Tesi: "Narrative art"

1

Clatworthy, Janine. "The art of magical narrative". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/10196.

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Bibliography: leaf 61.
What is a magical narrative? How can the inconsistencies and strange repetitions in the plots of Malory's Arthurian cycle be explained? What are their purposes and why are they essential to the plot? In this dissertation, I have attempted to answer these questions by applying Anne Wilson's theory of magical narrative (The magical quest) to a selection of tales from the beginning of Malory's Arthurian cycle (The tale of King Arthur) and from the latter half (The book of Sir Launcelot and Queen Quinevere).

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2

Bovair, Simone. "Handling virtue : Chaucer's narrative art". Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702157.

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In the Middle Ages, the virtues were usually considered in terms of categories, branches, parts, manners and degrees. They were sorted and defined in an attempt to understand their meaning and their relationship to one another. This taxonomic approach to morality, found in many philosophical and exegetical texts, has been used as a framework through which to study Chaucerian virtue. However, as I hope to demonstrate in this thesis, Chaucer approaches virtue differently. Rather than present the virtues in abstraction as conceptual ideals, he contextualizes them through narrative. Throughout his work, he challenges the possibility of abstract definitions of virtue by showing that virtues must be considered in the human contexts that form, challenge and prove them. Building on work done on individual virtues and tales, this dissertation examines in detail how Chaucer handles virtue across a range of his work. Texts to be examined include the House of Fame, the Pardoner's Tale, the Knight's Tale and the Summoner's Tale (chapter one); the Physician's Tale, the Man of Law's Tale, and the Clerk's Tale (chapter two); the Wife of Bath's Tale, the Franklin's Tale, the Squire's Tale and the Tale of Sir Thopas (chapter three); Troilus and Criseyde (chapter four); and the Parson's Tale and the Retractions. Rather than imposing any potentially limiting taxonomic framework, it prioritizes the close study of his poetry. It also takes into account the changes Chaucer made to his sources, the traditions of virtue he had at his disposal, and the wide range of discussions he drew upon for his own examination of virtue. In its approach and its findings, this thesis fits within a critical tradition that shows that ethics cannot be abstracted from human experience and that the study of literature is a way of examining the richness of that experience.

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Silveira, Paulo Antonio de Menezes Pereira da. "As existências da narrativa no livro de artista". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/12111.

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Este estudo visa verificar o intervalo formativo entre o comparecimento e a ausência das estratégias de narração nos livros de artista de edição e se e como a narrativa visual é capaz de determinar sua bibliogênese.
This research, As existências da narrativa no livro de artista (“The existences of narrative in the artist’s book”), aims to verify the formative spectrum from attendance to nonappearance of narration strategies into the published artist’s books and if and how the visual narrative is able to determine its bibliogony.

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4

Gelamo, Renata Pelloso 1980. "Narrar a voz : trajetórias de uma voz-experiência em busca da voz própria /". São Paulo, 2018. http://hdl.handle.net/11449/157185.

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Orientador(a): Luiza Helena da Silva Christov
Banca: Margarete Arroyo
Banca: Ecleide Cunico Furlanetto
Banca: Joana Mariz de Sousa
Banca: Anderson Zanetti
Resumo: Neste trabalho, apresento questões, reflexões e aprendizados a partir de narrativas, minhas e de outras pessoas, com as quais me encontrei durante as trajetórias em busca de uma voz própria e que me levaram à criação do Ateliê de Voz, um projeto constituído nas fronteiras de diferentes áreas do conhecimento que tem a voz como interesse. A estrutura textual que propus para este trabalho mostra a criação e a sustentação de um espaço onde pude nomear, em primeira pessoa, os processos que vivi durante a minha história com a voz. Narro momentos de empobrecimento da experiência, passando pelo silenciamento da minha voz, submetida ao que os outros tinham a dizer ou ao que as áreas consagradas da ciência tinham a dizer à respeito da voz, assim como a experiência de tombamento vivida no contato com as vozes dos cantos de trabalho das Destaladeiras de Fumo de Arapiraca, em que coloco em suspensão todas as verdades sobre a voz até então conhecidas por mim. Por fim, narro como acontece o Ateliê de Voz, um espaço em aberto para a invenção de uma voz-experiência, uma voz que escuta e pode ser escutada, pode narrar a própria história, habita o próprio corpo e se expõe, cuida de si e se percebe. Por esse caminho da voz-experiência chegamos à voz própria: uma voz pode enunciar a si próprio e inventar a si próprio
Abstract: In this thesis, I present questions, reflections, and learnings from narratives, either mine and form other people which whom I met during the trajectories in the search for the self-voice and that led me to the creation of the "Voice Atelier", a project built in the borderline of different fields of knowledge which hold the voice as its interest. The textual structure I propose for this thesis shows the creation and sustaining of a space where I could name, in first person, the processes I lived during my own history with the voice. I narrate moments of impoverishment of the experience, passing through the silencing of my own voice, submitted to what others had to say, or about what the renowned scientific fields had to say about the voice, as well as the experience of collapse lived through the contact wit the voices of the working songs of the Destaladeiras de Fumo (Workers who manually struke tobacco leafs) from Arapiraca, when I suspended all the truths I knew by then about the voice. At last, I narrate how the "Voice Atelier" happens, an opens space for invention of a voice-experience, a voice that can listen and be listened, can narrate its own history, inhabits its own body and, exposes, looks after and is aware of itself. Through this pathway of the voice-experience we reach the self-voice: A voice capable of self-enunciating and self-inventing
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5

