Dissertations / Theses on the topic 'Realism in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Realism in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Forrest, David. "Social Realism : a British art cinema." Thesis, University of Sheffield, 2009. http://etheses.whiterose.ac.uk/10351/.
Full textDarley, Andrew David. "The computer and contemporary visual culture : realism, post-realism and postmodernist aesthetics." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259729.
Full textMaines, Lauren Ann. "The nature of realism /." Online version of thesis, 1988. http://hdl.handle.net/1850/11541.
Full textEsteba, López Joaquin. "La sindicació de les arts plàstiques a Catalunya durant la Guerra Civil (1936-1939). Institucions d’operacions ideològiques i polarització entre l’art d’avantguarda i el realisme." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/667199.
Full textEl focus de la present tesi el posem en la concepció del realisme i de l'avantguarda durant la Guerra Civil espanyola a Catalunya des de dos grans pilars: la concepció del nacionalisme implícit en el conflicte i la sindicació obligatòria dels artistes plàstics des de l’estiu de l’any 1936, que van suposar la institucionalització de la cultura en la seva necessitat d’alfabetització de la societat civil del moment. De quina manera aquests pilars van permetre una llibertat estètica per part de l’artista? Des de l’eixamplament de l’estètica en àmbits com la política en base la dicotomia art compromès / compromís de l’art, analitzem la posició dels artistes davant del realisme, el neoromanticisme, l’art d’avançada, les Avantguardes. De quina manera la qüestió política relacionada amb el Front Popular antifeixista i la revolució espanyola es sincronitza en la fonamentació teòrica del realisme i de l'avantguarda?
Wang, Shu-Chin. "Realist agency in the art field of twentieth-century China : realism in the art and writing of Xu Beihong (1895-1953)." Thesis, SOAS, University of London, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547458.
Full textReason, Akela M. "Beyond realism history in the art of Thomas Eakins /." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/2195.
Full textThesis research directed by: Art History and Archaeology. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
Zhu-Nowell, Xiaorui. "Capitalist realism : making art for sale in Shanghai, 1999." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111501.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (pages 103-105).
The artist-instigated exhibition Art for Sale (1999), which partially operated as a fully functioning 'art supermarket' inside a large shopping mall, was one of the most important exhibitions that took place during the development of Shanghai's experimental art-scene in the 1990s, a time when the influx of consumer capitalism was becoming a key mechanism of life in the city. Organized by the artist-curators Xu Zhen, Yang Zhenzhong and Alexander Brandt, the exhibition was divided into two sections, a supermarket and an exhibition space, and included 33 artists who were prompted to create a pair of works, one for each section. The supermarket section consisted of works that were at once art objects and commercial goods, many of them bizarre amalgamations of familiar household items, and visitors were able to self-select "merchandise" to purchase; therefore, becoming "art consumers" for the first time in post-revolutionary China. Post-1989 China was a uniquely volatile social and political environment; the failure of the 1989 democracy movement incentivized the rise of state-directed capitalism, and Deng Xiaoping was championing a new official ideology of the Communist Party of China- "Socialism with Chinese characteristics", which doubled as a strategy to thwart the democratic movement of the time. Necessarily, the Shanghai art scene of the 1990s must be seen in the context of these pro-consumerist state policies, as almost overnight, the state attempted to turn a nation of workers into a nation of consumers. This transition was rife with tension. An emerging ideology of consumerism had to be cleverly negotiated with and against a strong residual ideology of Mao-era policies and values. It was a historical moment of incredible flux and ideological hybridity in which the necessary contradiction of "socialist capitalism" could take root. The Art for Sale exhibition was deftly self-reflexive about these permutable conditions of the late 1990s, and this thesis argues that it functioned as a way to worry the question of consumerism in China through making consumption into an aesthetic act; considering, challenging and often subverting the contingent future of capitalism that the state was trying to enact. Through the introduction of Capitalist Realism, an art historical movement begun by East German artists in 1960s West Germany, this thesis links Art for Sale with previous examples of artists using consumerism as an aesthetic strategy, arguing that Capitalist Realism can be used as an interpretive heuristic for understanding how conceptual art practices emerged in 1990s China as a critique of Western consumerism.
by Xiaorui Zhu-Nowell.
