Dissertations / Theses on the topic 'Modern 20th century Exhibitions'
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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art Gallery was established in order to promote a European, and particularly British, culture, and the acquisition and appreciation of art was considered an important element in the formation of a stable society. By providing a broad overview of the early years of the gallery, I identify reasons for the choice of acquisitions and explore the impact and reception of a selection of exhibitions. I investigate changes during the 1960s and 1970s through an examination of the Art South Africa Today exhibitions: in addition to opening up institutional spaces to a racially mixed community, these exhibitions marked the beginning of an imperative to show protest art. I argue that, during the political climate of the 1980s, there was a tension in the cultural arena between, on the one hand, a motivation to retain a Western ideal of 'high art' and, on the other, a drive to accommodate the new forms of people's art and to challenge the values and ideological standpoints that had been instrumental in shaping collecting and exhibiting policies in the South African art arena. I explore this tension through a discussion of the Cape Town Triennial exhibitions, organised jointly by all the official museums, which ran alongside more inclusive and independently curated exhibitions, such as Tributaries, which were shown mainly outside the country. The post-1994 period marked an opening up of spaces, both literally and conceptually. This openness was manifest in the revised strategies that were introduced to show the Durban Art Gallery 's permanent collection as well as in two key public projects that were started - Red Eye @rt and the AIDS 2000 ribbon. Through an examination of these strategies and initiatives, I argue that the central role of the Durban Art Gallery has shifted from being a repository to providing an interactive public space.
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Utz, Laura Lee. "Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.
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Suiting the Modern Woman documented the evolution of women's power dressing in the 20th century by featuring four major components: thirteen period suit silhouettes, the power suits of twenty-eight influential and successful high profile Texas women, a look at the career and creations of Dallas designer, Richard Brooks, who created the professional wardrobe for former Texas Governor Ann Richards, and a media room which showcased images of working women in television and movie clips, advertisements, cartoons, and fashion guidebooks. The exhibition served as an application for contemporary museum education theory. Acting as both the exhibition coordinator and educator provided an opportunity to develop interpretative strategies and create a meaningful visitor experience.
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Parsons, Thad. "Science collection, exhibition, and display in public museums in Britain from World War Two through the 1960s." Thesis, University of Oxford, 2009. http://ora.ox.ac.uk/objects/uuid:16cadaac-fb44-4edf-9063-d6ee6a9ffd09.
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Science and technology is regularly featured on radio, in newspapers, and on television, but most people only get firsthand exposure to ‘cutting-edge’ technologies in museums and other exhibitions. During this period, the Science Museum was the only permanent national presentation of science and technology. Thus, it is important to acknowledge the Museum’s history and the socio-political framework in which it operated. Understanding the delays in the Museum’s physical development is critical, as is understanding the gradual changes in the Museum’s educational provision, audience, and purpose. While the Museum was the main national exhibition space, the Festival of Britain in 1951 also provided a platform for the presentation of science and technology and was a statement of Britain’s place within the new post-War world. Specifically, within its narrative, the Festival addressed the relationship between the arts and the sciences and the influence of science and technology on daily life. Another example of the presentation of science was the quest for a planetarium in London - a story that involves the Science Museum, entrepreneurs, and Madame Tussauds. Comparing the Museum’s efforts with successful planetarium schemes isolates several of the Museum’s weaknesses - for example, the lack of consistent leadership and the lack of administrative and financial freedom - that are touched on throughout the work. Since most of this history is unknown, this work provides a fundamental basis for understanding the Museum’s current position, for making connections and comparisons that can apply to similar problems at other institutions, and for learning lessons from the struggles that can, in turn, be applied to other institutions.
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Manasseh, Cyrus. "The problematic of video art in the museum (1968-1990)." University of Western Australia. Faculty of Architecture, Landscape and Visual Arts, 2008. http://theses.library.uwa.edu.au/adt-WU2009.0004.
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This thesis discusses how museum structures were redefined over a twenty-two year period in specific relation to the impetus of Video Art. It contends that Video Art would be instrumental in the evolution of the contemporary art museum. The thesis will analyse, discuss and evaluate the problematic nature and form of Video Art within four major contemporary art museums - the Museum of Modern Art (MoMA) in New York, the Georges Pompidou National Centre of Art and Culture in Paris, the Tate Gallery in London and the Art Gallery of New South Wales (AGNSW) in Sydney. By addressing some of the problems that Video Art would present to those museums under discussion, the thesis will reveal how Video Art would challenge institutional structures and demand more flexible viewing environments. As a result, the modern museum would need to constantly modify their policies and internal spaces in order to cope with the dynamism of Video Art. This thesis first defines the classical museum structure established by the Louvre during the 19th century. It examines the transformation from the classical to the modern model through the initiatives of the New York Metropolitan Museum to MoMA in New York. MoMA would be the first major museum to exhibit Video Art in a concerted fashion and this would establish a pattern of acquisition and exhibition that became influential for other global institutions to replicate. MoMA's exhibition and acquisition activities are analysed and contrasted with the Centre Pompidou, the Tate Gallery and the AGNSW in order to define a lineage of development in relation to Video Art. This thesis provides an historical explanation for the museum/gallery's relationship to Video Art from its emergence in the gallery to the beginnings of its acceptance as a global art phenomenon. Curatorial strategies, the influx of corporate patronage and the reconstruction of spectatorship within the gallery are analysed in relation to the unique problematic of Video Art. Several prominent video artists are examined in relation to the challenges they would present to the institutionalised framework of the modern art museum and the discursive field surrounding their practice. In addition, the thesis contains a theoretical discussion of the problems related to Video Art imagery with the period of High Modernism; examines the patterns of acquisition and exhibition, and presents an analysis of global exchange between four distinct contemporary art institutions.
