Rozprawy doktorskie: „Modernism (aesthetics)”

1

Costello, Diarmuid. "Aesthetics after modernism". Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.

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Evans, Victoria Louise, i n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity". University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.

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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.

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Buchanan, D. A. "Aesthetics, art and Utopia : the philosophical significance of the discourse of aesthetics". Thesis, University of Reading, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296698.

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Melberg, Arne. "Sara Danius, The Senses of Modernism. Technology, Perception, and Modernist Aesthetics. Uppsala 1998". Uppsala : Svenska Litteratursällskapet, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200754.

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Barker, Jennifer. "The aesthetics of resistance modernism and antifascism /". [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3178431.

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Thesis (Ph.D.)--Indiana University, Dept. of English, 2005.
Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2208. Adviser: Thomas Foster. "Title from dissertation home page (viewed Nov. 27, 2006)."

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Adams, David Alexander. "Mimesis and Modernism: Jacques Maritain's Early Aesthetics". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/20849.

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Jacques Maritain’s early secular aesthetic theories have been interpreted too hastily. The goal of this study is to offer a more accurate reading of them than has been formulated previously. It is also to appraise them, as regards their merits as explanations of concrete phenomena—this has not been done before. In order to achieve these aims, Maritain’s principal early work on aesthetics Art et scolastique will be analysed at length, herein. The problematic methods by means of which the scholarly tradition has interpreted this book will be examined, and their influence on its reception will be assessed. Maritain’s elementary philosophy will be described, insofar as it is related to his early aesthetics. A sketch of Art et scolastique will be drawn, in order to clarify the various purposes to which Maritain puts its disparate sections. This is necessary, if confusion is to be avoided. Maritain’s new early secular aesthetic theories will then be identified, and evaluated. Special attention will be paid to his early theory of mimesis, which is quite ingenious. It will be shown that his new early secular aesthetic theories are far more original and far more penetrating than they have been represented to be, even by those scholars who are most under Maritain’s spell. As a result, it will be seen that these theories deserve much closer consideration than they have so far received.

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Buchanan, Stephanie Elizabeth. "Counter-statements : modernist aesthetics and social change /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Howell, Catherine Mary Louise. "The aesthetics of colonial modernism : Klee, Camus, Bowles, Tournier". Thesis, University of Cambridge, 2004. https://www.repository.cam.ac.uk/handle/1810/273418.

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Johnson, Jennifer. "Georges Roualt's modernism and the question of materiality". Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:5e1ac77a-ba70-41e8-a3cd-5189723f487f.

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The central concern of my thesis is to bring into focus the problematic relation between Georges Rouault's (1871-1958) pictorial vocabulary and his subject matter: on the one hand, abstract mark-making and on the other, a refusal to cede to abstraction or formalism through an insistence that these marks remain yoked to representation. The result is an examination a way of painting that embraces its state of uncertainty, which interrogates its own construction, and strains against the very materiality it simultaneously celebrates. Chapter one traces the critical reaction to Rouault's painting in the early years of the twentieth century, which was at best mystification, and at worst, disgust. This chapter also analyses the thick painterly terms of these paintings and their resistance to conventional meaning, arguing that there are parallels between Rouault's project and contemporary experimental forms of art and literature within modernism. Chapter two continues this exploration, attending to the various relationships between surface and depth that are interrogated by Rouault's canvases. These relationships reveal the deep philosophical and theological questions at stake Rouault's painting. Chapter three explores a theological reading of Rouault's work beginning with the aesthetics of his associate, the French Catholic philosopher, Jacques Maritain - a reading that shows how painting can be true to its material conditions and strain towards a higher, albeit obscure, form of knowledge. Against this, the last chapter argues that the paintings also support the possibility of a bleaker world-view, aligned with Dostoyevsky's kenotic theology, in which matter potentially overwhelms the possibility of transcendental meaning. In conclusion, I argue that Rouault's painting interrogates the vocabulary of modernism and presents the 'fallen' or 'wounded' state of a painting that acknowledges its material conditions.

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Stannard, Iain. "Michael Tippett and modernism : aesthetics and instrumental works, 1962-1977". Thesis, University of Newcastle Upon Tyne, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401852.

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Chahine, Joumane. "Crimes of reason : the Berlin inquiries of Siegfried Kracauer". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21200.

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Siegfried Kracauer is mostly known for the work on film theory he wrote during his post-war exile to North America. This thesis proposes to examine a lesser known and far more complex portion of his oeuvre, namely the vast body of essays and monographs he produced throughout the 20s and 30s as editor of the Frankfurter Zeitung, which offer not only a cultural diary of the Weimar republic but also a critique of modernity and the many upheavals it engendered. Using both a detailed analysis of his own work as well as an examination of the various critical responses it elicited, this study aims at exposing the paradoxical complexity of Kracauer's stance towards modernity and its various mass cultural manifestations, a complexity which has unfortunately often been misjudged and reduced to a mere middling position. Indeed, because of his refusal to opt for a definite position, to either fully embrace or reject modernity, Kracauer has often been miscast as a mere seeker of compromise, a thinker who tried to make edges rounder and ease tensions. This thesis is an attempt to prove that far from trying to annihilate the tensions of the modern era, Kracauer in fact sought to cultivate them. He may have refused to opt for a definite stance---be it a "yes" or a "no"---towards modernity, yet his position is not to be reduced to a tepid "maybe", but ought to be seen, rather, as a truly Janusian simultaneous "yes" and "no" towards it. In our age of extreme relativism, where tension is to be avoided at all costs, there is some valuable insight to be gained from Kracauer's obstinate fight against comfortable compromises of any kind.

