Dissertations / Theses: 'Themes, motives'

1

Lerner, Lindomar Linos. "A Study of the Systematic Use of Themes and Motives." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193810.

Full text

Abstract:

Antonio Carlos Gomes (1836-1896) is considered one of the most important Brazilian composers and was the first New World composer whose work was accepted in Europe. His opera Fosca, though, was never discussed in depth and should be recognized as an important work in the history of the nineteenth century Italian opera for its skillful use of themes and motives. The Brazilian composer and musicologist Mario de Andrade presented a study of the principal themes in 1936, in commemoration of the centennial of Carlos Gomes' birth, but there is no record of a thorough study that shows the magnitude of Carlos Gomes' application of his motivic and thematic technique in this work.In this document, the author identifies the principal themes and motives, and demonstrates how the composer systematically used them to enhance the drama and lend coherence to the work as a whole. Gomes, in Fosca, used the technique to such extent that every major character in the opera has a minimum of one theme related to him or her. The leading role Fosca has many themes to represent her different feelings throughout the opera. There are also themes representing specific feelings between two people, and themes related to the chorus as well. Gomes uses his themes to contribute to the drama as active psychological elements and not simply as ornamentation.The recurring themes in Fosca are easily heard and recognized, but this does not mean that Gomes used them in a rudimentary or merely mechanical manner. Gomes' simplicity proves to be a useful tool in ensuring musical and dramatic continuity, offering us an idea of his broader goal as a musical dramatist.

APA, Harvard, Vancouver, ISO, and other styles

2

Bakalova, Elitsa. "THE DIY - Theatre of Handa Gote. Recurring Themes and Motives." Master's thesis, Akademie múzických umění v Praze.Divadelní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202418.

Full text

Abstract:

In the contemporary world that undergoes constant changes, theatre is changing with certain pace as well. It is only natural as it is an integrant, inseparable part of the society and its make-up. New theatre groups are being established ? some of them last longer and turn into steady regulars on the stage, others are more short-lived due to a variety of factors (art, financial or personal ones). The development of the groups in question could help us outline some of the current tendencies in the theatre world and could contribute to getting a broader and fuller understanding of it.

APA, Harvard, Vancouver, ISO, and other styles

3

Chang, Chian-Yeun. "Towards a culturally identifiable architecture." Diss., Virginia Tech, 1990. http://hdl.handle.net/10919/39934.

Full text

Abstract:

This study proposes a systematic approach for investigators to judge how architecture of a given cultural group can be considered as culturally identifiable. More specifically, it proposes the steps in unveiling the relationships between chosen core elements of cultural distinctness and various design patterns. The suggested sources of core elements are political, social/behavioral, and economic influences on architectural design and approaches to create architectural signs. It is presupposed that a design pattern is considered culturally identifiable when important core elements are communicated via noticeable signs. The communication is perceived from a semiotic analogy of architectural signs, whereby the importance of one core element over the other is identified by the investigator through research into the cultural context under study. A case study on China's architecture is presented to illustrate these steps and test the proposed hypotheses. The steps are so designed that testing the relevance of core elements to architectural signs is essential. Forty-six sample buildings selected from China served as stimulus materials in the case study. These building patterns were rated as different types of signs on the basis of the core elements elicited from China's present-day culture. These buildings also were judged in a survey by forty-four Chinese students and their spouses at Virginia Polytechnic Institute and State University who represent samples of overseas Chinese laypersons. The findings show that survey results deviated significantly from the semiotic results as laypersons considered traditional architecture most representative of Chinese identity. The semiotic results show that culturally identifiable designs are the hybrid forms of traditional and modern architecture. Most laypersons ignored the relationships between their perception of distinct identity in architecture and core elements of economic meanings and sign-creation approaches. This deviation implies a significant cultural lag in perceiving distinct identity between professionals and laypersons, and led to modification of the presupposed hierarchical importance of core elements. Through the case study and findings, this research illustrates the procedure by which investigators can determine from a specific range of cultural elements the most effective means of communication of identity. It enables the inclusion of core elements of popular culture in comparing various design patterns and in differentiating built forms of one culture from that of others. The study ends with the factors and suggestions that are related to communication of Chinese identity in architecture.
Ph. D.

APA, Harvard, Vancouver, ISO, and other styles

4

Holaday, Troy A. "Transcending inaccessibility : reassessing the Action Painters in the light of rhetorical theory." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1237767.

Full text

Abstract:

This interdisciplinary thesis investigates the Action Painting movement using rhetorical theories and models with the intent of producing a higher level of understanding of the paintings and increasing their approachability. A brief history of nonobjective painting, the technique of automatism, and the Action Painting movement is given. Following this, the semiotic character of the visual elements within Action Paintings is discussed and their behavior catalogued through descriptive analysis, using Kenneth Pike's theory of tagmemics. The work culminates in a comparison of painted gestures to conversational implicatures and guidelines are given for establishing meaningful and relevant dialogues with the paintings, presupposing the importance of an intangible context as defined by the reconstruction of authorial intent and anticipated readership.
Department of English

APA, Harvard, Vancouver, ISO, and other styles

5

Yaffe, Phyllis Cohen 1948. "The 'artist and model' theme in Picasso's work between 1926 and 1963 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74042.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Vülser, Ingrid. "The theme of death in Italian art : the triumph of death." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33944.

