Tesis sobre el tema "Death in art"
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1
Evans, Stephen W. "Art unto death". Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5750.
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As people living in 2017, what, if anything, have we come to know about art as a whole? What can we say about the artistic impulse? What is art for, and what does it stand to show us about ourselves today? In this paper, I try to address these questions, from the standpoint of both an artist and a human being. Examining art as ancient as the prehistoric cave paintings, as well as art of the present day, I discuss certain ontological traits that art-making has both lost and maintained over the years. Through Heidegger’s philosophy of Being, Tillich’s theology of New Being, and Stephen King’s depictions of the uncanny, I explore the idea that all creative acts ultimately point us back to our own mortality and finitude.
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Margolis, Emily S. "Art After Death: A Heuristic Study of Death and Tradition". Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/90.
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This heuristic research examines the personal and therapeutic importance of exploring ones cultural interpretations of death and dying. The research began at a Día de los Muertos celebration in Los Angeles, CA and my observations of that event were used as an inspiration to create meaningful art. Through analysis and examination of the artwork I addressed my individual and clinical struggles regarding death. The knowledge I gained exploring my own questions concerning death and dying can be used to avoid encumbrances to my provision of effective therapy in the future.
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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.
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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.
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AZEVEDO, DANRLEI DE FREITAS. "DEATH OF ART: THE DISENCHANTED AESTHETIC APPEARANCE". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13916@1.
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CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICOO problema da morte da arte atravessa praticamente toda a história artística moderna. As preleções sobre estética de Hegel, realizadas não muito tempo depois da fundamentação kantiana de um juízo de gosto autônomo, já apresentam a idéia da dissolução da arte- a qual teria, nas palavras do filósofo, se tornado coisa do passado. Este trabalho pretende investigar a estreita e intrigante conexão entre uma arte que finalmente obteve sua autonomia na época moderna e a sombra constante de sua própria morte. Seja nos discursos estéticos que, desde os primórdios da modernidade, assinalam uma obsolescência da arte, seja no ímpeto crítico-revolucionário das vanguardas, que ensaiaram uma autodestruição da esfera artística, seja numa contemporaneidade em que parecem se apagar quaisquer distinções palpáveis entre a obra de arte e os demais produtos, entre valor estético e valor de troca, a questão da morte da arte, de um modo ou de outro, confirma sua presença. Indagar o sentido dessa longa vigência, assim como averiguar sua persistência no horizonte artístico contemporâneo, é, em resumo, a proposta da tese.
The problem of the death of the art crosses practically all modern artistic history. The Hegel’s lectures Aesthetics, delivered not much later of the Kantian validation of an autonomous judgment of taste, already present the idea of the dissolution of the art- that would have, in the words of the philosopher, become thing of the past. This work intends to investigate the narrow and intriguing connection between an art that finally reached autonomy at the modern times and the constant shade of its proper death. Either in the aesthetic discourses that, since the beginning of modernity, indicate an obsolescence of the art, either in the critical-revolutionary impulse of the avant-gardes, that had fomented a selfdestruction of the artistic sphere, either in our present time, where any concrete distinctions between the work of art and other things, that is, between aesthetic value and exchange value, seems to disappear, the question of the death of the art, in one way or another, confirms its presence. To inquire the meaning of this long validity, as well as verifying its persistence in the contemporary time, is, in short, the proposal of this work.
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Gross, Bernard O. "Sex, death, and the landscape /". Online version of thesis, 1992. http://hdl.handle.net/1850/11898.
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Andreopoulos, Andreas. "The death of art : the transformation of art from a religious perspective". Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4089/.
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The hypothesis put forth in this dissertation is twofold. The first part is based on a view (supported by writers such as Hans Belting) that maintains that art lost its sacred character in the late Middle Ages, when art was emancipated from religion and the artist was recognized as an original Creator. The two first chapters examine this issue: The first chapter (A Religious View of the History of the Arts) discusses theories of religious art from the ancient Jewish drama and the Greek tragedy to the late Middle Ages. Psychological material, mostly drawn from Lacan and Jung, is used to explore the connection between art and religion in the East and the West. The second chapter {Anti-Leonardo) focuses on some important changes in the Renaissance which can be observed mostly in art, that have affected religious and social consciousness to date. The second part of the hypothesis is that contemporary philosophy and art, having witnessed the death of the author as it has been presented by writers such as Michel Foucault and Roland Barthes, are now registering the withdrawal of the work of art as an independent object, and the reversal of the Renaissance art paradigm. The withdrawal or "death" of the work of art and of art as a process are discussed in the third chapter {The Death of Art), which explores these issues in contemporary philosophy, and argues that contemporary art, popular and classical, is withdrawing as a distinct activity, giving its place to a growing religious awareness. The fourth chapter {The Religious Artist) examines the art and the views of some contemporary artists whose art expresses the return of the sacred. Particular emphasis is given to the art of the New Simplicity, an artistic trend that epitomizes the vanguard of art while expressing spiritual and religious contemporary concerns.
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Crawford, Joanne Simone. "Figuring death : the phantom of presence in art". Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/2614/.