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Doss, Joy M. "Aesthetic revolutionaries : Picasso and Joyce". Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=379.

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Thesis (M.A.)--Marshall University, 2003.
Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

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Hobson, Jordan F. "Willa Cather's O Pioneers!: Violence and Modernist Aesthetics". Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/english_theses/123.

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Willa Cather's 1913 novel, O Pioneers! concludes with an unexpected moment of extreme violence as two young lovers, Emil Bergson and Marie Shabata, are murdered by Marie's husband in a mulberry orchard. Cather's novel is almost wholly devoted to the psychological interior of the protagonist, Alexandra Bergson, thereby rendering this violent interruption more dynamic as it essentially undercuts the generally lulling interiority of the narration. My interest here is to examine this strange moment of violence and Alexandra's subsequent forgiveness of Frank for the murder of her brother and his own wife through the theoretical paradigms of René Girard, Jacques Derrida, and Slavoj Žižek.

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14

Whitner, Claire Chandler. "The visual culture of surface Berlin modernism and the pictorial public /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1481673671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Song, Jingjing. "Modernist aesthetics in the films of Wong Kar-wai". HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/110.

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Wong Kar-wai is a premier avant-garde auteur of Hong Kong cinema. In the existing research, postmodernism is considered as a predominant approach to shed light on Wong’s aesthetics, poetics and politics. Being the iconoclastic ‘poet of time,’ Wong Kar-wai is extolled as a leading figure for his postmodernist style of visually unique and emotional resonant film works. Recurring motifs, such as alienation and rejection, time and memory, pursuit and loss, are regarded as representations of cultural and political anxieties of Hong Kong people in the context of 1980s and 1990s. Wong’s characteristic exoticism and cosmopolitism in his films also distinguishes him from other Chinese-language directors. However, when we expand the scope of the postmodern terrain, we find modernism and its attendant aesthetics are just as relevant and important as postmodernism to the understanding of Wong’s oeuvre. This thesis evokes a comparative perspective of modernism proposed by Eugene Lunn as an aesthetic approach, with an illustrative analysis by using David Bordwell’s and Kristin Thompson’s work on non-Hollywood cinema. This approach emphasizes four major directions of the social and cultural aspects influenced by modernism in art. Using this approach requires researchers to find cinematic representations of modernism in terms of aesthetic self-consciousness, juxtaposition of time, ambiguity and dehumanization within the film. This research takes Wong Kar-wai’sAshes of Time Redux (2008) as a case study to explore the alternative interpretations beyond postmodernism. The investigation of Wong’s uses of modernist approach involves the analysis of his experiments of conventional film techniques and strategic employment of the mise-en-scene, camera angles, lenses, lighting, and music, which constitute his pictorial world. My assertion is that Wong’s juxtaposition of time and space createsan elusive and ambiguous fictional world in response to his reflection on the dehumanization of an integral individual subject in the modernized world.

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16

Parrino, Francesco. "Between the avant-garde and fascist modernism : Alfredo Casella's aesthetics and politics". Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544134.

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Fletcher, Christopher John Yates. "Merely Gothic in disguise? : discontinuity, continuity and the aesthetics of British modernism". Thesis, University of Edinburgh, 1992. http://hdl.handle.net/1842/19752.

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The ideology of early British Modernism, as derived by Eliot and Pound primarily from the writings of T.E. Hulme, is focused on a valorization of the Primitive, Byzantine or 'Classical' (objective) and a rejection of the Romantic (subjective). In Hulme's work, however, it can be shown that this opposition is based on a fundamental misreading of one of his principal sources - Wilhelm Worringer, a contradiction the wider aesthetic significances of which were being referenced at the time by the English aesthetician Vernon Lee. For Worringer, although asserting the importance of abstraction and objectivity in art, linked those aspects with the need for an equal subjectivity and emotionalism (or empathy), a union which he felt to be fulfilled in traditions on Northern Gothic art which stood as an equivalent to the formalist traditions which held such sway with early Modernist poets. Worringer's influential texts provide a means of seeing the development of Modernism in Britain not as being in discontinuity with the thought which preceded and followed it, but as the continuous development and refinement of a single set of aesthetic issues stemming from Kant and Hegel and in debate among theorists of the early twentieth century. A broad context of neo-Romantic poets, painters and writers like David Jones, Paul Nash, John Piper and members of movements such as The New Apocalypse, all of whom are often argued to be in direct opposition to Modernism, can thus be seen to be the product of the working out of the consequences of an initial position which, in the works of theorists like Jacques Maritain, came to realize its own incompleteness. Modernism in Britain, under the influence of art-historians like Worringer and theorists such as Maritain, moves steadily from abstraction and objectivity to an attempt to fulfil the aesthetics of Northern Gothic, in which abstract pattern and natural forms are fused into a unity of the subjective and objective, the experiential and the ideal. This Northern Gothic is not a rejection of the modern and the Modernist, but its logical synthetic conclusion, the product of a continuous reading and redefinition of the central terms from which Hulme began.