Full text

Abstract:

This paper focuses on the evolution of the theme the Triumph of Death, the representation of the personification of death and the dead in the late Middle Ages. The first part of this thesis represents different points of view of art historians and historians concerning the death and the afterlife. There follows a short description and analysis of the cultural environment especially regarding literature which closely relates to the visual art and the representation of death. The last part describes three themes of death and the most important representations in frescoes, panels, bas-reliefs of the Triumph of Death evincing the main idea and the underlying structure and composition. Two different ways of representation can be distinguished: the Triumph of Death in the shape of the apocalyptic rider as appearing in the Revelation of Saint John the Evangelist and the Triumph of Death based on Petrarch's poem the Trionfi.

APA, Harvard, Vancouver, ISO, and other styles

7

Grodent, Michel O. L. "De nostos à xenitia: recherches sur la nostalgie de l'exil dans la littérature grecque ancienne et byzantine." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211694.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Downes, Elizabeth Anne Jaynes 1957. "Psychological Ballet: An analysis of selected choreography by Antony Tudor." Thesis, The University of Arizona, 1989. http://hdl.handle.net/10150/292068.

Full text

Abstract:

The term "Psychological ballet" has been used in reference to Antony Tudor's ballets dating from John Martin's January 16, 1940, review of "Lilac Garden" in The New York Times. Until this thesis, the psychological ballet as a genre has been overlooked and left undefined. The Psychological Ballet can be defined by: (1) using Antony Tudor's "Pillar of Fire" as a model example and (2) analyzing the term "psychological ballet" into its two components "Psychological," and "Ballet," respectively. The contribution of drama, with attention to character, is explored. Those dance works which do not fall under the category of Psychological Ballet but are works whose themes "have mental origin or are affected by mental conflicts and/or states" will be defined as Psychogenic Works.

APA, Harvard, Vancouver, ISO, and other styles

9

Dawson, Louisa Art College of Fine Arts UNSW. "Moving house: the renovation of the everyday." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43084.

Full text

Abstract:

This paper describes my research project and body of work, which investigates social inequalities through the different language and functions of everyday objects. The research moves on from my previous Honours research project on the dou ble nature of caravan parks in NSW and looked at the changing demographics of these locations. I noted the increase of semi-permanent, residential 'homes' for low income earners and the unemployed, in these holiday locations. This paper examines broader social issues of homelessness and social inequalities within our society. I look at the complexities in the definitions of homelessness and the ways in which people find themselves in the position where they rely on welfare agencies and government support. I also investigate different representations of homelessness by artists and other social commentators, ranging from the hopeless victim to the vagrant. This section locates my social concerns with the context of theoretical debate and artistic representation. I have used everyday and mundane objects in my artworks to discuss these social concerns. Everyday objects posses a language and commonality that is familiar to all members of society. This language is developed from the different historical, cultural and functional qualities that everyday objects possess. I discus this in relation to the development of the everyday object in artistic practices from the early 20th century to today. Of specifically importance to my practice is the influence of contemporary German artists and their manipulation of objects to make works with political and social content. Throughout this paper I have discussed individual art works which illustrate my social concerns and the practicalities of the everyday. Revealing how I juxtapose certain objects to question the uneven nature of travel and home, with regards to possessions and mobility. Additionally I challenge the normal functions of objects to reveal new absurd possibilities of use.

APA, Harvard, Vancouver, ISO, and other styles

10

Majumder, Doyeeta. "The 'New Prince' and the problem of lawmaking violence in early modern drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/11969.

Full text

Abstract:

The present thesis examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. The thesis will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince'. I will demonstrate that while the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis', independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis' in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu' and through an act of law-making violence.

APA, Harvard, Vancouver, ISO, and other styles

11

Reid, Suzanne Elizabeth. "Becoming a modern hero: the search for identity in Cynthia Voigt's novels." Diss., Virginia Tech, 1993. http://hdl.handle.net/10919/38326.

Full text

Abstract:

The purpose of this study is to explore the novels of a highly respected author of young adult literature and to summarize the plots, analyze the themes, and examine themotivations of the characters in a format that would be accessible and useful to the classroom teachers and students who read her novels. The bulk of the document will follow the format of the Twayne Series of Young Adult Writers, a serial publication of biographical information, plot summary, and critical commentary that is standard in many school libraries. Cynthia Voigt's novels are both popular with teachers and students and well-acclaimed by literary critics and scholars of young adult literature. The first chapter outlines Voigt's professional career and the events in her life that affected her writing. The four chapters that follow treat individual novels grouped as they relate to themes of defining a self, balancing commitment to self and family, learning to recognize and value individual differences, and finding the courage to challenge socially conventional expectations. The sixth chapter summarizes Voigt's philosophy of personal development as it is reflected in her writing, and the last chapter suggest strategies which could be applied to Voigt's novels in the classroom. Throughout the analses of Voigt's novels, critical Opinions and scholarly commentary have been summarized to provide a perspective that is informed by a variety of sources of information about this author's work in particular and about young adult novels in general.
Ed. D.