Mathewson, Steven D. "The art of preaching Old Testament narrative literature". Theological Research Exchange Network (TREN) Access this title online, 2000. http://www.tren.com/search.cfm?p068-0218.

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6

黎艷娥 e Yim-ngor Janet Lai. "The narrative art in Mao Dun's short stories". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31224568.

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7

Schmidt, Carola (Carola Birgit) 1965 Carleton University Dissertation English. "Dreamfiction as narrative art in Robert Zend's Daymares". Ottawa.:, 1993.

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8

West, Angela Ames. "The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education". BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3331.

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For art to become personally meaningful to visitors, museums need to view art interpretation as a narrative inquiry process. General museum visitors without art expertise naturally make meaning of art by constructing stories around a work to relate to it. Narrative inquiry, a story based exploration of experience, fits into contemporary museum education theory because it is a constructive and participatory meaning making process. This thesis examines how art museums can build upon visitors' natural interpretive behaviors, by employing art-based narrative inquiry practices and using the work of art as a narrative story text. Individuals learn when their personal narrative comes into conflict with the narrative of the museum and they negotiate new meaning. This kind of narrative learning is a process of inquiry that visitors must engage in themselves. The art museum interpretive experience can foster in visitors the ability to engage in an art-based narrative inquiry process by suspending disbelief,recalling personal memories, comparing different narrative versions, imagining possible meanings, and re-storying experiences into new understandings. This research text explores these topics through a narrative based method of inquiry comprised of a series of autobiographical stories describing the researcher's experiences in coming to understand the relationship between narrative inquiry and art museum education.

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Phillips, Debra Joan. "A narrative of the imagined future : How art-making displaced a narrative of suicidality". Phd thesis, Australian Catholic University, 2020. https://acuresearchbank.acu.edu.au/download/9578480e9b5cd3bdd1fc21c262c06ac9b498857a509968c3d811fbfe01f3ec60/32731502/Phillips_2020_A_narrative_of_the_imagined_future.pdf.

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This interdisciplinary and autoethnographic PhD by creative project examines the experience of halted suicide on the part of the researcher, an “invisible woman” raised to set aside her wants to satisfy others’ needs. The inquiry examines the researcher’s engagement with artmaking in order to manage her ongoing suicidality and analyses some of her resulting artworks, which might be described as examples of “Outsider art”. Drawing on perspectives from philosophy, theology, psychology, art therapy and the interdisciplinary field of narrative studies, the project identifies three key factors pertinent to the researcher’s experience of halted suicide and subsequently managing suicidality. The first is the role of spirituality and the experience of epiphany or “prophetic call”. The second is a “narrative of the imagined future”. This refers to the need for people experiencing suicidality to make use of the imaginative resources generated by their depression to create a new story about their future self and life. The third factor is “radical courage”, a term adapted from the philosopher Jonathan Lear’s notion of “radical hope”. This refers to a steadfast, resolute determination to choose life over death, and to move towards the realisation of an alternative future in concrete, moment-by-moment ways. Art-making services a number of roles in this doctoral project. In the first place, the researcher uses a series of artworks as autoethnographic sources. These chiefly take the form of watercolours and collages, most produced in visual diaries with the aim of recording states of mind and being over time. Those works produced before the doctoral project began have been subjected to close analysis in order to provide details of the researcher’s subjective experience, and thus evidence of her autoethnographic findings. The researcher has also produced a body of work during this project as a form of autoethnographic inquiry in its own right. In this case, she has consciously explored concepts in visual form and subjected the resulting images to techniques of visual analysis with the aim of deepening her autoethnographic insights. In addition, to this art-making, the researcher has produced a body of paintings exhibited to the public. The purpose here has been to communicate her findings in visual form, supplementing and providing an alternative to the discussion in this thesis. The exhibited paintings also provide a reflexive demonstration of the process of imagining a new, future-oriented self-narrative and then exercising the courage required to bring it into life whilst also explaining how the three key factors mentioned above are layered together in the works. The value of this doctoral project lies firstly in demonstrating the value of first-person and autoethnographic accounts for understanding suicidality, particularly those from “invisible women” whose perspectives remain under-represented in sociological and psychological literature. The project draws attention to another under-researched topic: the relationship between spirituality and the ability to halt a suicide. The project emphasises the power of imagining a new future-oriented self-narrative, and the courageous process involved in bringing that imagined narrative into being through small, incremental actions in the present. Art-making practices are also explored, particularly those by people with no formal art training who produce “Outsider art”. Finally, in using artwork and techniques of visual analysis in multiple ways, the project has value for those interested in the multi-faceted and unconventional methods associated with art-based ethnographic inquiry.

