Дисертації з теми "Art and the body"
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Lodder, Matthew C. "Body Art : Body Modification as Artistic Practice." Thesis, University of Reading, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525734.
Повний текст джерелаConnor, Tenielle. "The body as a canvas : a non-permanent form of body art inspired by body adornment practices." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1439.
Повний текст джерелаForms of body adornment and scarification practices have been around since the origin of mankind. Many forms of traditional body adornment have evolved overtime and still exist within our mainstream society today, however examples of recent body adornments, show that although still very much in practice, in many cases the meaning has been lost. The motivational routes of western adornments are today based on what looks good as apposed to a ritual or right of passage that marks one's body for life. Therefore, the aim of this dissertation is to share the value of representation with the viewer - as representation has played, and continues to play, such an important role within the social aspect of mankind. Bycreating a link between traditional practices of African body adornmentl scarification and connecting these with body expression and representation within my own sub-cultural context, I hope to create awareness of body adornment throughout time. Finally the practical component of this research will consist of a portfolio of different photographs and videos documenting the process and completion of adorning different female bodies. These works of art will be traditionally inspired, nonpermanent three-dimensional body art that will also undoubtedly represent selfexpression and comment on 'trendv' sub-cultural society. As Idocument my progress and work it is hoped that I portray in a conceptual framework, a life cycle that comments on the evolution of culture from rural to urban, and from traditional to Western, and how Western lifestyle is diluting our social being with trends rather than using the method of body adornment as a cultural conversation.
Green, Allison. "Body of Process." Ohio Dominican University Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1337213923.
Повний текст джерелаLomofsky, Lynne. "Body of evidence." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/13911.
Повний текст джерелаThis body of work is an experiential study which aims primarily to investigate the effect of the Western medical anatomisation of myself - the cancer patient - on and through my artmaking. The dissertation aims to contextualise my practice - to situate it somewhere between the different readings of cancer according to the Western theory of disease, the Eastern and New Age understandings of the body and ill health, and the work of other artists. It seeks balance between these competing discourses and looks for integration through them. The responses of other artists to their ill bodies are described, several of them exploiting medical technology, others subverting the language of the dominant discourse and the image of the 'good' patient with a 'bad' body. My own work attempts to make art around and out of the experience of cancer. The artmaking is an attempt to gather an understanding of my condition and to integrate art and life. The challenge is to visually represent this. I began the work with an ambivalence - was I an activist helping others, or was I merely immersed in my own struggle to maintain sanity, to reach a peace with my body, a calm space from which to deal with my condition? I have dismissed this ambivalence and settled on the latter position, which has the indirect effect of helping others. I have realized, like Jo Spence, that it is easy to burn yourself out when you work from a position of anger. Art and science have exploited and depicted the body throughout their history, sometimes in ways that overlap, sometimes at cross purposes that conflict, and sometimes in mutually supportive ways. When examining the binaries of revealing and concealing, visibility and invisibility, legibility and illegibility, one cannot avoid a conflict with the medical system. However, through the excavation of my body by modern medical technology, I have evolved from previously seeing only the horror of a tumour to now also seeing the hidden beauty of the other landscapes inside my body. My artmaking is thus taken up as a personal issue, not attempting to shock or to be placatory, but to externalize the cancer experience and, rather than simply reacting to it, to find the beauty inside my body.
Torres, Alessandra Lee Michelle. "OUT OF BODY." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/793.
Повний текст джерелаBarry, Marie Porterfield. "Lesson 23: The Postmodern Body in Art." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/art-appreciation-oer/25.
Повний текст джерелаSkantze, Kristina. "Body anagram." Thesis, Konstfack, Textil, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-5779.
Повний текст джерелаTakacs, Stephen R. "Sing the Body Electric." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343344994.
Повний текст джерелаClarke, Warwick Media Arts College of Fine Arts UNSW. "Body and soul." Publisher:University of New South Wales. Media Arts, 2008. http://handle.unsw.edu.au/1959.4/44096.
Повний текст джерелаFok, Siu-har Silvia. "Performance art and the body in contemporary China." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203888.
Повний текст джерелаFok, Siu-har Silvia, and 霍少霞. "Performance art and the body in contemporary China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40203888.