S.M. in Architecture Studies
Qian, Zifan. "Enhanced realism in the development of my painting." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3919.
Full textGraham, Jennifer Frances. "Van Eyck's realism and the British art world 1760-1880." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.408988.
Full textMartinac, Krunoslav. "Red flags flying: Elements of socialist realism in Australian art." Thesis, Martinac, Krunoslav (2002) Red flags flying: Elements of socialist realism in Australian art. PhD thesis, Murdoch University, 2002. https://researchrepository.murdoch.edu.au/id/eprint/52755/.
Full textDickerson, Brendhan Bailie. "Magical realism and subjective reality : an investigation of poetic symbolism and the development of related sculptures." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/13862.
Full textTo meet the requirements for the Master of Fine Art degree at the University of Cape Town my intention was to develop a series of sculptural assemblages which address a sense of subjective or poetic reality, using symbolically resonant found and fabricated objects. The body of work is to be understood as a sculptural parallel to (but not illustrative of) Magical Realist literature, in which arcane phenomena are incorporated into a narrative in order to achieve just such a sense of subjective reality.
Delong, Marek. "Cluster World." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2015. http://www.nusl.cz/ntk/nusl-232466.
Full textCrist, Tessa J. "Vladimir Makovsky| The politics of nineteenth-century Russian realism." Thesis, Northern Illinois University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590999.
Full textThis thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective Peredvizhniki. Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the Peredvizhniki was for decades ignored by modernist art history as the result of an influential article, "Avant-Garde and Kitsch," written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the Peredvizhniki, should be regarded not as art, but as "kitsch"--the industrialized mass culture of an urban working class. Even now, scholars who study the Peredvizhniki concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the Peredvizhniki and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art.
Eisenbrey, Peter. "Sculpting Fantasy Realism Creatures of the Desert." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/honors/466.
Full textBush, Melissa Ann. "Art from the Macchiaioli to the Futurists: Idealized Masculinity in the Art of Signorini and Balla." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5655.
Full textBundy, Dallin J. "Magical Realism and the Space Between Spaces." DigitalCommons@USU, 2012. https://digitalcommons.usu.edu/etd/1309.
Full textAndrus, Timothy G. "Stuart Davis's Early Theoretical Writing, 1918–1923: Realism, Cubism, and Dada." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4589.
Full textElhag, Ahmed Hasaballa. "The medium and the message : Edward Bond and the politicization of art." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253130.
Full textHawker, Rosemary. "Blur : Gerhard Richter and the photographic in painting /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20106.pdf.
Full textStevens, S. "Transformative realism : reflections of reality in political avant-garde and contemporary fine art film : Spanish Labyrinth, south from Granada." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9x0q9/transformative-realism-reflections-of-reality-in-political-avant-garde-and-contemporary-fine-art-film-spanish-labyrinth-south-from-granada.
Full textMcEvansoneya, Philip Daniel. ""Dismal Art" or "strong, realistic pictures"? : Luke Fildes, Frank Holl and 'social realism'." Thesis, University of Leicester, 1992. http://hdl.handle.net/2381/35697.
Full textWang, Xuning. "Realist painting and its relationship to my creative practice." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/122.
Full textDernbach, Rafael Karl. "Anticipatory realism : constructions of futures and regimes of prediction in contemporary post-cinematic art." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289021.
Full textArchambault, Pauline. "Foregrounding a Contemporary Mode of Realism: The Work of Santiago Sierra." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397477607.
Full textJohnson, Perry Walter. "And This, Our Measure: Figurative Realism and Workaday Culture." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2151.
Full textCosta, Maria Chiara <1988>. "Pictorial art in the development of the concept of ‘realism’ in George Eliot’s fiction." Master's Degree Thesis, Università Ca' Foscari Venezia, 2015. http://hdl.handle.net/10579/7056.