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18

Cutler, Edward S. "Configurations of modernity : 1850's New York and the emergence of temporal aesthetics /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732716.

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Lloyd, Johannah M. "The province of art : the aesthetic in the advent of modernism to London, 1910-1914". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63769.

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Dahlin, Kenneth C. "The Aesthetics of Frank Lloyd Wright's Organic Architecture| Hegel, Japanese Art, and Modernism". Thesis, The University of Wisconsin - Milwaukee, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13422325.

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The goal of this dissertation is to write the theory of organic architecture which Wright himself did not write. This is done through a comparison with GWF Hegel’s philosophy of art to help position Wright’s theory of organic architecture and clarify his architectural aesthetic. Contemporary theories of organicism do not address the aesthetic basis of organic architecture as theorized and practiced by Wright, and the focus of this dissertation will be to fill part of this gap. Wright’s organic theory was rooted in nineteenth-century Idealist philosophy where the aim of art is not the imitation of nature but the creation of beautiful objects which invite contemplation and express freedom. Wright perceived this quality in Japanese art and wove it into his organic theory.

This project is organized into three main categories from which Wright’s own works and writings of organic architecture are framed, two of which are affinities of his views and one which, by its contrast, provides additional definition. The second chapter, Foundation, lays the philosophical or metaphysical foundation and is a comparison of Hegel’s philosophy of art, including his Romantic stage of architecture, with Wright’s own theory. The third chapter, Formalism, relates the affinity between Japanese art and Wright’s own designs. Three case studies are here included, showing their correlation. The fourth chapter, Filter, contrasts early twentieth-century Modernist architecture with Wright’s own organicism. This provides a greater definition to Wright’s organicism as it takes clues from Wright’s own sense of discrimination between the contemporary modernism he saw and his own architecture. These three chapters lead to the proposal of a model theory of organic architecture in chapter five which is a structured theory of organic architecture with both historical and contemporary merit. This serves to provide a greater understanding of Wright’s form of the organic as an aesthetically based system, both in historic context, and as relevant for contemporary discourse.

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21

Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /". Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Prickett, Stacey Lee. "Marxism, modernism and realism : politics and aesthetics in the rise of American modern dance". Thesis, Open University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304885.

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He, Weiling. "Flatness transformed and otherness embodied: a study of John Hejduk's Diamond Museum and Wall House 2 across the media of painting, poetry. architectural drawing and architectural space". Diss., Georgia Institute of Technology, 2005. http://hdl.handle.net/1853/36608.

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To study architectural space in relation to other works of art, the author aims at understanding how meaning depends upon the medium within which it is formulated. More importantly, the process of re-stating a work from one medium to another requires analytically rigorous study at the level of design thinking. In this thesis, Piet Mondrian’s sixteen Diamond Compositions, George Braque’s Studio Series, and Jean Auguste Dominique Ingres’s Comptesse d'Haussonville will be studied as points of departure of John Hejduk¡’s two sets of architectural projects: the Diamond Series and the Wall House Series. Compositional similarities among these works will be discovered as the design means of Hejduk’s architecture. Moreover, these paintings suggest two design ends: C flatness and otherness. Hejduk’s poems about paintings and his architectural drawings will be examined as working media in which the two design ends are formulated. On this basis, the Diamond Series and the Wall House Series will be analyzed once again on the basis of how flatness and otherness are constructed in architectural space. In a way, Hejduk defines his own design means in the medium of architecture. It is noted that the re-statement of meaning in the medium of architecture involves both a retrospective understanding of the spatial structure and an embodied experience of the immediate spatial condition. Only when space makes sense independent of the references back to existing works in other media such as painting or poetry and the key design move is made will the readings of such works become architectural concepts. In the media of painting, poetry, architectural drawing, and architectural space, John Hejduk designs intention in its own right as part of the design process. Therefore, working across media entails far more than superficial references or fanciful representations. Rather, it is a serious investigation into the construction of medium-specific meaning, which the work of Hejduk clearly exemplifies. For the same reason, Hejduk’s work can be understood beyond personal or mystical expressions, becoming a tangible, logical, and thereby shared construction.

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Han, Gül Bilge. "“Distantly a part”: Wallace Stevens and the Poetics of Modernist Autonomy". Doctoral thesis, Stockholms universitet, Engelska institutionen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-119700.

