Tesi sul tema "Narrative painting"
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1
Wilson, Gina Strecker. "Narrative Painting". PDXScholar, 1992. https://pdxscholar.library.pdx.edu/open_access_etds/4527.
Testo completo
2
Nowicki, Andrzej Jan. "The gloaming : narrative in contemporary painting". Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8202.
Testo completoAbstract (sommario):
Also available online.The key to understanding my project lies in the assumption that the task of representation for contemporary painting is different from that of newer media such as photography and film. I see the role of painting as being the representation of the past; an engagement with history. Many of the painters who have inspired my way of seeing are artists who re-imagined the role of pre-modernist narrative painting and re-asserted it in contemporary practice. Contemporary narrative painting occupies a different role from that of its pre-modernist predecessors, such as Romantic painting. It also occupies a different role in relation to dominant narrative media of photography and film.
3
Coutts, Maryanne. "Using narrative strategies in contemporary figurative painting". Thesis, Federation University Australia, 1999. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/165036.
Testo completoAbstract (sommario):
"This project applies an analysis of narrative, its elements, strategies and devices to figurative painting within the practical project of producing visual narrative fiction."Doctor of Philosophy
4
Ator, Robin A. "Boudica : an illustrated narrative". PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/3823.
Testo completoAbstract (sommario):
I study painting and composition for its own sake, and in this program I am pursuing it from a narrative or pictorial stance, much as did earlier artists, and doing so in contemporary terms. Distinguished examples of illustrators could include such artists as Raphael, Michelangelo, Rembrandt and Rubens, and modern practitioners such as Wyeth and Baskin.
The illustrator needs not only control of his means, but also other qualities in addition to those of a studio painter. He needs an imagination that will allow portrayal of scenes and viewpoints that can't be arranged in a studio. The artist's memory and invention are primary requisites for illustrations involving distant times and places.
5
Green, Alexandra Raissa. "Buddhist narrative in Burmese murals". Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367563.
Testo completo
6
Ng’ok, Ivy Chemutai. "A counter-narrative analysis of psychological riot in contemporary painting". Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/60458.
Testo completoAbstract (sommario):
I am rioting against a system of my own beliefs about the world. In my mind, I struggle to overcome these beliefs, hence, I construct the psychological riot as ‘the disturbance of the mind’. In this mini-thesis, I argue that it exists in the psyche too. This definition of psyche becomes painterly. My psychological riot is difficult to trace, let alone paint. The beliefs that I target are patriarchy within a post-colonial context. I use theories that are simultaneously psychological and corporeal. They address violence colonialist system. The psychological riot is an practical submission.
7
Matino, Gabriele. "Venetian istorie : re-evaluating Giovanni Mansueti's narrative painting (1500-30's)". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/14255/.
Testo completoAbstract (sommario):
This thesis challenges existing studies on Giovanni Mansueti (active 1485-1526/27) that have generally tended to undervalue his contribution to Venetian narrative painting. Rather, drawing on extensive primary research my work demonstrates how Mansueti was one of the major interpreters of the “eyewitness style”, in fact a master able to picture the unique requirements and expectations of his various patrons. Chapter 1 analyses Mansueti’s little-known cycle in the church of San Martino, Burano (The Betrothal of the Virgin, The Adoration of the Shepherds and The Flight into Egypt, c. 1510), with reference to practices of private devotion in Renaissance Venice. I investigate the paintings by drawing on textual sources that were commonly used in private devotional practices, showing how the paintings projected an ideology built on specifically Venetian interpretations of the Apocrypha. Chapter 2 is a contextual analysis of the Scuola Grande di San Marco. Using original archival findings, it firstly reassesses the Scuola’s art patronage system and bureaucratic procedure; then it investigates the identity of the individual Scuola’s members responsible for commissioning the St Mark Cycle originally decorating the walls of the Sala dell’Albergo. Chapter 3 provides an analysis of Giovanni Mansueti’s three paintings for the Scuola (The Baptism of Anianus and The Healing of Anianus, 1518; Three Episodes from the Life of St. Mark, 1525) in respect to the Sala dell’Albergo narrative cycle. The study focuses on the paintings as visual projections of the Scuola’s ideological understanding of the Muslim ‛others’. It investigates the contextual motives that prompted the Scuola’s merchant brothers to represent their commercial associate as the very tormentors of St Mark.
8
Fry, Jasmine R. "Experiencing the spiritual: Viewership and narrative painting in the early seicento". Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1442915.
Testo completo
9
Batenburg, Nancy G. "Telling tales and painting pictures: A narrative inquiry into the professional learning of Northern Territory primary teachers". Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/90063/4/Nancy_Batenburg_Thesis.pdf.
Testo completoAbstract (sommario):
This thesis narrates the professional learning experiences of seven Northern Territory teachers. It outlines the evolution from traditional professional development in schools to an active, responsive professional learning agenda. With increasing demands on teachers, standardisation and the quest for improved student outcomes, key themes in the re-storied narrative emerge about the definition and role of professional learning in complex conditions, effective teaching, quality programmes, and teacher agency. This thesis contributes to knowledge about the characteristics that teachers value in their professional learning experiences. An Ongoing Professional Enhancement Model (OPE) is proposed, highlighting directions in this field for key stakeholders.
10
Dixon, Erin. "Parables". unrestricted, 2008. http://etd.gsu.edu/theses/available/etd-04252008-135822/.
Testo completoAbstract (sommario):
Thesis (M.F.A.)--Georgia State University, 2008.Joseph Peragine, committee chair; Teresa Bramlette-Reeves, Cheryl Goldsleger, committee members. Title from file title page. Electronic text (25 p. : col. ill.) : digital, PDF file. Description based on contents viewed Aug. 14, 2008. Includes bibliographical references (p. 16).
11
Connor, Laura. "Frameworks: The Limits of Perception and Representation in Spanish Narrative and Painting, 1880-1920". Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11486.
Testo completoAbstract (sommario):
Realism is a mode of representation that purports to depict contemporary society objectively and in its entirety. By contrast, modernist artists are often regarded as having turned away from external reality to represent subjective states and to emphasize the artistic (versus mimetic) qualities of art. Building on recent scholarship that has demonstrated that Spanish realist authors were mindful of the limitations of the realist project, this study examines frames as devices through which both realist and modernist authors and artists working in fin-de-siècle Spain signal the limits of perception and representation.Romance Languages and Literatures
12
Hollier, Daniel Robert. "Holding Down a Shadow". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15761.
Testo completoAbstract (sommario):
Using the Already-made and the Narrative as a counterpoint to rigorous formal and Non-Representational painting, this paper discusses how these two ideas are used in my own practice, with an interest in investing subjectivity into my own painting. I am interested in the contradiction and obfuscation of the information (or lack of information) presented in Non-Representational Painting. I seek to explore a space where the painting can exist as both, image and non-image. This paper is intended to be neither didactic nor divisive, but instead an audit of the strategies employed by my practice.
13
Ichikawa, Kayoko. "Guido da Siena's narrative panels and the Madonna del Voto : the formation of the Marian civic identity in Sienese Art c.1260". Thesis, University of Warwick, 2015. http://wrap.warwick.ac.uk/77733/.
Testo completoAbstract (sommario):
This thesis examines the reconstructed altarpiece formed by the Madonna del Voto, the Coronation of the Virgin, and the twelve narrative panels dated circa 1267 and attributed to Guido da Siena, currently dispersed in museums in Europe and America. The reconstructed altarpiece is vital to the study of early Sienese art because of its association with the Madonna del Voto in Siena cathedral, the most venerated icon believed to be once on the high altar. If proven, it represents a significant rediscovery of an altarpiece commissioned to commemorate the miraculous intercession of the Virgin who granted Sienese victory over Florence in 1260 at the Battle of Montaperti, giving birth to Siena’s identity as ‘the City of the Virgin’. Moreover, it reveals a more comprehensive view of the precedent of the complex altarpiece, the Maestà by Duccio di Buoninsegna dated 1308-11. However, the unconventional format and the iconographical programme of Guido’s reconstructed altarpiece has been criticised, and its original location on the cathedral high altar is questioned. The four chapters of this thesis reassessed the validity of the reconstruction of Guido’s altarpiece and its original location on the high altar by combining the methodological tools of altarpiece studies and pictorial narrative studies. Chapter 1 clarified that the reconstruction is highly probable from a technical viewpoint. Chapter 2 proposed an alternative interpretation of the historical documents suggesting its original location on the high altar. Chapters 3 and 4 examined the two extra-biblical episodes (the Ascent of the Cross and the Coronation of the Virgin), which are often associated with Franciscan commissions, and argued that they were selected to emphasise the Virgin’s intercession. The reconstructed altarpiece of exceptional format and iconographical selection was thus probably an invention for the important commission for Siena cathedral where art embodied the Marian civic identity.
