Дисертації з теми "Abramovitz"
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Sanin, A. "Roman Abramovich." Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40446.
Повний текст джерелаParry, Caroline. "The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.
Повний текст джерелаChen, Luciana. "Marina Abramović: modos de presença e seus sentidos." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19567.
Повний текст джерелаMade available in DSpace on 2016-12-23T11:50:09Z (GMT). No. of bitstreams: 1 Luciana Chen.pdf: 12140738 bytes, checksum: b5180e8f08ec6325be5313d22553116f (MD5) Previous issue date: 2016-12-06
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work commits to the enunciation display applied by Marina Abramović, analyzing how it produces presence modes and meaning effects. With a corpus of 100 works by the artist, from the 1970s to 2015 and enunciations that provide mediatic visibility to her from 2010 to 2016, the study aims to map the enunciative devices that trigger aesthesic and pathemic meanings and to unveil the problem of how these promote the presence modes of her public to the point of changing them from observer to part of the artistic action. It takes as a first hypothesis that through the feedback of information about Abramović and her actions, her mediatic visibility strategy diversifies her audience at the same time that promotes the doing with the body and the feeling by reactive adjustment. The second one implies that Abramović Method effectiveness, developed by herself, occurs by contagion of the presences of her very audience, proponing the retaking of the body in virtual communication era, being these ones the devices applied to seduce and modalize the addressee so that it participates. Fomented by the gaps found in art history, centered on the artist process, on the artistic object and/or on the production context, this investigation is based on discursive semiotics, which considers the communicative and communicational relations between performance and audience, the interaction regimes between audience and art and the sensible lived experience. Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira and Eugênio Trivinho stand out among the authors that substantiate the investigation. The methodology comprises corpus analysis based on the meaning generative process, the mapping of Abramović’s visibility strategies and the analysis on the Method. The results point out: the self-conscience thematic and the immaterial and material values predominance, the emphasis on the body figure of the participants with Abramović Method; the effectiveness of the artist’s communicational strategy and the triggering of actions against her procedure, all of them feeding back her figure and proving the first hypothesis right; the communicative effectiveness of the Method through the presences contagion, which can be mediated by electronic devices, making feel simultaneously to the Method spread, which presents itself as condition of modalizing enunciation of alterity’s being and doing; the feeling of our time happens through reactive adjustment mediated by electronic devices and reveals itself as one more product in bunkerization era
O presente trabalho se debruça sobre o aparato da enunciação empregado por Marina Abramović, analisando como produz os modos de presença e efeitos de sentido. Com o corpus de 100 trabalhos da artista da década de 1970 a 2015 e enunciados que lhe dão visibilidade mediática de 2010 a 2016, o estudo objetiva mapear os mecanismos enunciativos desencadeadores de sentidos estésicos e patêmicos e desvelar o problema de como promovem os modos de presença de seu público a ponto de transformá-lo de observador a parte da ação artística. Toma como hipótese primeira, que a estratégia de visibilidade mediática de Abramović com a retroalimentação de informações sobre ela e suas ações diversifica seu público ao mesmo tempo que promove o fazer com o corpo e o sentir pelo ajustamento reativo. A segunda é de que a eficácia comunicativa do Método Abramović por ela desenvolvido ocorre pelo contágio das presenças do próprio público, propondo a retomada do corpo na era da comunicação virtual, sendo esses os mecanismos empregados para a sedução e modalização do destinatário para que ele participe. Fomentada pelas lacunas encontradas na história da arte, centrada no processo do artista, no objeto artístico e/ou no contexto de produção, essa investigação fundamenta-se na semiótica discursiva, que considera as relações comunicativas e comunicacionais entre a performance e público, os regimes de interação entre público e arte e a experiência sensível vivida. Dentre os autores que alicerçam a investigação, destacam-se Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira e Eugênio Trivinho. A metodologia compreende a análise do corpus com base no percurso gerativo do sentido, o mapeamento das estratégias de visibilidade de Abramović e a análise do Método. Os resultados apontam: o predomínio da temática da autoconsciência, dos valores imaterial e material e a ênfase na figura do corpo dos participantes com o Método Abramović; a eficácia da estratégia comunicacional da artista e o desencadeamento de ações contrárias ao procedimento dela, todos retroalimentadores de sua figura provando a primeira hipótese; a eficácia comunicativa do Método por meio do contágio das presenças, podendo ser mediado por dispositivos eletrônicos, fazendo sentir simultaneamente à propagação do Método, que apresenta-se como condição de enunciação modalizadora do ser e do fazer da alteridade; o sentir do nosso tempo se dá por meio do ajustamento reativo mediado pelos dispositivos eletrônicos e revela-se como mais um produto na era da bunkerização
Polat, Faruk. "On The Generalizations And Properties Of Abramovich-wickstead Spaces." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610166/index.pdf.