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This dissertation explores the social and political dimensions of aesthetic autonomy as it is given formal expression in Wallace Stevens’s poetry of the 1930s and the early 1940s. Whereas modernist claims to autonomy are often said to rest upon an ideological assertion of art’s detachment from socio-historical concerns, I argue that, in Stevens’s work, autonomy is conceived in relational terms, which gives rise to new lines of interconnection between his poetry and its cultural situation. Written over a period when the political efficacy of literature became a staple of discussion among a myriad of writers and critics, Stevens’s poetry offers an understanding of autonomy not as an escape from, but as a productive condition for imagining alternative forms of engagement with the historical crisis with which it has to reckon. In taking into account the cultural context from which Stevens’s poetics of autonomy emerged, my study aims to highlight the significance of the concept to the poet’s exploration of the tension between aesthetic and social domains, to his imaginative formations of collective agency, and to the vexed relationship between poetic and philosophical modes of thinking. By transposing the theoretical discussion of autonomy into the register of historical scrutiny, I hope to pave the way for a rethinking of autonomy and its relevance to the period’s radical and modernist writing, literary debates, and cultural politics. For this purpose, I draw on recent theories, such as those offered by Jacques Rancière and Alain Badiou, on poetry, politics, and (in)aesthetics, which serve to complicate the working definitions of modernist autonomy as literature’s immunity from the world, and to indicate an alternative path for analyzing its critical and contextual implications.

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Moody, Alys. "Starving for their art : hunger, modernism, and aesthetics in Samuel Beckett, Paul Auster, and J.M. Coetzee". Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:f141508b-15d1-42b8-b436-bbb8c2dc0b49.

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As literary modernism was emerging in the late nineteenth and early twentieth centuries, a number of its most important figures and precursors began to talk about their own writing as a kind of starvation. My doctoral thesis considers the reasons for and development of this previously little-explored trope, arguing that hunger becomes a focal point for modernism’s complex relationship to aesthetic autonomy. I identify a specific tradition of writers, beginning in the nineteenth century with proto-modernists such as Melville and Rimbaud, flourishing in the pivotal figures of Knut Hamsun, Franz Kafka and Samuel Beckett, and expiring with modernist-influenced contemporary writers such as Paul Auster and J. M. Coetzee. Although these writers are avid readers and devoted disciples of one another, mine is the first study to read them alongside one another as a coherent literary tradition. Reading them in this way, I am able to trace the development of the ‘art of hunger’ as a locus for a crisis in aesthetic autonomy that spans the twentieth century. I develop this line of argument in two phases. In the first, I trace the emergence of an art of hunger out of modernist engagements with philosophical aesthetics and its notions of aesthetic autonomy. Readings of the “art of hunger” in Herman Melville, Arthur Rimbaud, Knut Hamsun, Franz Kafka and Samuel Beckett’s post-war work reveal that starvation carries autonomy to an extreme and hyper-literal endpoint, revealing both its desirability as an aesthetic ideal and the impossibility of art’s complete autonomy from the body, the market or the social dimensions of language. In the second phase, I consider how this trope has animated later twentieth-century engagements with modernism. For authors writing in the aftermath of modernism, hunger provides a way of considering new complications to aesthetic autonomy in the light of both their debt to modernism and their specific historical circumstances. In this light, I consider three different extensions of the modernist art of hunger: its absorption into high formalism in Beckett’s late prose; its collapse in the face of an emerging concern with the social in Paul Auster; and its transformation into an ethical aesthetics of food taboos, restriction and asceticism in J. M. Coetzee.

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Mao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art". Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.

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Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).

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Yau, Ka-fai. "Of graphology : notions of space & time in contemporary cultures /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21790929.

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Davis, Omilade. "Modernism, Métissage and Embodiment: Germaine Acogny's Modern African Dance Technique, 1962-1975". Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/558814.

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Dance
Ph.D.
This dissertation positions Germaine Acogny’s Modern African Dance Technique (“the Technique”) as a mode of knowledge that reveals insight into nationalism, Négritude, modernism and perspectives on modernity during the early years of Senegal’s independence. By investigating the Technique in relationship to its historical context, this study aims to identify how cultural and political values, which comprise the Technique’s embodied knowledge, are evident in its aesthetic design and philosophical underpinnings. A hybrid methodological approach is employed that merges theoretical analysis with autoethnography. Fieldwork in Senegal, archival research, interviews and embodied practice informed this study. A new theoretical frame, Wòrándá, is introduced that contributes to existing theories on embodiment in African and Diasporic dance techniques and performance. The findings of this dissertation conclude that the Technique sits at the junction of African and Euro-American cultural templates, which coalesce in the production of a codified movement technique that both embodies and confronts constructivist influences. Correlations are suggested between the Technique, Africentric perspectives and cultural nationalism. The Technique also fulfills Léopold Sedar Senghor’s vision of métissage (cultural blending) and cultural progress. Each of these ideological influences underscores the Technique’s significance as a modernist intervention on the genre of neo-traditional African concert dance, as its progenitor seeks to challenge dominant expectations of the African body in dance.
Temple University--Theses

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Barongeno, Luciana. "Ainda sinto umas cócegas de explicar certas coisas: Mário de Andrade, professor de Oneyda Alvarenga". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-20102014-113536/.