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Chapter 1; The dissemination of the rhetorical subject(ivity) Through an analysis of Hegel’s master/slave dialectic and de Man’s notion of prosopopeia I demonstrate how modernist discourses construct a figure [face] of/for the artist and cover up [entomb] the recalcitrance of his or her corporeal body to be the [ontological] site of meaning. Through Derrida’s notions of klang and force I investigate the ways in which the disintegration of material objects interrupt the whole process of facing the art work in this way. Derrida’s notion of hauntology is also utilised to argue that the selfidentical subject(ivity) is in fact a semiotically induced spectre. Chapter 2: Rothko, Death and Prosopopeia Again de Man’s figure of prosopopeia is explored to demonstrate how the artist Rothko is discursively posited as overcoming his own death. I argue that Rothko’s paintings ‘act’ as self-portraits and ‘figure’ his [enduring] presence. Through Derrida’s notion of the paragon [the frame] I also investigate how the propensity of the material to disintegrate ruptures the circularity of the discourse on Rothko and thereby undermines the transcendental moment proffered by his paintings. However, I also show, through an analysis of Derrida’s notion of the pharmakon, how discursive strategies keep raising the spectre of the transcendental artist to keep the fallacy of the self-identical subject(ivity) ‘alive’. Chapter 3: Michaux’s insomnia: The plenitude of the void I argue that the Mescaline drawings, made by Michaux in the 1950s, cannot be interpreted through a ‘standard’ modernist framework. In trying to construct an alternative interpretation for Michaux’s work I demonstrate how his drawings can be viewed as an attempt to articulate the excessive nature of corporeality and the impossibility of transcendence. Blanchot’s notion of insomnia is used to go beyond the polarities of the negative and the positive to the neutral and excessive zone of indeterminancy. Deleuze and Guattari’s notions of the tonal and nagual, becoming-animal and Bergson’s notions of extensity and duration are also utilised to [theoretically] access this zone of indeterminacy, as that of the insomnious subject(ivity). Conclusion: Face to de-face Firstly I reiterate the claims made in chapter 2, that modernism, as a circular discourse, constantly offers the ‘presence’ of Rothko as proof of his enduring transcendentality. As a contrast I use Deleuze and Guattari’s notion of faciality to argue that Michaux tried to de-face his art, but failed. I will therefore indicate the impossibility of totally de-facing the subject(ivity) within any discursive system where the name acts as primary signifier.
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Higgins, Josephine. "Seeing death : portraiture in contemporary postmortem photography". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/14152.
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This thesis focuses on the aesthetics of the photographic representation of the actual dead body in Elizabeth Heyert's The Travelers (2004), Pieter Hugo's The Bereaved (2005) and Walter Schels and Beate Lakotta's Life Before Death: Portraits of the Dying (2004). The use of portraiture in each of these artist's series is crucial as it suggests an interest in the 'subjectness' of the corpse. Katarzyna Majak's (2011) theory of socialization as an attempt to lessen the scandal of the corpse through representation is central throughout this thesis. Majak argues that for the viewer the corpse is a scandal, because it discomfortingly presents the transformation of a body from subject to object. For Majak, socialization is essentially the taming of the dead body, achieved by re-presenting the corpse as an individual. Socialization emphasizes the subject-ness of the deceased individual, rather than the object-ness of the corpse, of pure unadulterated matter. The use of portraiture in each of the above series socializes the corpse by presenting the individual identity of the deceased as a subject, in varying degrees. Death is approached through the recognizable conventions of portraiture itself, thereby to some extent taming or domesticating the corpse. This thesis expands on Majak's valuable theory by establishing a continuum of socialization from subject-ness to object-ness. Importantly, this continuum reveals varying degrees of socialization within the three series. Socialization is used here as an analytical tool with which to explore the photographs, drawing out similarities and differences. I argue that through various aesthetic techniques, these three series encourage the viewer to look at these different images of the corpse with varying degrees of comfort.
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Davies, Fiona Hilary. "Cast a cold eye on life, on death: the Remake: Medicalised Death in ICU". Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21232.
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A medicalised death in an intensive care unit (ICU), a particular event in a particular site, is the starting point for this thesis. This specific event and the associated site, materials, processes, and critical definitions will be examined using an auto-ethnographic methodology within a practice-led research process. Looking first at the definitions of death and the process of that death being medicalised, there are many ways to determine when it occurs and when it is irreversible. Death is traditionally called at a point in time. My proposition is that in a medicalised context death is a period, not a point. It is a process. The manner in which a specific death is medicalised, being constructed as a medical problem, reflects a level of intervention within the economic, social, cultural, and technological contexts of an ICU. In ICU, breathing, circulation of the blood in its closed system and renal performance are the basics of keeping the patient alive. By keeping the heart pumping, maintaining the blood pressure and stopping leaks, a complex process of medicalisation is introduced into the care of the patient at that tipping point between life and death. Surveillance or monitoring within an ICU is both observation of the body and collection of data and its visualisation. The economics and the market conditions behind the supply of blood, blood products, and body parts frame the experience of this situation. Creative Component Art-making as a practice is the force driving this research process and the exhibition of the artworks is the public presentation of that research. My art and exhibition-making combine object, sound, moving image, installation and performance to demonstrate and make perceptible to others the practice-led research into the emotional landscape of this specific event, in this specific site. The exhibition embodies the temporal nature of a medicalised death in ICU; the initial adrenaline rush and feeling of time speeding up in the shock and panic of entry to ICU, the boredom of the liminal spaces when you are excluded from the ICU and the slow slide to acceptance. A performative lecture within the exhibition further engages the viewer with these concepts.
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McKinnon, Ann Marie. "The death drive, Cronenberg, Ondaatje, Gould". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60325.pdf.
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Juchnowska, Maria. "The death of the body". Thesis, Konstfack, Keramik & Glas, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3354.