Повний текст джерелаRadonjic, Vladimir. "Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis." Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7462.
Повний текст джерелаKozo, Abramovic Dunja [Verfasser]. "Role of age in epithelial ovarian cancer / Dunja Kozo Abramovic." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2014. http://d-nb.info/1062536436/34.
Повний текст джерелаLacis, Indra K. "Fame, Celebrity and Performance: Marina Abramović--Contemporary Art Star." Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396625700.
Повний текст джерелаVigeland, Anne. "Marina Abramović på Moderna Museet : En fenomenologisk analys av re-performance som utställningsmetod." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151830.
Повний текст джерелаGoulart, José Ricardo. "A artista (ainda) está presente? : performance e aura, reprodutibilidade e reperformance em Marina Abramovic." Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2573.
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The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura.
A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.
Orr, Meital. "God and the Devil in the Human Heart: The Dialogic Vision of Abramovitch and Dostoevsky." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10091.
Повний текст джерелаNear Eastern Languages and Civilizations
Krukowski, Samantha Henriette. "Performing history : walking along Ulay and Abramovic's The lovers /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Повний текст джерелаWiklund, Jessica. "Museibesökare i konstnärens närvaro : Performativitet och det ritualiserande i Marina Abramović verk The Artist is Present." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-18534.
Повний текст джерелаDias, Leandro De Bona. "Que raio de professoras são essas?: a representação da identidade docente nas obras de Fanny Abramovich e Ziraldo." reponame:Repositório Institucional da UNESC, 2017. http://repositorio.unesc.net/handle/1/5223.
Повний текст джерелаMeu trabalho de pesquisa buscou investigar nos livros Que raio de professora sou eu? (1990), de Fanny Abramovich, e Uma professora muito maluquinha (1995), de Ziraldo, como estão representadas as identidades docentes das personagens protagonistas das obras, respectivamente, Laura e Maluquinha. Utilizando uma abordagem que se inscreve dentro da perspectiva dos Estudos Culturais, minha investigação partiu do pressuposto de que as identidades são (re)construídas social e culturalmente de modo dialógico, constituindo-se como um espaço de constante negociação entre sujeito, sociedade e o outro. Considerando que a linguagem desempenha um papel fundamental para que façamos sentido de nossas identidades, entendo que a representação, como marca material, visível, figura como elemento chave para a significação e atuação das identidades. Dentro desse quadro teórico, o estudo que desenvolvi tomou a análise dos discursos literários de Ziraldo e Abramovich como objetos a fim de investigar as representações das identidades docentes. Para responder a essa pergunta, meu estudo procurou analisar as conexões entre as práticas pedagógicas e o currículo escolar na construção das identidades docentes dessas personagens; averiguar de que modo a linguagem, por meio dos discursos com os quais elas têm contato, atuam na construção das suas identidades, e, por fim, verificar como se dão as relações entre as identidades profissional e pessoal dessas professoras. Como resultado da leitura e análise das obras, pude verificar que ambas as personagens manifestam seu desconforto e discordância quanto ao currículo oficial, compreendendo que ele prega um conhecimento estático, que não combina com a visão educacional que possuem. No entanto, ao contrário de Maluquinha, que segue com suas práticas desviantes com relação ao esperado até ser despedida, Laura vê maiores dificuldades em pôr em ação um modelo de ensino