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10

Harris, Phil. "Stories /". Online version of thesis, 1989. http://hdl.handle.net/1850/11302.

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11

Riley, Eustacia. "Simulacra : constructing narrative in the studio tableau". Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/20145.

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Bibliography: pages 61-63.
The content and form of the work completed for this degree is intended as a narrative. This narrative is constructed to tell stories of my family, and of myself, in a way that openly stresses the playful, mythical, and fictional nature of such narratives in the family and in history. These narratives are not always easily recognisable, believable, or unified, and are read through an arrangement of details. Initially, I intended my tableaux to function as 'emblematic' portraits. In other words, I intended to describe the members of my family by distilling their essential characteristics into a descriptive arrangement of symbolic objects. Although I became aware of the limitations of symbolism, and became more interested in narrative and display, the content of my work has remained personal and descriptive, even though I have emphasised the fictional over the elegiac. My family is not really one of collectors - my grandmother tore up and burnt many of our family photographs when my grandfather died, before she went into an old-age home. She wanted to 'travel light'. What we have left are the stories, the anecdotes and the proverbs: an oral history, or a ·postmemory'. These inherited tales are told through the snapshots that did survive, as they are in all families who take pictures. I have retold and reconstructed my own narratives, because this is the nature of the family romance for everyone - it resides in a world of images, incidental details, and surfaces.

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12

Perkins, Zalika. "Embracing Identity And Narrative In Art For Self-empowerment". Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/art_design_theses/138.

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This arts-based thesis will explore ethnic identity and narrative in symbolic self-portraiture as themes for a body of work. This paper will discuss how identity and narrative play an important role in the empowerment of the artist and viewer. It will also show how this can be incorporated into an art classroom engaged in multicultural learning and the study of visual culture to empower students and give them opportunities to narrate their life stories.

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Mirabile, Cynthia. "A Tale to Tell: The Charisma of Narrative Art". VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2350.

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My artwork combines the power of narrative with the sculptural form, and I encourage the viewer to interact with my work. I use the magnetic, hypnotic effect that stories can have over us. My narratives are designed to draw the reader into a willing suspension of disbelief. It is often whimsical because childlike things give people certain permissions of joy and abandon. I use anthropomorphism to invite the viewer to handle my pieces in order to create an intimacy between the viewer and the artwork.

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14

Rodney-Haapala, Karin J. "Constructing Narrative Through Illness". Thesis, Corcoran College of Art + Design, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557693.

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Transformative learning theory, an andragogical (adult) theory, is developed from the psychoanalytical theories of Sigmund Freud and Carl Jung and later formalized by sociologist, Jack Mezirow. Incorporating transformative learning into a multidisciplinary perspective, specifically through art making and critical reflection, can read therapeutic results of confronting trauma and illness. Using qualitative arts based research methodologies such as autoethnography and autophotography to address the question, how might the use of Combat-Related PTSD as the foundation of a photographic and written inquiry trigger a transformative learning experience in both the artist-researcher and the viewer can be explored through the use of visual imagery and written narrative. These components are integral in constructing a cohesive narrative that may assists those who may suffer from illness and/ or trauma. As a noted method in art therapy, patients who are diagnosed with Post Traumatic Stress Disorder (PTSD) utilize nonverbal communication, i.e. visual imagery, as an avenue to reconsolidate their memories and experiences. Using visual imagery, allows the internal narrative of the body to be reflected externally. The significance of the research is to explore art as a healing and therapeutic modality, individually and collectively, for those who suffer from Combat related Post Traumatic Stress Disorder.

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Yavuz, Perin Emel. "Narrative art : de l'expérience du monde quotidien à l'œuvre. Herméneutique de l'événement esthétique". Paris, EHESS, 2013. http://www.theses.fr/2013EHES0107.