APA, Harvard, Vancouver, ISO, and other styles

12

Christian, Amy J. "Human distillations : the visual and conceptual development of a body of work." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724961.

Full text

Abstract:

The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

13

Oberlander, Erin Marissa. "Reaching Arcadia: Rural and Agricultural Themes in Vocal Art Music including Plans to Introduce this Music to a Rural Audience." Diss., North Dakota State University, 2011. https://hdl.handle.net/10365/29768.

Full text

Abstract:

Throughout the history of Western Music, composers have written works on rural and agricultural subjects. The first half of this dissertation examines a number of important works from the Baroque era through the present day and the composers who have chosen this specialized subject matter. Rural communities are underserved where the arts are concerned. Yet, rural audiences have perhaps the best chance at identifying with the subjects of this particular subset of vocal art music. The second half of this dissertation examines reasons why it is important to reach rural communities with vocal art music. Four sample recital programs appropriate for rural audiences are included.

APA, Harvard, Vancouver, ISO, and other styles

14

Stiebeling, Detlef. "Traditional iconographic themes in a Victorian context : paintings by Sir John Everett Millais between 1848 and 1860." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=73982.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Egan, Rachel K. "New perspectives on the quatrefoil in classic Maya iconography the center and the portal." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4759.

Full text

Abstract:

The quatrefoil is a pan-Mesoamerican symbol with considerable time-depth. For the Maya, use of the symbol peaked during the Classic Period, reaching its highest frequency and largest geographical spread. Consequently, understanding its meaning has the potential to illuminate information about Precolumbian Maya worldview. While there have been several studies that focus on Preclassic Period quatrefoils, a similar study is lacking for Classic Period. Furthermore, the evaluations of the quatrefoil that do exist for the Classic Period are limited, often focusing on a select few examples. This thesis attempts to rectify the gap in extant research through an examination of the quatrefoil motif utilized by the Classic Period Maya. Specifically, the goal of the thesis was to determine whether the current interpretation of the quatrefoil as a cave is and also to investigate how the symbol communicated broader ideas about worldview and ideology. The approach that was utilized focuses on both archaeological and iconographic contexts. As an iconographic symbol, I attempt to understand the quatrefoil through the use of semiotics with particular emphasis on contextualization and analogy. The results of this study suggest that, while there were some patterns related to spatial distribution, the meaning of the quatrefoil motif was dependent on context and had considerable variations. I conclude that the analysis of the symbol, when based on specific usages and contexts, reveals that there is not enough evidence to support the current interpretation of quatrefoil as cave. Rather, the quatrefoil can be more accurately interpreted as a cosmogram that delineated information about how the Maya conceptualized, ordered, and accessed space that was appropriated by elites to reinforce and even legitimize political authority.
ID: 030646206; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Error in paging: p. 213 followed by p. 190-205.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references.
M.A.
Masters
Anthropology
Sciences
Anthropology

APA, Harvard, Vancouver, ISO, and other styles

16

Anker, Willem P. P. "Die idioot : spieël en skadu ; Sirkus (roman)." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53373.

Full text

Abstract:

Thesis (MA)- Stellenbosch University, 2003.
ENGLISH ABSTRACT: In fulfilment of the degree of Magister in Creative Writing: Afrikaans, a novel titled Sirkus (Circus) is presented in which the main character figures as an idiot. It is accompanied by a perspicacious formal essay which maintains the relationship between theory and novel. The essay titled "Die idioot: spieël en skadu" (The idiot: mirror and shadow) reflects on the problematics concerning the representation of the idiot in literary texts. The essay investigates the phenomenon of the idiot in literature according to well-known literary texts presenting idiots. What these texts have in common is that the narrator acts on behalf of a character who does not have the ability nor the will to narrate himself. The problematics is viewed from a thematic as well as writing technique niveaux, according to insights gleaned from literature, philosophy, narratology and psychology. The argument concludes by reflecting on the responsibility of the author and the ethics of creating an effigy of the idiot. The novel Sirkus, (Circus), focuses on an idiot character with webbed hands and feet, Siegfried Landman. It is an exposition of his journey to hell starting on a farm in the Karoo. It takes him through a grotesque urban landscape where he eventually ends up in a circus of freaks. The text starts with the death of Siegfried's father and is in the form of a quest narrative, a quest for the vague image of his uncle Fischer. The tale emanates predominantly from Siegfried's consciousness. During the course of the text he is accompanied by varioius travelling companions who each fmd a voice in the text.
AFRIKAANSE OPSOMMING Ter vervulling van die graad van Magister in Kreatiewe Afrikaanse skryfkunde is 'n roman getiteld Sirkus voorgelê waarin die hoofkarakter 'n idiotefiguur is. Dit word vergesel met 'n verbandhoudende beskoulike werkstuk: "Die idioot: spieël en skadu", wat die vorm aanneem van 'n essay oar die problematiek rondom die representasie van die idioot in literêre tekste. In die werkstuk word die verskynsel van die idioot in die letterkunde ondersoek aan die hand van bekende literêre tekste waarin idiotefigure gerepresenteer word. Hierdie tekste het dit gemeen dat die verteller optree namens 'n karakter wat nie die vermoë óf die wil het om self te vertel nie. Die problematiek word beskou op tematiese sowel as skryftegniese vlakke aan die hand van insigte uit die letterkunde, filosofie, narratologie en sielkunde. Die argument sluit uiteindelik af met 'n besinning oor die skrywerlike verantwoordelikheid en 'n skrywerlike etiek ten opsigte van die uitbeelding van die idioot. Die roman Sirkus fokus op 'n idiote-karakter met gewebde hande en voete, Siegfried Landman. Dit is 'n uitbeelding van sy hellevaart wat begin op 'n plaas in die Karoo en hom voer deur 'n groteske stadslandskap voor hy uiteindelik opeindig in 'n sirkus van fratse. Die teks begin met die dood van Siegfried se vader en is in die vorm van 'n soektognarratief, 'n soektog na die vae beeld van sy oom Fischer. Die verhaal word grotendeels vanuit Siegfried se bewussyn vertel. Hy word deur die verloop van die teks vergesel deur verskeie reisgenote wat elk ook 'n eie stem in die teks verkry.