14
McDevitt, Michael David. "The Shooting: A Cautionary Tale". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1431008737.
Testo completo
15
Edwards, Jamie Lee. "Netherlandish vernacular narrative painting in the age of Bruegel : 'entangling the eyes' & 'enlightening the mind'". Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7703/.
Testo completoAbstract (sommario):
This thesis sheds new light on the origins and significance of ‘compositional inversion’ in sixteenth-century Netherlandish art. Taking Pieter Bruegel’s inverted religious narratives as primary examples of a wider phenomenon, it seeks to account for the seemingly paradoxical method of narrative obfuscation evident in these works. It does so by situating them in art theoretical, iconographic, social, political and spiritual contexts. Chapter 1 turns to the art theories of Karel van Mander, contained in the first book of Het Schilder-Boeck (1604): ‘Den Grondt … ’. Here I suggest that Bruegel’s inverted compositions exemplify an entire tradition in Netherlandish history painting – the ‘historien’ – that van Mander retroactively theorised in ‘Den Grondt’. According to his theoretical position, Netherlandish inverted ‘historien’ derive their efficacy precisely because they obscure narrative, for by doing so they ‘entangle’ the beholder’s ‘insatiable eyes’ and so encourage sustained interest in the story. Chapter 2 then examines the visual tradition in Netherlandish art that inspired Bruegel’s inverted narratives, and concludes that these works possess a distinctive formal ‘Netherlandishness’ and as such they offer fertile territory for examining Bruegel’s “vernacularity”. Finally, in Chapter 3, I argue that compositional inversion evolved as a visual counterpart to contemporary biblical exegeses, specifically Erasmus’s.
16
McNeill, Malcolm L. S. "Narrative agency in thirteenth-fourteenth century Chan figure painting : a study of hagiography-iconography text-image relationships". Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24335/.
Testo completoAbstract (sommario):
This thesis examines the relationships between image and text in paintings of Chan Buddhist figural subjects from thirteenth and fourteenth century China. Its central contention is that the visual qualities of these paintings, and the lexical content of the inscriptions upon them, made complex allusions to narrative prototypes recorded in hagiographies, as part of the pedagogical practice of the Chan tradition. These narrative allusions communicated religious teachings to the viewer, mediating their relationship to the Chan pantheon of exemplars and eccentrics. This thesis' analysis of the connections between painters, inscribers, subjects and viewers of Chan figure paintings addresses an under researched dimension of thirteenth and fourteenth century Chinese visual culture. By focusing on the Chinese context for the creation and reception of Chan figure paintings, the following discussion offers an alternative to the recurrent framing of these works as precursors to Japanese Zen painting. Instead, this thesis focuses on the distinctive agency of narrative in the reception of these works in a thirteenth and fourteenth century Chinese context. This is explored in six chapters, outlined below. Chapter one surveys modern scholarship on Chan figure painting, problematising its frequent conflation with Japanese Zen art. Chapters two, three and four examine three different narrative themes in Chan figure painting: transitions, interactions, and awakenings. These three chapters show how these visual narrative themes respectively reflected and reinforced the legitimacy, authority and efficacy of Chan's lineages and teachings. The fifth chapter explores the role of inscriptions upon paintings in shaping the Song and Yuan ideal of a Chan abbot, through a case study encomia on Chan figure paintings by Yanxi Guanwen (1189-1263). The final chapter examines the idealisation of the preeminent painter of Chan figural subjects, Liang Kai (late 12-early 13th century), distinguishing between the historic receptions of his attributions in Chinese and Japanese collections.
17
Fonseca, José Miguel Gervásio da. "Joyciana: Mollies, Pollies & Dollies, ou a permanência da subjectividade em pintura". Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30614.
Testo completoAbstract (sommario):
Em análise, a série de pinturas Joyciana: Mollies, Pollies & Dollies, a partir da
interrogação dos factos da arte ocidental. Caracterizada por uma figuração de personagens
fantasiosas, cenários e variações antropológicas, como o erotismo, o psiquismo e os excessos
que as máscaras encobrem, a Joyciana pretende ser a súmula das heterogeneidades, das
contradições, dos modos e dos dogmas do nosso tempo. Na relação figura-narrativa-série, o
corpo é o excedente que a Joyciana caricaturiza; a narrativa, o acto original que evidencia o
fragmentário, invadido por territórios permeados de impossibilidades, em que o problema não
é a pintura mas a subjectividade enquanto verdade transgressora que valida a pintura; ABSTRACT:
Joycean: Mollies, Pollies & Dollies, or the permanence of subjectivity in painting.
Under analysis is the Joycean: Mollies, Pollies & Dollies painting series, based on
the questioning of the facts of occidental art. Characterized by the figuration of fanciful
characters, settings and anthropological variations, such as eroticism, psychism and the
excesses masks hide, the Joyciana series aims to be an account of the heterogenities,
contradictions, ways and dogmas of our times. In the relation figure-narrative-series, the body
is the surplus that Joyciana caricaturizes. The narrative, the original act that highlights the
fragmentary, is invaded by territories filled with impossibilities in which the problem is not
painting, but subjectivity as a transgressive truth that validates painting.
18
Brand, Carol Frances. "A narrative in relief : the historiography of English modern painting (1910-1915), from the 1910s to the 1950s". Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/2249.
Testo completoAbstract (sommario):
The groups of painters in England who experimented with new visual expressions of modernity between 1910 and 1915 are the subject of this historiographical research. More precisely, the accounts of Vorticism, Bloomsbury post-Impressionism and the modern art of painters associated with Sickert, (principally the Camden Town Group), have been critically examined over a forty year period in order to trace the narrative of their place in contemporary art criticism and their entry into histories of what soon became the recent past. This textually-based methodology has produced an insight into the forces acting upon the critical reception of a particular period subsequently seen by historians as a discrete phase in the evolution of British art. The readings of texts are organised chronologically so as to illustrate the iv formation of a historical narrative and its variants, and to show how immediate responses and retrospective evaluations connect discursively. The findings of the research have four aspects. Firstly, it has been fruitful to isolate the narrative of the years 1910-15 over forty years so as to test whether it is possible, using this longitudinal methodology, to comment productively on the integrity of this historical episode, and to establish how the narrative became a critical orthodoxy governed by a limited range of analytical perspectives. Secondly, estimations as to the quality of the art produced in these years developed a distinct, often negative, patterning in journalism and art historical writing and this is also traced in some detail over time. Dominant tropes in the critical language have been identified over this forty year period which became the default positions of historical analysis and which, I argue, impeded sophisticated or revisionist thinking. With a few notable exceptions, the analysis of early English modern art is poorly served by its commentators in this period and this weakened discursive health. Thirdly, this thesis also considers the nature and influence of, periodicals, newspapers, ‘little magazines’ and the genres of art-writing that were extant between 1910 and 1956 and relates this to the distinctions and similarities between art criticism and art history at this time. A fourth analytic strand concerns outside influences on the production of critical and historical texts. It explores the impact of promotional art writing, and exposes the professional pressures on, and rivalries between, writers and considers some of the wider political circumstances through which this particular debate on recent art was refracted.
19
Williams, Samuel S. "Zig Zag Wanderer". ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2341.
Testo completoAbstract (sommario):
Narratives recollected from popular sources such as podcast and websites often inspire my animations, paintings, and drawings. My work serves as a pictorial manifestation of everything from visualized passages in literature to eavesdropping. I zigzag from one source to another, combining found images that are loosely associated with one another. I combine them in a simulated collage in order to form an interesting composition. My purpose is to create a magical moment that pulls us away from the monotony of life. Storytelling not only allows one to see oneself and how one relates to others, but it also can provide a way for a person to cope with the unpredictable nature of existence. I am hoping that my art will provide opportunities for the viewer to expand his/her own unique personal narrative.
20
Lee, Stephanie Maria. ""The Will to Create" Exhibition Photographic Documentation of, and Narrative on the Body of Work in Sculpture, Painting and Mandala". Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LeeSM2008.pdf.
Testo completo
21
Engelmann, James Thomas. "Narrating Friendship: The reciprocal relationship between J.B. Childers and myself". VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/905.