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Lorsque le galeriste new-yorkais John Gibson, figure en pointe de la scène américaine des années 1960-1970, organisa les expositions Story I (1973) et Narrative II (1974), il avait perçu ce qui serait « le prochain truc » en vogue après l'Ecologic art et le Body art : la narrativité. Si le Narrative art est tombé dans l'oubli, cette perception qui reposait sur un noyau dur d'artistes américains et européens (Le Gac, Bay, Baldessari, Wegman, Askevold, Hutchinson, Beckley, Welch. . . ) préoccupés par des problématiques narratives aux moyens de la photographie et du texte fut confirmée par une période intense de production critique et d'expositions sur l'ancien et le nouveau continents mais aussi par l'ensemble de la création en quête d'émancipation à l'égard des questionnements essentialistes sur l'art et engagée dans « la fabrique du monde» à laquelle la fonction anthropologique de la narrativité apportait un moyen naturel. Interrogeant et spécifiant, le fait narratif dans ce corpus caractérisé par l'immanence d'un rapport au monde et à soi, par le truchement de la perception esthétique du quotidien et la mythologisation du sujet, cette thèse s'attache à déceler, dans une perspective herméneutique ancrée sur la notion d'événement, les étapes du processus qui mène de l'expérience vive du monde au monde de l'œuvre, de la vie à l'art. Plus qu'une simple histoire du Narrative art, cette thèse interdisciplinaire se présente comme une investigation dans le sens historique, esthétique et politique que revêt le réinvestissement de la narrativité par ces artistes et plus généralement ceux de cette période, décelant les origines de la mésestime de la narrativité par l'histoire de l'art
When the New York galerist John Gibson, leading figure of the American art scene from 1960s-1970s, organized the exhibition Story I (1973) and Narrative II (1974 ), he had seen what would be the "next big thing" in vogue after Ecologic art and body art : narrativity. 1f the Narrative art is now somewhat forgotten, this perception, based on a core of American and European artists (Le Gac, Bay, Baldessari, Wegman, Askevold, Hutchinson, Beckley, Welch. . . ) who were concerned with narrative issues by photography and text means, was confirmed by an intense period of critical production and exhibitions on the old and the new continents. But it was also testified by the whole of creation seeking emancipation against essentialist questionings about art and engaged in "the factory of the world" for which the anthropological function of narrative brought a natural way. Querying and specifying, with narratology, the narrative fact in this corpus which is characterized by the immanence of a relationship to the world and to the self, through the aesthetic perception of the everyday and the mythologizing of the subject, this thesis aims to identify, in a hermeneutic perspective anchored on the notion of event, the steps of the process leading from the living experience of the world to the world of artwork, from life to art. More than just a history of Narrative art, this interdisciplinary thesis is an investigation into the historical, aesthetic and political history meaning given to the reinvestment of narrativity by these artists and more generally those from 1960s-1970s. This investigation allows particularly to identify why narrativity has been so underestmated

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Cain, Candace Dawn. "The question of narrative in Aegean Bronze Age art". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0016/NQ28273.pdf.

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17

Liliene, Giedre. "Rediscovering self: attempts to communicate personal narrative in art". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327947785.

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18

Baasch, Rachel Mary. "The eyes of the wall : space, narrative and perspective". Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001578.

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The Eyes of the Wall and Other Short Stories is concerned with dialectics of seeing and perceiving as they pertain directly to a corporal understanding of interiority and exteriority, architectural framing and notions of dislocation in relation to place. This practical submission is a site-specific installation that engages in a reciprocal dialogue with its environment. The individual sculptural works which demarcate the parameters of the installation are hybrids of domestic architectural forms, (namely the wall, the window and the door) and internal furnishings such as the curtain and the bed. These hybridised metal and resin constructions frame the interior of a site, a tennis court located within my immediate Grahamstown environment. The placement of familiar objects generally associated with the home and notions of security and privacy, within the open, exposed and permeable enclosure of the tennis court evoke a sense of displacement within the viewer. This supporting document, The Eyes of the Wall: Space, Narrative and Perspective, considers the key conceptual concerns informing my installation. In this mini-thesis I address the relationship between domestic architecture and the body, examining the notion of framing as fundamental to the individual comprehension of space. I position my work in relation to that of Mona Hatoum drawing on the similarities that exist between her practice and my own. In the first chapter of this paper: My House/Your House: Walls, Windows, Doors and Skins I address the relationship between domestic architecture, framing and the body, and ‘contamination’. Within Chapter Two: Narratives of Division I engage with the idea of multiple ‘short stories’—personal and collective narratives—and their connection to issues of division and dislocation. Chapter Three: Seeing Blindness discusses the possibility that perspective, or at least one potential approach to perspective is concerned with that which one cannot see, an acknowledgment of the implicit relationship between seeing and not-seeing. Each of the three core concerns expressed in the title of this mini-thesis, The Eyes of The Wall: Space, Narrative and Perspective intersect within the site of The Eyes of The Wall and Other Short Stories. It is at this intersection that the shadows of stories within stories within stories insert themselves, like phantom limbs into the gaps and tensions framed by the forms of the installation.

