique supérieur : une vision du monde des chasseurs préhistoriques." Bordeaux 1, 1997. http://www.theses.fr/1997BOR10635.
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Slivo, Yalda. "Den rörliga bildens formlöshet : En studie av den rörliga bilden." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-148312.
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Denna studie syftar till att studera den rörliga bildens historia och relation till måleriet utifrån de två modernistiska konstnärliga rörelserna minimalism och abstrakt expressionism.This study aims at understanding the history and relation between the moving image and two modernistic art movements, minimalism and abstract expressionism.
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Tunstall, Lucy Suzannah. "Vision and visual art in Sylvia Plath's 'Ariel' and last poems." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/24401.
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This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’.
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Honigman, Ana Finel. "Stars in their eyes : contemporary artists' expressions of fandom and how fan identities influence art." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:091a5028-942a-44f5-a2fd-5374d81d1621.
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Fandom is, as scholars in relevant areas of Media Studies and Sociology attest, a vibrant aspect of contemporary culture and influential in individuals' expression and construction of their identities. This thesis examines and endeavours to challenge how fandom, defined as "emotionally involved consumption of a given popular narrative or text," is conceived and received in contemporary art. It addresses misconceptions about art by four artists who explicitly express their fan identities in their artwork and examines how a finer understanding of fandom can enrich contemporary art discourse and illuminate the artists' works. Bringing together the fields of art criticism and cultural studies, the thesis explores the impact of contemporary artists' fandom on their depiction of celebrities and the critical reception these artworks have received. The principal artists whose works and fan identities are analysed are: Ryan McGinley (b. Ramsey, New Jersey, 1977-), Elizabeth Peyton (b. Danbury, Connecticut, 1965-), Karen Kilimnik (b. Philadelphia, Pennsylvania, 1955-) and Stella Vine (b. Alnwick, England, 1969). In addition to these, art works by eleven other prominent late twentieth and early twenty-first century artists are presented as revealing contrasts. These artists, the principal artists and their comparisons, all are not only doing something interesting artistically; their work presents different approaches to expansive concerns about the nature and function of fans and celebrity in wider culture. Therefore, the purpose of this study is to evaluate how fandom manifests itself in artists' work, whether fan feelings are discernible in their artwork and how admissions of fandom, either through artists' public declarations or evidence in their art, influence critical interpretation of art and colours public perception of the artists themselves.
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Freeman, Christopher John. "Are chemical defenses allocated within sponges to defend regions most at risk to predator attack?" Click here to access thesis, 2007. http://www.georgiasouthern.edu/etd/archive/spring2007/christopher_j_freeman/Freeman_Christopher_J_200701_MS.pdf.
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Thesis (M.S.)--Georgia Southern University, 2007."A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Science." Under the direction of Daniel F. Gleason. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 73-83) and appendices.
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Schultz, Ruth. "Being of shape : being--The ground through which all things are /." Online version of thesis, 1989. http://hdl.handle.net/1850/11082.
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Erminaitė, Giedrė. "Tarp meilės ir priklausomybės/ Stokholmo sindromas / odi de amo." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120629_122857-19895.
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Tapybos darbų kolekcijoje nagrinėjama socialinė, psichologinė problematika, kur formų, spalvų, dėmių ir kitų detalių visuma virsta tam tikra ženklų sankaupa, paveiki psichologinėmis formomis. Visa tai transformuojasi į trijų darbų kolekciją : " TARP MEILĖS IR PRIKLAUSOMYBĖS/STOKHOLMO SINDROMAS1/ODI DE AMO2" - tai psichologinė emocinė sąvoka reiškianti, įkaito priklausomybę nuo kito žmogaus arba tam tikras dvilypiškumo sąsajas. Personažai, turintys skirtingus vaidmenis, pvz., lyčių stereotipus,”<...> kai moteris sąmoningai tapatinasi vien su savo moteriškumu ir ignoruoja animus (t.y vyriškumo) energiją, jai sunku būti objektyviai, diferencijuoti, vertinti, atsirinkti, orientuotis pasaulyje. Visas šias funkcijas ji perleidžia vyrui ir dėl to yra priklausoma nuo jo <...>”3. Tai rodo vyro ir moters, skirtingus simbolinius opozicinius lyčių skirtumus. Vyro - dominavimą, valdžią, moters – paklusnumą. Taigi trapios, dramatiškai inscenizuotos moteriškos figūros, pasimetusios uždaroje erdvėje, apsuptos vyriškumo, parodo „<...>žmogaus izoliaciją ir kovą, o kartu nuolatinį poreikį grįžti į pradžią ir pradėti iš naujo<...>“.4 Darbų ciklui sukurti naudojamos skaitmeninės fotografijos, eskizai, tapybiniai bandymai. Remiantis sukaupta vizualine medžiaga, eskizavimu, sukurta trijų darbų kolekcija, aliejinės tapybos bei graffiti technologijomis ant medžio plokštės.In collection of paintings, topic and expression, analyses the social, psychological problems, where forms, colors, spots and other parts of a whole becomes particular aggregate of signs, influencing psychological forms. This entire are being transformed into a collection of three works " between love and addiction / STOCKHOLM SYNDROME / ODI DE AMO - this is a psychological concept of emotion which means dependence on other person or particular links of ambivalent. Personages have different roles, such as, stereotypes of gender, " ... when a woman deliberately identifies themselves only with their own femininity and ignores the animus (i.e., masculinity ) energy, it is difficult to be objective, to differentiate, evaluate, select and oriented in the world. All these functions that she gives to man and for this she is dependable on him <..>. This represents men’s and woman's different symbolical oppositions genders differences. Man's - dominance, authority, women’s - humility. So fragile, staged a dramatic female figures, lost in an enclosed space surrounded by the male, shows " ... the human isolation and fight, and together the constant need to go back to the beginning and start over ... ".4 To create a cycle of works are being used digital photography’s, sketches, and tests of paintings. Sustaining stored visual materials, sketching, was created a collection of three works, oily paintings and technologies of graphities on panel of wood.