Testo completoAbstract (sommario):
For the past ten months I have explored the life of a deceased artist named Joseph Barley "J.B." Childers. In the graduate catalog Gregory Volk summarizes Childers as, "an alienated Korean War Veteran, who took up painting as a refuge from his troubles, and who also doesn't exist. Childers who is naturally right-handed, painted everything left-handed because of a war wound, and so Engelmann, who is left-handed, painted with his right hand, which is quite a limitation." Of course, there's more to the story than that and the writings that follow will explain many of my reasons for pursuing this project.
22
Phillips, Carla. "Así, Así : Investigating the complexity of identity through the example of a micro-narrative". Thesis, Linnéuniversitetet, Institutionen för design (DE), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-86139.
Testo completoAbstract (sommario):
This paper investigates the complextity of identity through the example of a micro-narrative. It zooms in on the relationship between a 24-year-old girl from South Africa and her 86-year-old great aunt from Spain. The investigation focuses on hands – tools with which we carry out our day-to-day practices. The hands are used as a metaphor to represent our connection with the material world – the way in which interact with each other and our surroundings. How do we navigate familiar and unfamiliar places? The outcome is visualised through an audio-visual installation.
23
Perinelle-Beguerie, Catherine. "Les nouvelles figurations à Bordeaux dans la décennie 1960 - 1970". Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1002.
Testo completoAbstract (sommario):
Au début des années 1960, émerge un nouveau courant d’expression artistique en Europe et particulièrement en France avec une peinture figurative appelée Nouvelle Figuration. Exposée dans des galeries parisiennes, elle prit un caractère plus officiel en étant présentée au Musée d’art moderne de la Ville de Paris, au sein de l’ARC créé en 1966 comme espace de recherche et d’expositions dédié à de nouveaux talents. Ces différentes manifestations encouragées par plusieurs critiques d’art permettent à ce nouveau courant de rayonner en dehors de la capitale. Parallèlement, à Bordeaux, toute une génération d’artistes explore à son tour ces nouvelles figurations, mais l’accueil qui leur est réservé apparaît des plus contrastés. Durant une dizaine d’années, quelques galeristes isolés encouragent la diffusion de cette peinture narrative en mettant en perspective les productions bordelaises et parisiennes. Les institutions muséales de la ville, quant à elles, ne leur accordent alors que très peu d’attention. Aussi, la plupart de ces artistes tentent de faire carrière à Paris. Certains y parviennent après avoir réussi à exposer dans des galeries et à obtenir une première reconnaissance critique. Auréolés de leur accueil parisien, certains d’entre eux parvinrent à mieux s’imposer sur la scène artistique bordelaise au début des années 1980, sans que le Centre d’arts plastiques contemporains, créé en 1974 à Bordeaux (et devenu Musée d’art contemporain en 1984), ne cherche davantage à les promouvoir. Cependant, portés par le mouvement de décentralisation artistique qui émerge dans les années 1980, plusieurs de ces peintres narratifs bordelais parviennent à se faire reconnaître dans d’autres villes de province et même hors des frontières nationales.Sortant d’une longue période de conservatisme, Bordeaux commence à peine à découvrir et à s’intéresser à la Nouvelle Figuration par l’intermédiaire du festival Sigma, dédié aux recherches artistiques contemporaines. En revanche, la programmation, plus internationale que française, que propose alors le Capc musée d’art contemporain ne favorise guère la promotion des artistes locaux. Cette situation contrastée semble pouvoir expliquer la réception mitigée qu’a connue la figuration des années 1960 et 1970 sur la scène artistique bordelaiseEarly 1960s, a brand new artistic movement was born in Europe and more particularly in France with figurative painting called Nouvelle Figuration. Shown in few galleries in Paris, it became a more official thing when presented to the Musée d’art moderne de la ville de Paris, within the ARC department created in 1966 as a room for artistic research and exhibition for young talents. These various exhibitions, supported by few critics, allowed this trend to expand beyond French capital’s borders. Simultaneously in Bordeaux, a whole generation of artists also explored all these aspects of Nouvelle Figuration. The reception of their art creations is more contrasted however. During almost ten years, few isolated gallery owners encouraged the diffusion of this narrative painting, putting in perspective productions from both Bordeaux and Paris. However, museum institutions in the city did not pay much attention to them. Hence, most of these artists tried their way in Paris. Few succeeded, after their first exhibitions in Paris galleries allowed them to gain recognition from critics. Glorified by this reception in Paris, some of them managed to better impose themselves onto Bordeaux art scene early 1980s. But the Centre d’Arts Plastiques Contemporain, created in 1974 (then renamed Museum of Contemporary of Art in 1984), did not try to promote them. Nevertheless, motivated by artistic decentralization emerging during these years, some narrative painters from Bordeaux succeed in being acknowledged in other towns and even outside France. Exiting a long period of conservatism, Bordeaux hardly started to discover and get interest in this Nouvelle Figuration through the Sigma festival, dedicated to modern art research. However, the programing, more international than French, offered at that time by the Centre d’arts plastiques, Museum of Contemporary of Art of Bordeaux, did not favour much local artists promotion. This contracted situation may explain the mitigated reception of this figuration in 1960s and 1970s in Bordeaux art scene
24
Raynolds, Nicholas. "the emotional plague". Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3773.
Testo completoAbstract (sommario):
The artist discusses his Master of Fine Arts thesis exhibition “the emotional plague” held at the Reese Museum in Johnson City, Tennessee from March 2nd through March 27th, 2020 in which he examines a number of literary and invented narrative subjects influenced by science fiction, Surrealism and the current political climate in an attempt to reconcile the social and the personal through the creative act.
Largely improvisational in their conception, the paintings and drawings in this exhibition reflect ideas derived from writers, thinkers and artists including Wilhelm Reich, J.G. Ballard, W.S. Burroughs and Goya, all distilled through the uncertain territory of Raynolds’ personal, internal landscape. He utilizes an amalgam of characters, tropes, and stories as metaphorical expressions of social psychosis and decay.
25
Noguera, Teresa. "Supporting children's narrative composition : the development and reflection of a visual approach for 7-8 year-olds". Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6427.
Testo completoAbstract (sommario):
At the heart of present literacy, and narrative, learning paradigms are the "literate behaviours" usually associated with aspects of learning to encode and decode print. These paradigms have been criticized for placing written and verbal language in a privileged position. Furthermore, whilst an increasing number of theorists and educators are asking for the inclusion of multimodal approaches to learning narrative, current curricula, and the research that informs it, continue to be founded on "verbocentric" approaches and linear forms of narrative expression. Through the development and evaluation of a curricular approach to narrative learning for 7-8 year-olds based on the visual arts, this study aims to ascertain whether there is a need for broader conceptions of narrative as well as for complementary modes of narrative composition than those currently being used in primary schools. Documentation in the form of the children‘s painted narratives and transcripts of the children's oral accounts of their narratives was the major component of data collection. Individual and small group interviews and participant observation were supplementary sources to assist in the interpretation of the narrative paintings the children composed. The children‘s narratives were analysed using a narratological semiotic model, which divides narrative into 'discourse' and 'story' and distinguishes between the 'content' and 'form' of each of these elements.
26
Fisher, James. "'I came here a stranger, as a stranger I depart' : an investigation into the relationship between drawing and narrative of place". Thesis, University of Gloucestershire, 2009. http://eprints.glos.ac.uk/1242/.
Testo completoAbstract (sommario):
This practice-based research investigates the relationship between the process of making layered images and narratives of walked journeys. Two such journeys – Franz Schubert’s song cycle, Winterreise, and the autobiographical account of John Clare’s escape from an asylum, Reccolections &c Of Journey From Essex – were examined and compared through a body of drawings, prints and paintings. A study of the construction of the two narratives highlighted their layered composition: Winterreise is experienced as a synthesis of Wilhelm Müller’s poems and Schubert’s musical setting; whilst the full impact of Clare’s account is appreciated in the context of his poetry and biography. The research began with a bookwork, a visual response to the layering of information observed in the song cycle of Winterreise, and led to the formulation of a method of interpreting narratives using Thomas De Quincey’s model of The Palimpsest. De Quincey identified the effacements, amendments and aggregation of material in a palimpsest manuscript with the absorption of experience. In paintings made to interpret the experience of Winterreise, abrading layers of a picture surface elicited the compound characteristics of the narrative: allowing one idea to be seen through another. The fictive identity of the song cycle emerged in a suite of monoprints, through their assembly of layered imagery. Conversely, John Clare’s account is that of an actual journey, physically walked. The research culminated in a focus on the terrain of the two narratives. The metaphorical landscape of Winterreise is contrasted with Clare’s more visceral relationship with earth and trees through a series of paintings based on Journey From Essex. The research discovered new possibilities in the narratives’ meaning through the invention of a visual language to describe both physical nature of walking and a distinctive sense of place.