diferente daquele pregado pelo discurso curricular. O papel da linguagem e da representação também demonstrou ser fundamental na construção das identidades docentes das duas personagens, sendo os discursos com os quais lidam fundamentais na construção de suas subjetividades, constituindo assim suas identidades pessoais e agindo sobre suas práticas em sala de aula. Além disso, pude constatar a presença da identidade de gênero, que as compõem como professoras e mulheres e que vêm à tona quando elas lidam com as relações de amizade com as alunas e com os desejos que provocam nos alunos e nas demais personagens, reconhecendo que possuem um corpo marcado também pela sexualidade. A análise fez ver ainda que ambas as personagens lidam com questões políticas, seja de forma textualmente explícita ou por meio de suas ações, demonstrando que todo o ato pedagógico é também um ato político. A conclusão de meu estudo indica a importância dos discursos quanto ao poder de representação que possuem, sendo, também por meio deles, que significamos nossa profissão docente. Dessa forma, as identidades docentes representadas nessas duas narrativas são, assim como os resultados de minha análise, possibilidades de significar e de ressignificar a profissão docente, sendo necessário sempre manter atual a pergunta presente no título da obra de Abramovich: Que raio de professora sou eu?
Dang, Hoang Bao [Verfasser], Michael [Gutachter] Abramovici, and Katja [Gutachter] Laurischkat. "Erweiterung des Product Lifecycle Managements für industrielle Produkt-Service Systeme / Hoang Bao Dang ; Gutachter: Michael Abramovici, Katja Laurischkat." Bochum : Ruhr-Universität Bochum, 2017. http://d-nb.info/1136131477/34.
Повний текст джерелаHjelm, Zara. "Konsten att uppträda : En studie i Marina Abramović och Ulays performance ur ett performativt och psykoanalytiskt perspektiv." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-145078.
Повний текст джерелаThis study aims to investigates the creation of identity within the complex artform performance. By observing the life’s and collaborative performance of Marina Abramović and Frank Uwe Laysiepen (Ulay) though a performative and psychoanalytic perspective focuses the act in the creation of self in different circumstances and contexts.
Menn, Jan Philipp [Verfasser], Günther [Akademischer Betreuer] Seliger, Günther [Gutachter] Seliger, and Michael [Gutachter] Abramovici. "Lernerzentrierte digitale Werkzeuge zur Montagetrainingsunterstützung am Beispiel des Sondermaschinenbaus / Jan Philipp Menn ; Gutachter: Günther Seliger, Michael Abramovici ; Betreuer: Günther Seliger." Berlin : Technische Universität Berlin, 2019. http://d-nb.info/1202297064/34.
Повний текст джерелаVattovaz, Laura <1991>. "ARCHIVI IN MOVIMENTO. Processi e dispositivi di conservazione della performance e della danza contemporanea (Marina Abramović, Boris Charmatz, La Ribot)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/16246.
Повний текст джерелаKvarme, Øyvind Rongevær. "Performance: Gjenoppføring, historie og dokumentasjon : Ei analyse av The Artist is Present (2010)." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for kunst og medievitenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-24944.
Повний текст джерелаJagenberg, Jan Tim [Verfasser], Reiner [Akademischer Betreuer] Anderl, and Michael [Akademischer Betreuer] Abramovici. "CoMoNo: A Communication Model and Notation Supporting the Analysis and Planning of Communication Infrastructure / Jan Tim Jagenberg. Betreuer: Reiner Anderl ; Michael Abramovici." Darmstadt : Universitäts- und Landesbibliothek Darmstadt, 2014. http://d-nb.info/1108094759/34.
Повний текст джерелаHo, I.-Lien. "Performing Kongwu's (空無, Emptiness, Nothingness) attitude towards language, time, and self : responding to Nam June Paik, John Cage, and Marina Abramović". Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15972.