APA, Harvard, Vancouver, ISO, and other styles

17

Du, Plessis Carla (Carla Susan). "Reconsidering the conventions employed in comix and comix strips." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21211.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Xin, Hua (Composer). "Evocative Foreshadowing: The Motivic Construction in "The Legend of Two Rings"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011770/.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.

Full text

Abstract:

This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.

APA, Harvard, Vancouver, ISO, and other styles

20

Hall, Nancy. "Personal drawings as a political statement." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724955.

Full text

Abstract:

This creative project entailed the creation and display of ten drawings. These drawings were to be the result of research into the lives and artistic styles of a number of visual artists who explored political and social themes. The goals of the artist of the creative project were to develop and extend her ability to produce a personal visual language, to communicate by way of her drawings certain feminist and social concerns, and to relate her treatment of the drawn figure to the treatment other artists have traditionally given these concerns.Within the context of the ten drawings submitted for this creative project, it became clear that the artist had begun to develop a personalized visual language. The human figures were indicated by outlines which suggested the three dimensional form in a manner that was distinctive to the artist while fitting into the realm of contemporary feminist and political art. Furthermore, these drawings described the humanist/feminist concerns of the artist.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

21

Lake, G. Thomas. "The five paintings of the Adoration of the Magi by Sandro Botticelli /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61261.

Full text

Abstract:

The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects.
This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.

APA, Harvard, Vancouver, ISO, and other styles

22

Munson, William Donald. "Rites of passage." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1124882.

Full text

Abstract:

Portrait painting is an art form that has been used by artists for years. I am using the portrait to convey a story. The story follows a boy's process of becoming a man. The discovery of old family photographs initially inspired the project. The rite of passage theme stems from this inquiry into the process of growing up. Several artists inspired my work in the formal and conceptual aspects of my portraits. Those artists include Paula Rego, Chuck Close, and Robert Henri. "Rites of passage" is a phrase that carries with it many meanings and issues. This creative project is both a consideration of the rites of passage theme and an investigation of the painted portrait.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

23

Bolgun, Oya. "A study of technology and human relations developed in a series of paintings." Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230600.

Full text

Abstract:

The ambition of this creative project was to portray the communication between individuals of our time, which is being made shabby by the effect of technological life. As an artist, I am dealing with the issue of our sense of respect for each other and how much we are aware of each other.This study includes the art works of artists Robert Motherwell and Joan Mitchell by whom I have been inspired. I have learned a lot from their art works and from their philosophies. I will describe my art works one by one in terms of the techniques that I have used, and the feelings behind them.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

24

Hoffman, Jeanne. "Drawing near : inscribing urban spaces." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/4078.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Miller, Virginie Witte. "Marsden Hartley's tribal esthetics." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/558070.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Rondou, Katherine. "Le thème de sainte Marie-Madeleine dans la littérature d'expression française, en France et en Belgique, de 1814 à nos jours." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210807.

Full text

Abstract:

Le présent travail enrichit la thématologie à un double niveau, à la fois par une réflexion méthodologique sur les différents modes de manifestation du thème, et par une meilleure connaissance d'un "mythe" littéraire précis, celui de sainte Marie-Madeleine, dont la vitalité ne laisse aucun doute, tant dans la fréquence de l'utilisation du personnage depuis deux mille ans, que dans l'originalité des interprétations, malgré d'inévitables redites et banalités.

Sur la base d'une analyse minutieuse des différentes composantes du thème magdaléen dans la littérature franco-belge d'expression française après 1814, et des incarnations féminines qui s'en dégagent, cette thèse définit les contours du visage de la Madeleine de ces deux derniers siècles, et démontre la raison fondamentale de la permanence de la figure évangélique à travers les siècles :sa rencontre immédiate, et constante, avec le motif de la Femme dans la civilisation judéo-chrétienne.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished

APA, Harvard, Vancouver, ISO, and other styles

27

Swanepoel, Liani Colette. "Aeneas se onderwêreldse reis in illustrasie : ’n resepsie-historiese studie van tonele in Aeneïs VI." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1690.