27
Becker, Michelle Ciancarelli. "Traits of Writing, Traits of Art". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1264.
Testo completoAbstract (sommario):
A study was conducted of Introductory Art students to find if the six traits of writing as written by Spandel/Stiggins (1997) would have influence over a narrative painting when combined with the six traits of painting. Inconclusive findings were reported. Data difference between the treated and untreated class was less than one point. More research needs to be conducted to study transfer of knowledge from verbal to visual as well as from one curriculum to another with both curriculums teaching same material.
28
Saukaitė, Monika. "Pasakojimo strategijos Šarūno Saukos tapyboje". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140120_112137-12043.
Testo completoAbstract (sommario):
Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys.The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.
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Saukaitė, Monika. "Pasakojimo strategijos Šatūno Saukos tapyboje". Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140519_094131-66987.
Testo completoAbstract (sommario):
Disertacijoje nagrinėjama vaizdo naratyvumo problema. Analizės objektas – žymaus lietuvių dailininko Šarūno Saukos tapyba. Š. Saukos paveikslai atrodo esą siužetiški, pasakojantys istorijas, nors šios numanomos istorijos dažniausiai neturi žodinių provaizdžių, galinčių tapti interpretacijos šaltiniu. Todėl paveikslai tampa atviri pačių suvokėjų kuriamiems pasakojimams: vaizduojamos situacijos, dažnai primenančios nesuprantamus ir nerimą keliančius ritualus, provokuoja juos aiškinti pasitelkiant įsivaizduojamas istorijas. Tačiau ar kuria pasakojimus patys paveikslai? Ar galima rasti naratyvumo ženklus pačiame tekste, pačioje paveikslo struktūroje, neprimetant jam savo pasakojimo? Kokia naratyvumo samprata gali papildyti vizualių tekstų suvokimą, užuot spraudusi juos į siaurus sąvokos rėmus? Kokiu būdu Š. Saukos paveikslai geba pasakoti istorijas? Atsakymo į šiuos klausimus disertacijoje ieškoma pasitelkiant prancūzų semiotiką ir naratologiją. Formuluojamos teorinės ir metodologinės statiško vaizdo naratyvumo analizės gairės, naratyvumą siejant ne tik su gebėjimu pavaizduoti laikinę seką, bet ir su numanomomis transformacijomis, naratyvinės gramatikos dėsniais bei pasakojimo akto dalyvių (pasakotojo ir jo adresato) komunikacija. Analizuojant Š. Saukos darbus, ryškinami pasakojimo kūrimo mechanizmai, atskleidžiamos skirtingos žiūrovo dalyvavimo paveiksle formos, pasakotojo pasirodymo strategijos, horizontalus ir vertikalus tapybos naratyvumo matmenys.The dissertation explores the problem of visual narrativity. The object of the analysis are the works of the famous Lithuanian painter Šarūnas Sauka. Š. Sauka‘s paintings clearly seem to tell stories, although they are rarely based on any verbal stories that could serve as a source for interpretation. Instead, they are open to a wide range of individual interpretations: the viewers are provoked to narrativize the paintings by inventing stories that could explain the depicted scenes, which would otherwise remain mysterious and incomprehensible. But do the paintings themselves tell stories? Is it possible to trace narrativity in the very structure of the paintings? What concept of narrativity may be efficiently employed to analyze and understand visual texts? By what means Š. Sauka’s paintings are able to tell stories? The dissertation examines these questions by employing the French semiotics and narratology. The theoretic and methodological guidelines for the analysis of visual narrativity are formulated, linking it not only to the depiction of temporal sequences, but also to the implied transformations, to the laws of narrative grammar, and to the communication of the participants of the narrating act (the narrator and his addressee). In Š. Sauka’s paintings, the narrative strategies are elaborated by revealing the horizontal and the vertical dimensions of pictorial narrativity, as well as by examining the viewer’s and the narrator’s roles in the paintings.
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Davidson, Allison B. "Breaking Outside: Narratives of Art and Hawaii". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271797/.
Testo completoAbstract (sommario):
This research examines the personal narratives of two contemporary non-native artists living and working on the island of Oahu, Hawaii. Issues related to narratives, power structures, artistic processes, insider/outsider dynamics, Hawaiian culture, island life, surfing, and the researcher's own experiences are woven together to formulate realizations surrounding alternative knowledge systems and the power of multiple or hidden narratives to the practice of art education.
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Haskins, Charles E. "A Matter of Taste". Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1272.
Testo completoAbstract (sommario):
This thesis paper supports the Master of Fine Arts exhibition at the Slocumb Galleries, East Tennessee State University, from March 14th through March 18th, 2011. The exhibit is composed of nine oil paintings depicting an invented story about two characters who create a soup for a cooking competition. The show A Matter of Taste chronicles an allegory concerning the evaluation of creative works. Through Gaudie and Baudie's "odd" recipe this work illustrates the ways in artists and art audiences interact and determine artistic value. The work is inspired by techniques in distortion and narrative painting. The following expands on the ideas, influences, techniques, and concepts that helped to create the exhibit.
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Fries, Katherine. "Ariadne's thread - memory, interconnection and the poetic in contemporary art". Connect to full text, 2008. http://hdl.handle.net/2123/5709.
Testo completoAbstract (sommario):
Thesis (M.V.A.)--University of Sydney, 2009.Title from title screen (viewed November 26, 2009) Submitted in fulfilment of the requirements for the degree of Master of Visual Arts to the Sydney College of the Arts, University of Sydney. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references.
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Oliveira, Larissa Cristina Arruda de. "Caminhos cruzados: literatura e pintura, Graciliano Ramos e Cândido Portinari". Universidade Federal de São Carlos, 2013. https://repositorio.ufscar.br/handle/ufscar/4719.
Testo completoAbstract (sommario):
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Previous issue date: 2013-08-21Financiadora de Estudos e Projetos
Graciliano Ramos and Cândido Portinari were friends, but they had something in common that bound most strongly: the desire to express in their works the authentic Brazilian man, the worker and the migrant in their daily lives. This research aims to show how the works of Graciliano and Candido Portinari are close, not only as a social content and theme, but mainly as a form, style and technical resources, as the verbal and visual language are intimately linked as modes of representation. The rapprochement between Graciliano and Cândido Portinari, between the books São Bernardo, Vidas Secas, and the frames Café, Lavrador de café, Retirantes and Criança Morta, aims to demonstrate how the life and work of these artists intersect, in order to represent critically the reality of the time, through a dialectical analysis of form and content, combining text and context in levels of interpretation, according to the hermeneutic proposal of Frederic Jameson in the political unconscious (1982) and the principles of visual semiotics. To achieve this goal, we consider the history of each narrative, structural components, linking them to the historical context of the country at the time. Thus we examine how each represents a social issue: the contradictory reality of Brazil, a country that keeps living archaic modes of production with the arrival of Modernism and Capitalism; antagonistic classes of this society, exploiters and exploited, farmers, migrants, landowners, the government; and alienation/reification that they are submitted, direct consequences of this system. The analyzes are performed with dialectic dialogue, form and content, text and context in reading the social content of his compositions. That is, we analyze how they say what they say about this fundamental aspect of socioeconomic and political organization of the country. Thus, through the analysis we confirm why Graciliano and Portinari are considered realistic and social critics, as such works make use of realism and expressionism as technical resources to bring about awareness of the real and present in the political unconscious subtexts, which allows to conclude from the comparison made that the connection between them, the analogy between literature and painting produced, is stronger and larger than the gap.
Graciliano Ramos e Cândido Portinari, além de amigos, tinham algo em comum que os unia mais fortemente: o desejo de expressar em suas obras o autêntico homem brasileiro, o trabalhador e o retirante no seu cotidiano. Esta pesquisa pretende mostrar como as obras de Graciliano Ramos e Cândido Portinari estão próximas, não apenas enquanto conteúdo social e temático, mas, sobretudo, enquanto forma, recursos técnicos e estilo, pois a linguagem visual e a verbal são intimamente ligadas enquanto modos de representação. A aproximação entre Graciliano Ramos e Cândido Portinari, entre os livros São Bernardo, Vidas Secas, e os quadros Café, Lavrador de café, Retirantes e Criança Morta, tem como objetivo demonstrar como a vida e a obra desses artistas se cruzam, a fim de representar criticamente a realidade da época, através de uma análise dialética entre forma e conteúdo, conjugando texto e contexto em níveis de interpretação, de acordo com a proposta hermenêutica de Frederic Jameson em O inconsciente politico (1982) e os princípios da semiótica visual. Para atingir esse objetivo, consideramos a história de cada narrativa, seus componentes estruturais, ligando-os ao contexto histórico do país na época. Assim examinamos o modo como cada um representa a questão social: a contraditória realidade do Brasil, um país que mantém modos de produção arcaicos vivendo a chegada do Modernismo e do Capitalismo; as classes antagônicas dessa sociedade, exploradores e explorados, lavradores, retirantes, latifundiários, o governo; e a alienação/reificação a que são submetidos, consequências diretas desse sistema. As análises são realizadas de maneira dialética, dialogando forma e conteúdo, texto e contexto, na leitura do conteúdo social das suas composições. Ou seja, analisamos como dizem o que dizem, sobre esse aspecto fundamental da organização socioeconômica e política do país. Assim, através das análises confirmamos porque Graciliano e Portinari são considerados realistas críticos e sociais, como tais obras fazem uso do realismo e do expressionismo como recursos técnicos para trazer à tona a consciência do real e o inconsciente político presente nos subtextos, o que se permite concluir da comparação efetuada, que a aproximação entre eles, a analogia entre a literatura e a pintura que produziram, é mais forte e maior que o distanciamento.