Повний текст джерелаAnderson, Jane E. A. "Gestures, Postures and Body Actions in Hellenistic Art." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.522836.
Повний текст джерелаMcGrath, John Thomas. "Body, Subject, Self: The Art of Piero Manzoni." Thesis, Harvard University, 2014. http://dissertations.umi.com/gsas.harvard:11623.
Повний текст джерелаHistory of Art and Architecture
Björk, Carola. "About body-building." Thesis, Konstfack, Institutionen för Konst (K), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6828.
Повний текст джерелаKällblad, Emma Jane. "Charactered through body and art : an interpretive study from central Indian rock-art." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.620621.
Повний текст джерелаCosovic, Daniela. "FABRIC ARCHITECTURE: BODY IN MOTION." Master's thesis, Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002606.
Повний текст джерелаEspezel, Amanda. "Working from the body : subjectivity and the artistic process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Art, c2011, 2011. http://hdl.handle.net/10133/3246.
Повний текст джерелаvi, 56 leaves : col. ill. ; 29 cm
Sayer, Cherie Anne. "The body in pain." Click here to access dissertation, 2006. http://www.georgiasouthern.edu/etd/archive/summer2006/cherie%5Fa%5Fsayer/Sayer%5FCherie%5FA%5F200605-mfa.pdf.
Повний текст джерела"A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Art." ETD. Includes bibliographical references (p. 93-94).
Kadyss, Sabine. "Annette Messager's Penetration : from having a body to being a body." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85017.
Повний текст джерелаAnatomically descriptive and strangely symbolical the components of this hanging composition make up a huge portrait of the elements with which we are composed. With this thesis, I will demonstrate what is revealed is the body's structure: its content, its secrets, what is on the other side of the physical border and what soaks the flesh, the forces that bring us alive.
In addition, although the composition suggests a three-dimensional anatomical model, I will reveal it remains a distinctly visual and cerebral experience: a conceptualization of the body rather than the body's itself. Penetration stands for a view of ourselves that we know not from any real familiarity but from visual diagrams that have been derived from scientific research and consensus since, its separate elements and colors are taken from medical illustration.
Using artistic and historic examples, I will establish that even though the human body proposed by Messager is based on the anatomical model it is not a flattened representation reduced to an erudite enumeration but rather a three-dimensional model which can be experienced from within.
Messager stages the possibility of a face-to-face with the spectator. Inside Penetration the body recalls the very body materiality, a body where "dead" dangling internal organs "come to life" via the viewers' participation, via their penetration. The relationship of scale is upset and the spectators are invited to penetrate inside the body: to see things from up-close, to feel its elements, to touch its parts.
With Penetration Messager confronts the spectators with an intimate act as she directs them under (or rather) inside somebody's skin and forces them to confront their own sense of embodiment. Messager honours the physical body as our primary means of experiencing the world. I will ascertain that with her specific treatment of the body and without having to rely on modern technology, the artist offers an inquiry into the body as well as questions notions of embodiment. In other words, I will demonstrate Penetration exemplifies a complex set of negotiations between body and space: negotiations between the actual domain of the real body of the viewer and the three-dimensional (virtual) domain of the represented body and represented spaces.
In conclusion, I will propose that via the sense of touch Annette Messager produces a body where there is no escape between objective seeing and subjective feeling and where the human experience is formed and transformed.
Scotece, Tanya E. "Funeral Service Employers' Perceptions of Body Art and Hireability." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/6025.
Повний текст джерелаBaert, Renee. "Poetics of the body in feminist art : three modalities." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0022/NQ29882.pdf.
Повний текст джерелаSteiger, Levine Gabrielle. "Deviance and disorder: the naked body in Chinese art." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21914.
Повний текст джерелаCette thèse a pour sujet la nudité dans l'art Chinois traditionnel. Les sujets d'analyse traitent de la représentation des démons dans l'imagerie de Zhong Kui, des pénitents au purgatoire dans l'iconographie des dix rois basées sur le texte « The Scripture of the Ten Kings », ainsi que la représentation des mendiants et les artistes de la rue. Cette thèse se penchera pour la première fois sur un thème qui n'a pas encore suscité l'intérêt de la communauté académique; celui de la nudité vue sous forme de non-conformisme, de non-appartenance à l'ordre moral et social qui définissait la Chine traditionnelle et ses habitants. Lorsque présente la nudité peut a la fois mettre en évidence l'ordre au sein de l'empire en affichant l'image contraire de ses sujets, mais égalment demontrer le désordre potentiellement présent.