Повний текст джерелаAbramovich, Igor [Verfasser], and Karin [Akademischer Betreuer] Oechsle. "Studie zur Nutzung privater und professioneller Netzwerke in Bezug auf psychologische, soziale und rechtliche Probleme bei schwer kranken Krebspatienten / Igor Abramovich ; Betreuer: Karin Oechsle." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2018. http://d-nb.info/1160382247/34.
Повний текст джерелаTomic, Milena. "Rituals and repetitions : the displacement of context in Marina Abramovic's Seven Easy Pieces." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2489.
Повний текст джерелаZhou, Yurong [Verfasser], Klaus [Akademischer Betreuer] Feldmann, Klaus [Gutachter] Feldmann, Michael [Gutachter] Abramovici, Manfred [Herausgeber] Geiger, and Klaus [Herausgeber] Feldmann. "Kollaboratives Engineering Management in der integrierten virtuellen Entwicklung der Anlagen für die Elektronikproduktion / Yurong Zhou ; Gutachter: Klaus Feldmann, Michael Abramovici ; Betreuer: Klaus Feldmann ; Herausgeber: Manfred Geiger, Klaus Feldmann." Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2005. http://d-nb.info/119325387X/34.
Повний текст джерелаPiñeiro, Maria Carolina de Hollanda Cavalcanti. "Estudos em reperformance: registro da prática Pina, Marina em Carolina." PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES CÊNICAS, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/25333.
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Esta dissertação descreve o percurso de sete experimentos onde investiguei a possibilidade de criação através da reperformance. Para conseguir desenvolver esta prática investigo três obras de Pina Bausch, duas de Marina Abramovic e dois trabalhos autorais, a partir de laboratórios e investigações desenvolvidas no “Workshop de Estudos em Reperformance” para artistas e pesquisadores da região metropolitana do Natal, Rio Grande do Norte e em Bogotá, Colômbia. Para desenvolver tal trajetória, foi realizado um estudo reflexivo sobre a documentação de registros, que culminam nas impressões da visita à exposição de Marina Abramovic no Sesc Pompéia, assim como levantamentos bibliográficos a fim de refletir sobre o conceito de reperformance, e breve um mapeamento afetivo da história da performance em Natal no período de 2007 à 2016.
This dissertation describes the trajectory of seven experiments based on studies in which I investigate the possibility of creation through reperformance. In order to develop my practice, I analyzed three works from Pina Bausch, two from Marina Abramovic, and two of my own works from laboratories and researches developed in "Workshop de Estudos em Reperformance" in which I teach artists and researchers in, both, the metropolitan region of Natal, Rio Grande do Norte, and Bogota, Colombia. To develop such a course, not only a reflective study on records documentation was held, culminating in the impressions of the visit of Marina Abramovic's exhibition at SESC Pompeia, but also literature surveys was made in order to reflect on the concept of reperformance, in which I identify the need to develop an affective mapping of the history of performance in Natal from 2007 to 2016.
House, Kayli. "Pilgrim carnival." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/house%5Fkayli/index.htm.
Повний текст джерелаA two-week event in four parts: invitation, installation, reception, and thank-you card. Installation for 2 hosts, 2 ushers, photographer, 4 posers, exerciser, sound persons, and blindfolded guests, with a mix of live and recorded sounds. Includes instructions for performance. Includes bibliographical references (p. 66-67).
Ferreira, Armando Traini. "Estudos hidráulicos em sistemas de bacias sanitárias." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/3/3147/tde-21072009-143256/.