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Wu, Shuangshuang. "Human/Nature". VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/110.
Testo completoAbstract (sommario):
This project has evolved from my own observation of our deteriorating living environments. I am exploring the development of a visual story to represent my contemplation of humankind's consumption, and how it endangers the balance of the natural world. Through drawing and animation, I hope to develop a visual language and an approach to storytelling that will inspire people to think about balancing economic, environmental, and ethical issues in design and development, and to advocate a simple honest life and noninterference with the necessary course of natural events.
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Bilbao, Giuliana Gnatos Lima. "Oficina de pintura: um estudo fenomenol?gico sobre uma pr?tica psicol?gica". Pontif?cia Universidade Cat?lica de Campinas, 2008. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/408.
Testo completoAbstract (sommario):
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Previous issue date: 2008-12-16This intervention research aimed to comprehend the experience of a Painting Workshop, which is a psychological approach implemented in PUC Campinas Psychology Clinic during three months in the year of 2007. The theoretical referential is Edmund Husserl s Phenomenology, and the Humanist-existential Psychology. In a room of the Psychology Clinic fourteen workshop meetings were organized, with duration of two hours each. They were conducted by the researcher as a facilitator adopting Roger s proposition of three attitudes: empathy, unconditional positive regard and congruency. After each workshop, the researcher elaborated narratives about the recently experienced meeting, using Benjamin s definition of narrative (1936/1994), and Husserl s definition of consciousness (1935/1996) as a base. It was the intention of the researcher to capture the movement of consciousness in the meaning creation that configure the experience. Based on the elaborated narratives, the intention was to expose the elements experienced by the researcher, who understands that the emerging meanings were configured in the intersubjective net of the meetings. Through the experience of the Painting Workshop and based on the principle that the human being has whether autonomy and the resources for self-comprehension and change, it was verified that participants of the Painting Workshop directed themselves to psychological integration by sharing their experiences in a kind and supportive environment. According to the perspective of setting differentiated psychological attention, the Painting Workshop makes us think carefully about the benefits and viability of the implementation of new models of clinical intervention in public health institutions that are able to pririze clients autonomy and psychological growth.
Esta pesquisa-interven??o objetivou compreender a experi?ncia vivida em uma Oficina de Pintura ; modalidade de aten??o psicol?gica implementada no servi?o de psicologia da PUC-Campinas ; durante tr?s meses no ano de 2007. Os referenciais te?ricos adotados foram a Fenomenologia de Edmund Husserl e a Psicologia Existencial-Humanista. Foram realizados catorze encontros de oficina ; com dura??o de duas horas ; em uma sala do servi?o de psicologia. A pesquisadora conduziu os encontros como facilitadora ; adotando as atitudes preconizadas por Rogers(1961/1999) de empatia ; aceita??o positiva incondicional e congru?ncia. Ap?s cada encontro ; a pesquisadora elaborou narrativas sobre a experi?ncia vivida ; baseando-se tanto na concep??o de narra??o de Benjamin(1936/1994) como na concep??o de consci?ncia de Husserl(1935/1996) ; buscando capturar o movimento da consci?ncia na cria??o de significados que configuram a experi?ncia. A partir das narrativas constru?das pela pesquisadora ; buscouse explicitar os elementos vividos ; entendendo que os significados que emergiram formaram-se na teia intersubjetiva dos encontros. Atrav?s da experi?ncia vivida na Oficina de Pintura e partindo do princ?pio de que o homem ? dotado de autonomia e possui dentro de si recursos para a auto-compreens?o e mudan?a ; verificamos que as participantes da Oficina de Pintura caminharam no sentido da integra??o psicol?gica ; compartilhando suas experi?ncias ; num clima acolhedor e de apoio m?tuo. Assim ; numa perspectiva de enquadres diferenciados de aten??o psicol?gica ; a Oficina de Pintura leva a refletir sobre os benef?cios e a viabilidade de implementar novos modelos de interven??o cl?nica em institui??es de sa?de p?blica que privilegiem a autonomia e o crescimento psicol?gico dos clientes.
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Turbuck, Christopher James. "Personal Narratives". Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/turbuck/TurbuckC0508.pdf.
Testo completoAbstract (sommario):
This body of work is comprised of autobiographical narratives from my everyday experiences. The conflict in the stories comes both from without and within: awkward, frustrating situations force perplexed responses from the protagonist (me) even as I struggle to maintain internal balance between combative contradictory thoughts and impulses. I adopt many conventions from comic books. They allow me to freely incorporate text and image into the same pictorial space. Additionally, the comic book form possesses associations with \"low art\" that are valuable to my work. Comics are entertaining and non-threatening - they are perceived as childish and frivolous, and are accessible to a mass audience. I use the formal devices of comic books to raise the viewer/reader\'s expectations for a lighthearted, juvenile form of entertainment. However, once the viewer/reader examines the work more closely, I give them something else: a new way of looking at regular life that reveals the profound in the ordinary; a chance to identify with my awkward, deeply personal experiences; a quiet note of encouragement that none of us is truly alone.
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Winter, Leslie J. "Body, Identity, and Narrative in Titian's Paintings". Wittenberg University Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1399284506.
Testo completo
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Kagan, Michal Lali. "Wonderer : the life of Bruce Chatwin". Thesis, Queensland University of Technology, 2002.
Cerca il testo completoAbstract (sommario):
Wonderer is a screenplay about the life of writer/traveler Bruce Chatwin. The screenplay examines not only Chatwin's travels and writing, but also the landscape which he never
fully explored: his inner-world. This reflective analysis will focus on the relationship between Bruce Chatwin's writing - especially in The Songlines- and the ways in which the book's subject matter and style influenced the choices in content and form which I made in writing Wonderer.
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Zhao, Yanji. "The Journey from Chinese Landscape Paintings to Architecture". University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1491318233161403.
Testo completo
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Ziani, Elizabeth Maria. "As dobras do texto - trajetória da obra de João Guimarães Rosa pelo sertão". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-02052018-154410/.