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Em 1933, Oneyda Alvarenga escreve A linguagem musical como trabalho de conclusão do curso de História da Música no Conservatório Dramático e Musical de São Paulo. Sob a orientação de Mário de Andrade, essa primeira versão é ampliada até 1935 e concluída em 1944. Esta tese tem como objetivo estudar o manuscrito A linguagem musical como objeto que documenta o procedimento pedagógico de Mário de Andrade e que recapitula o problema da estética fisiológica a partir da biblioteca e da obra de Mário de Andrade. Uma vez que tal problema surge e se desenvolve através da relação pedagógica entre professor e aluna, parte-se do exame das versões de 1933 e 1935
In 1933, Oneyda Alvarenga writes A linguagem musical as a final paper in history of music in Conservatório Dramático e Musical de São Paulo. Under the guidance of Mário de Andrade, this first version is revised until 1935 and completed in 1944. The aim of this thesis is to study the manuscript A linguagem musical as an object that summarizes the problem of physiological aesthetics from the library and work of Mário de Andrade. Once the problem arises and develops through the pedagogical relationship between teacher and student, the 1933 and 1935 versions are examined.

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Rodrigues, Ana Rita Penado. "Amadeu de Sousa-Cardoso no contexto da modernidade europeia: contributo para o conhecimento das suas conceções estéticas e plásticas". Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/25400.

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A tese que apresentamos pretende estudar a obra de Amadeo de Souza-Cardoso, conciliando uma leitura formal dos seus desenhos com uma nova interpretação das fontes documentais que constituem o espólio do artista. Entre essas fontes destacamos a sua correspondência, fotografias, entrevistas, textos da sua autoria, bem como estudo da sua biblioteca. Esta análise tem por finalidade ajudar a desvendar os ideais e as conceções estéticas e artísticas que estão subjacentes à produção do pintor, enquadrada no contexto do modernismo europeu, tendo o desenho como estudo de caso. Finalmente, propomos a criação de um website, cujos conteúdos estruturantes correspondem à perspetiva defendida na tese. Com um objetivo essencialmente didático, o website dirige-se prioritariamente a públicos jovens e a alunos dos ensinos básicos e secundários. Esta plataforma digital pretende dar a conhecer – de forma acessível e apelativa – a originalidade e a modernidade da obra de Amadeo; ABSTRACT: Amadeo de Souza-Cardoso in the European modernity context: Contribution to the knowledge of his aesthetic and plastic conceptions The thesis we present intends to study the work of Amadeo de Souza-Cardoso, reconciling a formal reading of his drawings with a new interpretation of the documentary sources that constitute the artist's estate. Among these sources we highlight his correspondence, photographs, interviews, texts of his own, as well as study of his library. This analysis aims to help unravel the ideals and aesthetic and artistic concepts that underlie the painter's production, framed in the context of European Modernism, with drawing as a case study. Finally, we propose the creation of a website, whose structuring contents correspond to the perspective defended in the thesis. With a mainly didactic purpose, the website is directed primarily to young audiences and students of basic and secondary education. This digital platform aims to make known – in an accessible and appealing way – the originality and modernity of Amadeo's work.

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31

Moss, Gemma Candice. "Between aesthetics and politics : music in James Joyce, Ezra Pound and Sylvia Townsend Warner". Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/between-aesthetics-and-politics-music-in-james-joyce-ezra-pound-and-sylvia-townsend-warner(8bf91abc-f236-402e-b88b-bb78f6234986).html.

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This thesis explores the relationships between music, literature, aesthetics and politics in the novels of James Joyce, Sylvia Townsend Warner, and the poetry of Ezra Pound, to show the political relevance of how discourses of musical transcendence appear in these texts. These authors were notably political: Pound was involved with Italian fascism, Warner a Communist Marxist, while Joyce critics have been invested in claiming for him a liberal, humanist political position that is reflected in his writing. This allows me to analyse their engagement with music in light of their politics in order to make connections between aesthetics and politics through music in modernist literature. The texts analysed in this thesis are Joyce’s Chamber Music and Ulysses, Pound’s Cantos, his early essays and articles, and his musical theories ‘absolute rhythm’ and ‘Great Bass’, and finally Warner’s Mr Fortune’s Maggot, ‘The Music at Long Verney’, and The Corner That Held Them. I use a methodology, informed by the musicology and philosophy of T.W. Adorno, that moves between aesthetic and social approaches to music. I analyse the political significance of Joyce’s and Pound’s appropriation of musical forms as part of a radical departure from traditional aesthetic practices to articulate a newly modern subjectivity, and arrive at an analysis of Warner’s exploration of the tension between music as both transcendent aesthetic paradigm and material object with political meanings and functions. I argue that the extent to which writers and scholars continue to refer to discourses of musical transcendence as a way of exploring and representing humanity’s relationship with the world means that analyses of music’s social grounding, which can reject problems of signification and meaning, are not sufficient to explain the variety of functions music can fulfil in writing and in thought.

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32

Beeston, Alix Mallory. "Composite Visions: Writing and Photography in American Modernism". Thesis, The University of Sydney, 2015. http://hdl.handle.net/2123/13431.