Повний текст джерелаCurrently, the systematic approach of problems comprehension has been a powerful tool. This knowledge was used on the present work, as well as information about water saving, subject of a lot of nowadays researches, considering the concern about this natural resource (water), scarcer with each passing day. The purpose of this work was to understand the hydraulic phenomena at sanitary basins, using the model considered by Mendes, relating several engineering areas: load loss on tubings, verifications of Brazilian Norms about building products and systems, applications of motion quantity measuring, jets studies under the Abramovich theory, the \"Splash\" effect and the respective uses of these tools on the performance analysis of the hydro-sanitary system. The suggestion of the information attainment through the exit hydrogram of the studied sanitary basin allowed, by using a graduated water flush reservoir, the level variation and, consequently, relevant hydraulic information: flush duration, volume of water consumed, drag force induced by drainage and the maximum and minimum shear tensions. The performance of the studied equipment was obtained because of several factors, such as: truncated cone format with helical drainage internal to the equipment walls and the siphon tube that differs from the current ones, because it allows a smaller energy loss when transporting the solids. The studied model has presented results that, despiste possible improvements, are optimistic about the volume of water consumed (4 liters), beyond the fact that prevents the discomfort of the \"Splash\" effect on the users (according to the established parameters) and facilitates the residues removal (simulated by softwares) from the exit branch. The main conclusion of this work is that the performance improvements on sanitary basins are essentially related to good use of Fluid Mechanics and Hydraulics.
Gunson, Hannah Mahrii. "The Performing Female Body: The National Theatre Frankenstein as Performance Art." BYU ScholarsArchive, 2019. https://scholarsarchive.byu.edu/etd/9096.
Повний текст джерелаBarlow, Gabriel Lashley. "Confrontation: Endeavors in Futility." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/697.
Повний текст джерелаTang, Cheong Wai Acty. "Gazing at horror: body performance in the wake of mass social trauma." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1002381.
Повний текст джерелаVigeland, Anne. "Exhibiting Performing Subjects : Curating Outsourced Performance Labour in Museum Settings." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-180926.
Повний текст джерелаLagouarde, Clément. "Le "pour de vrai" et le "vrai" en art performance : fiction vs trace." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30017/document.
Повний текст джерелаPerformance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists
McCurdy, Marian Lea. "Acting and its refusal in theatre and film." Thesis, University of Canterbury. Theatre and Film Studies, 2014. http://hdl.handle.net/10092/10038.
Повний текст джерелаSpiekermann, Geraldine. "Tränen in der modernen Kunst." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16528.
Повний текст джерелаTears overstep the bounds of the human body from within – to become evidence of a crit-ical state of mind. The present study examines whether the tear, which endangers or even dispels the boundaries of the body, could be seen as a metaphor and even as an indication of aesthetic transgression in modern and contemporary art. This would mean that the tear as motif has also undergone a paradigm change, from the pearl of purity to a threatening fluid. The aspect of the tear as a transgressor of boundaries is not to be found in earlier periods of art. Accordingly, it also references the process of disintegration, which strongly determines 20th and 21st century art. Photographs by Man Ray, Madame Yevonde and Sam Taylor-Wood, drawings by Pablo Picasso and Hans Bellmer, performances of Marina Abramovic and Gina Pane, video works by Bill Viola and Bas Jan Ader, installations by Daniele Buetti and a series of books by Dieter Roth – which all deal with the tear complex – will be examined in close reading. Their connection with disintegrative tendencies will be scrutinised, and special attention given to media-specific structures and analogies.
Arango, Restrepo Luz. "El Alimento y la muerte en el ritual y las prácticas estéticas contemporáneas." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/460894.
Повний текст джерелаIn a game of history counter opposition, death and food come together in the Día de Muertos [Day of the Dead] ritual and in five works of contemporary artists. The goal set for this research is to explore this intrinsic relationship. In the ritualistic portion of this research, we explore two separate practices: the offerings on the altar for the dead’s consumption and the exchange of sugar skulls. In contemporary art, Joseph Beuys and Marina Abramović use food and organic matter as expressive factors in works aspiring to tie the ritual to art itself. Furthermore, both Félix González-Torres and Jana Sterbak have used food in their works, thus transferring their symbolic properties to the works. Every work and aesthetic manifestations studied provides a different vision of death.
Luu, Trieu Vy. "Revealing The Nature Of Human Characteristics Through Interaction Design." Thesis, Umeå universitet, Designhögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-141054.