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Zhang, Ruiqi. "Parallel Narrative: Short-Video Social Media Platforms’ Influences on Contemporary Narrative". VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5935.

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Through the study of Kwai, a popular short-video social media platform in China, this thesis investigates the social issues, media class divides and aesthetics specific to Kwai culture. It further proposes a strategy of artistic practice - parallel narrative - an experiment in video art production and editing techniques that explores new possibilities of narrative in video art. Integrating theoretical research on Post-Internet art and object-oriented ontology, this thesis reveals people’s ability to digest multisource information and shows how mobile technologies and open-source materials contribute to the formation of parallel narratives.

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Becker, Donald W. "Freshman seminar narrative research /". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 77 p, 2008. http://proquest.umi.com/pqdweb?did=1456295791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Byrne, Emily Christiana. "Jewelry as narrative". Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4585.

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Andrews, Lew. "Story and space in Renaissance art : the rebirth of continuous narrative /". Cambridge : Cambridge university press, 1995. http://catalogue.bnf.fr/ark:/12148/cb37484033m.

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23

Astfalck, Jivan. "Narrative structures in body-related craft objects". Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.

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In a largely under-theorised subject area as the crafts, this practice-based research contributes to the knowledge and understanding of the body related crafts object at PhD level. It conceptualises the narrative methodology necessary to make the creative work and theoretically examines its intention. Because the theoretical work on narrative structures has been largely done outside the crafts/art context, the research adopts and adapts existing procedures and concepts from hermeneutic philosophy and literary theory to expand on the understanding of the body related crafts object in this new context. The research project investigates narrative structures in body related crafts objects to further the understanding of these objects and to make a contribution to the theory of studio crafts practice. The dialogical and dynamic relationship between the surveying of relevant literature and the creative development of the practical work enabled the development of the narrative context of the work itself and the advancement of a studio methodology that emphasizes reflexivity and is conscious of its own need for understanding. Drawing on historical and autobiographical material, fiction and fairy tales, a series of body-related crafts objects have been produced that tell hybrid, fantastical stories. These objects are enigmatic, yet suggestive of the wounds of history and of the trauma and healing processes that are part of our relationships with others. The work is understood as a mnemonic device created to evoke the complexities and webs of relationships, which exist between the various levels of interpretative investments that would otherwise be un-containable. The exploration of the notion of metaphor within a semantic context is here adapted to facilitate new understanding of the metaphorical qualities found in creative and narrative craft objects. Metaphoricity can be regarded as a way of cross-mapping the conceptual system of one area of experience and terminology with another, suggesting a coherent system created for understanding knowledge in terms of critical reflection, and being conducive to new creative articulation and representation. In the work theory emerges as a dynamic encounter, a continuous re-figuration within a tradition of commentary and interpretation. Researched ideas, practical work and developing studio methodology have been explored further and tested in exhibitions, written publications, conference contributions, teaching projects and artists residencies. A large body of practical work has been generated over the period of the research. Some of the objects are pieces of jewellery, using precious metals and other more idiosyncratic materials. Other objects, even though still wearable, extend the boundaries of the traditional piece of jewellery towards what has become a fine art practice, which uses a multi-media approach together with traditional handcraft goldsmithing skills. Assemblage, installation, video and relational interactive projects have been developed to investigate narrative structures invested in those objects.

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Leeker, Laura. "Narrative and Experimentation in Fourteenth-Century Italian Chapter Houses". The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587636941131244.

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Marinkova, Milena Dobrich. "Haptic Writing as Micropolitical Art in Michael Ondaatje's Narrative Works". Thesis, University of Leeds, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.484903.

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This thesis offers a reading of Michael Ondaatje's narrative works that correlates certain aesthetic choices with alternative forms of political allegiance. Starting with a discussion of what constitutes the haptic qualities of these texts, I demonstrate how synaesthesia and indexicality as aesthetic devices and thematic choices forge a more egalitarian and interactive relationship between reader, author and work. Whilst the dissolution of monologic textuality gives way to heteroglossic textural propinquity, Ondaatje's works do not simply celebrate multivalent meaning, but recurrently remind one of the disruptive potential of the haptic. For not only are these narratives postmodernist flights into imagination and experiment, but they also constitute disturbing interventions into mainstream. discourses. Furthermore, haptic writing iscapable of offering an ethicil1ly responsible narrative that disrupts normative regimes of representation without dismissing the personal and the intima~. The indexical nature of hapticity constructs the text as a trace of a material reality and real material bodies; a remainder that is itself physical and opaque. Thus, the inscrutable corporealities and untranslatable textualities enact a form of witness writing, which does not become a redemptive spectacle, nor does it offer a cure-all solution. Resisting transparent repres;ntation and absolute cognitive me'chanisms, Ondaatje's works bear just witness to the irreducibility of difference and self-reflectively acknowledge their own representational limits. Similarly to the physicality of the body,Ã‚Â· haptic writing testifies to its own insufficiency and invites the reader in her tum to become an embodied and participatory, an agentive and vulnerable witness. The agency conferred by a haptic writing is of a microscopic rather than macro nature. Ondaatje's much criticised interest in the personal and the intimate, however,does not soar into a celebration of individualism. The haptic emphasis on the irreducibility of corporeality highlights a site where multiple allegiances can gain recognition without being subsumed into a uniform political stance. However, such immanent relationality can be romanticised or exoticised, just as multiple microscopic allegiances can be co-opted by regimes of dispersed control or of qmisi-fascistic nature. In this respect, Ondaatje's narratives not only gesture at their insufficient and constructed nature, but also outline their potential implication in and appropriation by normative discourSes.