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This dissertation builds on scholarship that apprehends the ways in which modernist writing instantiates the episteme of doubt and contingency that emerges, paradoxically, from the development of photographic technologies. It accounts for an unexplored aspect of the photography effect in modernist writing that is variously composite in form and narrative. Early twentieth century texts by Gertrude Stein, Jean Toomer, John Dos Passos, and F. Scott Fitzgerald function analogously to photography—and are culturally imbricated with it—inasmuch as they privilege representational ambiguity through their sequenced, fragmentary poetics. I argue that formal interstices of these composite texts, like that of serialized photographic practice, are raised as signposts to the limits of the eye and of visual and discursive objectification itself. Most provocatively, I interpret their gaps and openings as textual sites in which the dominant socio-political order is negotiated and even circumvented. I map the sequenced tissue of modernist narration onto the repeated disappearances and appearances of female bodies that are, like the narratives they populate, constructed as aggregates or assemblages. In so doing, I enrol what I call the woman-in-series within a host of new theoretical figurations of female subjectivity emerging within feminist scholarship that seeks to exceed the hostile relationships between the camera and the female subject that have dominated discussions of photography and cinema. As such, this dissertation works to destabilize gendered and racialized oppositions of power and vulnerability as they relate to encounters between subjects and objects in the visual realm. The gap or interval in the composite visions of American modernism signifies both as a mark of trauma, the wounding of objectifying representation, and as a means for evading or defending against such trauma. The woman-in-series thereby stages the insurrectionary potential of the in/visible subject.

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33

Naserkhaki, Leila. "The Eye and Ear of Modernism : A Study of the Visual and Aural Aesthetics of E E Cummings". Thesis, University of Southampton, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505811.

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34

Owen, Benedict Novotny. "Cartoon Conceptualism: Periodical Comics and Modernism in the United States". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494086092509444.

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35

Merola, Jonathan. ""compounded each of both yet either neither": Experimental Dialogics and Literary Ethics of the American Modernist Novel". Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1563456785167138.

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36

Webster, Christine Lynn. "Immortalizing the Human Spirit: Analyzing Faulkner through Schopenhauer". Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/328601.

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English
Ph.D.
As a writer who composed some of the most formidable American prose of the twentieth century, William Faulkner wrote modernist novels the numerous complexities and ambiguities of which require continued decipherment. Critics have attempted to interpret If I Forget Thee, Jerusalem; Absalom, Absalom!; As I Lay Dying; The Sound and the Fury; and Light in August through various critical approaches, yet none has successfully pinpointed Faulkner's aesthetic philosophy. This dissertation satisfies the critical deficiency by studying Faulkner's work through the philosophy of Arthur Schopenhauer, namely the latter's view of reality as will and representation, or truth and illusive manifestation. Ultimately, this endeavor leads to the discovery that Faulkner used literature to commemorate and immortalize the human spirit in its continual fight to persevere against the constraining nature of causality. Analyzing the themes and formal permutations of each novel, this dissertation notes Faulkner's concern with the spatial and temporal boundaries characteristic of the human condition and the limits they present for Reason and the maintenance of joy. The argument identifies Faulkner's Schopenhauer-esc advocacy for one's temporary denial of the "individual will" or ego in moments of aesthetic transcendence that permit an alleviation of suffering. This previously overlooked connection between Schopenhauer and Faulkner recognizes the author's desire to produce the conditions necessary for the reader to glimpse the universal will in an extension of the present moment.
Temple University--Theses

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37

Byers, Mark. "After the new failure of nerve : Charles Olson and American modernism, 1946-1951". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.

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One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.

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38

Seijo, Maxximilian. "Anti-Fascist Aesthetics from Weimar to MoMA: Siegfried Kracauer & the Promise of Abstraction for Critical Theory". Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7933.

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This thesis re-examines the life's work of German-American critical theorist, Siegfried Kracauer, to recover abstraction from tacit historical associations with modern fascism. Evoked in critical theory more generally, the abstraction-to-fascism-teleology imagines 20th century fascism as the dialectical fulfillment of modern alienation. Rooting such alienation in the flawed Liberal and Marxist conceptions of monetary relations, critical theorists conduct their aesthetic analyses via ambivalent condemnations of abstraction’s assumed primordial alienation. In the thesis, I critique the abstraction-to-fascism-teleology through an affirmation of neochartalist political economy’s conception of money’s essential publicness and abundance. Drawing from this abstract legal mediation, I trace Kracauer’s various condemnations of abstraction along the terms of his embodied contradiction among the WWII and Cold War fiscal mobilizations to illuminate repressed pleas for abstract mediation within his work and midcentury aesthetic realism broadly. Further, I move from the midcentury moment to the Weimar moment in order to locate potential in Kracauer’s early affirmation of abstraction as a communal medium. I find such affirmations neglected in the Liberal and Marxist responses to the unemployment crises of the Great Depression in Germany. By looking to Kracauer’s Weimar essays on architecture and photography, as well as a reading of Fritz Lang’s Metropolis (1927), I pinpoint historical and contemporary promise in their commitment to the inclusive potential of abstraction’s (no)thing- ness, a commitment that was mirrored in the proposed monetary issuance of the WTB public works plan of 1932, which was ultimately rejected by the Social Democratic Party of Germany in the lead up to their defeat in the parliamentary elections of 1933 and the Nazis’ rise to power.