Повний текст джерелаKuhlmann, Rosl. "Die Fremde im Werk von Marina Abramovic, Lothar Baumgarten und Nikolaus Lang - Annäherungen und Transformationen." Doctoral thesis, 2012. https://repositorium.ub.uni-osnabrueck.de/handle/urn:nbn:de:gbv:700-2012091010298.
Повний текст джерелаSenior, A., and Simon Kelly. "On the Dialectics of Charisma in Marina Abramović’s 'The Artist is Present'." 2016. http://hdl.handle.net/10454/8420.
Повний текст джерелаWhile ‘charisma’ can be found in dramatic and theatrical parlance, the term enjoys only minimal critical attention in theatre and performance studies, with scholarly work on presence and actor training methods taking the lead in defining charisma’s supposed ‘undefinable’ quality. Within this context, the article examines the appearance of the term ‘charismatic space’ in relation to Marina Abramović’s retrospective The Artist is Present at New York’s Museum of Modern Art in 2010. Here Abramović uses this term to describe the shared space in which performer and spectator connect bodily, psychically, and spiritually through a shared sense of presence and energy in the moment of performance. Yet this is a space arguably constituted through a number of dialectical tensions and contradictions which, in dialogue with existing theatre scholarship on charisma, can be further understood by drawing on insights into charismatic leaders and charismatic authority in leadership studies. By examining the performance and its documentary traces in terms of dialectics we consider the political and ethical implications for how we think about power relations between artist/spectator in a neoliberal, market-driven art context. Here an alternative approach to conceiving of and facilitating a charismatic space is proposed which instead foregrounds what Bracha L. Ettinger calls a ‘matrixial encounter-event’: A relation of coexistence and compassion rather than dominance of self over other; performer over spectator; leader over follower. By illustrating the dialectical tensions in The Artist is Present, we consider the potential of the charismatic space not as generated through the seductive power or charm of an individual whose authority is tied to his/her ‘presence’, but as something co-produced within an ethical and relational space of trans-subjectivity.
Tang, Cheong Wai Acty. "Gazing at horror : body performance in the wake of mass social trauma /." 2005. http://eprints.ru.ac.za/207/.
Повний текст джерелаWerier, Leah. "From Vitrine to Screen: Art and the Architecture of Commodity Display." Thesis, 2021. https://doi.org/10.7916/d8-jgd0-7f97.
Повний текст джерелаBieger, Isabel Cristina 1979. "Paradigmas do feminismo e da educação pela arte." Master's thesis, 2011. http://hdl.handle.net/10451/4853.
Повний текст джерелаThis research project is about the art work of Joana Vasconcelos, intends to challenge the issue of feminism present in many of their artistic creations, highlighting, simultaneously, in the informal context, visual education and citizenship. It’s, at one time, the assumption of the educational functionality of Art in a non-networked role controversial, challenging, mobilizing and dynamic. The Artist as a persona that moves in a single weaving, where to be it’s having in your hands the thread of the viewer's gaze, which draws crowds, influencing a new generation, a whole new stream of public. Revere here studies on the art of education by some authors who contributed to a significant change in arts education and contributed to the human being becomes more complete, gifted with sensitivity and sense. We call on gender studies, including exhortations about feminism, to explain their historical achievements such as human and who have cooperated in a social development which gained equality between men and women. Thus we talk about the merging of art and feminism by showing examples and opportunities created and achieved by women in a world dominated by men. Constant fights that have lasted to these days. Finally our thread of Ariadne, the artist Joana Vasconcelos, shows us how to take on feminine identity, a mix of attraction and retraction upon to clarify the concept. It turns out the duplicity, the duality, in short, the ambiguity in the work as much in the speech. The process of informal education, formal fascination, but rather the action of citizenship exercised by his works the viewer can go for some unseen, however they shouldn’t be ignored
Toscano, Marta 1975. "Imagem do tempo:os espelhos na arte contemporânea." Doctoral thesis, 2014. http://hdl.handle.net/10451/11255.