Full text

Abstract:

Thesis (MA (Dept. of Ancient Studies) -- University of Stellenbosch, 2005.
Throughout the centuries artists have visualised the imaginative works of Publius Vergilius Maro in a variety of art forms. Paintings, frescoes, sculptures and even tapestries have made the wordscenes of his great epic, the Aeneid, concrete. The thesis investigates only the illustration of the epic in manuscripts and printed texts or translations. The illustrations of scenes in Book VI – the journey of Aeneas in the underworld – are studied using the reception-historical approach. This is to determine whether the illustrations of the Trojan hero’s journey in the underworld reflect the reception of the Aeneid in the different eras or periods. The illustrator is a “reader” of the Aeneid text or translation and consequently his/her illustration of a particular scene reflects his/her own visual interpretation thereof. Illustrations of Book VI in manuscripts like the Vergilius Vaticanus of late Antiquity and the mid- 15th century Riccardiana Vergilius of Apollonio di Giovanni are examined. A study of illustrations in printed texts or translations range from the 1502 Grüninger edition of Vergil edited by Sebastian Brant to the Book VI illustration of Thom Kapheim in a textbook published in 2001. The aim is to establish how illustrators associated with Book VI, interpreted it, how their environment and the spirit of the age influenced their visualisation and how their illustrations reflect the reception of the epic throughout the centuries. Such a study hopes to provide a contribution to Vergilian reception and Nachleben. In the process a better understanding can be obtained for the importance and changing role of Aeneid VI and the whole epic in different eras. It is found that the illustrators of the Aeneid – influenced by the different spirit of their times and environments – brought forth unique visual interpretations of scenes in Book VI that suggest a particular reception of the epic at that specific point of time. The illustrative spectrum of Book VI throughout the centuries can be summarised as follows: revival, allegorisation, pedagogic, realistic decoration and eventually increasingly unrealistic decoration. From late Antiquity to the beginning of the 21st century, the illustrative visualisation of the journey of Aeneas in the underworld indicates that there has always been a definitive response to Vergil and his epic.

APA, Harvard, Vancouver, ISO, and other styles

28

Wise, Heather M. "A studio project in woodcarving : the symbolism of the buffalo in art yesterday, today, and tomorrow." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1217379.

Full text

Abstract:

This creative project interpreted and applied the buffalo in Native American culture - its symbolism, significance and virtues - to woodcarvings for the lives of people today. The carvings explored a range of styles, media and symbols but all use buffalo imagery and each piece represents how I have applied the buffalo to my life. Some pieces are based on historical events while others explore personal emotions. Wood surfaces differ from natural or bleached to painted. No style unifies the body of work. In each piece realism and abstraction, positive and negative space is handled differently. Buffalo facts and myths were interpreted to convey what white people can learn from the buffalo. It was a spiritual link and messenger from Native Americans to the Great Spirit. The buffalo was revered and respected as a vital in the life cycle. White man destroyed the buffalo during the nineteenth century through the acts of greed, disrespect and ignorance. It seems to have returned with a message for people of all races. This message is one that must be found within each individual.
Department of Art

APA, Harvard, Vancouver, ISO, and other styles

29

Reed, Kesayne. ""I've always known this place, familiar as a room in our house" : engaging with memory, loss and nostalgia through sculpture." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020022.

Full text

Abstract:

My exhibition draws on Andreas Huyssen's notion of memory sculpture to articulate my own sense of loss and trauma, due to the divorce of my parents. Within my work I explore the effects that divorce had on me and how it has disturbed my normative understanding of home and family. I have created scenarios alluding to the family home that I have manipulated in order to convey a sense of nostalgia and loss. By growing salt crystals over found objects and/or cladding them in salt, I attempt to suggest the dual motifs of preservation (a nostalgic clinging to the past) and destruction (due to the salt’s corrosive properties). In this way, the salt-crusted objects serve as a metaphor for a memory that has become stagnant, and is both destructive and regressive. The objects encapsulate the mind’s coping methods to loss. In my mini thesis, I discuss characteristics of memory sculpture as a response to trauma, drawing on Sigmund Freud's differentiation between mourning and melancholia. I also unpack how objects and traces (such as photographs) may act as nostalgic triggers, inducing a state of melancholic attachment to an idealised past. I address these concerns in relation to selected works by Doris Salcedo and Bridget Baker, and also situate them in relation to my own art practice.

APA, Harvard, Vancouver, ISO, and other styles

30

Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.

