Gotowe bibliografie tematyczne / Jana Sterbak

Gotowa bibliografia na temat „Jana Sterbak”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Jana Sterbak"

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Page, Clement. "Jana Sterbak". Third Text 10, nr 35 (czerwiec 1996): 59–68. http://dx.doi.org/10.1080/09528829608576610.

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Loughery, John, Diana Nemiroff i Milena Kalinovska. "Jana Sterbak: States of Being". Woman's Art Journal 14, nr 1 (1993): 52. http://dx.doi.org/10.2307/1358434.

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McLerran, Jennifer. "Disciplined Subjects and Docile Bodies in the Work of Contemporary Artist Jana Sterbak". Feminist Studies 24, nr 3 (1998): 535. http://dx.doi.org/10.2307/3178578.

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Dmitruk, Marek. "Obyczaje weselne i pogrzebowe chrześcijan w świetle duszpasterskiej działalności św. Jana Chryzostoma". Vox Patrum 40 (15.03.2002): 263–91. http://dx.doi.org/10.31743/vp.7984.

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In seiner seelsorgerischen Arbeit sterbte Johannes Chrysostomus nach der Christianisierung den allen Lebensgebieten. Das mit dem Alltagsleben zusammenhanglose Christentum war ftir ihn ein Schein, der mit dem Neuen Testament widerschprach. Er war ein Verfechter [ein Verkiinder] des Christentums als apostolische Reinlichkeit und KompromiBlosigkeit. In diesem Fall war die Seelsorge ein unaufhórliches Streben nach der Verbindung der allen LebensauBerungen mit dem Geist des Evangeliums.
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Wójtowicz, Aleksander. "Scenarzysta w czasach kultury przemysłowej. Międzywojenna publicystyka filmowa Anatola Sterna". Kwartalnik Filmowy, nr 108 (31.12.2019): 284–92. http://dx.doi.org/10.36744/kf.200.

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Międzywojenna publicystyka filmowa Anatola Sterna pozwala prześledzić, jak kształtowała się świadomość twórcy działającego w sferze nowoczesnej „kultury przemysłowej” (określenie Harra Segeberga). Autor opisuje konsekwencje przejścia z pola literatury do branży kinematograficznej oraz ambiwalencję, jaka towarzyszyła twórcy, który przeistaczał się z pisarza obdarzonego autorytetem społecznym w „dostawcę tekstów”. Pokazuje również, w jaki sposób funkcjonowanie w ramach instytucji literatury wpłynęło na jego sposób myślenia o związkach literatury i filmu, istocie twórczości scenopisarskiej oraz prawach autorskich.
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Claasz, Antonia A., i Don P. Chorley. "A Study of the Relationship of the Superior Vena Cava to the Bony Landmarks of the Sternum in the Supine Adult: Implications for Magnetic Guidance Systems". Journal of the Association for Vascular Access 12, nr 3 (1.09.2007): 138–39. http://dx.doi.org/10.2309/java.12-3-8.

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Abstract This study was a retrospective investigation of computed tomography (CT) images of an Australian adult hospital population. These images were used to evaluate the spatial relationships of the superior vena cava (SVC) to the midsagittal line, the sternal paracoronal plane, and commonly used landmarks of the sternum. Consistent relationships were found between the long axis of the SVC and both the midsagittal line and sternal paracoronal plane. When the sternal paracoronal plane was used as the plane of reference, the angle of Louis was found to approximate the SVC in 99.5% of cases, and the right 2nd intercostal space approximated the SVC in 94% of cases. Constraints on the use of landmarks are discussed with regard to magnetic guidance systems for catheter tracking.
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Corn, Tim. "Treating Sternal Wound Infections After Cardiac Surgery With an Implantable Gentamicin-Collagen Sponge". JAMA 304, nr 19 (17.11.2010): 2123. http://dx.doi.org/10.1001/jama.2010.1612.

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Friberg, Örjan, Rolf Svedjeholm i Bo Söderquist. "Treating Sternal Wound Infections After Cardiac Surgery With an Implantable Gentamicin-Collagen Sponge". JAMA 304, nr 19 (17.11.2010): 2123. http://dx.doi.org/10.1001/jama.2010.1613.