Evans, Walter Nicholas Adrian. "Representing vision : mannerist art and the body of Christ." Master's thesis, University of Cape Town, 1987. http://hdl.handle.net/11427/17659.
Повний текст джерелаThe essay departs from the iconographical and interpretative studies of the Warburg Institute in the field of art history, seeking to define pictorial context in a way that avoids the notion of a fixed content behind works of art. Specific paintings are contextualised according to the psychological/physiological accidents of vision. A theoretical precedent for this approach within "art history" has been established by Norman Bryson, and the methods of Bryson, of J. Derrida and of J. Lacan are applied to specific works. The essay defines a motif common in Florentine and Roman mannerist religious paintings: the central significance given to Christ's torso in many works. This motif is related to its sources (Michelangelo and antique sculpture), and developed through an analysis of three paintings, J. Pontormo's Descent from the Cross, Rosso's Dead Christ with Angels and the Deposition by the Roman artist D. Ricciarelli da Volterra. The paintings are analysed according to their status as fictions, as devotional images and as representations of the human body. Various definitions of maniera are offered. The essay concludes with an appeal that visual ambiguity be recognised as central to the understanding of pictorial representations.
Wehri, Jonathan. "Implacing the body." This title; PDF viewer required. Home page for entire collection, 2005. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
Повний текст джерелаDees, Janet. "Rewriting the body Carl and Karen Pope's 'Palimpsest' /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.49Mb, 73 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428201.
Повний текст джерелаRovee, Christopher Kent. "Imagining the gallery : the social body of British Romanticism /." Stanford : Stanford university press, 2006. http://catalogue.bnf.fr/ark:/12148/cb40161689c.
Повний текст джерелаChirakranont, Ada. "Tactility and the body experience." Thesis, Konstfack, Textil, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-70.
Повний текст джерела40,5 Högskolepoäng.
Cohn, Susan Art College of Fine Arts UNSW. "Recoding jewellery: identity, body, survival." Publisher:University of New South Wales. Art, 2009. http://handle.unsw.edu.au/1959.4/43809.
Повний текст джерелаTaylor, Gretel. "Locating place and the moving body /." full-text, 2008. http://eprints.vu.edu.au/2050/1/Gretel_Taylor.pdf.
Повний текст джерелаBiederman, Angela L. "Body in the Landscape of the Mind." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461593111.
Повний текст джерелаNelson, Hilary. "Let our mind go and your body will follow." Thesis, University of Iowa, 2017. https://ir.uiowa.edu/etd/5580.
Повний текст джерелаAstfalck, Jivan. "Narrative structures in body-related craft objects." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/7411/.
Повний текст джерелаNogues, Rosa. "The body of sexuation : feminist art practice in the 1990s." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/27842/.
Повний текст джерелаGrau, Janet. "long since familiar: sculpture, performance, video, art, body, and life." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391609110.
Повний текст джерелаLe, Roux Leandré. "New media art : immersion and the sacrifice of the body." Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60375.
Повний текст джерелаDissertation (MA)--University of Pretoria, 2016.
Visual Arts
MA
Unrestricted
Cross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16277/1/David_Cross_Thesis.pdf.
Повний текст джерелаCross, David Anthony. "Some kind of beautiful : the grotesque body in contemporary art." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16277/.
Повний текст джерелаLookman, Mariah. "Looking to draw : picturing the molecular body in art and science." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:58d026b1-457c-412a-a339-ca25eaa9ab19.
Повний текст джерелаCameron, Erin Marie. "The Body in Print." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343775047.
Повний текст джерелаWest, Stephanie Brooke. "Mimicking the Body, Mimicking the Sculpture." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308083690.
Повний текст джерелаHorrex, Peta. "Art and body image : A journey through anorexia nervosa and the implications for art therapy rituals." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1265.