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39

Wootten, William George. "The aesthetics of history in the modern English long poem : David Jones's 'The Anathemata', Basil Bunting's 'Briggflatts', Geoffrey Hill's 'Mercian Hymns' and Roy Fisher's 'A Furnace'". Thesis, Durham University, 1998. http://etheses.dur.ac.uk/4782/.

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David Jones, Basil Bunting, Geoffrey Hill and Roy Fisher are major poets in the modernist tradition who have written long poems which incorporate and interrogate history. The Anathemata. Briggflatts. Mercian Hvmns and A Furnace all explore the poet's sense of identity and his relationship to the present by attempting to give order to the past. This thesis examines how this attempt, and the various ideologies, philosophies and aesthetics that have accompanied it, are given form in these poems. It relates detailed readings of the poems to their intellectual and historical contexts. The Introduction outlines the typical features of die modernist long poem and suggests that they are peculiarly suited to expressions of both history and nationalism. Chapter I is a critical assessment of the aesthetics of Wilhelm Worringer and Herbert Read. Chapter II shows how David Jones endeavours to give form to the various histories of The Anathemata by using these aesthetics in conjunction with the historical philosophy of Oswald Spengler, the analysis of myth and ritual of J.G. Frazer and Jessie Weston, and his own nationalism and Roman Catholicism. This chapter accounts for the poem's obscurity by investigating its conflicting ideas of form, and locating it in die context of the Second World War. Chapter III, on Briggflatts. argues that Basil Bunting combines the ideas of Worringer and Read with an autobiographical narrative and a structure derived from music, in order to give die poem a form mirroring both his melancholia and the harmony he perceived in nature. It contends that the histories in the poem are best read as relating to autobiography and not Northumbrian nationalism. Chapter IV shows how Geoffrey Hill refashions the English long poem in a manner close to that of the lyric sequence. It explores notions of empathy and historical continuity in Mercian Hymns. and analyses Hill's ambiguous evocation of his Anglo-Saxon roots in the context of contemporary political discourse. Chapter V discusses the ways in which Roy Fisher enacts different apprehensions of time and history in the dialectical structure of A Furnace, and relates them to the thought of John Cowper Powys. The Conclusion draws together the recurrent themes of the thesis: change and continuity, history and identity, time and timelessness.

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40

Emden, Christian. "Walter Benjamins Archäologie der Moderne : Kulturwissenschaft um 1930 /". München : Wilhelm Fink, 2006. http://www.h-net.org/review/hrev-a0f7v4-aa.

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41

Higashikubo, Kevin. "Man with a Ghost: Randolph Bourne's Radical Cultural Idealism". Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617025465545427.

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42

Popescu, Viorica Anamaria. "Beyond Modernism: A reassessment of modern architectural metaphysics in light of Martin Heidegger’s “The Age of the World View”". University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250703837.

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Erlandsson, Niklas. "Experientiality and Sensorial Gesamtkunstwerk in William Faulkner’s The Sound and the Fury". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-96247.

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This thesis examines the semiotic experiences in William Faulkner’s The Sound and the Fury from a reader perspective by analyzing in what ways sensorial gesamtkunstwerk is used to convey or evoke sensations that appeal to the reader on a cognitive level. Drawing from Marco Caracciolo’s theories on experientiality which operate under the assumption that an evoked feeling from a text is dependent on the reader’s familiarity with their emotions and senses, this thesis claims that the bridge between narratological (textual) experiences and the reader’s experiences in the novel is made possible through sensorial aesthetics that appeal to our sensory modalities and that operate in a gestalt fashion to form a sensorial gesamtkunstwerk. Upon closer analysis, the experientiality in The Sound and the Fury is not only evoked by sensory modalities operating as a sensorial gesamtkunstwerk that draws on the reader’s cognitive and sensorial familiarity as is suggested by Caracciolo, but the analysis also exposes a narratological gesamtkunstwerk that operates at an intratextual level and which is only manifested when the novel is examined holistically. Containing differently perceived semiotic experiences, collectively, the differently narrated sections complement one another in such a way that they, too, synthesize into a gesamtkunstwerk that is dependent upon each section to fully operate.

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44

Marchiori, Dario. "Le modernisme tardif en cinéma : hypercadrage, enfermement, dialectique négative". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030137.