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Trapp, Elizabeth J. "Cy Twombly's 'Ferragosto' Series." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1276609006.
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Badoni, Georgina. "Visual Expressions of Native Womanhood| Acknowledging the Past, Present, and Future." Thesis, The University of Arizona, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10619605.
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This dissertation explores the artistic expressions of Native womanhood by Native women artists. The intention is to offer further examples of creative acts of resistance that strengthen Native identities, reinforce female empowerment, and reclaim voice, and art. This qualitative study utilized the narratives and the artwork of six Native women artists from diverse artistic practices and tribe/nation affiliations. Visual arts examples included in this study are digital images, muralism, Ledger art, beadworks, Navajo rugs, and Navajo jewelry. Through Kim Anderson’s theoretical Native womanhood identity formation model adopted as framework for this study, the results revealed three emergent themes: cultural connections, motherhood, and nurturing the future. Native women artists lived experiences shaped their visual expressions, influencing their materials, approach, subject matter, intentions, motivation and state of mind. This dissertation discloses Native womanhood framework is supportive of visual expressions created by Native women.
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Toniutti, Emmanuel. "Paul Tillich et l'art expressionniste." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ57951.pdf.
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Tomita, Midori. "Woodcuts 1946-1953 by Kosaka Gajin (1877-1953) the discovery of children's art in Japan an German expressionism /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054232744.
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TOMITA, MIDORI. "Woodcuts 1946-1953 BY Kōsaka Gajin (1877-1953): The Discovery of Children's Art in Japan and German Expressionism." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054232744.
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Pate, Jennifer Ashley. "The Encyclopedic Collections of the Metropolitan Museum of Art and the Rudolfine Kunstkammer as Expressions of Power." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1622.
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McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." University of Sydney, 2007. http://hdl.handle.net/2123/2180.
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Master of PhilosophyThis thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
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Farber, Jeffrey W. "Natural interactions : a commentary on our relationship with nature." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1391229.
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The objective of this creative project is to develop a series of paintings in oil on canvas that focus on the issue of mankind's crumbling relationship with the natural world. The paintings will be produced through a process that begins with an intuitive abstract approach and will later develop layered representational imagery. My technique of painting involves initially choosing and mixing colors without regard to the finished painting, allowing the subconscious to determine the direction that the painting will take. Upon completion of the under painting, I begin creating stencils and layering imagery that provoke thought concerning nature and our place in it. This collection of paintings is representative of the process I have developed through a wide variety of influences, and is a means of communicating my concern for the ever dwindling natural environment and our connection to it.Department of Art
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Robillard, Madeleine. "Une oeuvre de l'affect." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1995. http://theses.uqac.ca.
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Timmers, Heiko, and H. Timmers@adfa edu au. "Expressions of Inner Freedom." The Australian National University. Research School of Physical Sciences and Engineering, 1996. http://thesis.anu.edu.au./public/adt-ANU20020328.152158.
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This study investigates the fusion and scattering of nuclei at energies spanning the Coulomb barrier. The coupling of the relative motion of the nuclei to internal degrees of freedom can be thought to give rise to a distribution of potential barriers.
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Two new methods to extract representations of these potential barrier distributions are suggested using the eigen-channel model. The new techniques are based on measurements of quasi-elastic and elastic backscattering excitation functions, from which the representations are extracted by differentiation. A third method utilizing transfer excitation functions is introduced using qualitative arguments. The techniques are investigated experimentally for the reactions 16O + 92Zr, 144,154Sm, 186W and 208Pb. The results are compared with barrier distribution representations obtained from fusion data. The methods are further explored using the systems 40Ca + 90,96Zr and 32S + 208Pb, for which scattering and fusion excitation functions have been measured. The new barrier distribution representations are consistent with the one from fusion. They are direct evidence of the effects of the internal degrees of freedom on channels other than the fusion channel.
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The new representations are, however, less sensitive to the barrier distribution compared to their fusion counterpart. This observation is investigated using coupled-channels calculations. They suggest that residual weak reaction channels, which are not included in the coupling matrix, are responsible for the reduction in sensitivity. In the case of quasi-elastic scattering a distortion of the barrier structure above the average barrier is observed. This effect appears to be due to the de-phasing of the scattering amplitudes contributing to each eigen-channel. Using the heaviest system, 32S + 208Pb, it is demonstrated that there is no improvement in sensitivity to the barrier distribution for systems with large Sommerfeld parameters. This suggests that diffraction effects are not likely to be the cause of the sensitivity reduction.
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The new techniques may be employed successfully in systems with pronounced barrier structure below the average barrier. This is the case for the reactions 40Ca + 90,96Zr. It is shown that for these systems the quasi-elastic scattering and the fusion representations of the barrier distribution contain the same information. The extracted barrier distributions for the two reactions are distinctively different. They are compared to assess the relative importance of collective excitations and neutron transfer in fusion. Exact coupled-channels calculations show that the distribution for 40Ca + 90Zr arises from coupling of the relative motion to double phonon excitations of 90Zr. Further calculations suggest that the reaction 40Ca + 96Zr involves additional coupling to sequential neutron transfer, which is proposed to be a precursor of neutron-neck formation.
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Double phonon excitations are also seen to be important in the system 32S + 208Pb, for which the barrier distribution representations show in addition signatures of one and two neutron transfer.