Full text

Abstract:

The notion of doubledeath, as an idea to generate work, can be seen as both an ironic reflection on the medium of photography and a critical attempt to comment on contemporary culture. In short, the inherent characteristics of the photographic medium and its function within society are combined. Photography embodies both death and the beginning of something autonomous and new in the very moment of the picture-taking process. A photograph is a mere simulation of what was once there, in front of the lens, transformed onto photographic paper. It then opens up a whole range of new possibilities to the viewer. The photograph's almost life-like appearance informs the photographic myth that is the idea that a photograph provides evidence of absolute truth. This characteristic together with the possibility of manipulating and altering a photograph has been continuously exploited by mass media to influence, make and guide our perceptions towards reality. These characteristics of image-making have left the borders between fiction and fact blurred. Living in a world of over-mediation it is hard to escape and find one's way around in this melting pot of the various realities suggested. Reality today is informed by the present trace of an absent original. When this is recorded photographically, it could be described as a doubledeath. Both this research documentation and the studio work are social comments on contemporary life and artmaking. Where photographs record scenes from life informed by visual simulation (the presence of the absent) the notion of doubledeath becomes most obvious. Moreover, they reflect contemporary culture, addressing and investigating concerns fueled by today's omnipresent commodity and life-style culture, and provoking thoughts about illusion and the crises of the real. In the 21st century we interact with, acknowledge, accept or even prefer the surface over the essence of things, and real experience becomes more diluted.

APA, Harvard, Vancouver, ISO, and other styles

31

Fletcher, Lauren Jean. "Adaptive realities : effects of merging physical and virtual entities." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018557.

Full text

Abstract:

In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.

APA, Harvard, Vancouver, ISO, and other styles

32

Mutch, Andrew C. "A survey of the development and assessment of the influence of golf as a traditional sporting theme in the pre-1930 decoration of ceramics." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/604.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Dehon, Pierre-Jacques. "L'hiver chez les poètes latins, des origines à l'époque de Néron." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212986.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Jilek, Dean. "The Re-Unification of Dr. Edwin Fissinger's Prairie Scenes: A Choral Cycle." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862777/.

Full text

Abstract:

Edwin Fissinger (1920-1990) was a conductor and prolific choral composer. His compositional techniques, settings of text, jazz-influenced harmonies, and melodic propulsion fulfill an important role in each of his compositions. In the eight choral cycles he composed, Fissinger unified each cycle through thematic and textual elements. Although this resulted in a logical progression of poetry and music, Fissinger's final choral cycle, Prairie Scenes, was not published as he intended. Rather, individual selections from the cycle were published by two different publishing houses, out of sequence, and sixteen years apart. Consequently, the eight pieces are not currently performed together. Today's choral conductors, singers, and audience do not fully appreciate the value of this choral cycle and cannot understand its intended context. It is necessary to provide an in-depth investigation of the original eight-piece work Prairie Scenes: A Choral Cycle to place the appropriate organizational set together. This study illustrates the importance of the unification of Fissinger's Prairie Scenes: A Choral Cycle through a study of the poetry, the thematic material as it relates to the natural elements of the prairies, the manuscripts, and interviews with Fissinger's publishers and colleagues. An examination of Fissinger's compositional technique to convey the meaning of the text reveals a clear link between Prairie Scenes and the North Dakota prairies and its seasons. A description of the development of the choral cycle throughout music history and a biography of Edwin Fissinger and his compositional style are also included.

APA, Harvard, Vancouver, ISO, and other styles

35

Cibalabala, Kalombo Mutshipayi. "L'impact de la tradition dans le roman congolais de langue française (1969-1989): assai d'analyse sociocritique." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211688.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Cibalabala, Kalombo Mutshipayi. "L'impact de la tradition dans le roman congolais de langue française (1969-1989): essai d'analyse sociocritique." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211688.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Higgins, MaryEllen. "Questions of apprenticeship in African and Caribbean narratives gender, journey, and development /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034547.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Van, Staden Leonora. "Bitterkomix en Stripshow : pornografie en satire in Afrikaanse ondergrondse strippe." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1330.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Oersen, Sheridene Barbara. "The representation of women in four of Naguib Mahfouz's realist novels: Palace walk, Palace of desire, Sugar street and Midaq alley." Thesis, University of the Western Cape, 2005. http://etd.uwc.ac.za/index.php?module=etd&amp.

Full text

Abstract:

This thesis involved the various discourses around Egyptian novelist Naguib Mahfouz's representation of women in four of his most well-known novels, which were originally written in Arabic. At the one extreme, he is described as a feminist writer who takes up an aggressive anti-patriarchal stance, delivering a multi-faceted critique on Egyptian society. Mahfouz's personal milieu, as well as the broader social context in which he finds himself, was given careful consideration. It was also considered whether the genre in which the four novels have been written has a significant influence on the manner in which Mahfouz has represented his female characters.

APA, Harvard, Vancouver, ISO, and other styles

40

Munro, Samantha Fawn. "Being for others : critical reflections on the stranger, the estranged and the self in participatory art." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017771.

Full text

Abstract:

By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.

APA, Harvard, Vancouver, ISO, and other styles

41

Skibo, James Matthew. "Use-alteration of pottery: An ethnoarchaeological and experimental study." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185281.