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Bennett-Guerrero, Elliott, Daniel B. Mark i G. R. Corey. "Treating Sternal Wound Infections After Cardiac Surgery With an Implantable Gentamicin-Collagen Sponge—Reply". JAMA 304, nr 19 (17.11.2010): 2123. http://dx.doi.org/10.1001/jama.2010.1614.

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Bennett-Guerrero, Elliott. "Effect of an Implantable Gentamicin-Collagen Sponge on Sternal Wound Infections Following Cardiac SurgeryA Randomized Trial". JAMA 304, nr 7 (18.08.2010): 755. http://dx.doi.org/10.1001/jama.2010.1152.

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Rozprawy doktorskie na temat "Jana Sterbak"

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McGregor, Jane (Jane Elizabeth) Carleton University Dissertation Canadian Studies. "New metaphors for the body as self in the art of Liz Magor and Jana Sterbak". Ottawa, 1990.

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Batorowicz, Beata Agnieszka, i n/a. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Griffith University. Queensland College of Art, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040319.090547.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history’s patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
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Batorowicz, Beata Agnieszka. "Undoing Big Daddy Art: Subverting the Fathers of Western Art Through a Metaphorical and Mythological Father/Daughter Relationship". Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367273.

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The canon of Western art history provides a selection of artists that have supposedly made an 'original' contribution to stylistic innovation within the visual arts. Although a process of selection cannot be avoided, this procedure has resulted in a Eurocentric and patriarchal art canon. For example, the Western art canon consists of certain white male artists who are given exclusive authority and are often referred to as the 'fathers of art'. As the status of a 'father of art' pertains to the highest level of achievement within artistic creativity, I argue that this excellence in creativity is based on a gender specific criteria. This issue refers to the patrilineage within Western art history and how this father-son model, in a general sense, excludes women artists from the canon. Further, the very few women included in the art canon are not given the equivalent status as a 'father of art'. I address this patriarchal bias through focussing on the father/daughter relationship as a way of challenging the patrilineage within Western art history's patrilineage. Through this process of intervention, I position the daughter an assertive figure who directly confronts the fathers of Western art. Within this confrontation, I emphasise that the daughter has an assertive identity that is also beyond the father. On this premise my paper is based on the argument that the application of a father/daughter model, within a metaphorical and mythological sense, is useful in subverting the father figures within Western art history. That is, I construct myself as the metaphorical and mythological daughter of the Dada artist, Marcel Duchamp and the Fluxus artist, Joseph Beuys. As an assertive daughter, I insert myself into the patriarchal framework surrounding these two canonical figures in order to decentre and subvert their authority and phallocentric art practice. It is important to note that both Duchamp and Beuys are addressed as case studies (not as individual arguments) that illustrate the patriarchal constructs of the art canon. Within this premise, I draw upon the female artists Sherrie Levine and Jana Sterbak who directly subvert Western father figures as examples of assertive daughter identities. Within this exploration of the assertive daughter identity, I discuss feminist psychoanalysis (particularly the 'object relations' theorist Nancy Chodorow and the French feminist, Luce Irigaray) in order to offer metaphorical representations of the assertive daughter. These metaphors also assist in subverting the gender (male) specific criteria for creativity under the 'law of the father'.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
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Kartibou, Farah. "Rapports entre arts plastiques et mode, travail ironique de l'image de la femme". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010558.