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Fatiguée et vieillie, la modernité est pourtant toujours vivante : au moment de devenir tradition, le modernisme tardif se charge de l’enfermement de son esthétique. Sans rompre avec la modernité, comme le prétend le discours postmoderne, celui-ci assume jusqu’au bout les apories d’une modernité désormais tardive, et il tâche de les réfléchir. La posture du modernisme tardif par rapport à la modernité sera métacritique, se rapprochant des interrogations philosophiques de son temps (Marcuse, Adorno, Derrida, Foucault). Le modernisme tardif en cinéma aurait dès lors une place tout à fait singulière, mais pas du tout solitaire, dans l’ensemble des questions esthétiques que son temps lui pose. Dans les années soixante et soixante-dix, le modernisme déjà tardif du cinéma propose un ensemble de figures de l’enfermement qui réfléchissent le dispositif cinématographique : le cadrage autoréflexif, ou hypercadrage, sera son principe de mise en forme. Au niveau du montage, les rapports internes à l’image, entre les images, et entre sons et images se fonderaient tous sur une pratique disséminée comprise selon la dialectique négative d’Adorno, c’est-à-dire sans synthèse et vouée à faire apparaître un principe de « non-identité ». En ce sens, le cinéma moderniste tardif propose des allégories négatives d’une modernité qui n’en finit pas de finir
On its last legs, showing its age, modernity is nevertheless still alive. Now that it has become tradition, late modernism takes on the task of imprisoning its aesthetics. Without breaking with modernity, as postmodern discourse would have it, modernism fully assumes the aporia of what is now late modernity, and attempts to reflect them. The attitude of late modernism in relation to modernity is thus metacritical, in synergy with the philosophical enquiries of its time (Marcuse, Adorno, Derrida, Foucault). Consequently, late modernism in film has an utterly unique place within the aesthetic issues of its time, without however being isolated from them. In the 1960s and 1970s, what was already late modernism in film presented a set of figures of imprisonment, which reflected the filmic apparatus: self-reflective framing, or hyperframing, was the principle behind its form. On the level of montage, the relationships within the image, those between images, and those between sounds and images were all based upon a diffuse praxis to be understood here according to Adorno’s negative dialectics: a praxis without synthesis, one destined to reveal a principle of “non-identity.” In this sense, late modernist film offers negative allegories of a modernity that never stops coming to an end

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45

Strom, James Harper. "Modernist Aesthetics of "Home" in Virginia Woolf's Mrs. Dalloway and Rebecca West's the Return of the Soldier". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/70.

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The First World War wrought untold destruction on the physical and psychological landscape of Europe. For Britain, the immediate post-war period represented no less than a national “nostos,” or homecoming, and few social institutions were so fragmented by the conflict as the home. This thesis will explore the various conceptions of “home,” from the nation and the domestic sphere to post-war consciousness, through the lens of Virginia Woolf’s Mrs. Dalloway and Rebecca West’s The Return of the Soldier. Though unique in style and scope, Woolf and West interrogate and revise pre-war notions of “home” and suggest a Modernist aesthetic of what it is to be both at “home” and at home in the world.

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46

Walter, Christopher D. "On Yonder Mountain". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/112.

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The road to becoming an artist is paved with much confusion as we try to mold our brains into understanding abstract concepts and ideas. I became fascinated with how people perceive art, in particular, southern males that have no previous knowledge of art history or desire to learn. I contemplated long and hard about this and asked myself the question, “What if they did want to understand art?” The only difference between my brethren and I is this desire to pursue this seemingly foreign world. By creating an imaginary world and culture based on my own southern upbringing I have created a series of figurative paintings exploring various contemporary art themes in an effort to clarify my own understanding of the two worlds I am closest to and how they may or may not be related.

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47

Andersson, Robert. "Spiritually uncontrolled art : exploring aesthetics of evil in contemporary music". Thesis, Högskolan i Gävle, Avdelningen för kultur-, religions- och utbildningsvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-8368.

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This essay investigates interpretations of evil as expressed in contemporary music, focusing mainly on lyrics in contemporary popular music. The purpose is to analyze whether there is acertain aesthetic embracing of risk and innovation on display when discussing such subject matters, and to relate such aesthetic connotations to cultural and religious aspects. Lyrical interpretations of evil in a musical context appear to be existent in different forms andare in various ways attempts to integrate the existence of evil acts, as leading to suffering and pain, by incorporating such themes into lyrical material. There appears to be a possible aesthetic embraced when artists are advocating evil acts, however, not totally separable from the aesthetics of the extreme metal scene. Such forms of creative practice appear as reliant on the dialectic between historical perceptions of morality,modern society as globalized, segmented and restructured and the reoccurrence of religion in a secularized perspective. Themes regarding evil appear in this form of aesthetic in different ways to traditional discourse; making use of historical and contemporary images of evil and portraying them as desirable in various ways. In some instances such creative release is also linked to religious belief and practise, making the artistic performance equivalent of a transcendental event.

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48

Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art". Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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49

Baden, Eric. "The image of the body in the works of Frederick Sommer". [Johnson City, Tenn. : East Tennessee State University], 2003. https://dc.etsu.edu/etd/838.

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Thesis (M.F.A.)--East Tennessee State University, 2003.
Title from electronic submission form. ETSU ETD database URN: etd-1109103-152208. Includes bibliographical references. Also available via Internet at the UMI web site.

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50

Dunleavy, Berge Sara. "Grasping at Modernism in 1932: Alternative Readings of Das Blaue Licht, a Collaboration of Leni Riefenstahl and Béla Balázs". Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/301.

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Moments before the Weimar Republic succumbed National Socialism, and their paths sharply diverged as a result, Leni Riefenstahl and Béla Balázs collaborated to make Das Blaue Licht. Within a year of their collaboration Riefenstahl was working closely with Hitler on plans for Triumph of the Will, and Balázs, a Hungarian Jew, had fled to Moscow without credit or payment for Das Blaue Licht, which he co-wrote and co-directed. This thesis explores multiple readings of Das Blaue Licht, as a modern text, a fascist text, and ultimately, one that exists in a complex gray zone.

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