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Kinman, Brent Rogers. "Kingdom, Christology, and narrative art in Luke 8:22-39". Theological Research Exchange Network (TREN), 1987. http://www.tren.com.

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Shahba, Mohammad. "Elliptical narrative : elements of plot in the new art cinema". Thesis, University of East Anglia, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364975.

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Cabrera, Raul. "Narrative Art and the Portrayal of Faith and Social Injustice". Thesis, The University of Texas Rio Grande Valley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10268904.

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The artwork I strive to create infuses what interests me and is important to me all the while taking issues I feel are important to address and incorporating them as well. In the case of the exhibit Spiritual Awakening, the passion of creating narrative imagery in the form of a graphic novel as well as the yearning to express my faith was the vehicle to bring to light many social injustices in the form of criminal activity from murder to corruption. Though these themes have been seen in different aspects in a variety of mediums, rarely have they been conveyed all together in one package. As these three things are formed and displayed in Spiritual Awakening, it is meant to produce a healthy dialogue to not only see the nature of some people who lean towards criminal activity, but to also seek to become better themselves.

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29

Shipe, Rebecca L. "Creating productive ambiguity| A visual research narrative". Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3700162.

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The purpose of this dissertation was to examine how I can facilitate experiences with art that promote "productive ambiguity," or the ability to transform tensions that disrupt our current understandings into opportunities for personal growth. Ambiguity becomes productive when our encounters with difference stimulate curiosity, imagination, and consideration of new possibilities and perspectives. While employing a multi-methods practitioner inquiry that combined elements of action research, autoethnography and arts based research, I addressed the following questions with a voluntary group of fifth grade research participants: How can I facilitate experiences with art that promote productive ambiguity? How do my students interact with the various visual content and instructional strategies that I develop and implement? How might these interactions inform my future teaching practice, and how does my own reflective visual journaling process inform my research? In addition to employing reflective sketching to document and analyze data, I also presented research findings in the form of a visual research narrative.

My analysis of research findings produced the following teaching strategies for facilitating meaningful experiences with art that promote productive ambiguity: (a) Use an inquiry approach to instruction as much as possible in order to position students to actively navigate the space between the known and unknown while seeking fresh understandings rather than passively accepting new information. (b) Explore how new concepts or themes relate to students' lives in order to situate unknowns in relation to their present knowns. (c) Aim to balance structure, flexibility and accountability while developing and implementing curricula. This promotes productive ambiguity as both teachers and students negotiate their pre-conceived ideas or plans and push themselves to respond to challenges encountered within their immediate environment. (d) In order to avoid unnecessary confusion, explicitly state that students should takes risks while generating new ideas rather than identifying a pre-existing solution. (e) Finally, ask students to identify why skills and knowledge generated during these activities are valuable in order to promote meta-cognition of how this ambiguous space can become more productive.

In addition to these practical findings, research participants agreed that sharing their interpretations of visual phenomena with one another enabled them to understand each other better. I also discovered the ways in which productive ambiguity emerged in the spaces in between my teacher/researcher/artist roles when I perceived challenges as prospects for personal transformation. As a whole, this dissertation exhibited how relational aesthetics and arts based research theories translated into my elementary art classroom practice while simultaneously integrating these concepts into the research study design and presentation.

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Tovey, Derek Morton Hamilton. "Narrative art and act in the Fourth Gospel : aspects of the Johannine point of view". Thesis, Durham University, 1994. http://etheses.dur.ac.uk/5090/.