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Ce travail de recherche s'est orienté progressivement sur une investigation de plus en plus approfondie de l'univers des représentations liées à la mode, plus particulièrement à un vêtement : le bustier-corset. Se pose la question des rapports qu'entretiennent l'art et cet artisanat spécifique qu'est la couture. Nous pouvons l'étudier à travers les œuvres d'artistes telles que Natacha Lesueur, Jana Sterbak, Niki de Saint Phalle, Annette Messager et Elsa Schiaparelli. Il est à remarquer que la plupart de ces artistes étaient féministes et nous pouvons faire l'hypothèse qu'un travail esthétique de cette nature, impliquant une réflexion sur l'image de la femme, incite à une prise de conscience et de position sur la place qu'on lui donne dans la société. Un point de vue ironique, voire burlesque, a souvent été recherché pour créer une distanciation, un effet de surprise propre à déclencher une prise de conscience. Il est d'ailleurs également possible d'investiguer le corps de la femme et l'imaginaire qui l'entoure à travers l'existence et l'utilisation de symboles tels que la passementerie, le bijou, les matières brillantes et clinquantes. Bien que la représentation de la mode ait toujours existé dans les Arts, ce travail se focalisera sur les artistes des périodes modernes et contemporaines, qui accompagnent la naissance du design et son développement. Cependant il sera nécessaire de s'interroger sur ce qui s'est joué pendant la Renaissance, période pendant laquelle la notion de métiers d'art s'est développée, et sur l'historique du bustier, de son apparition jusqu'à sa déconstruction. Enfin, comment situer certaines de ces démarches en se référant aux notions d'art majeur et d'art mineur ? Faut-il dissocier des démarches artistiques de techniques différentes ? Pour figer le travail à un style correspondant à des normes dictées
The research work gradually focused on a more and more deeper investigation of the universe related to fashion, and more particularly to a garment : the strapless corset. This raises the question of the relationships between art and the sewing craft work. We can look into it, through the work of artists such as Natacha Lesueur, Jana Sterbak, Niki de Saint 1 Phalle, Annette Messager and Elsa Schiaparelli. We can notice that most of these artists were feminists and we can make the assumption, that an esthetic work of this nature, involving a reflection on the image of women, creates an awareness on the position we confer to them in our society. Very often, an ironic attitude, even burlesque (or caricatural) was often looked for, to create a distance, and an attitude of surprise, appropriate to trigger an awareness of the situation. Moreover, it is also possible to investigate the body of the woman and the fantast around it, through the existence and the use of symbols such as trimmings, jewels, and bright and flash y materials. Although the representation of fashion has always existed in Art, this work will focus on modern and contemporary artists, who accompanied the birth and the development of the design artwork ... However it is also necessary to take into consideration, what happened during the Renaissance period, during which the notion of craftsmanship has developed, as well as the pathway of the bustier, from its creation until its deconstruction. And finally, how to position some of these works (or analysis) in conjunction with major art, and minor art, art work and artcraft ? Are they an extension of technical and symbolic practices so it leads to a combination
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Lafrenière, Julie. "Les inscriptions vestimentaires comme support identitaire dans le travail de Jana Sterbak et de Vanessa Beecroft". Mémoire, 2006. http://www.archipel.uqam.ca/3221/1/M9614.pdf.

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Ce mémoire porte sur l'usage du vêtement comme outil de médiation du corps féminin dans le travail de Jana Sterbak et de Vanessa Beecroft. Plus spécifiquement, nous souhaitons observer de quelle façon, à l'intérieur des représentations, le vêtement participe à (dé)construire l'identité du sujet. En abordant la représentation de la femme par l'analyse de ses inscriptions vestimentaires, nous cherchons également dans les oeuvres l'affirmation d'une subjectivité indissociable du corps. Dans un premier temps, nous procédons à une mise en contexte historique et théorique afin de démontrer le rapport d'interdépendance entre le corps féminin et son revêtement dans l'image et soulignons le rôle primordial de l'habillement dans la construction de la subjectivité. Nous exposons par ailleurs les divers enjeux soulevés par la représentation de la femme et observons des stratégies de résistance à la représentation objectivante du corps féminin. En second lieu, suivant les travaux de théoriciennes féministes, nous examinons notamment le concept d'image du corps ainsi que les modèles foucaldiens d'inscription corporelle et de pouvoir disciplinaire. De même, nous nous intéressons au rôle de l'habillement et des pratiques de la beauté dans la discipline du corps féminin afin de démontrer non seulement leur pouvoir normalisant et leur participation au maintien des identités monolithiques, mais aussi de considérer leur potentiel subversif. Enfin, la notion performative de l'identité de genre nous porte à croire que, dans les pratiques artistiques contemporaines, la mascarade féminine et la répétition ironique pourraient permettre d'explorer à la fois la construction des identités et la déconstruction critique. Nous analysons finalement les inscriptions vestimentaires dans les oeuvres de Sterbak et de Beecroft. Par leur utilisation du vêtement comme forme, matériau ou costume, les artistes suggèrent des images du corps transgressives qui viennent questionner les modèles culturels de la féminité en pointant leur contexte naturalisant. Malgré la singularité de leur démarche respective, les deux artistes donnent à voir des images du corps où les processus de construction identitaire ou d'élaboration d'une position de sujet s'avèrent sans cesse confrontés à des formes de pouvoir: les conventions de l'art, le regard de l'Autre, la maîtrise du corps, les diktats de la mode. Au terme de notre étude, les différentes stratégies parodiques observées nous apparaissent comme autant de négociations permettant de résoudre ponctuellement des problèmes liés à la représentation et à la définition du féminin. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain, Jana Sterbak, Vanessa Beecroft, Corps, Féminisme, Genre, Identité, Représentation, Vêtement.
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Pipe, Olivia C. "On Dresses and Diadems: Female Discourse and the Politicized Body in Jana Sterbak’s Thread Drawings and Artworks". Thesis, 2011. http://spectrum.library.concordia.ca/35901/1/Pipe_MA_F2011.pdf.