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The leading idea of my Master project is based on my private experiences which have become an inspiration for making an artistic project and writing my master thesis.“I want to make my art personal but not private” is my main statement in creating my works. I believe talking about what touches me in my private life can be expressed through my art works and would move and become close to my audience.When I started working with this project I wanted to raise awareness of body death body-decay which is excluded from our daily lives and not quite visible in our contemporary societies until it touches us personally. Through the work I realized that the project is not just about death of the body (my first inspiration) but it is bringing a whole lot of new qualities: time, the passing of time, timeline, aging, transformation, the process of existing (making) and the process of dying. Comparing what is/can be considered as “beauty”- superficiality, external beauty, with what it is/can be “ugly” (ugliness - in the physical context) is a very important aspect of my work. In my work I use my own aesthetics to create definitions of ugly and beauty which is based on my previous inspirations. Since the process of making has become more important than expected, it shifted into this particular state.I have decided to “lock myself” (my torso) in a dead sculpture. I am keeping a particular moment of time and displaying „what” I looked like some time before and „now”. My torso is created by me and I can choose when it is “alive” and when it is “dead”. I treat my project as ongoing study, which will not end with my graduation at Konstfack. In my thesis I will communicate my inspirations and fascinations, process of making, and transformation of the project. As for inspirations and fascinations I will investigate different artistic approaches that I have chosen from the contemporary art. As I am interested in creating art based on craft I will talk about the importance and huge influence of process and transformation.
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Barry, Marie Porterfield. "Lesson 04: Death and Mourning in the Prehistoric and Ancient World". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/5.
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This lesson covers death and mourning in the prehistoric and ancient world by discussing related art and architecture including, but not limited to, Varna Necropolis, The Flood Tablet / The Gilgamesh Tablet, Ziggurat in Uruk, Royal Tombs of Ur, Great Pyramids of Giza, Tomb of King Tutankhamun, and Book of the Dead of Hunefer.
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Weston, Despina. "Death and renewal : a process of growth through loss". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2009. https://ro.ecu.edu.au/theses/1856.
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Moore (1994) suggests that a liminal experience can take us from an often divided sense of self and connect us with our own heroic stories. This longitudinal study traces nine journeys of renewal described through experiences of loss. Loss in this context is not limited to actual death but is explored through narrative, symbol ism and the creative arts as tangible expressions of the participants ‘grief and its movement towards renewal . Participants were called to review, evaluate and grow in new ways. The descent, struggle, and growth they experienced is what Campbell (1973) calls our mythic journey.
“The Studio” and its particular culture of community mentorship is defined as an entity in its own right. Participants ‘grief narratives are explored through their creative works and the lenses of community and mentors. Participants from “The Studio” were interviewed to glean their perceptions on: (1) a significant death, (2) a liminal experience, (3) community, (4) mentors, (5) rituals for self - soothing, self-expression and support, (6) groups and (7) aspirations. The purpose of this was two-fold. Firstly as a way of making tacit the participants‘ group experiences and secondly to gather data by which a multi-modal programme — “The Retreat ”—was designed based on the participants ‘responses and was implemented as a three day live-in art therapy programme. Participants ‘art work from “The Studio” was used as a baseline for loss and grief imagery and as a historical visual overview of the participants‘ underlying themes in their grief stories.
The client/therapist relationship forms a key feature of the study, as does the concept that others can serve as mentors. Participants had a diverse range of anomalous losses between them such as: sibling and parental loss, relationship loss, rejection and deprivation of love from family, overpowering criticism and emotional, verbal and physical abuse, loss of access to grandchildren, loss of a breast, loss of a family business and lifestyle.
The purpose of “The Retreat” programme was to transform existing perceptions of loss through the use of creative media, journal processes, and community experiences to record an unfolding process. It is proposed that the arts and the symbolic connect individuals to both the inner self and to others. Art therapy as the bridge between verbal therapies is a creative practice. Coupled with experiences of community and solitude it can invoke deeper connections to others and environment rather than to hierarchical methods that are geared only towards achievement and accomplishment. A post-research interview tracked participants’ perceptions of the success of “The Retreat ” programme for personal change.
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Koutny-Jones, Aleksandra. "Death personified in the Baroque art of the Kingdom of Poland". Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/284069.
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Sills, Rachel Marianne. "The city, art and death in the poetry of Frank O'Hara". Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266142.
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Ertmann, Jacqueline. "Death, grief, bereavement, and transformation: A curriculum for the art room". Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/278812.
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There has been very little research in the area of art as therapy with respect to curriculum for the art room. In-service and pre-service teachers are not trained, or prepared, to talk about death and losses with their students. This study surveyed pre-service teachers attitudes toward lesson plans for children about loss. The idea of using art as a creative way to mourn or grieve is an innovative idea. Future research must be conducted to determine if art specialists, in-service teachers, parents, and school administration would agree that curriculum on loss for use by an art specialist or regular classroom teacher would be helpful when presented as part of a death education curriculum.
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des, Cognets Nicholas. "Eighteen Hundred and Froze to Death". VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2186.
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St, George Julia. "Visual codes of secrecy photography of death and projective identification /". Access electronically, 2005. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060608.143049/index.html.
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Cardwell, Thomas. "Still life and death metal : painting the battle jacket". Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12036/.
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This thesis aims to conduct a study of battle jackets using painting as a recording and analytical tool. A battle jacket is a customised garment worn in heavy metal subcultures that features decorative patches, band insignia, studs and other embellishments. Battle jackets are significant in the expression of subcultural identity for those that wear them, and constitute a global phenomenon dating back at least to the 1970s. The art practice juxtaposes and re-contextualises cultural artefacts in order to explore the narratives and traditions that they are a part of. As such, the work is situated within the genre of contemporary still life and appropriative painting. The paintings presented with the written thesis document a series of jackets and creatively explore the jacket form and related imagery. The study uses a number of interrelated critical perspectives to explore the meaning and significance of the jackets. Intertextual approaches explore the relationship of the jackets to other cultural forms. David Muggleton’s ‘distinctive individuality’ and Sarah Thornton’s ‘subcultural capital’ are used to emphasise the importance of jacket making practices for expressions of personal and corporate subcultural identity. Italo Calvino’s use of postmodern semiotic structures gives a tool for placing battle jacket practice within a shifting network of meanings, whilst Richard Sennett’s‘material consciousness’ helps to understand the importance of DIY making practices used by fans. The project refers extensively to a series of interviews conducted with battle jacket makers between 2014 and 2016. Recent art historical studies of still life painting have used a materialist critique of historic works to demonstrate the uniqueness of painting as a method of analysis. The context for my practice involves historical references such as seventeenth century Dutch still life painting. The work of contemporary artists who are exploring the themes and imagery of extreme metal music is also reviewed.