Testo completoAbstract (sommario):
Esta tese estrutura-se a partir de experiências com a literatura de Guimarães Rosa no sertão de Minas Gerais e ressalta aspectos do retorno da sua obra a determinadas localidades, constituindo o que definimos como Território Literário. Alguns aspectos contribuíram nesse processo: representação do real na obra; recepção da obra geradora de ações em torno da leitura; adaptações da obra em outras linguagens. O processo criativo do escritor e suas estratégias para observar a realidade e torná-la matéria-prima da sua criação são observados a partir de registros localizados em seu arquivo no Instituto de Estudos Brasileiros/USP-SP . Na perspectiva de observar o percurso da obra pelo sertão, são abordados projetos artísticos e pesquisas que mostram a obra como mobilizadora de vivências no sertão real. Destaca-se a expedição Os Loucos por Rosa (1995) como o início de um projeto coletivo em Cordisburgo, Morro da Garça e Andrequicé/Três Marias, cidades de referência na vida e obra do escritor e a partir dela as iniciativas que se firmaram nesses locais: semana culturais; narração de textos literários de cor; o bordado; pintura. As adaptações do texto para a narração oral são apresentadas pelos projetos Contadores de Estórias Miguilim e Caminhos do Sertão, ambos desenvolvidos em Cordisburgo. Na recriação da obra em imagem estão destacados os projetos artísticos: na pintura, o trabalho do artista plástico José Murilo; no bordado, experiências coletivas nas cidades, mostrando técnicas e métodos utilizados. Nessa perspectiva, a proposição de Território Literário firma-se nos caminhos da obra entre espaço, sons, imagem e várias outras ações literárias, que resultaram na valorização da cultura local e na relação estabelecida pelas comunidades com seu Território, revitalizado a partir da literatura.This thesis is based on experiences with the literature of Guimarães Rosa in the hinterland of Minas Gerais and emphasizes aspects of the return of his work to certain localities, constituting what we define as Literary Territory. Some elements contributed to this process: representation of the real in the work; Reception of the work generating actions around reading; Creations in other languages. The creative process of the writer and his strategies for observing reality and making it the raw material of his creation are observed from records located in his archive at Instituto de Estudos Brasileiros / USP-SP. To observe the course of the work in the backlands, artistic projects and researches are presented; those show the work as a mobilizer of experiences in the reality of the backlands. It is worth mentioning the expedition The Fools by Rosa (1995) as the beginning of a collective project in Cordisburgo, Morro da Garça and Andrequicé / Três Marias, (cities of reference of life and work of the writer)and as what started the initiatives that were established in these Places: cultural week; Narration of literary texts of color; The embroidery and others. The adaptations of text to oral narration are presented by the projects Contadores de Histórias Miguilim and Caminhos do Sertão, both developed in Cordisburgo. In the recreation of his work in image are highlighted a few artistic projects: in painting, the work of plastic artist José Murilo; In embroidery, collective experiences in the cities, showing techniques and methods used. Some artistic projects that recreate his work in imagery are highlighted, such as: work of plastic artist José Murilo in painting; collective experiences in the cities, showing techniques and methods used in embroidery. In this perspective, the Literary Territory proposition is based on the paths of the work between space, sounds, image and several other literary actions, which resulted in the valorization of the local culture and in the relationship established by the communities with their Territory, revitalized because of the literature.
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Knoll, Darcy. "Narrating the Self and Painting an Image: Stephane Dion (2006--2008)---Not a Leader?" Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28664.
Testo completoAbstract (sommario):
This thesis examines how the personal narrative of former Liberal leader Stephane Dion was shaped in the mediated environment of a minority Parliament. It is based on William James' (1890) consciousness of self and George H. Mead's (1934) notions of the self and the communicative gesture, coupled with work on narratives and self-presentation. These were combined with political image and the role of opponents and journalists in creating a leader's personal narrative. The thesis employs a qualitative research design with a microscopic conceptual approach and inductive reasoning for a textual analysis utilizing a narrative criticism method of rhetorical criticism, followed by in-depth interviews with journalists and political strategists. The analysis digs into the depiction of Dion in the English print media from the period of December 3, 2006 to September 6, 2008. Although the individual had the personal narrative as a politician with honesty and integrity, the analysis identifies that the dominant narrative of Dion was that he was a weak leader. The research finds the Liberal leader's opponents help reshape his narrative, which is granted legitimacy by journalists covering the political scene, and reinforced through the actions of Dion himself. In addition, the thesis outlines the challenges an opposition leader faces under the scrutiny of a minority Parliament and raises questions of what this means for Canadian political culture.
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Stellittano, Sabine. "Alchimie picturale des vies ordinaires, du récit de vie à l'hystérie du tableau". Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H309/document.
Testo completoAbstract (sommario):
Toute cette recherche se concentre sur le portrait en peinture comme possibilité de la rencontre, de moments d’amitié. Il s’agit d’en analyser les enjeux en utilisant la philosophie et la psychanalyse comme outils théoriques. Comprendre combien cette pratique de corps-à-corps, de présence à présence s’inscrit dans le temps, le déploie, le relate. La rencontre, tout comme ma pratique, a pour origine le désir de l’Autre. Chacune de mes peintures est une réponse à cette demande : «Comment désires-tu être peint ?». Mes pinceaux, guidés par les paroles livrées dans mon atelier, tentent de s’approcher au plus près de ce qui est dit : quête impossible !... tant le langage implique une perte, nous divise. Nous nous percevons comme uniques car nous sommes séparés de l’autre, nous sommes entourés de vide. L’autre et le vide ne sont pas seulement extériorités, ils sont en nous, et pour la psychanalyse c’est par l’imaginaire que nous trouvons notre unité. La psychanalyse, la méditation, l’alchimie et la peinture ont ceci de commun qu’elles sont toutes des disciplines construites à partir de la pratique et chacune d’entre elles aborde l’introspection à sa manière, qui peuvent s’enrichir les unes les autresThe present research work focuses on the painted portrait and the opportunity it offers to meet people and exchange moments of friendship. It aims at analyzing what is at stakes in this process by means of theoretical tools such as psychology and psychoanalysis. It is also concerned with the understanding of how this «hand to hand» and «presence to presence» practice gets its anchorage in time and how it unfolds it and refers to it. The get together process, as well as my own practice, are the expression of desire – desire of the Other. Each of my paintings is an attempt to answer this single question: «How would the person posing for me like to be painted?». Then, as if guided by his or her wish, my brushes enter into action in order to fulfill it to the best of my abilities – the task is of course impossible, because language implies a loss and gets us apart from one another. Each of us sees oneself as unique, for we are separated from each other: we are indeed surrounded by emptiness. The Other and emptiness don’t belong to the outside, they are part of ourselves. In the field of psychoanalysis, we manage to find our unity through imagination. Psychoanalysis, meditation, alchemy and painting have all in common to be based on practice. Each of these disciplines deals with insight in its own way: in the end they all benefit from each other
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Márquez, Gemma. "Azorín y la figura del pintor: urdimbre de una identidad literaria (1894-1946)". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/393854.
Testo completoAbstract (sommario):
Esta tesis toma como punto de partida la idea de que las figuras de pintor que Azorín construye en su obra pueden iluminar el modo en que el autor entiende la identidad del escritor y las contradicciones que esta afronta durante la modernidad. Ello se enmarca en un contexto histórico en que el papel de la creación literaria experimenta una intensa revisión, producto del desencaje entre la labor artística y el sistema económico en el que debe subsistir. La pugna por la autonomía del campo literario, que ha cruzado todo el XIX, tiene un repunte privilegiado a finales de siglo; lo que se manfiesta en tres fenómenos: la discusión acerca de las diversas modalidades de creador literario —del artista puro al intelectual—, el auge de la metaliteratura y el uso de la pintura como espejo mediante el que encontrar la especificidad y las limitaciones de lo literario. La relación de Azorín con la figura del pintor responde a estas tres tendencias, de forma que su identidad como escritor se construye en buena medida como fruto de su confrontación con los pintores.
El análisis de la función que desempeñan las figuras de pintor, históricas o ficticias, en la obra azoriniana, se fundamenta en dos supuestos ya clásicos en los estudios sobre la narrativa y la biografía de artista: el primero, que todo relato sobre la vida de los pintores está cruzado por los arquetipos y la mitología que la tradición ha creado en torno a ellos para intentar comprender su capacidad creadora; el segundo, ya para un período histórico más delimitado, que la narrativa decimonónica sobre el pintor surge de la ansiedad
del escritor ante la pérdida de autonomía en su propio campo. Desde estas premisas, la tesis muestra cómo las figuras de pintor en Azorín son el resultado de un juego literario que enlaza libremente los discursos históricos y críticos con sus propias preocupaciones. El resultado es la creación de un modelo que cifra la ética estética del artista puro, aquella que al escritor se le hace difícil cumplir netamente en su circunstancia.