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This thesis investigates the motivations and manifestations of female discourse and body politic in Czech-Canadian artist Jana Sterbak’s sketches and artworks from the 1980s.The analysis focuses on four artworks: Corona Laurea (1983), Hot Crown (1983-98), I Want You to Feel the Way I Do… (The Dress) (1984-85) and Standard Lives (1988). I argue that by analyzing the sketches as a separate entity and then in juxtaposition to the artwork, one can grasp the deeper, concealed meanings which Sterbak has hidden through the use of subversive text, imagery and material substance. This usually has to do with the traditionally feminine forms of clothing and adornment, specifically dresses and crowns in what are some of the artist’s most recognizable artworks. In this thesis, supported by the concepts of narratology developed by Mieke Bal and the relationship between language and the female body as Lesley Jeffries and Jane Ussher have explored in their research, I will examine Sterbak’s on-going reflections on the politics of the female body that begin with the artist’s initial conception in the process of what she calls her “thread drawings.”
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Książki na temat "Jana Sterbak"

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Jana, Sterbak, Blanch Teresa i Museum of Contemporary Art (Chicago, Ill.), red. Jana Sterbak. Chicago: Museum of Contemporary Art, 1998.

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Déry, Louise. Jana Sterbak--penser tout haut =: Jana Sterbak--thinking out loud. Montréal: Galerie de l'UQAM, 2001.

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Sterbak, Jana. Jana Sterbak: Photopractice : essay. Sudbury, Ont: Art Gallery of Sudbury, 2003.

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Sterbak, Jana. Jana Sterbak: The conceptual object. München: Haus der Kunst München, 2002.

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Sterbak, Jana. Jana Sterbak: 3. juni - 11. juli 1993. [Humlebaek]: [Louisiana Museum], 1993.

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Tannenbaum, Judith. PerForms: Janine Antoni, Charles Ray, Jana Sterbak. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1995.

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Nemiroff, Diana. Jana Sterbak: States of being = corps à corps. Ottawa: National Gallery of Canada, 1991.

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Godmer, Gilles. Jana Sterbak: From here to here : Canada L Biennale di Venezia. Montral, QC: Muse d'art contemporain de Montral, 2002.

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Godmer, Gilles. Jana Sterbak: From here to there : Canada L Biennale di Venezia. Montréal: Musée d'art contemporain de Montréal, 2003.

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France), Collection Lambert (Avignon, i RMG Palais des papes, red. Les papesses: Louise Bourgeois, Kiki Smith, Jana Sterbak, Berlinde De Bruyckere, Camille Claudel. Arles: Actes sud, 2013.

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Części książek na temat "Jana Sterbak"

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Hilmes, Carola, i Gabriele Rohowski. "Schriften aus dem Nachlass: Die Legende von der Reue des Bischofs Jehan d’Aigremont von St. Anne in Rouen (1924; 2003), Jans muß sterben (1925; 2000), Der gerechte Richter (1957; 1990)". W Anna Seghers-Handbuch, 171–75. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05665-8_29.

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