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Liu, Pak-yin Anthony y 廖柏賢. "Genetic counseling in sudden arrhythmia death syndrome : the science and the art". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196059.
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Background: Sudden arrhythmia death syndrome (SADS) is a genotypically and
phenotypically heterogeneous condition that might produce fatal ventricular arrhythmia in otherwise healthy individuals. Congenital long QT syndrome (LQTS) is the most common type of SADS with a frequency of 1 in 2500 individuals. Up to 13 genes have been shown to be associated with LQTS and genetic testing has a role in disease diagnosis, prognostication, treatment guidance, cascade testing, and reproductive counseling. Interdisciplinary care is the standard but such service is unavailable in Hong Kong.
Objectives: In this study, we aim to evaluate the clinical characteristics of a local cohort of pediatric patients with LQTS, establish the practicability of a model on interdisciplinary delivery of care for SADS, and explore the process of genetic counseling in Chinese families with LQTS from the perspective of discourse analysis. Method: Pediatric patients with LQTS and their families were recruited from the Department of Paediatric Cardiology, Queen Mary Hospital between 1 January 2011 and 31 December 2012. With informed consent, patients underwent genetic testing for 6 LQTS genes (KCNQ1, KCNH2, SCN5A, KCNE1, KCNE2, KCNJ2). Clinical characteristics were documented and the process of pre-test and post-test counseling was videotaped and transcribed. Data was mapped and analyzed for discourse strategies in the focal themes of uncertainty management in risk communication. Results: 19 patients were identified, 9 were male, with the corrected QT interval (QTc) ranging from 460-619ms. Mode of presentation included syncope (n=9), ventricular tachycardia (n=2), convulsion (n=1) and as incidental finding (n=7). Pathogenic mutations were identified in 9 patients (LQT1=3, LQT2=4, LQT3=1, LQT5=1), likely pathogenic mutations in 2 (LQT2), unclassified variants in 2, and no mutation in 6. Patients with pathogenic and likely pathogenic mutations had significantly longer mean QTc than those without such mutations (p=0.046). Three mutations, all in the LQT2 genes, represented novel mutations. All 3 patients with mutations in the pore-looping forming domains of the KCNH2 (LQT2) channel had personal or family histories of malignant arrhythmia or sudden cardiac death compatible with previously reported genotype-phenotype correlation. Eight families involving 18 family members underwent cascade testing, and family mutations were identified in 10 individuals from 6 families. Autosomal dominant transmission was the likely mode of inheritance in these 6 families. Counseling sessions involved the joint input from clinical geneticist, genetic counsellor and pediatric cardiologist. Discourse analysis on 2 counseling sessions of a selected family with unclassified variants revealed increased uncertainty after genetic testing in the index patient and family members. Strategies used to mitigate uncertainty included abstraction, generalization and categorization. Conclusion: Genetic testing was crucial in the comprehensive assessment of patients with congenital LQTS, and we demonstrated a feasible model to delivery interdisciplinary care for patients with SADS in Hong Kong. The process of genetic counseling is highly complex and deserves further examination.published_or_final_version
Paediatrics and Adolescent Medicine
Master
Master of Medical Sciences
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Reichelt, Victoria y n/a. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Griffith University. Queensland College of Art, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060901.143140.
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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.
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Reichelt, Victoria. "Painting's Wrongful Death: The Revivalist Practices of Glenn Brown and Gerhard Richter". Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366187.
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This thesis considers how the Twentieth Century 'death of painting' debate brought about a series of challenges and changes to painting that have ironically ensured its survival. This is illustrated in the practice of artists Gerhard Richter and Glenn Brown, whose investigations into painting's failures and limitations have paradoxically resulted in their works demonstrating the continued relevance and success of the medium. Specifically, this discussion analyses Richter's Annunciation After Titian (1973) series and Brown's series of works that appropriate Frank Auerbach paintings (1998 - 2000). These works illustrate the ways in which painting has developed in the last half of the Twentieth Century as a result of the 'death of painting' debate. The primary developments identified are that painting now draws from and references many other media; painting now embraces photography (instead of seeing it as a threat); the use of appropriation in painting is now seen as expansive rather than as representing depletion; there has been a return to romanticism and pleasure in painting; and women are now included in the broader discussion of painting. In considering the 'death of painting' debate, as well as the changes painting has experienced as a result of it, the primary point of departure is Yve-Alain Bois' pivotal essay 'Painting: The Task of Mourning' (1986) and his analysis of Hubert Damisch's 'theory of games'. The evolution of the 'death of painting' debate is also outlined via the writings of Douglas Crimp, Arthur C. Danto, Douglas Fogle, Michael Fried, Jeremy Gilbert-Rolfe and Georg Wilhelm Friedrich Hegel. This thesis also considers how the debate has impacted contemporary painters' practices, as well as how my own practice owes a debt not only to the response of artists like Brown and Richter, but also to the debate itself.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Burke, Molly Jo. "Explorations in Glass, Sculpture and Art". The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1253589776.
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Stupart, Linda. "I love you to death : the voice of the woman artist : sex, violence, sentimentality". Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8209.
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Includes abstract.Includes bibliographical references (p. 114-117).
At a dinner party in Durban after the opening of Come, a 2007 exhibition of Michaelis MFA students, a woman asked me about my work. When I told her it was "the bullets", by way of description (One Hundred Bullets With Your Name On Them), she said something along the lines of "oh, that's so fascinating, I really had thought a man had made them".