Teniendo en cuenta que la relación de Azorín con ese paradigma de artista puro se prolonga hasta la posguerra, este trabajo estudia sus reelaboraciones desde 1894, fecha en que J. Martínez Ruiz publica el primer relato protagonizado por un pintor, hasta 1946, cuando aparece en Memorias inmemoriales la última referencia a una de sus recreaciones más acabadas del pintor. En su primera parte, la tesis atiende a la correspondencia entre los tópicos de la narrativa de artista decimonónica y las figuras de pintor que J. Martínez Ruiz elabora entre 1894 y 1901. La segunda parte se centra en la presentación azoriniana de Darío de Regoyos, Aureliano de Beruete e Ignacio Zuloaga, así como en su particular mito de artista puro: el elaborado en torno al pintor desconocido que Azorín encuentra durante su viaje a Mallorca en 1906, y cuya figura va apareciendo intermitentemente hasta 1946. En la tercera parte se estudian las posibilidades metaliterarias que a Azorín le ofrece su interés por el estudio del pintor, y que desempeñarán un papel importante en Superrealismo. La última parte revisa la experiencia del Museo durante el exilio azoriniano, la búsqueda de referentes estilísticos para la expresión del dolor humano en Gustave Courbet, Rembrandt y Camille Corot, y el empleo de la obra de William Turner para representar la posición de Azorín en el clima de la primera posguerra.This thesis shows that the figures of painter built by Azorin on his work can explain how the author understands the writer's identity during Modernism, a historical period in which the struggle for literary autonomy finds in painting a mirror where literature discovers its specificities and limitations. Within this logic, Azorin identity as a writer is built largely as a result of his confrontation with the painters. The analysis of the role played by historical or fictional painters in Azorin work is based on two assumptions stablished in the studies about artists narrative and biographies: first, that both genres are crossed by the mythology that tradition has created around painters to try to understand their creativity; the second, that the 19th century narrative of the painter comes from the writer's anxiety over the loss of his independence . On this basis, the thesis shows how the painter in Azorin's work is the result of a literary game that loosely links the historical and critical discourses with his own concerns. The result is the creation of a model that synthesizes the ethical aesthetics of pure artist, one that the writer can not fulfill in his circumstances. The variations in this paradigm of pure artist are examined since 1894 to 1946. The first part of the thesis analyzes the links between the topics of XIXth century artist narrative and painters created or studied by J. Martinez Ruiz between 1894 and 1901. The second part focuses on the way Azorín presents some key creators in Spanish painting between 1908 and 1917 (Regoyos, Beruete, Zuloaga), as well as in his private myth of pure artist, elaborated around the painter Azorín met during his trip to Mallorca in 1906. The third studies the metaliterary resources that Azorín discovers in the painter's studio, resources which are employed in Superralismo. The last part reviews the experience of the Museum during Azorín's exile, the research for stylistic references in Courbet, Corot and Rembrandt to express human pain in literature and the use of William Turner's work to represent the position of the writer in the postwar period.
44
Martin, Timothy Michael. "Codes of Interaction". VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/849.
Testo completoAbstract (sommario):
The ideas within this thesis are meant to clarify my explorations, research and painting practice during my studies at Virginia Commonwealth University. I expand on my general statements about being fascinated by advancing technologies and concerned about the after effects of these advancements. The writing explores my curiosity about the internal, skeletal structure of things and how they operate. I explain how the paintings are idiosyncratic hybrids that evoke animation, imaginary scientific propositions, blueprints, maps, and advancing technologies. The work combines these interests with my observations of day-to-day experiences. Isolated events provide found compositions which I then manipulate: a seemingly mundane bike ride gets mapped into a well–ordered schematic of social interaction.
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Merino, Serrat Imma. "Subjectivitat i autorepresentació en el cinema d'Agnès Varda". Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/109378.
Testo completoAbstract (sommario):
Agnès Varda ha deixat empremtes visibles de la seva subjectivitat en una filmografia desenvolupada pràcticament en sis dècades. El propòsit és abordar el conjunt de l’obra cinematogràfica de Varda rastrejant-hi aquestes empremtes subjectives, lligades a una manifestació de l’autoria, a través dels comentaris escrits i dits per la mateixa cineasta inscrits en els films; i també fer atenció a les diverses formes d’autorepresentació en relació amb la projecció de la cineasta en diversos personatges de les seves ficcions i la presència física d’ella mateixa a les imatges. Analitzant aquests elements, el text vol considerar les aportacions de Varda a la modernitat cinematogràfica en la mesura que, amb una gran llibertat creativa, ha inventat noves formes posant en qüestió les convencions genèriques, entre les quals la divisió entre documental i ficció.Agnès Varda has left visible imprints of her subjectivity in her filmography developed over the last six decades. The objective of this doctoral thesis is to consider her entire cinematograghic work scrutinizing these subjective imprints and, through the filmmaker’s voice on off commentaries, linking them to a manifestation of authorship and the desire to exemplify that the world is represented through a singular point of view. Attention is called to the diverse forms of self-representation in the projection of the filmmaker through diverse characters as well as her physical presence in images. Analizing these elements, this text considers Varda’s contribution to modern cinematography to the extent that, through great creative freedom, she has invented new forms which question generic conventions, amongst them the distinction between documentary and fiction.
46
Soria, Judith. "Le récit de la Passion du Christ dans les peintures murales : formes et fonctions du cycle narratif à Byzance et en Serbie du XIIIe au XVe siècle". Thesis, Paris, EPHE, 2015. http://www.theses.fr/2015EPHE5066.
Testo completoAbstract (sommario):
Cette thèse a pour objet les images narratives de la Passion du Christ dans les peintures murales tardobyzantines, leur place et leur fonctionnement dans l’espace rituel dont elles constituent le décor. Développé en dessous des images du Dodekaorton, il a une forme et une place très particulières : faisant le tour de la nef et intégrant généralement le sanctuaire dans son parcours, il participe de la construction de l’espace cultuel. Cette approche des images a montré que la forme narrative donnée à ces cycles composant les décors pariétaux, loin d’être fortuite, est porteuse de sens et de discours. Décorant d’abord des fondations byzantines prestigieuses à la fin du XIIIe siècle, le motif ne tarde pas à apparaître dans les églises serbes peintes dans l’entourage du Kralj Milutin, avant de devenir courant dans des monuments plus modestes. Le cycle est envisagé dans sa globalité et non image par image, à l’aide des outils traditionnels de l’iconographie mais aussi de la narratologie, ce qui a permis de mettre en évidence sa structure narrative. Dans une troisième partie, le fonctionnement liturgique du cycle est détaillé, révélant un discours eucharistique et mystagogique qui n’est pas tant superposé au récit en images, qu’il n’est au contraire produit par luiThis doctoral thesis addresses the narrative images of the Passion of Christ in Late Byzantine mural paintings, their place and their ritual function. This cycle, which takes place under the Dodekaorton, has a clear sequence. Going around the nave and generally passing through the sanctuary space, it participated in the construction of the worship space. A study of the images used shows that such the narrative form given to these cycles, far from being accidental, is a carrier of meaning and discourse. Firstly decorating prestigious Byzantine foundations in the late thirteenth century, this kind cycle soon appeared in Serbian churches painted in the Kralj Milutin’s milieu and then became common in more modest monuments. In this study, the cycle is considered as a whole, using the traditional tools of iconography but also narratology, which helped to highlight its narrative structure. At last, the liturgical function of the cycle is explored, revealing a Eucharistic and mystagogic discours produced by the narrative
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Peixoto, Alex Gomes. "Narrativas visuais: os ciclitas de Iberê Camargo". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-07112014-155107/.
Testo completoAbstract (sommario):
Este trabalho constitui-se em um estudo da série Ciclistas do Parque da Redenção, executada por Iberê Camargo durante a década de 1980. O objetivo é identificar elementos narrativos presentes na série, tendo como moldura teórica o ensaio O Narrador, de Walter Benjamin. O trabalho é desenvolvido em três capítulos: o primeiro volta-se à investigação da biografia do pintor, suas produções pictóricas e literárias e os contextos nos quais ele e sua obra se inserem; no segundo verificam-se propriedades do narrador e a narrativa sob o ponto de vista de Walter Benjamim; por último, é feita uma comparação entre as características do narrador benjaminiano e Iberê Camargo, bem como a identificação dos aspectos narrativos da série Ciclistas do Parque da Redenção.This work consists in a study of the series Ciclistas do Parque da Redenção, executed by Iberê Camargo during the decade of 1980. The objective is to identify narrative elements in the series considering as theoretical frame the text The Storyteller of Walter Benjamin. This work is developed in three chapters: the first is dedicated to the biography of the painter, his pictorial and literary productions and the context in which the painter and his work are inserted; in the second the properties of the narrator and narrative are verified according to Walter Benjamins point of view; finally, a comparison between the characteristics of Benjamins narrator and Iberê Camargo is made, as well as the identification of the narrative aspects of the series Ciclistas do Parque da Redenção.
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Oliveira, Gabriela Rodrigues Pessoa de. "Entre pinturas e escritos: aspectos da trajetória de Virgílio Maurício (1892-1937) em uma narrativa particular". Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/31/31131/tde-08042016-113748/.
Testo completoAbstract (sommario):
Esta dissertação tem por objetivo analisar aspectos da trajetória de Virgílio Maurício (1892-1937), sobretudo, no que diz respeito à sua atuação artística. Intelectual polígrafo, Maurício teve diversas ocupações, atuando no campo da pintura, da crítica de arte e da medicina. Na passagem do século XIX para o XX, Maurício iniciou seus estudos em arte, sendo premiado pouco tempo depois no Salon da Société des Artistes Français, de 1913, com uma pintura de nu feminino. Intensamente referenciado na imprensa de seu tempo, seu nome não subsistiu à resistência dos pares. Sobre Maurício eram imputadas severas acusações, sobretudo, a de não ser o autor de suas obras. A sua atuação abriu claramente o debate sobre a moralidade artística e a questão da disputa por posições no cenário artístico nacional. Sua produção ainda forneceu elementos para se pensar os modelos de representação do corpo feminino, assim como as recomendações direcionadas ao corpo da mulher, instituídas pela medicina eugenista no século XX.This dissertation aims to analyze aspects of Virgílio Maurício\'s trajectory (1892-1937), especially with regard to his artistic performance. Intellectual polygraph, Maurício had various occupations, working in the field of painting, art criticism and medicine. In the late nineteenth century to the twentieth, Maurício began his studies in art, being awarded a short time later at the Salon Salon da Société des Artistes Français, in 1913, with a female nude painting. Heavily referenced in the press of this time, his name does not outlived due to the resistance of his pairs. About Maurício severe accusations were attributed primarily to not being the author of his works. His performance clearly opened the debate about artistic morality and the question of competition for positions in the national art scene. His production also provided elements to think about the female body representation models, as well as recommendations directed to the woman\'s body, established by eugenic medicine in the twentieth century.
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Santos, Mariana Pinto dos. "Inventários, Narrativas, Fragmentos. (Im)pertinência da historiografia da arte = Inventarios, Narrativas, Fragmentos. (Im)pertinencia de la historiografía del arte". Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/298715.
Testo completoAbstract (sommario):
Abordando alguns exemplos importantes da historiografia da arte portuguesa contemporânea, esta dissertação de doutoramento procura fazer uma reflexão crítica sobre a cristalização de modelos de interpretação em história da arte para além do caso português, com particular foco na história da arte contemporânea. Partindo de autores e conceitos específicos, contrapõem-se hipóteses operativas para a historiografia da arte. Por um lado, pela análise crítica do paradigma da cópia introduzido pela actualmente in.uente historiogra.a da arte norteamericana (criticism), que se a.rmou a partir dos anos setenta do século XX. Essa análise debruça-se sobre a importância que Walter Benjamin teve na consolidação desse paradigma. Por outro lado, contrapõe-se também o valor de uso do autor alemão para repensar a história da arte e o seu objecto, focando-se os seus textos sobre a infância e relações da infância com a história e a memória, em articulação com os seus conceitos operativos mais usados e citados. A re.exão que se apresenta, e que se socorre de outros autores além de Walter Benjamin, propõe a construção de uma história da arte que interpele as ordens dos discursos instituídas e que se autorize na própria construção quer a interpretação com recurso aos instrumentos do seu campo de saber (da sua própria história), quer a insubordinação a esses instrumentos. Uma selecção de pinturas de Eduardo Batarda serve de estudo de caso de uma prática em pintura que finta as classificações historiográficas e se estrutura em palimpsesto, com uma multiplicação infinda de sentidos, falsos sentidos e referências, tornando-se um exemplo eficaz para repensar a historiografia da arte e o seu objecto.Abordando algunos ejemplos importantes de la historiografía del arte portugués contemporáneo, esta tesis doctoral busca hacer una reflexión crítica sobre la cristalización de modelos de interpretación en la historia del arte más allá del caso portugués, con un enfoque particular en la historia del arte contemporáneo. Partiendo de autores y conceptos específicos, se contraponen hipótesis operativas para la historia del arte. Por un lado, a través del análisis crítico del paradigma de la copia introducido por la actualmente influyente historiografía del arte norteamericana (criticism), que se consolidó a partir de los años sesenta del siglo XX. Este análisis se inclina hacia el tratamiento de la importancia que Walter Benjamin tuvo en la consolidación de este paradigma. Por otro lado, también se contraponen el valor de uso del autor alemán para repensar la historia del arte y su objeto, centrándose en los textos sobre la infancia y las relaciones de la infancia con la historia y la memoria, en relación con sus conceptos operativos más usados y citados. La reflexión que se presenta, y que se nutre también de otros autores además de Walter Benjamin, propone la construcción de una historia del arte que interpela el orden de los discursos instituidos y que se autoriza en la propia construcción ya sea de la interpretación que recurre a los instrumentos de su campo del saber (de su propia historia), o bien a la insubordinación hacia tales instrumentos. Una selección de pinturas de Eduardo Batarda sirve como caso de estudio de una práctica a través de la pintura que esquiva las clasificaciones historiográficas y se estructura en forma de palimpsesto, con una multiplicación infinita de sentidos, falsos sentidos y referencias, convirtiéndose en un ejemplo eficaz para repensar la historiografía del arte y su objetivo.
Starting with some important examples from the contemporary portuguese art history, this dissertation aims for a reflection about the crystallization of models of interpretation in art history beyond the portuguese situation, focusing especially on contemporary art history. Always resting on specific authors and concepts, counterparts are studied, on one hand by analyzing, critically, the paradigm of the copy introduced by the now very in.uent north-american art history or criticism, that started in the 1970's. This analysis focuses on the in.uence Walter Benjamin had in the consolidation of that paradigm. On the other hand, Walter Benjamin is also taken in account as a still very useful conceptual resource for rethinking art history and its object, particularly by reading his texts about infancy and the relations of infancy with history and memory, in articulation with his more well-known concepts. This re.ection, supported by other authors besides Benjamin, aims at a proposal of an art history written with the awareness of the pre-established orders of the discourses. And that authorizes itself either the use of the instruments of its field of knowledge, either the insubordination to those instruments. Finally a selection of Eduardo Batarda's paintings consists in an useful case-study, for it is the example of a practice in painting that avoids historical classi.cations and that structures itself as a palimpsest, with endless rami.cations of meanings, false-meanings and references, becoming thus a very effective tool for rethinking art history and its object.
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Hannart-Marmor, Yona. "Des pouvoirs de l’ekphrasis : L’objet auratique dans l’oeuvre de Claude Simon". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030026.
Testo completoAbstract (sommario):
Notre travail consiste en une étude de l’ekphrasis dans l’écriture de Claude Simon. Il part de l’hypothèse selon laquelle la compréhension de sa nature et de son rôle permettrait d’éclairer des aspects fondamentaux du fonctionnement du texte, révélateurs de l’esthétique du roman simonien dans son ensemble. Pour ce faire, nous commençons par mettre en évidence le caractère ambivalent, paradoxal et subversif de l’ekphrasis simonienne, qui ne constitue pas systématiquement une interruption de la narration, ni une description d’oeuvre d’art. Tirant les conséquences du changement de perspective qu’impose le texte de Claude Simon, nous démontrons qu’il est tributaire du rôle crucial joué par le regard dans la détermination des objets ekphrastiques, objets investis de tout le punctum projeté en eux par le sujet. L’importance du motif du passage du temps, de son incidence sur l’ekphrasis en ce qu’il oriente le choix de ses objets et infléchit sa forme, constitue l’étape suivante de notre étude. Nous précisons le lien ontologique unissant temps et ekphrasis en analysant le caractère ruiniforme de cette dernière. Ce cheminement nous conduit enfin à faire apparaître les collisions entre différentes temporalités suscitées par l’ekphrasis, la nature auratique de l’objet ekphrastique ainsi que la façon dont l’ekphrasis crée tout un système de mises en résonnance entre différentes parties du roman. Ainsi se révèle le rôle essentiel de l’ekphrasis dans la structure, la dynamique et la forme du récitThis work focuses on ekphrasis in Claude Simon’s writings. It is based on the assumption that by analyzing the nature and role of ekphrasis in Simon’s texts, one could reveal some fundamental aspects of the texts’ functioning and shed light on the esthetics of Simon’s novels as a whole. To do so, this thesis first analyzes the ambivalent, paradoxical and subversive nature of Simon’s ekphrasis, which does not necessarily consist in an interruption of the narrative flow or in the description of a work of art. The thesis goes on to try and identify how Simon’s writing forces us to depart from traditional perspectives on ekphrasis. The change is shown to reside in the importance of the subject’s eye when it comes to determining ekphrastic objects and to granting them a certain emotional load, the punctum. Subsequently, the motif of the passing of time is studied, from the point of view of how it impacts ekphrasis, influencing the choice of ekphrastic objects as well as its formal design. The essential relationship between time and ekphrasis is therefore investigated, with emphasis on its connection to ruins and decay. Finally, exploring the clashes between the various temporalities simultaneously called by ekphrasis allows us to identify the element of aura in the nature of ekphrastic objects. This reveals ekphrasis as a coherent system of echoes and relationships between different parts of the novel, a system which plays a crucial role in terms of the structure, the dynamic and the form of the narration