Повний текст джерелаO objectivo deste trabalho é explorar o tema do espelho na arte contemporânea, e relacionar as obras analisadas com a dimensão tempo. A ideia-chave que decidimos perseguir é simples: o espelho visto como um poderoso artifício, o que em última instância trará acoplado a própria «artificialidade» do conceito identidade. Exploraremos o mito de Perseu, o espelho grego e o espelho barroco — âncoras fundamentais; tentaremos assinalar a passagem de uma época especular «dual» para uma época pós-especular, onde tudo se parece fundir. A problemática do duplo, mesmo assim, vem ao nosso encontro – e nós temos medo. Por fim, reflectimos sobre o tema do espelho na arte, onde para cada par de artistas escolhido fizemos corresponder uma determinada «ideia» de tempo. Conheceremos espelhos que evocam um perigo eminente, espelhos infinitos, espelhos glaciares, espelhos-viajantes, espelhos «controladores»... Sintetizando: são obras que têm, algures, um espelho, que fogem da auto-representação, que são impessoais, ardilosas, e que se relacionam de forma peculiar com o tempo. De certa forma, o espelho pode ser considerado como o mais «impossível» (e fascinante) dos objectos: máquina que tudo vê, mas que nunca se deixa ver. E o que é que acontece quando prevalece a inoperatividade, a falência ou a simples recusa da máquina em «ver»? A rigidez dos segundos, minutos e horas são esquecidos. Cronos deixa, apenas por breves instantes, de devorar cruelmente os filhos.
The aim of this work is to investigate the theme of the mirror in contemporary art, and to think about the way in which the examined art works can be related to the time dimension. The key-idea that we decided to follow is a very simple one: the mirror seen as a powerfull artifice, that ultimetely brings along with it the «artificiality» of the concept of identity in itself. We will explore the myth of Perseus, the greek and the baroque mirror — vital anchors; we will then try to characterize the passage from a «dual» specular epoch to a post-specular one, where everything seems to get indistinct. Still the problematic of the double runs into to us – and we are scared. Finally, we´ll think about mirrors in art, where for each pair of chosen artists we matched a particular idea of time. We will meet mirrors that recall eminent danger, infinite mirrors, glacier mirrors, travelling-mirrors, «controlling» mirrors. To summarize: the chosen works have, somewhere, a mirror, they run away from self-representation, they are inexpressive and astute, and they can be related in a fruithful manner to time. In a certain way, the mirror can be considered as the most «impossible» (and fascinating) of all objects: a machine that sees everything, but doesn´t allow to be seen. What happens when inoperativity prevails, and the machine fails or refuses to «see»? The harshness of seconds, minutes and hours are forgotten. Cronus stops, for brief instants, to cruelly devour his children.
Fundação para a Ciência e a Tecnologia (FCT)
Saraiva, Catarina 1973. "Espelhos e reflexos." Master's thesis, 2012. http://hdl.handle.net/10451/6333.
Повний текст джерелаThis dissertation is part of my Master‟s Degree in Painting (course variant I), at Faculdade de Belas Artes, Universidade de Lisboa. Its objective is to present a reflection on such concepts as body, identity, duplication, fragmentation or distortion, and how they mould a variety of approaches to the representation and construction of the feminine. Throughout the history of Western Art, the mirror, as an attribute of seduction, has accompanied the image of the woman. In contemporaneity in general and in contemporary art in particular, it appears as a postmodern deconstruction of classical archetypes that acquires the status of an art object, revealing a multitude of meanings and conveying the personal or collective experiences of the female subject. Within this context, and in accordance with contemporary artistic practices, a number of works by women artists who explore the mirror image‟s dimensional possibilities in a variety of techniques, such as sculpture, photography, performance, video and installation, will be analysed. The reflection carried out within the dissertation theoretical component will be warranted by the study‟s visual work section
Oliveira, Luis Miguel Antunes 1993. "O corpo em transição." Master's thesis, 2017. http://hdl.handle.net/10451/29057.
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