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This thesis assumes that the narrative form of the Fourth Gospel is important for understanding the Gospel's meaning. Narrative is a communicative transaction whereby meaning is transmitted from author to reader via the way the story is told. Meaning is also established by overt speech-acts, and the 'act' performed in the overall structuring of the story. It arises within a context of rule-governed speech behaviour which determines parameters and implications that inform understanding. The Gospel's narrative form meets with readers' conventional expectations about how it relates to ostensive historical reality. Factors internal and external help determine genre. Part one examines aspects of the Gospel's narrative art. The way in which the narrative situation varies over the course of the narrative is outlined. The implied author manipulates the narration to create a close association in the reader’s mind between the narrator and the beloved disciple. In John 3 the voice of the narrator merges with those of Jesus and John. These strategies have implications for the Gospel's theological meaning and the relationship of the implied author to the story world. Speech-act theory elucidates the narrative act by which the implied author conveys the Gospel's message and seeks to induce belief in the reader. Part two considers the Gospel's relationship to historical reference. Factors which influence a decision as to whether or not the Gospel is to be taken as fictional are examined, for example, whether aspects of the narration suggest fictional discourse and whether the speech-acts operate within a 'pretended' world. Descriptive categories for the Gospel as natural narrative and 'display text' are proposed, as is a flexible model of genre, which modulates the poles of 'fiction' and 'history'. An analysis of the Temple Cleansing pericope provides illustration of the Gospel’s status as an historically-based, theological display text.

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31

Jacobs, Ilene. "Performing the self : autobiography, narrative, image and text in self-representations". Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/1552.

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Abstract (sommario):

Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2007.
Thesis received without illustrations at the time of submission to this repository.
This research follows the assumption that the notion of performativity can be applied to the visual construction of identity within art-making discourse in order to explore the contingent and mutable nature of identity in representation. My interest in performativity, defined as the active, repetitive and ritualistic processes responsible for the construction of subjectivities, lies within the process of production. I indicate how this notion, within the context of self-representation, can provide the possibility for performing identity as a process. I investigate the extent to which gender, the gaze, memory and narrative contribute to the performative construction of self-representations and reveal, through the exploration of my practical research, that these concepts are themselves performative. Although agency to construct the self can be regarded as problematic, considering the role of language and discourse in determining subjectivities, this research suggests that it is possible to perform interventions from within language. I suggest that the notion of inscription provides a means through which identity constructions can be performed differently; and that my art-making process of repetitive inscription, erasure and re-inscription of image and text and the layering of paint not only reflect the notion of performativity, but also enable me to expose the multiple and fragmented nature of identities.

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32

Sadlowski, Gail. "The Development of a Definition and Applied Evaluation Criteria for Psycho-Narrative Video Art". Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500553/.

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Abstract (sommario):

This thesis is concerned with three problems. The first is that of distinguishing and defining one category of video art. The second is developing criteria for the evaluation of works in this category. The third problem is the application of these criteria to a new psycho-narrative video art piece created by the author as well as two pieces by other artists. This paper examines the use of film and video as an art form, focusing on specific influences affecting the evolution of psycho-narrative video art. Definitions for video art and psycho-narrative video art are developed. Descriptive criteria and three critiques are used to justify the conclusions. A concluding artist statement presents the personal view of the author.

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33

Jacobs, Ilené. "Performing the self : autobiography, narrative, image and text in self-representations /". Link to the online version, 2007. http://hdl.handle.net/10019/356.

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34

Waste, Amy. "Conversational art in the novels of Henry James". Thesis, University of Sheffield, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311803.

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35

Cleesattel, Michelle. "A Study in Using Sketching Techniques to Develop Cohesive Narrative Art". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/84.

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Abstract (sommario):

This is an arts-based research study on the effects of applying extensive and diverse sketching techniques to the development of a cohesive body of work, which reflects the significant and meaningful events of the artist-researcher’s life. The research techniques employed and studied consist of looking at historical exemplars, sketching, reflecting, critiquing, and revising. The results of the research were then reflected upon and applied to the field of art education in an attempt to discover the benefits for both teaching and learning in kindergarten through 12th grade curriculums.

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36

Dodd, Jacob Adam Joseph. "Beyond Narrative". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1489.

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Abstract (sommario):

My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.

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37

Prisco, Lauren. "Immersive Theater & The Physical Narrative". VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4896.

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Abstract (sommario):

Immersive Theater is a form of experimental theater that places spectators at the heart of the created work, by removing them from the constraint of static seats and instead encouraging them to explore an installed environment as a way of understanding the narrative. This thesis explores how Interior Design directly enhances a performance by creating spaces that challenge a spectator’s physical understanding of a narrative.

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38

Vette, Joachim F. "Narrative art and reader creativity a comparative reading of 1 Samuel 9:1-10:16 /". Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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39

Deardorff, Philip. "Novice Teachers' Stories Represented As a Graphic Narrative". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271802/.

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The issue of alternative certification teacher training has greatly affected art education over three decades. As a result of training through alternative certification, many art educators enter the profession unprepared and unable to cope with the realities of teaching. This study attempts to understand and represent the experiences and struggles of four alternatively certified art teachers, including myself. By reading these stories, others within the education community can empathize with and provide support for struggling novice teachers. This creative thesis uses a graphic novel format to represent participants' stories. By combining text and imagery, the graphic novel format provides different meanings, interpretations, and insights into the teachers' lives. This medium offered a unique and rich perspective on the stories of what it is like being an alternatively certified art teacher.

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40

Rodriguez, Kathryn Lorraine. "Henry Meloy the portraits : a narrative of the exhibition /". The University of Montana, 2008. http://etd.lib.umt.edu/theses/available/etd-05202008-125608/.

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Abstract (sommario):

The Montana Museum of Art & Culture (MMAC) exhibited the portraiture of Montana modernist painter Henry Meloy in July and August of 2007. As curatorial intern, I assisted in the mounting of this exhibition and researched the biography of and portraits created by Meloy. The professional paper describes the process of mounting the show from the acquisition of the permanent loan of the Meloy collection by the MMAC through exhibiting and and shipping the work. This description is supplemented with biographical information and critical assessment of the portraits, which show stylistic developments in visual arts in the United States between 1920 and 1950.

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41

Palucci, Piera. "Emergence of an art education philosophy through a personal narrative inquiry". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0020/MQ47867.pdf.

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42

O'Riley, Tim. "Representing illusions : space, narrative and the spectator in fine art practice". Thesis, Open University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264401.

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43

Rickman, Lance. "Cinema and sequential art : early narrative film and the comic aesthetic". Thesis, University of Essex, 2009. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.502210.

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44

Goodman, Zilla Jane. "The cloven soul : the art of the narrative of M.Y. Berdichewski". Thesis, University of Cape Town, 1986. http://hdl.handle.net/11427/23169.

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45

Slikker, Hank B. "Narrative art, unity, and theology in 1 Kings 22:1-38". Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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46

Stanley, Denise Y. "Teaching Is My Art Now". Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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Abstract (sommario):

This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

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47

Stanley, Denise Y. "Teaching Is My Art Now". University of Sydney, 2008. http://hdl.handle.net/2123/2653.

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Abstract (sommario):

Doctor of Philosophy
This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.

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48

Maeda, Tamaki. "Tomioka Tessai's narrative landscape : rethinking Sino-Japanese traditions /". Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6235.

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49

Goodwin, Mitchell John. "Dark Euphoria: The Neo-Gothic Narrative of Millennial Technoculture". Thesis, Griffith University, 2014. http://hdl.handle.net/10072/367689.

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Abstract (sommario):

This is a project in two parts. The text presented here is the major component. This exegetical document provides the theoretical context for a series of media art works that were produced between 2011 and 2012 in response as much as in parallel to this analysis. The creative work, the online media assemblage Dark Euphoria: Unclassified Media (archived at http://darkeuphoria.info), should be seen in a non-traditional sense – a research-led practice component – contextualised by the broader theoretical narrative. Together, these two components produce a visual communication analysis of historical events, cultural artefacts and media art and the artists who produce them to reveal the nature, attraction and power of the dark euphoric temperament inherent in millennial technoculture. It is important to note however that this is a particular type of exegetical response not a reflective exegesis. This is not an analysis of my practice – the history or technique – rather this is an analysis of the context that informs that practice. Yet this text does include a discussion of several of my key works in relation to specific issues unpacked by the broader thesis and also in relation to the work by other media artists who explore similar territory.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text

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50

Garman, Keli L. "The Art of Designing a Meaningful Landscape through Storytelling". Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/32181.

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Abstract (sommario):

Meaning in the landscape is a concept that is receiving attention from many landscape architects asking the questions: how is meaning found in the landscape, or what makes a landscape meaningful? While there are many design processes that incorporate meaning into the design, it is the art of storytelling that the thesis investigates. The research for the thesis and a comparison analysis is performed on three texts, which explore meaning in the landscape. The three texts are Marc Treibâ s â Must Landscapes Mean?â ; Matthew Potteiger and Jamie Purintonâ s Landscape Narratives, and Mark Francis and Randolph T. Hester, Jr.â s The Meaning of Gardens: Idea, Place, and Action. Applying these approaches to case studies has resulted in the finding of common ideas between the three texts. The commonalities led to my position that storytelling can be used as an approach to design, and that landscapes designed as a story narrative can be meaningful. The design project investigated the strength of the position on a site in the West Potomac Park in Washington DC. The story for the project is a Japanese folktale that communicates the culture of Japan. The project is a case study that explores if the set of design principles within the storytelling approach can invest meaning into a landscape.
Master of Landscape Architecture

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Tesi sul tema "Narrative art"

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