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이윤영 and Yoon Yung Lee. "The Joseon Fine Art Exhibition under Japanese colonial rule." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196493.
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At the turn of the twentieth century, as Japan expanded its territory by colonizing other Asian nations, the Japan-Korea Annexation Treaty was signed in 1910 and Korea lost its sovereignty. In political turmoil, the formation of national and cultural identity was constantly challenged, and the struggle was not argued in words alone. It was also embedded in various types of visual cultures, with narratives changing under the shifting political climate. This thesis focuses on paintings exhibited in the Joseon Mijeon (조선미술전람회 The Joseon Fine Art Exhibition) (1922-1944), which was supervised by the Japanese colonial government and dominated, in the beginning, by Japanese artists and jurors. By closely examining paintings of ‘local color (향토색)’ and ‘provincial color (지방색),’ which emphasized the essence of a “Korean” culture that accentuated its Otherness based on cultural stereotypes, the thesis explores how representations of Korea both differentiated it from Japan and characterized its relationship with the West.
In order to legitimize its colonial rule, politically driven ideologies of pan-Asianism (the pursuit of a unified Asia) and Japanese Orientalism (the imperialistic perception of the rest of Asia) were evident in the state-approved arts. The thesis explores how the tension of modern Japan as both promoting an egalitarian Asia and asserting its superiority within Asia was shown in the popular images that circulated in the form of postcards, manga, magazine illustrations, and more importantly in paintings. Moreover, this project examines both the artists who actively submitted works to the Joseon Mijeon and the group of artists who opposed the Joseon Mijeon and worked outside of the state-approved system to consider the complexity of responses by artists who sought to be both modern and Korean under Japanese colonial rule.published_or_final_version
Fine Arts
Master
Master of Philosophy
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Costello, Paul. "The goals of the world historians : paradigms in world history in twentieth century." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74629.
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Following Nietzsche, Oswald Spengler posed the central problems of the cyclical history of civilization in the twentieth century. Subsequent world historical theorists have attempted to answer Spengler's nihilistic perspective on the destined rise and fall of all cultures by rescuing a progressive movement which transcended the downfall of civilizations. World history since Spengler has been written in pursuit of an answer to the crises of modernism: to the 'Death of God,' the problem of progress, the emergent technological order with its bureaucratic management of society, and the need sensed by the metahistorians for a new 'mythical' grounding to avert the fall of the West. The "Crisis of the West" dominates the perspectives of the world historians. Their goals for the solution of 'modernism,' through the religious transformation of society or political and cultural world unity, are central to their motivation as writers and to the formulation of their paradigms.
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Berns, Torben. "The paradox of a modern (Japanese) architecture /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38463.
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This thesis analyzes the problems and contradictions inherent in modernity's levelling of the fabricative and political realms. Seeking a broader perspective on the origins of aesthetic culture and aestheticized politics, it examines the relation of architecture to technology, culture, and politics. The thesis examines the consequences of the Enlightenment and "Radical Enlightenment" (understanding the rise of the modern nation-state as a direct consequence of the 18th century's yoking of history and nature) from the perspective of Japan and its encounter with modernity. Japan as a modern nation-state, neither part of the European Enlightenment nor colonized by its instruments, was able to initiate a unique discourse around the question of history and the concomitant issues of identity and nihilism.The thesis tracks the discourse through architecture as the terms shift and become more and more indistinguishable from the Western manifestations from which the Japanese architects wished to claim distinction.
The discussion on difference and possibility---cultural identity and the creative project---as fundamental questions for a contemporary practice of architecture is undertaken through an analysis of the polar positions of Tange Kenzo and Shirai Sei'ichi.
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陳桂月 and Kwee-nyet Chin. "The mythical world of modern Chinese writers (1919-1949)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B31234744.
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Sage, Elizabeth M. "The image and the body in modern fiction's representations of terrorism : embodying the brutality of spectacle." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/44737/.
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My research arises from a critique of the tendency within terrorism debates to equate the terrorist act with the production of spectacular images. Chapter 1 uses the work of Luce Irigaray to critique this trend in terrorism discourses, arguing that such a characterisation relies on a repression of the very materiality that terrorist action exploits. Moreover, placing the concept of terror in an Irigarayan framework reveals that the concept of terrorism is bound up with concepts of masculinity. In developing this critical approach, I build on the thinking of both Irigaray and Gayatri Spivak in turning to literary representations of terrorism to find a means of articulating a new understanding of the concept of terrorism and its place within our culture. Chapter 2 brings together the figure of the woman terrorist in terrorism studies, Nadine Gordimer's Burger's Daughter(1979), and Doris Lessing's The Good Terrorist (1985) in order to critique the portrayal of the feminine in terrorism discourses. Chapter 3 then moves on to ask how the global reach of terrorism discourses after September 11th, 2001, has impacted on our understanding of masculinity and femininity, looking at the relationship between the body and subjectivity in Ian McEwan's Saturday (2006). Finally, Chapter 4 examines how Don DeLillo's Falling Man (2007) figures the body as a site of resistance to such global narratives of terror, as he explores the possibility of an embodied ethics opening up a suspension of photographic and filmic modes of perception. By setting up a dialogue between terrorism studies and literary fiction, I reintroduce the body to our conceptualisation of terrorism. In doing so, I show how literature can open up new ethical horizons in an otherwise closed rhetoric.