Full textKwok, Yin-ning. "Concepts of realism and the reception of John Constable's landscape paintings." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B39707301.
Full textPovoledo, Elisabetta Angela. "Caravaggio's early works and the tradition of Lombard realism." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=64068.
Full textMatelli, Federica. "Nuevas perspectivas para lo cotidiano en el arte contemporáneo. Del marco textual al marco especulativo (1980-2014)." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/670732.
Full textThis thesis is based on the hypothesis that the use of images, objects or other elements derived from everyday life is a constant in contemporary art from modern art and has undergone various changes since its beginnings until today. Although in the last thirty years the role of everyday elements in art has been explained by redirecting and creating a link between artistic practices and post-structuralist theories, we have recently detected a turn in artistic and theoretical production determined by the confluence of the artistic field and the theories ascribed to speculative materialism or realism that condition the interpretation of the presence of these elements in works of art and their production and allow new fields of work to be opened that contemplate them (textual framework and speculative framework). The thesis is structured in four parts with their corresponding subsections: 1. Part I. Genealogy of "the everyday": historical contextualisation and sociophilosophical approach to the concept; 2. Part II. The concept of the aestheticisation of everyday life and criticism by contemporary art; 3. The Everyday in Contemporary Art until 1980; 4. The Everyday in Art from 1980 to 2014. Epistemological tools and case studies. These have prepared a historical contextualisation and a genealogy of the concept of "the everyday" and have developed the two theoretical interpretative frameworks (textual and speculative) with the aim of creating tools for interpreting the case studies. In short, the thesis' triple objective is: to provide an exhaustive theoretical study of the concept of the quotidian in relation to contemporary art and current society; to create epistemological tools for the interpretation of a part of the artistic production of the chronological period (1980-2014) that works with this relationship, and to use the case studies -curatorial and artistic discourses- as "reflection machines" about this relationship.
Trueblood, Jeffrey Allen. "Polar night." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2649.
Full textSong, Sheau Ming. "To what extent is realism in painting a relevant and vital force in contemporary art?" Thesis, Lancaster University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527148.
Full textKwok, Yin-ning, and 郭燕寧. "Concepts of realism and the reception of John Constable's landscape paintings." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2007. http://hub.hku.hk/bib/B39707301.
Full textMaeng, Hyeyoung. "Documentation art and Korean Bunche painting : an investigation of Deleuze's Transcendental Realism through the painting process." Thesis, Lancaster University, 2017. http://eprints.lancs.ac.uk/125344/.
Full textPadoongmatvoragool, Arthitaya. "The Tell of Tragedy." Thesis, Konstfack, Ädellab/Metallformgivning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-179.
Full textHyman, James. "The battle for realism : figurative art and its promotion in Britain during the Cold War 1945-59." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309932.
Full textSuret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.
Full textMultiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time
Brito, José Teixeira de. "Glauco Rodrigues e sua obra : trânsitos no tempo." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/185261.
Full textThis dissertation aims to investigate the presence of Glauco Rodrigues' work in the Brazilian art system, the different times and spaces in which his works were articulated, the paths of affirmation and legitimation experienced by his oeuvre after appropriations made by collectors, curators and institutions. The analysis brings a biographical and historical review of the artist's production pursuing to place his performance in a local circuit and it's international overcome. Through his temporal and conceptual displacements, the artist moved between figuration, socialist realism, abstractionism, pop art and tropicalism. From the analysis of the different stages of his work stands out the knowledge he gained and connections built with the artists of each time. The proposal of the text is to identify and bring together narratives and collections, articulating historical discourses and theories of art that are revealed from the body of work of Glauco Rodrigues.
Luciano, Kelli Mesquita. "Referências históricas e o realismo mágico em Il barone rampante, de Italo Calvino /." Araraquara, 2012. http://hdl.handle.net/11449/91522.
Full textBanca: Karin Volobuef
Banca: Adriana Lins Precioso
Resumo: Esta Dissertação objetiva a análise do romance "Il barone rampante", que faz parte da trilogia I Nostri Antenati (1950-1960), em que também estão reunidos os romances "Il visconte dimezzato" e "Il cavaliere inesistente", de Italo Calvino (1923-1985). Buscamos analisar num primeiro momento, alguns fatores que influenciaram a escrita calviniana, como os movimentos de Resistência na Itália, que visavam lutar contra as atrocidades da Primeira e da Segunda Guerra Mundial e do fascismo, como também algumas características da estrutura da fábula, que podem ser identificadas no romance estudado, a partir das atitudes de benfeitor de Cosme que o qualificam como um herói, pois passa por diversas dificuldades e lutas em favor do bem comum de todos. Na segunda parte da Dissertação, evidenciamos algumas referências históricas feitas à Revolução Francesa e ao Iluminismo e seus pontos de intersecção com o contexto histórico, em que Calvino viveu período, que envolveu Guerras e movimentos de grande repercussão e repressão como: o fascismo, o nazismo e o socialismo; menções de espaços reais e de Instituições históricas e de referências a figuras históricas como: Napoleão Bonaparte, Rousseau, Diderot, entre outros. No final da Dissertação, apontamos certas características que aproximam Il barone rampante a variedade do realismo mágico metafísico, como, por exemplo, a decisão do protagonista, Cosme de morar sobre as árvores, entre outros eventos. Além disso, comentamos algumas significações alegóricas em relação ao contexto histórico da narrativa, que remete na realidade ao século XX, época em que Calvino viveu e sobre a alegoria do intelectual Cosme a partir da sua mudança de ponto de vista sobre as árvores, que induzem a reflexão pela necessidade da valorização da educação e pela... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis aims to analyze the novel "Il barone rampante," which is part of the trilogy I nostri Antenati (1950-1960), who are also gathered in the novels "Il visconte dimezzato" and "Il cavaliere inesistente" by Italo Calvino (1923-1985).We analyze at first, some factors that influenced the writing calviniana, as movements of Resistance in Italy, aimed at fighting against the atrocities of the First and Second World War and fascism, but also some characteristics of the structure of the fable, which can be study identified the novel, from the attitudes of benefactor of Cosme which qualify as a hero, which goes through many hardships and struggles in favor of good all in common. In the second part of the dissertation, we noted some historical references made in the novel, about the French Revolution and the Enlightenment and their points of intersection with the historical context in which Calvino lived, involving wars and movements of great impact and repression as fascism, nazism and socialism; terms of actual areas and historical institutions and references to historical figures as Napoleon, Rousseau, Diderot, and others. At the end of the dissertation, we point out certain features that bring Il barone rampante variety of metaphysical magic realism, for example, the decision of the protagonist, Cosme living on trees, and other events. In addition, we discuss some allegorical meanings in relation to the historical context of the narrative which actually refers to the twentieth century, a period in which Calvin lived and about allegory of the intellectual Cosme from his change of view on the trees, which lead to reflection by need for enhancement of education and the maintenance of hope in human progress and technology to living in a more just and egalitarian society. Finally, we comment on symbolic elements such as tree space ... (Complete abstract click electronic access below)
Mestre
Godbey, Margaret J. "Vying for Authority: Realism, Myth, and the Painter in British Literature, 1800-1855." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/81444.
Full textPh.D.