Full text

Abstract:

Archaeologists rely heavily on pottery data to make inferences about the past. Although a critical component of such inferences is knowing how the pots were used, archaeologists at present cannot reconstruct accurately pottery function. This research provides the means whereby actual pottery use can be determined from traces that remain on pots. The study focuses on an analysis of nearly 200 vessels collected in the Kalinga village of Guina-ang. Traces, in the form of organic residues, attrition, and carbon deposits, are linked to pottery use activities observed in Kalinga households. The analysis of organic residue focuses on fatty acids absorbed into the vessel wall; samples are taken from Kalinga cooking pots and several types of food. It is found that rice cooking pots can be discriminated from vegetable/meat cooking pots, though individual plant species cannot be distinguished in the latter. In several cases, however, there is conclusive evidence for meat cooking. An analysis of Kalinga "archaeological" sherds was also performed to look at fatty acid preservation. A pottery attrition analysis, similar to the study of lithic use-wear, is also performed on Kalinga pottery. The objective is to understand the general principles in the formation of an attritional trace. Nine areas on Kalinga cooking vessels are found to have attritional patches. The two forms of Kalinga cooking vessels could be discriminated based on attrition. Carbon deposits reflect what was cooked, how it was heated, and some general activities of cooking. Interior carbon deposits result from the charring of food and is governed by the source of heat, intensity of heat, and the presence of moisture. The processes that govern the different types of exterior soot are difficult to identify and several experiments are performed. It is found that soot deposition is controlled by wood type, temperature of the ceramic surface, and the presence of moisture. This research demonstrates that archaeologists can begin looking at organic residues, attrition and carbon deposits to infer how their vessels were used in the past.

APA, Harvard, Vancouver, ISO, and other styles

42

Robins, Amanda School of Arts UNSW. "Slow art : meditative process in painting and drawing." Awarded by:University of New South Wales. School of Arts, 2006. http://handle.unsw.edu.au/1959.4/31214.

Full text

Abstract:

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called "meditations," which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

APA, Harvard, Vancouver, ISO, and other styles

43

Regan, Clarissa. "Transforming tales : fairy stories in a contemporary world." Thesis, The University of Sydney, 2009. https://hdl.handle.net/2123/21678.

Full text

Abstract:

Dissertation The research undertaken examines the functions and role of narrative in society, looks at examples of narrative in ceramic art and describes the use of narrative in a series of ceramic sculptures created by the author during 2007, 2008 and 2009. Changes in ceramic form historically are also described, with reference to Greek, Chinese and contemporary ceramic artists including Grayson Perry, Betty Woodman, Rudy Autio and Antje Scharfe. Critic Garth Clark’s concept of the ‘pot as drawing’ is also discussed. Two traditional fairy tales, Hansel and Gretel and Bluebeard are discussed and analyzed for their narrative content, as well as from a Jungian psychological perspective. Theorists Julius Heuscher, Bruno Bettelheim, Sheldon Cashdan, Max Luthi, Marina Warner and Clarissa Pinkola Estes are cited for their insights into the structure of these stories. How these two stories can be usefully understood in contemporary society is also discussed; including the issues raised of commodity and consumer culture, childhood play, containment and captivity and secrecy in institutions and medical settings. These concerns are discussed through the ideas of Jean Baudrillard, John Evans and Jon Goss. Studio Work The studio work consists of a series of ceramic sculptures rethinking the narratives of Hansel and Gretel and Bluebeard in a contemporary world. The three-dimensional clay and mixed media objects examine the ideas of containment, cages, materialism, barriers, and secrecy. My intent was to find metaphoric ways of expressing these complex ideas in a physical form. The objects have been created using the ceramic methods of throwing and slab-building. Research was undertaken into using print-making technologies in ceramic work, with IX new applications of screen-printing technologies on glazed surfaces, porcelain slabs, solar-plate technology and digital decals. The work also explored the development of the ceramic form; the interaction between the use of cut-out figures and the underlying form, the idea of a ‘pot as drawing’ and its further extension as installation.

APA, Harvard, Vancouver, ISO, and other styles

44

D'Hainaut, Brigitte. "Les retables d'autels sculptés dans les Pays-Bas à la fin de l'époque gothique (XVe-début XVIe siècle): raisons, thèmes et usages." Doctoral thesis, Universite Libre de Bruxelles, 1996. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212274.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Lisewski, Krzysztof Dariusz. "Studien zu Motiven und Themen zur Josefsgeschichte der Genesis /." Frankfurt am Main ; New York : Peter Lang, 2008. http://d-nb.info/990411737/04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Lisewski, Krzysztof Dariusz. "Studien zu Motiven und Themen zur Josefsgeschichte der Genesis." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2000. http://d-nb.info/990411737/04.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Hartigan, Patrick Art College of Fine Arts UNSW. "Within words, without words." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43083.

Full text

Abstract:

This paper centres in and around words. I have incorporated words into my recent work in a variety of ways including drawing, Letraset, sound and fiction writing. The philosophical questions which arise through any use of language and the various ways of adopting these questions and words within a 'visual art' context is considered in a number of ways. These include The Voyager Interstellar Space Mission which was humankind's first attempt to communicate with other hypothesized populations, conceptual word-incorporating artists, writers of fiction and philosophers within whose work can readily be found an extreme vigilance towards language. Alongside this word exploration I will consider other processes through which I've made and continue to make, works of art. These processes include drawing and film/video. My drawings (which sometimes include words) will be addressed in terms of a crossover between the drawn line and words found in Raymond Carver's story Cathedral. This story made me think about what it means to 'be led' by somebody and how I'm led (by myself or perhaps those mysterious 'populations' the Voyager team of thinkers had in mind) when drawing. It also marks an interesting point in my discussion of a state of being 'without words.' In addition to words an important focus in this paper are the windows through which I've spent a lot of 'my life' looking at 'life pass by' (which are in many ways a physical reality corresponding to the metaphorical 'frame of language'). The time I've spent looking out windows over the past few years has resulted in. several film and video pieces in addition to my latest work (presented as the appendix of this paper) which comprises of a series of short stories. The paper opens with a quote by German philosopher Martin Heidegger: "Language is the house of Being. In its home man dwells." The enigmatic broadness of this statement is appropriate to the apprehensive and cautious attitude towards words found throughout the paper (also it mentions 'house' which immediately brings to my mind 'windows')