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O'Brien, MaryEllen. "The ars moriendi tradition a hermeneutic of the art of holy dying in history and contemporary practice /". Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Leidig-Farmen, Pamela. "Glimpses of grief". Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/845931.
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The purpose of this creative project was to represent the structure and dynamics of the emotion of grief through a visual medium. Grief, as a process that occurs over time, is usually represented sequentially and verbally as in the writings of Elisabeth Kubler-Ross. This project depicts the stages of grief by representing them both sequentially and simultaneously from a first person point of view by means of a visual medium, (i.e., videotape) in order to emotionally and personally involve the viewer in the process.The creative project is comprised of four video tapes each differing in length. of time between fifteen to thirtyfive minutes. The video tapes are presented as a documentary having a total of five participants who candidly express their experience with the death of a significant person in their lives and how they dealt with their grief. The four videos are shown all at the same time with the television monitors approximately twelve to fifteen feet apart.The video tapes are on file in the Art Department.Department of Art
27
Wang, Su-Chin. "See through the dark : reincarnation /". Online version of thesis, 1996. http://hdl.handle.net/1850/11903.
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Wedderburn, Michael Roderick. "Living in the Shadow of death: purging the unconscious for the creation of a personal visual language". Thesis, Nelson Mandela Metropolitan University, 2016. http://hdl.handle.net/10948/13250.
Texto completoResumen
This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.
29
Pierce, Karen. "Images of Argive Helen from birth to death". Thesis, University of Wales Trinity Saint David, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683213.
Texto completo
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Gallio, Nicolo <1982>. "Framing Death. La morte in diretta, tra cinema e media digitali". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5893/1/Gallio_Nicolo_tesi.pdf.
Texto completoResumen
Come dimostrano i sempre più numerosi casi di cronaca riportati dai notiziari, la preoccupazione per la gestione delle immagini di morte si configura come un nodo centrale che coinvolge spettatori, produttori di contenuti e broadcaster, dato che la sua emersione nel panorama mediale in cui siamo immersi è sempre più evidente.
Se la letteratura socio-antropologica è generalmente concorde nel ritenere che, rispetto al passato, oggi la morte si manifesti con meno evidenza nella vita comune delle persone, che tendono a rimuovere i segni della contiguità vivendo il lutto in forma privata, essa è però percepita in modo pervasivo perché disseminata nei (e dai) media.
L'elaborato, concentrandosi in maniera specifica sulle produzioni audiovisive, e quindi sulla possibilità intrinseca al cinema – e alle sue forme derivate – di registrare un evento in diretta, tenta di mappare alcune dinamiche di produzione e fruizione considerando una particolare manifestazione della morte: quella che viene comunemente indicata come “morte in diretta”.
Dopo una prima ricognizione dedicata alla tensione continua tra la spinta a considerare la morte come l'ultimo tabù e le manifestazioni che essa assume all'interno della “necrocultura”, appare chiaro che il paradigma pornografico risulta ormai inefficace a delineare compiutamente le emersioni della morte nei media, soggetta a opacità e interdizioni variabili, e necessita dunque di prospettive analitiche più articolate.
Il fulcro dell'analisi è dunque la produzione e il consumo di precisi filoni quali snuff, cannibal e mondo movie e quelle declinazioni del gore che hanno ibridato reale e fittizio: il tentativo è tracciare un percorso che, a partire dal cinema muto, giunga al panorama contemporaneo e alle pratiche di remix rese possibili dai media digitali, toccando episodi controversi come i Video Nasties, le dinamiche di moral panic scatenate dagli snuff film e quelle di contagio derivanti dalla manipolazione e diffusione delle immagini di morte.As demonstrated by the increasing number of cases reported by the news media, handling images of death seems to concern the viewers, producers and broadcasters, since their emergence in the media landscape in which we are immersed is increasingly evident. Even though Sociology and Anthropology generally agree that, compared to the past, death is less present in the life of common people – that tend to keep grief private – however, it is perceived as a pervasive presence because scattered throughout the media. The dissertation, focusing specifically on audiovisual productions, considers the possibility inherent cinema - and its derivative forms - to record a live event, and attempts to map some of the dynamics involving actual deaths captured on camera. After a survey of the tensions between the urge to think of death as the ultimate taboo, and the events that instead take place in the so called "necroculture", it is clear that the pornographic paradigm is now ineffective to frame death in the media, and therefore requires more complex analytical perspectives. The focus of this analysis is thus the production and consumption of specific subgenres such as snuff, cannibal and mondo movies, and those horror films that blurred the line between fact and fiction: the attempt is to map some trends ranging from silent films to the contemporary remix mediascape, considering case studies in moral panic such as the Video Nasties, the mythology of the snuff movie and the contagion arising from consuming and spreading images of death.
31
Gallio, Nicolo <1982>. "Framing Death. La morte in diretta, tra cinema e media digitali". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2013. http://amsdottorato.unibo.it/5893/.
Texto completoResumen
Come dimostrano i sempre più numerosi casi di cronaca riportati dai notiziari, la preoccupazione per la gestione delle immagini di morte si configura come un nodo centrale che coinvolge spettatori, produttori di contenuti e broadcaster, dato che la sua emersione nel panorama mediale in cui siamo immersi è sempre più evidente.
Se la letteratura socio-antropologica è generalmente concorde nel ritenere che, rispetto al passato, oggi la morte si manifesti con meno evidenza nella vita comune delle persone, che tendono a rimuovere i segni della contiguità vivendo il lutto in forma privata, essa è però percepita in modo pervasivo perché disseminata nei (e dai) media.
L'elaborato, concentrandosi in maniera specifica sulle produzioni audiovisive, e quindi sulla possibilità intrinseca al cinema – e alle sue forme derivate – di registrare un evento in diretta, tenta di mappare alcune dinamiche di produzione e fruizione considerando una particolare manifestazione della morte: quella che viene comunemente indicata come “morte in diretta”.
Dopo una prima ricognizione dedicata alla tensione continua tra la spinta a considerare la morte come l'ultimo tabù e le manifestazioni che essa assume all'interno della “necrocultura”, appare chiaro che il paradigma pornografico risulta ormai inefficace a delineare compiutamente le emersioni della morte nei media, soggetta a opacità e interdizioni variabili, e necessita dunque di prospettive analitiche più articolate.
Il fulcro dell'analisi è dunque la produzione e il consumo di precisi filoni quali snuff, cannibal e mondo movie e quelle declinazioni del gore che hanno ibridato reale e fittizio: il tentativo è tracciare un percorso che, a partire dal cinema muto, giunga al panorama contemporaneo e alle pratiche di remix rese possibili dai media digitali, toccando episodi controversi come i Video Nasties, le dinamiche di moral panic scatenate dagli snuff film e quelle di contagio derivanti dalla manipolazione e diffusione delle immagini di morte.As demonstrated by the increasing number of cases reported by the news media, handling images of death seems to concern the viewers, producers and broadcasters, since their emergence in the media landscape in which we are immersed is increasingly evident. Even though Sociology and Anthropology generally agree that, compared to the past, death is less present in the life of common people – that tend to keep grief private – however, it is perceived as a pervasive presence because scattered throughout the media. The dissertation, focusing specifically on audiovisual productions, considers the possibility inherent cinema - and its derivative forms - to record a live event, and attempts to map some of the dynamics involving actual deaths captured on camera. After a survey of the tensions between the urge to think of death as the ultimate taboo, and the events that instead take place in the so called "necroculture", it is clear that the pornographic paradigm is now ineffective to frame death in the media, and therefore requires more complex analytical perspectives. The focus of this analysis is thus the production and consumption of specific subgenres such as snuff, cannibal and mondo movies, and those horror films that blurred the line between fact and fiction: the attempt is to map some trends ranging from silent films to the contemporary remix mediascape, considering case studies in moral panic such as the Video Nasties, the mythology of the snuff movie and the contagion arising from consuming and spreading images of death.
32
Iepson, Sarah M. "Postmortem Relationships: Death and the Child in Antebellum American Visual Culture". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/236801.
Texto completoResumen
Art HistoryPh.D.
Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in post- mortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the post- mortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.
Temple University--Theses
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Dobler, Robert. "New American Ways of Death: Anxiety, Mourning, and Commemoration in American Culture". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18430.
Texto completoResumen
The experiences of grief and mourning in response to loss are fundamentally transformative to the self-identity of the mourner, necessitating an array of ritualized behaviors at the communal and individual levels. These rituals of mourning both create a space in which this transformation may take place and provide the structure that can direct that transformation. My focus is on historical and emerging forms of vernacular commemoration, by which I refer to material forms that are created by, acted upon, or in other ways utilized by a person experiencing grief in the service of regaining a sense of stability in the aftermath of loss. The re-integration of the bereaved, through mourning, back into society in new relation with the departed is often assisted by these vernacular memorial forms. My analysis focuses on three specific forms of commemoration: spirit photographs, ghost bikes, and memorial tattoos. These are vernacular forms of expression in the sense that they have emerged from and cater to individual needs and desires that are not satisfied by the more official and uniform materials and processes of mourning, such as the funeral service and subsequent visits to a gravesite or contemplation of an ash-filled urn. The power of these memorial forms rests in the adaptive and restorative abilities of memory to retain the lost relationship and to pull it forward and reconstitute it in a changed state as enduring and continuing into the future.
When faced with the sudden death of a loved one, the traditional rituals that surround modern death may seem too rigid and homogenized to satisfy the wide array of emotions demanding attention in the bereaved. This is where the vernacular rituals and new forms of commemoration discussed in this dissertation spring up and make themselves known. Highly individual, yet often publicly and politically motivated, these new American ways of interpreting death and performing mourning represent the changing needs of contemporary mourners. As death has become increasingly hidden away and discussion of it rendered taboo, the need for personal and direct interaction with the processes of grief and mourning have become more and more important.2016-09-29
34
Isaacs, Thomas George. "Sacrificial Bodies: Body Art, Ritual and the Problem of Alienation". Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29170.
Texto completoResumen
Ritual has been an important influence on the development of performance art, such as the primitivism in the avant-garde performative practices of Dada and Surrealism, the Zen- influenced performances of Fluxus, and the transgressive performances of the Viennese Actionists and the 1970s body artists informed by psychoanalytic theory. However, more recent scholarship, such as that by Australian art historian Anne Marsh, has highlighted important differences between traditional ritual and performance art, as well as the problems of appropriating so-called "primitive" cultural practices. Nonetheless, comparisons with and allusions to ritual remain popular for artists and art critics. To what can we attribute the continued interest in ritual despite these criticisms? I propose that the problem of alienation has been the primary driver of the use of ritual in performance art and avant-garde performative practices, from Dada to the body art of the 1960s and ‘70s. In his seminal work Ritual and Religion in the Making of Humanity (1999), US anthropologist Roy Rappaport attributed the problem of alienation to the development of consciousness and the acquisition of language, but argued that the experience of alienation could be ameliorated through participation in ritual. Rappaport’s understanding of alienation bears remarkable similarities to psychoanalytic theories of alienation, particularly those presented by French psychoanalyst Jacques Lacan. Although body art does not function as ritual, Bulgarian-French psychoanalyst Julia Kristeva has suggested that it may perform a similar alleviating function. By analysing contemporary body art works through anthropological perspectives on ritual and through the psychoanalytic theories of Lacan and Kristeva, I aim to clarify the relationship of body art to ritual and alienation, and to explore a number of ways that body art might address the problem of alienation.
35
Cloud, Joshua D. "Making with Caution". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306780837.
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Schaller, Wendy M. "Children borne aloft : Nicolaes Maes's Ganymede Portraiture and the context of death and mourning in the seventeenth-century Netherlands /". The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486401895207345.
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Calvano, Cathleen Marie. ""The House of Life" and "In Memoriam": The Relationship of Death to Love and Art". W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625605.
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Moore, Kristen. "The Grim Reaper, working stiff the man, the myth, the everyday /". Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151353213.
Texto completo
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Mance-Coniglio, Melissa. "Falling mythologies /". Online version of thesis, 2008. http://hdl.handle.net/1850/7750.
Texto completo
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Van, der Merwe Leana. "Sacrificial and hunted bodies : ritualistic death and violence in the work of selected South African female artists". Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/46213.
Texto completoResumen
This study investigates the multiple occurrence of violent sacrificial imagery
associated with animalistic and hunted bodies in the work of selected South African
female artists as an articulation of the society in which the art was created. The
theoretical framework of corporeal feminism is applied with reference to the
postulations of George Bataille (1962), René Girard (1972) as well as Deleuze and
Guattari (1984,1987), specifically with regard to the notion of becoming animal. This
study shows how such imagery is used to act as a catalyst for social change by
challenging Cartesian dualisms and forefronts certain issues applicable to women in
a society that is patriarchal and violent. A comparison is made with the art of a
selected group of Australian female artists who deal with similar themes and imagery
from more or less the same timeframe.Dissertation (MA)--University of Pretoria, 2014.
tm2015
Visual Arts
MA
Unrestricted
41
Berry, Drago Elisabeth Michelle. "The Art and Science of Reading Faces: Physiognomic Theory and Hans Holbein the Younger". Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86414.
Texto completoResumen
Art HistoryM.A.
This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self.
Temple University--Theses
42
D'Angelo, Tiziana. "Painting Death with the Colors of Life: Funerary Wall Painting in South Italy (IV-II BCE)". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10920.
Texto completoResumen
This dissertation examines the cultural, political, and artistic role of polychrome wall painting from funerary contexts in South Italy during the critical period that spans the crisis of Greek hegemony and the consolidation of Roman power. Numerous painted tombs were built between the late fifth and the early second centuries BCE for local as well as Greek elite groups across Southern Italy. I investigate the ways in which the wall paintings, with their colors, iconographies, and technical features were both the expression of indigenous cultures and local artistic trends, and a part of a wider and more complex phenomenon, that is the diffusion of funerary wall painting in the Mediterranean during the late Classical and Hellenistic period. Why did polychromy become a crucial component in articulating funerary space in South Italy towards the end of the fifth century BCE, and how did this experience develop in the regions of Campania, Lucania, and Apulia, respectively? Ever since the South Italian painted tombs were discovered in the nineteenth and twentieth centuries, scholars have interpreted their decoration as ideal representations of the deceased, their funerary ceremony, or their journey to the Underworld. They have focused on the relationship between the images and the individual deceased buried in the tomb or the restricted group of their family/clan. In my study, I seek to restore the polysemic character of the wall paintings. Each chapter analyzes the paintings from a different perspective and with a particular methodological approach, combining archaeological, anthropological, topographic, historical, and artistic evidence. I argue that the tombs with their painted decoration served to build and articulate collective memory, elaborating a message which was supposed to address the local community. I propose that the figural scenes depicted on the tomb walls staged ritual activities and initiation ceremonies which marked the life of the whole community. I also reconsider the artistic development of funerary painting in Southern Italy, showing that this phenomenon did not derive from globalizing trends of "Hellenization" or "Romanization", as has often been suggested, but it was intimately connected to indigenous artistic traditions and local or regional socio-political dynamics.The Classics
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Fitzpatrick, Andrea D. "Approaching the dying and the dead : an analysis of contemporary, lens-based artworks and the potential for ethical intersubjectivity". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85906.
Texto completoResumen
Photographic, film and video representations of dying and dead subjects bring to light delicate balancing acts of agency involving representational perspective. In this thesis, I examine contemporary, lens-based artworks by Sarah Charlesworth, Eric Fischl (whose sculptural medium is an exception), Alejandro Gonzalez Innaritu, Gillian Wearing, Andres Serrano, Nan Goldin, AA Bronson and Jorge Zontal, as well as works by photojournalists Richard Drew and Theresa Frare, to show how they effectively convey facets of identity to dying and dead subjects. The voice, visuality, touch and embodiment (in particular, the body's weight and its materiality) are considered dimensions of intersubjectivity in order to explore how they foster access to the dying or the dead. My hypothesis is that, despite the avenues of intersubjective agency that appear to be foreclosed to the dying and the dead, the artists negotiate the following, significant challenges: how to bear witness to suffering without enacting visual mastery; how to grant a voice to or engage in dialogue with a silenced subject; how to touch the other without inflicting injury. Through the artists' divergent representational paradigms, the terms of intersubjectivity will be shown to equally involve the potential for reverence as well as for representational violence and it is upon this duality that the ethical concern hinges. The degrees of photographic transparency invoked by the artists alter the emergence of identity and the extent to which it reflects the perspective of the dying and the dead or, alternatively, becomes a framework of distortion. In terms of subject matter, the causes of death to the subjects represented, all of which are non-fictional, are AIDS-related illness, falling from buildings and violence (sometimes self-inflicted). Conceptually, I will be relying upon the phenomenological models of Maurice Merleau-Ponty, the photographic theories of Roland Barthes, the feminist met
44
Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings". Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.
Texto completoResumen
“In the decomposition of organic/botanic materiality, decayed and decaying exotic weeds are printed and imprinted on the host vessel:
The surviving trace becomes a code - a sign - a semiotic map =
disjecta membra:
being there ... then destroyed... but still remaining.”
THE BODY OF VISUAL AND WRITTEN RESEARCH, 'DECOMPOSE',
is a cross-disciplinary interrogation, interpreting overlapping meanings in the
Botanical Biodegradation of Weeds through Visual Art/Science practices and processes expressed as Text +Paintings.
DECOMPOSE validates the Act of Art, Botanical Biodegradation of Weeds, as both:
I. An expression of the Subjective, Expansive and Ephemeral nature of
Art, Artist and Materials and
II. An incarnation of the nature of Time and Sublime Beauty, that articulates,
and expands perceptions of Art, Artist and Materials as Text + Paintings.
The 'equation':
DECAY + WEEDS = BEAUTY
expands to encompass key elements in the DECOMPOSE body of research:
BOTANICAL BIODEGRADATION +
AUSTRALIAN EXOTIC, FERAL and NOXIOUS WEED SPECIES +
ARTIST + MATERIALS +
ART + SCIENCE + TIME =
DECAY-PAINTINGS = RESEARCH =
SUBLIME BEAUTY
Argued by quantitative and qualitative example, DECOMPOSE is at once:
I. Subjective:
a conceptual and translative process expressed through the personal vision of the artist.
II. Expansive:
an interrogation of a single process, at once finite and infinite in meanings and extractions.
III. Ephemeral:
investigations and results signifying the specific and universal decay of all things.
45
Chapman, Gaye. "Decompose : decay + weeds = beauty : research into the visual art/painting implications of botanical biodegradation of weeds as an expression of I. The subjective, expansive and ephemeral nature of art, artist and materials. II. An incarnation of the nature of time and sublime beauty that articulates and expands perceptions of art, artist and materials as text + paintings /". View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/29745.
Texto completoResumen
Thesis (Ph.D.)--University of Western Sydney, 2004.A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Contemporary Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy, Contemporary Arts. Includes bibliographies. Electronic version minus appendices 2, 3, 4 is also available online at: http://handle.uws.edu.au:8081/1959.7/29745.
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May, Madeline Adele. "The Passion of the Plague: The Representation of Suffering and Salvation in Art and Literature". Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619453120236161.
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Oliveira, Flavio Valentim de. "Arte, teologia e morte : interludios Filosoficos entre Franz Kafka e Walter Benjamin". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282064.
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Orientador: Jeanne Marie Gagnebin de BonsDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias humanas
Made available in DSpace on 2018-08-14T17:15:42Z (GMT). No. of bitstreams: 1 Oliveira_FlavioValentimde_M.pdf: 1005531 bytes, checksum: c9d6993c6a99977a2af3074266cb3398 (MD5) Previous issue date: 2009
Resumo: Esta pesquisa tem como objeto de estudo duas peças kafkianas intituladas, respectivamente, de Josefina, A cantora ou O povo dos ratos, de 1924, ano da morte do escritor, e o conto póstumo O caçador Graco, publicado como narrativas do espólio. Buscamos investigar nestas duas narrativas à problemática do declínio das formas de transcendência: sintetizadas na arte, na teologia e na morte dentro da modernidade. Através de uma leitura histórico-filológica destas duas narrativas buscamos uma aproximação crítica com a filosofia de Walter Benjamin, em especial com a sua teoria da narração. O conjunto dessas narrativas é também analisado a partir de uma reconstituição do cenário literário e filosófico das interpretações kafkianas, tais como: as leituras sionistas de Max Brod a partir da filosofia de Arthur Schopenhauer e Martin Buber, as ressonâncias das leituras de Kafka sobre Kierkegaard e Nietzsche e, por fim, as polêmicas de Benjamin com Brod e Gershom Scholem, cujo motivo principal gira em torno de uma leitura materialista e alegórica do escritor tcheco.
Abstract: This research has as study object two intitled kafkians parts, respectively, of Josefina, the singer or the people of the rats, of 1924, year of the death of the writer, and the posthumous story the Graco hunter, published as narratives of the estate. We search to investigate in these two narratives to the problematic one of the decline of the transcendence forms: synthecized in the art, the theology and the death inside of modernity. Through a reading description-philologycal of these two narratives we search a critical approach with the philosophy of Walter Benjamin, in special with its theory of the narration. The set of these narratives also is analyzed from an reconstitution of the literary and philosophical scene of the kafkians interpretations, such as: the Zionist readings of Max Brod from the philosophy of Arthur Schopenhauer and Martin Buber, the resonances of the readings of Kafka on Kierkegaard and Nietzsche and, finally, the controversies of Benjamin with Brod and Gershom Scholem, whose funny main reason around a materialistic and allegorically reading of the writer Czech.
Mestrado
Filosofia
48
GRATSON, SCOTT D. "A STRATIFICATION OF DEATH IN THE NORTHERN RENAISSANCE: A RECONSIDERATION OF THE CADAVER TOMBS OF ENGLAND AND GERMANY". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587512.
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Art HistoryPh.D.
This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364–1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404–1475) of Saint Mary’s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441–1510) in Saint Anna's Church in Augsburg, Germany, acts as a bridge to Hans Holbein’s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer’s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.
Temple University--Theses
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Scoles, John. "The death of definition, an investigation into the relationship between attitudes toward afterlife and the art of storytelling". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/MQ41774.pdf.
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Buljan, Katharine. "Is there life before death? : pursuit of eternal existence through the examination of a being's ambivalent and contradictory nature - an examination of the hypothesis that for understanding death, firstly a being's real essence, which is hidden under the ego, should be discovered /". View thesis, 1998. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030901.102100/index.html.
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