Повний текст джерелаRosenblum, Lauren. "The Protesting Body: Suzanne Lacy, Leslie Labowitz-Starus, and Sharon Hayes." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/196443.
Повний текст джерелаM.A.
Suzanne Lacy, Leslie Labowitz-Starus and Sharon Hayes have created public performances that respond to the socio-political conditions of their time and place, and extend the boundaries of the traditional public sphere to include feminist concerns. In their collaborative performance In Mourning and In Rage (1977), Lacy and Labowitz-Starus utilized the private, feminist practice of consciousness-raising to bring widespread visibility to the politics of the female body. Hayes' works In the Near Future (2007-09) and Everything Else Has Failed! Don't You Think It's Time for Love? (2007), draw attention to issues concerning counterpublics through obliquely referential personal and political narratives. These works all mobilize a performing, protesting body whose corporeality mediates the audience's political realizations, past memories and current subjecthood.
Temple University--Theses
Brown, Katrina. "Intersect/surface/body : a choreographic view of drawing." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/13394/.
Повний текст джерелаLing, Yuen Fong. "A body of relations : reconfiguring the life class." Thesis, University of Lincoln, 2016. http://eprints.lincoln.ac.uk/25420/.
Повний текст джерелаMaxon, Wendy S. "The body disassembled : world war I and the depiction of the body in German art, 1914-1933 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044795.
Повний текст джерелаIbrahim, Ferwa. "Navigating the Space of My Body." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2492.
Повний текст джерелаCook, R. C. "Corporealities : masculine domination and the development of American male performance art." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252219.
Повний текст джерелаCronje, Karen. "The female body as spectacle in nineteenth- and twentieth-century Western art." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52528.
Повний текст джерелаENGLISH ABSTRACT: A spectacle denotes an impressive or deplorable sight, and necessarily involves the power and politics of viewing. The female body exists as a sexualised object of these processes of looking within Western culture, not only in high art, but also in discourses such as medicine and science. In both art and medicine the female body has been treated as a passive object to be studied, analysed and classified. Power relations and patriarchal ideologies have played a great part in the resulting objectifying representations, firmly locating images of the female body within the realm of the spectacle. Bodily perceptions, in terms of the female body, have changed much, particularly through the reinterpretation of sexuality through feminist theory. Modem culture and technology have opened up many new possibilities for the redefinition and understanding of the body. Modem bodies seem to be under as much close surveillance and scrutiny as their nineteenth century counterparts. This study explores these ideas through a wide range of examples from painting, photography and performance art, and non-art objects such as anatomical objects and medical illustrations. Central to the construction of the body as spectacle, are issues of looking and viewing. Chapter 1 examines ideas around the gaze; the politics and processes of vision, objectification and fetishisation are explored in relation to the functioning of the medical and aesthetic gaze. The concept of spectacle is also elaborated upon in terms of ideas around the nineteenth century carnival and freak show, and in terms of societal taboos and transgression. Aspects of aesthetic and medical discourse focus on the display and scrutiny of the female body. Chapter 2 examines the way in which these discourses attempted to reveal the female body by rendering it in highly visual terms. The dominant ideologies informing both discourses played an instrumental role and resulted in representations that defined the female body in normative standards and ideals of beauty and health. Pornography is considered as a modem discourse in which the female body is defined and displayed as an object of scrutiny. Feminist theory challenged exclusively male representations of the female body and the subversion of traditional forms of representation of women is studied by examining the work of Annie Sprinkle and Cindy Sherman. Many representations of the female body by feminist artists are considered highly disturbing and transgressive, precisely because they traverse traditional and acceptable representations of it. The idealised nude forms the epitome of contained ideals of health and beauty, and the work of Orlan and Cindy Sherman is examined within these terms in Chapter 3. These artists' representations of the female body are in direct opposition to such norms, rather settling for an open-ended, unconfined and abject representation. However, such transgressive cultural images produced by women artists are often regarded as pathological acts, and dismissed in terms of deplorable spectacle. The research concludes with a commentary on the candidate's practical work, which in dealing with the representation of the human body explores some issues of visuality, spectacle and fragmentation.
AFRIKAANSE OPSOMMING: 'n Spektakel kan op 'n indrukwekkende of betreurenswaardige skouspel dui; gevolglik betrek dit die politiese en magseienskappe van besigtiging. Die vroulike liggaam bestaan as 'n seksuele objek van só 'n proses van besigtiging binne die Westerse kultuur - nie net in kuns nie, maar ook in diskoerse soos geneeskunde en die wetenskap. In beide kuns en geneeskunde, is die vroulike liggaam beskou as 'n passiewe objek vir bestudering, analisering en klassifisering. Magsverhoudinge en ideologieë het gevolglik 'n groot rol gespeel in die uiteindelike objektifiserende representasies, en gevolglik is die uitbeelding van die vroulike liggaam in terme van spektakel vasgelê. Liggaamlike persepsies, veral in terme van die vroulike figuur, het noemenswaardige veranderinge ondergaan - veral deur die hervertolking van seksualiteit deur feministiese teorie. Moderne kultuur en tegnologie bied verdere moontlikhede vir die herdefiniëring en begrip van die liggaam. Die moderne liggaam word onder streng bewaking en betragting geplaas - net soos sy negentiende-eeuse ewebeeld. Hierdie studie ondersoek dié idees deur die bestudering van 'n verskeidenheid voorbeelde vanuit skilderkuns, fotografie en 'performance' -kuns, asook objekte soos anatomiese objekte en mediese illustrasies. Kwessies van besigtiging is sentraal tot die konstruksie van die liggaam as spektakel. Hoofstuk londersoek dus idees rondom besigtiging - onder andere die politiese en magseienskappe, en die gevolglike objektifiserende effek daarvan - in verhouding tot die funksionering van die mediese en die estetiese blik. Die konsep van spektakel word verder uitgebrei in terme van die negentiende-eeuse karnaval, asook in terme van taboes en sosiale oortreding. Sekere aspekte van estetiese en mediese diskoerse fokus op die vertoning en besigtiging van die vroulike liggaam. Hoofstuk 2 ondersoek die wyse waarop hierdie diskoerse die vroulike liggaam in hoogs visuele terme uitgebeeld het. Beide diskoerse is gemotiveer deur dominante ideologieë, wat gevolglik 'n instrumentele rol gespeel het in die uitbeelding van die vroulike liggaam. Sulke uitbeeldings is dikwels gemotiveer deur standaarde en ideale van skoonheid. Gevolglik word pornografie in hierdie hoofstuk bespreek as 'n moderne diskoers wat georganiseer is rondom die vertoning en besigtiging van die vroulike liggaam. Feministiese teorie skep 'n positiewe ruimte waarin sulke eksklusiewe, manlike definisies en uitbeeldings van die vroulike liggaam uitgedaag kan word. Die omverwerping van tradisionele metodes van uitbeelding word hier ondersoek deur die werk van Annie Sprinkle en Cindy Sherman te bespreek. Die herdefiniëring van die vroulike liggaam deur feministiese kunstenaars word dikwels beskou as onstellend; waarskynlik omdat dit tradisionele en aanvaarbare uitbeeldings van die liggaam oortree. Die werk van Orlan en Cindy Sherman word in terme van sosiale oortreding in Hoofstuk 3 ondersoek. Die klassieke naakfiguur stel die ideale van skoonheid en stabiliteit voor. Hierdie kunstenaars se uitbeeldings toon egter 'n doelbewuste verontagsaming van sulke ideale, deurdat hulle eerder 'n oop, onstabiele en gefragmenteerde figuur uitbeeld. Oortredings van kulturele norme deur vrouekunstenaars word dikwels beskou as patalogiese aksies; en dit word dus maklik afgekeur as 'n spektakel. Die navorsing word afgesluit met 'n bespreking van die kandidaat se praktiese werk, wat die uitbeelding van die menslike liggaam ondersoek. Gevolglik word kwessies van besigtiging, spektakel en fragmentasie verder ondersoek.
Juchnowska, Maria. "The death of the body." Thesis, Konstfack, Keramik & Glas, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3354.
Повний текст джерелаPearce, Robyn. "The empowered body : creative expression as a force for personal transformation." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/25923.
Повний текст джерела