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Gaunt, Pamela Mary School of Art History/Theory UNSW. "The decorative in twentieth century art: a story of decline and resurgence." Awarded by:University of New South Wales. School of Art History/Theory, 2005. http://handle.unsw.edu.au/1959.4/25983.
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This thesis tracks the complex relationship between visual art and the decorative in the Twentieth Century. In doing so, it makes a claim for the ongoing interest and viability of decorative practices within visual art, in the wake of their marginalisation within Modernist art and theory. The study is divided into three main sections. First, it demonstrates and questions the exclusion of the decorative within the central currents of modernism. Second, it examines the resurgence of the decorative in postmodern art and theory. This section is based on case studies of a number of postmodern artists whose work gained notice in the 1980s, and which evidences a sustained engagement with a decorative or ornamental aesthetic. The artists include Rosemarie Trockel, Lucas Samaras, Philip Taaffe, and several artists from the Pattern and Decoration Painting Movement of the 1970s. The final component of the study investigates the function and significance of the decorative in the work of a selection of Australian and international contemporary artists. The art of Louise Paramor, Simon Periton and Do-Ho Suh is examined in detail. In addition, the significance of the late work of Henri Matisse is analysed for its relevance to contemporary art practice that employs decorative procedures. The thesis put forward is that an historical reversal has occurred in recent decades, where the decorative has once again become a significant force in experimental visual art.
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Marcus, Karen K. "Twentieth century Chinese architecture : examples and their significance in a modern tradition." Thesis, Massachusetts Institute of Technology, 1988. http://hdl.handle.net/1721.1/78994.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.Includes bibliographical references.
If one were to seek a unifying factor in this relatively short period of a modern Chinese tradition, it might be surprising to find that amidst the jolts of passing out of a feudal era into the twentieth century, the ancient principles of yin and yang still provide the jagged thread with which to attach the modern Chinese culture to the ancient one. This integration of opposing forces causes the pendulum to swing in any cross section of both material and nonmaterial form. Although this idiosyncratic leitmotiv is often to be found locked in a state of contradiction (the antithesis), the principles nevertheless provide a flexible structure and the leeway for change; as Chinese history has proven that rigidity most often results in decline and defeat. Moreover, it has provided a base for the growth of knowledge, readily adapting to the Marxist and Maoist methodology of dialectical materialism in this modern era.
by Karen K. Marcus.
M.S.
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Pan, Lü, and 潘律. "In-visible palimpsest: memory, space and modernity in Berlin and Shanghai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46076037.
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The Best PhD Thesis in the Faculties of Architecture, Arts, Business & Economics, Education, Law and Social Sciences (University of Hong Kong), Li Ka Shing Prize, 2009-2010.published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
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Yu, Xuying, and 郁旭映. "Alternative modernity discourse and intellectual politics in modern and contemporary China: a case study ofXueheng school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48079844.
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This thesis sets to sketch Chinese intellectuals’ sustained efforts to search for an alternative modernity to the Western model throughout the twentieth century, and uncover the interaction between intellectual politics and Chinese modernity discourse by historicizing and contextualizing Chinese modernity discourse.
This study starts with delineating the consistence and the inconsistence of Chinese modernity discourses by juxtaposing different historical conditions and examining reappeared trends of thoughts. Three intellectual currents, i.e., cultural conservatism, humanism, and professionalism, which emerged in the May Fourth period and remerged in the post-socialist condition, are examined to mirror the spiral dynamics and the locus of Chinese modernity. Their respective roles in reconstructing Chinese cultural, ethical and academic orders in response to Western model of modernity are highlighted in the research. Cultural conservatism attempts to legitimize the Chinese culture in the framework of global modernity by resetting or reinterpreting the dialectical relation between the whole and part, universalism, and essentialism. Humanism emphasizes the standard, the guidance of authority, and the self-perfection to resist the ethical disorder caused by the so-called “modern spirit”, which is embodied by individualism, romanticism, and the immoderate expansion of desire. Professionalism influences the pattern of producing and reproducing knowledge about modernity by re-standardizing the academic and the discursive fields and by remolding the identity of the agents.
After exposing how the “alternative modernity” in China, as a discursive-political device, has been produced and repackaged with various contents and meanings, this thesis proceeds to explore the intellectual pedestal of Chinese modernity discourses from two aspects. First, how do the intellectual strategies of self-positioning and position-taking influence knowledge production and reproduction of the Chinese modernity discourse; second, how articulation and re-articulation of modernity discourse reflect the self-adjustments of intellectual politics as well as identity shifts. Through the comparative and diachronic examinations, it poses that, as Chinese modernity discourse is increasingly served as a symbolic capital or a strategy of intellectual politics, it gradually loses its authenticity or even becomes a signifier without signified. Meanwhile, the state-led modernization practice is reversely becoming homogenous, stable, and less diverse, although the dominant ideology, namely, socialism with Chinese characteristics, is, in itself, hybrid, paradoxical, and strategically manufactured.published_or_final_version
Comparative Literature
Doctoral
Doctor of Philosophy
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Ondaatje, Michael L. "Neither counterfeit heroes nor colour-blind visionaries : black conservative intellectuals in modern America." University of Western Australia. History Discipline Group, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0029.
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This thesis focuses on the rise to prominence, during the 1980s and 1990s, of a coterie of African American intellectuals associated with the powerful networks and institutions of the New Right. It situates the relatively marginalised phenomenon of contemporary black conservatism within its historical context; explores the nature and significance of the racial discourse it has generated; and probes the intellectual character of the individuals whose contributions to this strand of black thought have stood out over the past three decades. Engaging the writings of the major black conservative figures and the literature of their supporters and critics, I then evaluate their ideas in relation to the key debates concerning race and class in American life debates that have centred, for the most part, on the vexed issues of affirmative action, poverty and public education. In illuminating this complex, still largely misunderstood phenomenon, this thesis reveals the black conservatives as more than a group but as individuals with their own distinctive arguments.
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Liu, Bingkun, and 劉秉琨. "Laszlo E. Hudec and modern architecture in Shanghai." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31651586.
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Silverthorne, Diane. "New spaces of art, design and performance : Alfred Roller and the Vienna Secession 1897-1905." Thesis, Royal College of Art, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.602330.
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Bonny, Yves. "L'individualisme, de la modernité à la post-modernité : contribution à une théorie de l'intersubjectivité." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74291.
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This work attempts to examine the relevance of the conceptual opposition between modernity and postmodernity on the basis of a typological analysis of the modes of subjectivity and intersubjectivity which are implicated in the integration and the reproduction of a given form of society. We first show that traditional societies rest on concrete and particular modes of personal identity and of mutual recognition, which are integrated together within a common culture, whereas modern societies rest on an abstraction and universalization of forms societally legitimized of subjective identity and of intersubjective recognition. These we propose to designate by the concept of individualism. After presenting the main stages in the construction of modern individualism, we attempt to illuminate some of the implications, but also some of the aporias, that the modern conception of subjectivity and intersubjectivity presents. In the final part of this work, we seek to establish the validity of the notion of postmodernity to define contemporary society. We try to show that the universalist type of individualism, which characterizes modern society and provides its identity, gradually gives way to a "singularist" type of individualism. This latter form of individualism attests to a crisis of personal identity and is associated with the progressive dissolution of any collective identity, that is, of any a a priori intersubjectivity.
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Lam, Po-ying Belinda, and 林寶英. "Modern Chinese political thought and the Min-li pao." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31948571.
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Kaji-O'Grady, Sandra 1965. "Serialism in art and architecture : context and theory." Monash University, School of Literary, Visual and Performance Studies, 2001. http://arrow.monash.edu.au/hdl/1959.1/9120.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
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Nasifoglu, Yelda. "Walter Pichler : the modern Prometheus." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32821.
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The ritualistic aspect of Walter Pichler's work greatly problematizes the traditional view of the art object as the locus of aesthetic contemplation. Yet how are we to approach such art in our secularized world? For it to maintain its meaningfulness, does not ritual require a shared symbolic system?Indirectly guided by Pichler's work, this thesis is an exploration of the contemporary status of the work of art. An investigation into the myth of Prometheus reveals that art and ritual share the same origin. Further inquiries into early Greek sculpture, as well as the concepts of techne and mimesis, expand this origin into the relationship between the art object and the viewer, shifting the customary focus away from the resemblance between the model and the copy. In this space of looking , art no longer presents itself as an aestheticized object---presence and absence, the visible and the invisible, recognition and anamnesis come into play as possible ways of participation in the work of art.
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Kaplan, Stacey Meredith 1973. "The modern(ist) short form: Containing class in early 20th century literature and film." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10574.
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ix, 182 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.My dissertation analyzes the overlooked short works of authors and auteurs who do not fit comfortably into the conventional category of modernism due to their subtly experimental aesthetics: the versatile British author Vita Sackville-West, the Anglo-Irish novelist and short-story writer Elizabeth Bowen, and the British emigrant filmmaker Charlie Chaplin. I focus on the years 1920-1923 to gain an alternative understanding of modernism's annus mirabulus and the years immediately preceding and following it. My first chapter studies the most critically disregarded author of the project: Sackville-West. Her 1922 volume of short stories The Heir: A Love Story deserves attention for its examination of social hierarchies. Although her stories ridicule characters regardless of their class background, those who attempt to change their class status, especially when not sanctioned by heredity, are treated with the greatest contempt. The volume, with the reinforcement of the contracted short form, advocates staying within given class boundaries. The second chapter analyzes social structures in Bowen's first book of short stories, Encounters (1922). Like Sackville-West, Bowen's use of the short form complements her interest in how class hierarchies can confine characters. Bowen's portraits of classed encounters and of characters' encounters with class reveal a sense of anxiety over being confined by social status and a sense of displacement over breaking out of class groups, exposing how class divisions accentuate feelings of alienation and instability. The last chapter examines Chaplin's final short films: "The Idle Class" (1921), "Pay Day (1922), and "The Pilgrim" (1923). While placing Chaplin among the modernists complicates the canon in a positive way, it also reduces the complexity of this man and his art. Chaplin is neither a pyrotechnic modernist nor a traditional sentimentalist. Additionally, Chaplin's shorts are neither socially liberal nor conservative. Rather, Chaplin's short films flirt with experimental techniques and progressive class politics, presenting multiple perspectives on the thematic of social hierarchies. But, in the end, his films reinforce rather than overthrow traditional artistic forms and hierarchical ideas. Studying these artists elucidates how the contracted space of the short form produces the perfect room to present a nuanced portrayal of class.
Committee in charge: Paul Peppis, Chairperson, English; Michael Aronson, Member, English; Mark Quigley, Member, English; Jenifer Presto, Outside Member, Comparative Literature
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Gardam, Sarah Christine. "THE PATHOS OF TEMPORALITY IN MID-20TH CENTURY ASIAN AMERICAN FICTION." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/487648.
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EnglishPh.D.
Lack of understanding regarding the role that temporality-pathos plays in Asian American literature leads scholars to misread many textual passages as deviations from the implied authors’ political critiques. This dissertation invites scholars to recognize temporality-focused passages in Younghill Kang’s East Goes West, Carlos Bulosan’s America is in the Heart, and John Okada’s No-No Boy, as part of a pathos formula developed by avant-garde Asian American writers to resist systemic alienations experienced by Asian Americans by diagnosing and treating America’s empathy gap. I find that each of pathae examined – the pathos of finitude, the pathos of idealism, and the pathos of confusion – appears in each of the major primary texts discussed, and that these pathae not only invite similitude-based empathy from a wide readership, but also prompt, via multiple methods, the expansion of empathy. First, the authors use these pathae diagnostically: the pathos of finitude makes visible American imperialism’s destruction of prior ways of life; the pathos of idealism exposes the falsity of the futures promised by liberalism; and the pathos of confusion counters the destructive nationalisms that fractured the era. Second, the authors use these temporality pathae to identify the instrumentalist reasoning underlying these capitalist ideologies and to show how they stunt American empathy. Third, the authors deploy formal and thematic complexities that cultivate empathy-generating faculties of mind and cultivate alternative forms of reasoning.
Temple University--Theses
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阮慧娟 and Wai-kuen Jeannie Yuen. "Crisis and negotiation: a study of modern chinese fiction in the eighties." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31212050.
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Kerr, Philip Gregory. "Liturgical spaces : procession in the Catholic church." Thesis, Georgia Institute of Technology, 1985. http://hdl.handle.net/1853/21641.
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Flanagan, Stephen R. "Architecture and light : a bridge between science and theology, the measurable and the immeasurable." Thesis, Georgia Institute of Technology, 1997. http://hdl.handle.net/1853/23135.
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Wilson, Allan R., and University of Lethbridge Faculty of Education. "One-dimensional society revisited : an analysis of Herbert Marcuse's One-dimensional man, 34 years later." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 1998, 1998. http://hdl.handle.net/10133/67.
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Using a page by page analysis of Herbert Marcuse's One-Dimensional Man, the author finds insight and empathy with almost all of the ideas in this 1964 book, written at the apex of the Cold War and the Space Race.
Marcuse wrote that contemporary industrial society dominates life and repulses all alternatives, its "project" is to convert nature and people into "stuff", and its absorbs criticism by co-opting it from within.
Although Marcuse did not forsee the collapse of European Communism, his writings about the domination of the industrial world are more prescient: the author finds the progress of free market capitalism has actually
speeded up, with diastrous consequences for both the world's poorest people and its physical ecology. Using contemporary historians, critics and writers that can support Marcuse's analysis, as well as personal experiences and observations, the author cites sources that show 40,000 people die of starvation every day, that 90 million people are born every year, and about 1/3 of the world lives in a realm of exploitation and suffering. In addition, the environment is irreparably damaged, and capitalism may consume itself with automation and electronic finacial speculation. The author proposes a reasonable standard of living for individuals to solve the problems of poverty and environmental chaos, just like teachers are paid to educate children. There must also be a more independent source of information about this crisis, and that information should be brought into classrooms, and the largest corporations must be convinced that rectifying the situation, and paying for it, is in their best interests. The entire project that Marcuse was critical of must change toward the idea of finding ourselves in the service of others. To that end, schools should de-emphasize job training and concentrate on current events and consumer education, there should be more resources for the development of the arts, students should spend more time in school, and post secondary students should spend one academic year working in poorer countries. The cost of these changes should not be argued: there is adequate technology, expertise and wealth in society, what is lacking is the will.iv, 213 leaves ; 28 cm.
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程雲峰 and Wan-fung Ching. "The images of peasants in modern Chinese fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1989. http://hub.hku.hk/bib/B31209166.
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Loayza-Lauffs, Mariana. "The art of Guillermo Kuitca." Thesis, Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021508.
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Minix, Matthew Glen. "Mid-Twentieth Century Neo-Thomist Approaches to Modern Psychology." University of Dayton / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1481061279811111.
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Jones, Doyle Michael. "Masonry ornament : applications of masonry construction in post-modern architecture." Thesis, Georgia Institute of Technology, 1987. http://hdl.handle.net/1853/24139.
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Ip, Sui-lin Stella, and 葉瑞蓮. "The phenomena of post-modern culture in contemporary Chinese literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31245390.
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Twa, Garth Andrew. "Listening to writing : a sociolinguistic enquiry into the creation of meaning and effect in modern American literature, focusing on the work of Kurt Vonnegut and George Saunders." Thesis, University of Sussex, 2011. http://sro.sussex.ac.uk/id/eprint/7578/.
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This thesis proceeds in two modes, utilizing both a critical and a creative lens to think about the use of simple language in formal writing. It examines the production of a register that categorizes insider/outsider status (the mechanics) as well as interrogating the (un)conscious attempts of authors seeking to prise into or remain removed from established cultural identity (the intention). It investigates the use of the vernacular and the informal in American writing in general and how it is ultimately reflected and reworked through an autobiographical channel: an examination of voice, register, and code-switching in my own writing. The first section, ‘Listening to Writing,' is a forensic analysis of Vonnegut and Saunders, two exemplars of literary informality in American writing. It seeks—employing the work of Sarangi, Milroy, Hunston & Thompson and others to pinpoint, at a microanalytical level, what makes the conversational conversational, and the sociolinguistic work of Austin (performativity), Giles, Coupland, and Gumperz (accommodation and identity), and Auer (code switching)—to investigate the authors' specific manipulation of pitch and register to create effect. It also appraises the historical and cultural imperative of the American abhorrence of intellectualism and hence the disdain for high-flown language and how that is reflected in not only the literature but also the very social self-positioning of the authors. The second section, ‘My Ice Age,' is an autobiographical foray into outsider/insider, normal/abnormal categories and boundaries, extending the investigation of voice and register as examined above to explore the complex nature of belonging and alienation, of community and identity, from being a white boy in an Inuit settlement to being from an Inuit settlement in Los Angeles to the complexities of belonging and alienation that arise from being gay. The juxtaposition of two different tones in ‘My Ice Age' is used to reflect the juxtapositions of geographic and temporal otherness, the distance (formality) and increased vernacular in the Los Angeles sections reflecting a need to fit in, to forge a place for myself both geographically and socially through the use of voice and register. Both the critical and the creative lenses elucidate use of simple language and variations of registers to create sociological bonds/alienation. Simple language—and humour—forges communion with reader. The adoption of the vernacular, therefore, has a purpose beyond mere stylistics, in that it also is used in a social and community building (or razing) way. In other words, the use of informality becomes a performative speech act.
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Mastag, Horst Dieter. "The transformations of Job in modern German literature." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
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Collins, Curtis J. 1962. "Sites of Aboriginal difference : a perspective on installation art in Canada." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38172.
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This dissertation traces the presence of installation-based practices among artists of Aboriginal ancestry via selected exhibitions across Canada. It begins with a methodological perspective on Canadian art history, federal law, and human science, as a means of establishing a contextual backdrop for the art under consideration. The rise of an Indian empowerment movement during the twentieth century is then shown to take on an international voice which had cultural ramifications at the 1967 Canadian International and Universal Exhibition. Nascent signs of a multi-mediatic aesthetic are distinguished in selected works in Canadian Indian Art '74, as well as through Native-run visual arts programs. First Nations art history is charted via new Canadian art narratives starting in the early 1970s, followed by the development of spatial productions and hybrid discourses in New Work By a New Generation in 1982, and Stardusters in 1986. The final chapter opens with a history of installation art since the Second World War, as related to the pronounced presence of multi-mediactic works in Beyond History in 1989. Post-colonial and postmodern theories are deployed to conclusively situate both the artistic and political concerns featured throughout this study, and lead into the analysis of selected installations at Indigena: Contemporary Native Perspectives and Land, Spirit, Power: First Nations at the National Gallery of Canada. These 1992 shows in the national capital region ultimately confirm the maturation of a particular socio-political aesthetic that tested issues of Canadian identity, while signifying Aboriginal sites of difference.
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Higgins, Steven A. "The recent past in Indiana : guidance and identification." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390317.
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Buildings of the modern period have traditionally been absent from most architectural surveys. Part of the reason for this lies in the fact that very few guides have attempted to provide meaningful and accurate terms for post-World War II buildings, leaving surveyors without any meaningful way to categorize such structures. The purpose of this creative project, then, is to provide an accurate and meaningful means of applying style and building form categories to post-1941 architectural resources.The creative project first examines major trends in the movement to preserve and, more specifically, to document recent past resources throughout the United States. Primary and secondary sources, both popular and professional, are examined to determine the most common and appropriate labels being applied to modern architectural resources. From this, an illustrated style guide for identifying modern Indiana architecture is created.The creative project then provides a statewide survey of post-1941 architectural resources with both photographic and written documentation as an illustration of how to apply the determined styles and forms.Project narrative -- Catalog of recent past architectural movements.
Department of Architecture
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Choi, Yoon Kyung. "The spatial structure of exploration and encounter in museum layouts." Diss., Georgia Institute of Technology, 1991. http://hdl.handle.net/1853/23301.
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Johri, Mira. "On the universality of Habermas's discourse ethics." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=42062.
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This thesis investigates Habermas's attempt to establish a credible form of universalism in moral and political philosophy by means of the theoretical approach which he terms "discourse ethics." The central question motivating this study is whether Habermas succeeds in this ambition. Discourse ethics specifies a procedure which purports to enable all agents involved in a conflict of interest in which issues of justice are at stake to come to a rational and cooperative resolution. It proposes a position unique among contemporary approaches to justice in the strength and character of its anti-relativist stance: the plurality of human cultures and the situated character of human understanding do not, according to this theory, bar the way to arriving at a minimal form of moral universalism. Although the procedure specified in communicative ethics elucidates only a narrow range of concerns--those pertaining to justice in the strict sense--it aims to do so in a way valid across all human cultures.Habermas's strategy for the defence of a species-wide moral universalism is, I argue, both the key feature of his position, and the least well understood. Discussion of discourse ethics to date has focussed almost exclusively on the question of its appropriateness to the context of modern, Western pluralism. An important reason for this focus has been the intricacy of Habermas's argumentative strategy, which links the recent work on discourse ethics to his longstanding project of developing a theory of communicative action.
The principle aim of this thesis is to clarify Habermas's position by explicating his programme of justification. In so doing, I draw attention to several problems in his approach as a mechanism for cross-cultural conflict adjudication, and endeavour to provide a more perspicuous account of the relation of Habermas's theory to its main philosophical competitors, especially Rawlsian deontology, and contextualism.
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姚潤昆 and Yun-kwan Yiu. "Harvesting The waste land: critical views 1922-1932 and 1965-1975." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2700997X.
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曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.
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Li, Bao, and 李保. "Searching for a new Chinese architecture: an investigation of architecture in China since 1949." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B3122135X.
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Cromer, Bob E. "An analysis of the critical factors affecting the continued development of fiber as an art form." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/520473.
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The purpose of the study was to examine the status of contemporary fiber as an art form and to identify critical factors affecting its continued development.An extensive search of available literature was conducted. From this search, coupled with the researcher's extensive personal involvement with fiber, populations were identified and questionnaires were designed.Three pertinent but different populations, consisting of fiber artists, college/university and art school heads, and museum, gallery, and textile directors/curators were selected to receive the questionnaires. The questionnaires were designed to reflect the similarities and differences of the population.Data were treated to comparative percentages, valid percentages, cumulative percentages, frequencies, and Chi-Squares. Four major concerns were identified and discussed. They are:1. Fiber as Fine Art2. The Importance of Content and Message Orientation in Fiber3. The Problem of Plurality and Fiber4. The Need for a Critical Language Relative to FiberFindings and Conclusions1. The division between fine art and crafts still exists. Therefore, the division also exists for fiber art, which is part of the crafts discipline.2. Most individuals are not in favor of limiting the parameters of what constitutes fiber art in order to help gain a clearer understanding of what fiber art really is.3. There does not appear to be a critical language for fiber art except that which is technique, method, or materials based.4. The opinion of whether fiber art should be message or statement oriented is divided. Some were in agreement while others were not. In addition, some of the respondents answered with "sometimes."
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.
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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Zander, Patrick Glenn. "Right modern." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/28270.
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Thesis (M. S.)--History, Technology and Society, Georgia Institute of Technology, 2009.Committee Chair: Jonathan Schneer; Committee Member: Dr. John Krige; Committee Member: Dr. John Tone; Committee Member: Dr. Gus Giebelhaus; Outside Reader: Dr. David Edgerton.
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Ibrahim, Mohammad Arefeen. "Wall in 20th century architecture : a study on the pattern of change & the ideological factors responsible behind the evolution /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422932.
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Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.
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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.
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Terakawa, Toru. "History and tradition in modern Japan : translation and commentary upon the texts of Sei'ichi Shirai." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32822.
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This thesis examines the concepts of history and tradition in modern Japan, with an emphasis on the writings of Sei'ichi Shirai (1905--1983). Although Shirai has been considered as one of the most important architects of 20th century Japan, he has also been treated as an obscure figure, no doubt partly because of the enigmatic quality of his writings. A major element that contributed to his obscure status and set him apart from his contemporaries was his understanding of history and tradition.The introductory essay examines the concept of tradition prevalent around Shirai's time: how it was constructed by an a posteriori writing of history and in what ways this is complicated by Shirai's writings. The second portion of the thesis is an annotated translation of two of Shirai's texts demonstrating his attempts to disclose the a priori principles inherent in the unfolding of tradition through history.
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Wilburn, Alayna. "IMPERIAL KNOWLEDGE AND CULTURAL DISPLAY: REPRESENTATIONS OF COLONIAL INDIA IN LATE-NINETEENTH AND EARLY-TWENTIETH CENTURY LONDON." Lexington, Ky. : [University of Kentucky Libraries], 2008. http://hdl.handle.net/10225/957.
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Thesis (M.A.)--University of Kentucky, 2008.Title from document title page (viewed on December 11, 2008). Document formatted into pages; contains: vi, 104 p. : ill., maps. Includes abstract and vita. Includes bibliographical references (p. 97-103).
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Bonhoure, Emilie. "Paris-Listed Firms at the Turn of the 20th Century : Did Modern Corporate Finance Theories Already Work?" Thesis, Toulouse 1, 2020. http://www.theses.fr/2020TOU10002.
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Dans cette thèse, nous nous proposons d’examiner plusieurs théories modernes de financed’entreprise. L’objectif est d’étudier les résultats suggérés par les études récentes sur des sujets tels que les politiques de dividendes, les problèmes d’agence, ou encore le financement des entreprises, et testés sur des organisations modernes. Dans cette optique, nous étudions plus particulièrement les firmes qui étaient cotées à Paris au début du XXème siècle.Tout d’abord, nous avons concentré cette étude sur le contexte général de la théorie d’agence, et tenté d’examiner si ce modèle pouvait être appliqué aux firmes de la période précédant la première guerre mondiale. Nous montrons ainsi que c’était le cas. Certains éléments mis en lumière par des études récentes sur ces firmes montrent que ce qui est aujourd’hui appelé « problèmes d’agence » constituait déjà un risque majeur pour elles. De surcroît, les écrits contemporains de ces entreprises du début du XXème siècle ou avant avaient parfaitement identifié ces problèmes comme étant majeurs pour elles mais aussi pour les investisseurs potentiels prêts à participer à leur financement. Dans ce contexte général d’asymétrie d’information et des « problèmes d’agence » potentiellement sévères en résultant, nous nous interrogeons également sur le financement de l’innovation et donc sur la contribution des marchés financiers à leur croissance. Nous montrons que les firmes innovantes de l’époque (soit les firmes de la 2nde Révolution Industrielle) bénéficiaient d’un soutien mitigé de la part des marchés-actions parisiens. Si l’on mesure ce soutien potentiel par le Q de Tobin, ces entreprises de la 2nde RI bénéficiaient de conditions avantageuses quant à leur financement. Au contraire, s’il est mesuré par le taux de dividende, ce soutien est beaucoup moins clair.Les entreprises ayant déjà trouvé un financement devaient ensuite rémunérer leurs actionnaires : elles devaient en particulier leur distribuer des dividendes. Les dernières parties de cette thèse étudient ainsi les politiques de dividendes mises en place par les firmes de la place de Paris au début du XXème siècle. Nous étudions d’abord les politiques de dividendes effectivement mises en place et montrons que ces dividendes étaient payés dans le but de diminuer les coûts d’agence, et en particulier dans le but de réduire les coûts de speculative monitoring. Dans un deuxième temps, nous comparons ces politiques réelles à celles fixées dans le cadre d’une règle statutaire de distribution des profits, qui déterminait l’allocation d’un certain montant de ces profits aux actionnaires. Cette comparaison pourrait permettre d’estimer si et à quel point ceux qui « contrôlaient » la firme suivaient strictement cette règle, et s’ils n’utilisaient pas les exceptions possibles à celle-ci pour en extraire des bénéfices privés au détriment des actionnaires extérieurs et minoritaires. Nous montrons qu’ils allouaient une part des profits cohérente avec celle qui était attendue en moyenne par tous les actionnaires. Si plusieurs interprétations de ce phénomène sont possibles, une explication pourrait résider dans le fait que la règle statutaire constituait un bon moyen de limiter les conflits entre ceux des actionnaires qui contrôlaient la firme et les autresThis thesis offers to explore several modern corporate finance theories in a historical context. The rationale behind is to assess whether the findings recently suggested about topics like corporate dividend policies, agency issues, or firm financing, and tested on very modern corporations could be applicable to an earlier and different context. To do so, we examine the companies listed on Paris stock markets at the turn of the 20th century.First focusing on the general agency framework, we examine whether this model could be atplay within pre-WWI companies. We do find that this was the case. Specific features highlighted by recent studies about earlier corporations indeed provide support for the fact that the today-called “agency” issues were already critical to them. Further, contemporary authors did identify these issues as particularly salient for companies but also for the investors potentially willing to participate in their emergence. In this general context of high asymmetry of information and of resulting critical “agency” conflicts, the financing of innovation and thus the contribution of financial markets to growth are questioned. In particular, we show that the innovative firms of the time (the ones operating in 2nd-IR sectors) benefitted from a mixed support from Paris stock markets. Measuring potential favourable financing conditions by a higher Tobin’s Q, we find that 2nd-IR companies did benefit from a sort of help from these markets in financing their growth. On the contrary, measuring it by the dividend yield provides a less clear result.The firms already financed had to compensate their shareholders for the risk they took. They thus had to pay dividends out. The last parts of this thesis examine the dividend policies implemented by Paris-listed firms at the turn of the 20th century. Focusing first on the ones actually implemented, we provide further support for the agency explanation of dividends, notably showing that these dividends were mostly paid to decrease one specific type of agency costs, speculative monitoring ones. Second, we compare these actual payout policies with the ones fixed in a statutory rule of profit allocation, which committed to the distribution of a certain percentage of profits to shareholders. Doing so could help to assess whether firm controllers strictly followed this statutory rule and did not take advantage of the potential and allowed deviations from it to extract as many benefits as they could at the expense of outsiders and minority shareholders. We show that they did allocate a percentage of profits consistent with the one expected in average by all shareholders. Although several interpretations could be made of this result, it could be explained by the fact the statutory rule was a good way to mitigate conflicts between firm controllers and outsiders