Over the last forty years, nineteenth-century British art has undergone a process of recovery and reevaluation. For nineteenth-century women painters, significant reevaluation dates from the early 1980s. Concurrently, the growing field of interart studies demonstrates that developments in art history have significant repercussions for literary studies. However, interdisciplinary research in nineteenth-century painting and literature often focuses on the rich selection of works from the second half of the century. This study explores how transitions in English painting during the first half of the century influenced the work of British writers. The cultural authority of the writer was unstable during the early decades. The influence of realism and the social mobility of the painter led some authors to resist developments in English art by constructing the painter as a threat to social order or by feminizing the painter. For women writers, this strategy was valuable for it allowed them to displace perceptions about emotional or erotic aspects of artistic identity onto the painter. Connotations of youth, artistic high spirits, and unconventional morality are part of the literature of the nineteenth-century painter, but the history of English painting reveals that this image was a figure of difference upon which ideological issues of national identity, gender, and artistic hierarchy were constructed. Beginning with David Wilkie, and continuing with Margaret Carpenter, Richard Redgrave and Dante Gabriel Rossetti, I trace the emergence of social commitment and social realism in English painting. Considering art and artists from the early decades in relation to depictions of the painter in texts by Maria Edgeworth, Edward Bulwer Lytton, Mary Shelley, Joseph Le Fanu, Felicia Hemans, Lady Sydney Morgan, and William Makepeace Thackeray, reveals patterns of representation that marginalized British artists. However, writers such as Letitia Elizabeth Landon and Robert Browning supported contemporary painting and rejected literary myths of the painter. Articulating disparities between the lived experience of painters and their representation calls for modern literary critics to reassess how nineteenth-century writers wrote the painter, and why. Texts that portray the painter as a figure of myth elide gradations of hierarchy in British culture and the important differentiations that exist within the category of artist.
Temple University--Theses
Konoshima, Nanako. "Dickens and the Visual Arts: Literary Imagination and Painted Image." 京都大学 (Kyoto University), 2014. http://hdl.handle.net/2433/189331.
Full textWallis, Karen. "Painting & drawing the nude : a search for a realism for the body through phenomenology & fine art practice." Thesis, University of the West of England, Bristol, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252566.
Full textAdams, Jeffrey Nigel Philip. "Graphic novels and social realism : three case studies, Keiji Nakazawa's Barefoot Gen, Art Spiegelman's Maus and Joe Sacco's Palestine." Thesis, University of Liverpool, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400406.
Full textBain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Full textENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
Full textRomance Languages and Literatures
Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.
Full textBoivie, Joakim. "Digital Wanderlust : Med digital materia som följeslagare i skapandet." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14703.
Full textWith this bachelor thesis I aim to bring to light the role of the computer in digital creative work. This is accomplished by treating the code that make up digital objects as a form of matter, and with Karen Barad’s agential realism and other research into digital materiality as a point of reference this matter is invited to the creative process as an actor. I’ve been striving for a glimpse of how digital matter comes to life when it’s allowed an active part in the creative process, to see how it expresses itself. By engaging with the digital matter through diffraction and remix as methods I’ve been given an insight into the core of it, and through the process I’ve been working alongside digital matter in intra action. Ultimately I can see how digital matter won’t appear alone, I myself and the computer are both entangled together with the digital matter as a result of the intra actions we’ve been engaging in. My intervention in digital matter becomes visible as glitches, traces of decay that give the digital matter, which can be so fleeting, more concrete and material characteristics. The unintelligible complexity of digital matter also comes to light when it’s allowed influence, as it appears visually. With this knowledge I’ve gained the awareness that digital matter does not have an absolute appearance, and this thesis can be seen as an investigation into how digital matter can appear.
Botchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.
Full textHistory of Art and Architecture
Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.
Full textMacias-Gutierrez, Elizabeth. "Traumagical realism and the re-creation process : subversive commun(e)ication of the traumatic in theatre and performance." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/9974.
Full textMAGNANI, NICOLA. "La letteratura per tornare alla realtà. L'arte narrativa nella proposta culturale di alcune riviste giovanili: «Il Saggiatore», «Orpheus», «Oggi»." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/90.
Full textThe objective of this thesis is to analyse the cultural development of three literary reviews «Il Saggiatore», «Orpheus» and «Oggi» created by a group of young intellectuals in the mid 30's. Following a period of political and institutional consolidation of Fascism, wide discussion was raised about the role of the new generation within the fascist regime. The aim, above all, of these reviews was to bring about a «new culture». There was a reorganization of the culture, which went beyond the epistemological plan of the idealistic system, which was thought to be lacking in effective language. As a consequence newspapers and reviews began to deal with literature, pointing out the inevitable need for a return to the novel as a more realistic art form from an ethical, spiritual, aesthetic and artistic point of view.