APA, Harvard, Vancouver, ISO, and other styles

48

Hollett, Philip. "Sound towers : evoking the musical dimension of Gaudí." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29560.

Full text

Abstract:

Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.

APA, Harvard, Vancouver, ISO, and other styles

49

Lecomte, Isabelle. "Joseph Cornell (1903-1972) et ses muses: étude monographique à partir des sources iconographiques et littéraires." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210115.

Full text

Abstract:

Joseph Cornell (1903-1972) est un artiste américain très connu dans son pays mais peu étudié en Europe. Le catalogue raisonné de son œuvre n'est toujours pas établi à ce jour.

Tout au long de sa vie, ses sources d'inspiration sont intimement liées à la femme. Cette thèse souhaite aller plus loin que les études existantes: d'une part en envisageant la femme dans tous ses rôles (danseuse, diva, écrivaine, amie, starlette,) et d'autre part, en étudiant la série qui lui est consacrée. Ce regard minutieux sur les variations au sein d'une série est l'un des points forts et totalement inédits de cette thèse. Il permet d’observer le renouvellement de l’obsession et le goût pour la collection, au sens où Baudrillard l’entend.

En première partie, l'angle d'approche consiste à observer, les stratégies de l'artiste qui tente de s'approprier la femme par la mise en boîte, en bouteille, en dossier,

En deuxième partie, nous observerons la manière dont il installe une distance qui permet à la muse de rester inaccessible – au sens romantique voire nervalien du terme. La distance peut-être d'ordre surnaturel: la femme prend alors les traits d'une fée ou d'une sylphide ;temporelle (la muse est imaginée enfant) ;spatiale (la muse prend vie sous forme de constellation). Autre stratégie d'évocation: "le portrait sans visage" où le corps de la muse est totalement absent, seul « un objet symbolique) fait référence à la femme désignée. Il peut s’agir d’une chambre ou d’une lampe de mineur pour évoquer Emily Dickinson ou une poupée pour évoquer La Belle au Bois dormant. Vers la fin des années cinquante, Cornell réalise des « boîtes-mémoriaux » en hommage à des jeunes trop tôt disparues.

La troisième partie tente d’étudier comment Cornell « transcende » l’idée de mort.

Enfin, en quatrième partie, nous dresserons un bref inventaire des collages des années soixante ayant comme thème central le nu féminin. Cornell quittant un matériel « nostalgique » afin de « charge d’innocence » des images qu’il considère comme érotiques.

Cette étude s'appuie, entre autres, sur une vingtaine d'œuvres analysées qui n'ont jamais été publiées, une trentaine d'autres qui n'ont jamais été commentées. Plus d'un tiers des œuvres choisies bénéficient d'une recherche de sources totalement inédites, se voyant ainsi placée sous un nouveau regard interprétatif. Et enfin, les œuvres sont mises en rapport avec les sources littéraires qui les ont nourries (Aurélia de Gérard de Nerval, Le Portrait de Jennie, la poésie d’Emily Dickinson, la biographie de Marilyn Monroe ou les écrits de Mary Eddy Baker, …).

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

APA, Harvard, Vancouver, ISO, and other styles

50

Behrens, Monika Art College of Fine Arts UNSW. "Silent bang." Publisher:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/42557.

Full text

Abstract:

The research project uses still life as a means of exploring current events of violence and oppression. These events are represented through juxtaposing plastic toys with organic objects. The toys include a range of popular generic toys such as army men, cowboys and Indians and toy soldiers. The organic objects were selected for their relationship to the specific event being represented. The toys and organic objects were positioned to create interesting and logical compositions. Themes of the series include opposing objects and ideas pitched against each other such as plastic/organic, perpetrator/victim, violence/peacefulness and destruction/sustenance. Within each work the plastic toys take on the demeanor of the tyrant(s), whereas the organic objects adopt the role of the victim(s). The research project uses these themes to convey the message that violence is both a barbaric way of dealing with conflict and a senseless form of self-expression. I have used symbols and metaphors to build a visual language. For the language to be translated accurately a great deal of research has taken place into the appropriate still life objects for each work. Each work incorporates metaphors and or symbols for both the oppressor and victim within the event being represented. The studio outcome of this research project, Silent Bang, includes a series of highly detailed finished paintings of various scales. Silent Bang as a body of work is colourful and aims to be aesthetically pleasing in addition to conveying a powerful message that incites interpretation.

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Themes, motives'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles