Дисертації з теми "Artistic Philosophy"
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Schwartz, Melissa Rachel. "Embodied Ethics : Transformation, Care, and Activism Through Artistic Engagement." UNF Digital Commons, 2012. https://digitalcommons.unf.edu/etd/398.
Повний текст джерелаKochman, Sloane. "“Back to Zero:” The Artistic and Pedagogical Philosophy of Anni Albers." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22657.
Повний текст джерелаElicker, Bradley Joseph. "The Mediated Nature of Literature: Exploring the Artistic Significance of the Visible Text." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381480.
Повний текст джерелаPh.D.
My goal in this dissertation is to shed light on a practice in printed literature often overlooked in philosophy of literature. Contemporary works of literature such as Mark Z. Danielewski’s House of Leaves, Jennifer Egan’s A Visit from the Goon Squad, and Irvine Welsh’s Filth each make artistic use of the features specific to printed literature such as font and formatting. I show that, far from being trivial aberrations, artistic use of font and formatting has a strong historical tradition going back to the Bucolic poets of ancient Greece. When these features deviate from traditional methods of inscription and perform some artistic function within the work, they are artistically significant features of the works themselves. The possibility of the artistic significance of these features is predicated on works of printed literature being visually mediated when one reads to oneself. All works of literature are mediated by some sense modality. When a work of printed literature is meant to be read to oneself, it is mediated by the modality of sight. Features specific to this method of mediation such as font and formatting can make artistic contributions to a text as well. Understanding the artistic significance of such features questions where we see literature with respect to other art forms. If these features are artistically significant, we can no longer claim that works of printed and oral literature are both the same performative art form. Instead, philosophy of literature must recognize that works of printed literature belong to a visually mediated, non-performative, multiple instance art form separate from the performative tradition of oral literature.
Temple University--Theses
Thomas, Christopher. "The place of art in Spinoza's naturalist philosophy." Thesis, University of Aberdeen, 2017. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=237177.
Повний текст джерелаLambie, Eileen. "A phenomenological explication of the artistic creative experience of a painter, a writer and a playwright." Thesis, Rhodes University, 1988. http://hdl.handle.net/10962/d1004605.
Повний текст джерелаLeguy, Jean, and José Àngel Sarmiento. "The Artistic Leader : A philosophical reflection." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-64560.
Повний текст джерелаWendland, Aaron James. "Freedom as response-ability : agency and artistic creativity in the work of Martin Heidegger." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:833425ce-5a71-4f67-b846-384fe1556e7d.
Повний текст джерелаWertz, Charles Bradley. "Artistic expression in music and poetry." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3597.
Повний текст джерелаKnackert, Bruce J. "The spiritual, the mystical and the sublime : an artistic search for the absolute." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/724949.
Повний текст джерелаDepartment of Art
Scheffknecht, Sandra Art College of Fine Arts UNSW. "Doubledeath--the very presence of the absent." Awarded by:University of New South Wales. Art, 2007. http://handle.unsw.edu.au/1959.4/43304.
Повний текст джерелаKiel, Jeannette Larino Wooden. "Women's stories of ecofeminist activism and artistic expression| A transdisciplinary spiritual feminist inquiry into transformative and spiritual connections." Thesis, California Institute of Integral Studies, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10183257.
Повний текст джерелаThis dissertation explores the stories of seven women spiritual-ecofeminist-activist-artists, including myself. It answers the question, What transformative and spiritual connections does one have with her ecofeminist activism and art?
This study connects different ways of knowing from the mind, body, heart and spirit; and it has three significant dimensions. The first dimension—transdisciplinary spiritual feminist inquiry—allows the researcher to interconnect several disciplinary ways of knowing, and it presents feminist ways to inquire about experiences with activism and creative artistic expression. The second dimension—exploration of transformational and spiritual connections—explores how study participants experience spiritual connections within their spiritual-ecofeminist-activist-artwork. The third dimension—inspirational narratives—holds the hope for the reader to connect to these stories, ecofeminist activism, and artwork, and become inspired to become agents of creative social change. After the conclusion of each of the interviews, I created a reflective art-piece, inspired by each artist-activist.
The research methodology combines transdisciplinary inquiry with feminist and women’s spirituality methods. Epistemological approaches are rooted in women’s spirituality and feminism.
The responses of the seven women spiritual-ecofeminist-activist-artists revealed, upon analysis, nine shared themes: Inspiring Others; Finding One's Voice, Connecting to Ancestors, Healing; Honoring/Connecting to Nature, Finding Community, Traveling, Greening Daily Life, and Discovering/Honoring the Goddess. These themes, along with the three main themes—Early Inspiration and Goals, Art and Activism Interconnections, and Spiritual Dimensions—affirm that numerous spiritual and transformative connections exist between their activism and creative artwork, and that these connections are dependent upon the person’s background, history, chosen spiritual-ecofeminist-activist-artwork, and creative media. Their responses indicate that there is a spiritual component to their spiritual-ecofeminist-activist-artwork and that their activism and artwork are interconnected. Their responses show that each of the seven women spiritual-ecofeminist-activist-artists defines ecofeminism in her own unique way, while making connections to nature, women, the sacred feminine or Goddess, and healing. And they utilized art and spiritual sources to heal and regain balance in their lives. The voices in this study, through storytelling, create a space of “multiple consciousness,” where the multi-dimensional voices of the seven women spiritual-ecofeminist-activist-artists are heard and valued.
Chandler, Chelsea Beth. "The Art of Teaching: Understanding the Lived Experience of Artistic Teachers." University of Toledo / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1438892983.
Повний текст джерелаOzdemir, Ibrahim Soner. "Grasping The Space Of The Heart/mind: Artistic Creation And Natural Beauty In The Later Philosophy Of Kitar." Phd thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613515/index.pdf.
Повний текст джерелаaesthetic form&rdquo
and its relation to the distinction between natural and artistic beauty, it is argued that the Japanese philosopher Kitar
Symons, Suellen, University of Western Sydney, of Performance Fine Arts and Design Faculty, and School of Design. "Rememories/imagetexts." THESIS_FPFAD_SD_Symons_S.xml, 1997. http://handle.uws.edu.au:8081/1959.7/731.
Повний текст джерелаMaster of Arts (Hons)(Visual Arts)
Pelser, Monique Myren. "Roles : "I am as intently observed as the people photograph"." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1007647.
Повний текст джерелаPratt, Henry John. "Comparing artworks." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117628400.
Повний текст джерелаTitle from first page of PDF file. Document formatted into pages; contains ix, 209 p. Includes bibliographical references (p. 201-209). Available online via OhioLINK's ETD Center
Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.
Повний текст джерелаJennings, Janet. "A composer-teacher in context: Music for the performing arts faculty in a New Zealand secondary school." The University of Waikato, 2008. http://hdl.handle.net/10289/2605.
Повний текст джерелаMaree, Christine Fae. "That-has-been a discussion on the body cast as that which fixes a subject in time, in relation to notions surrounding the photograph." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002208.
Повний текст джерелаNevin, Daniel. "Photography and the paradigm of the trace." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/571.
Повний текст джерелаSymons, Suellen. "Rememories /." View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.155641/index.html.
Повний текст джерелаWebb, Jane Alexandra. "An analysis of the Select Committee on Arts and Manufactures of 1835-6 : anatomy, Benthamism and design." Thesis, University of Wolverhampton, 2003. http://hdl.handle.net/2436/89095.
Повний текст джерелаCoyle, Derek. "'Out to an other side' : the poetry of Paul Celan and Seamus Heaney and the poetic challenge to post-modern discussions of absence and presence in the context of theological and philosophical conceptions of language and artistic production." Thesis, University of Glasgow, 2002. http://theses.gla.ac.uk/1765/.
Повний текст джерелаShi, Wen. "Les valeurs éducatives des arts attribuées par de grandes approches de la culture occidentale et chinoise, par rapport à une configuration « bipolaire » ou « tripolaire »." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2020/document.
Повний текст джерелаThis thesis is situated in the perspective of the philosophies of education and of art. It proposes to broach, through the principal texts stemming from philosophy and aesthetics, the question of the educational value of the arts. This question is considered in a comparative and historical perspective between Chinese and Western cultures. The object of the comparison, especially inferred from the figures of Chinese and/or ancient Greek mythology, is that of the “binary” approach, based on two poles that we also describe as “bipolar”, or of the “ternary”/“tripolar” approach, with the role of a Third, or a “middle”. The issue retained is as follows: What are the educational values of the arts attributed by the approaches of Western and Chinese cultures, in relation to a “bipolar” or “tripolar” configuration?At a historical level, for each culture, two periods judged “significant” within the context of the philosophy of education/aesthetic/art were retained. The first period corresponds to antiquity. For China, it is the Spring and Autumn period (771 to 476 BC), during which the Confucianism, and Taoist movements were born. For the West, it is Greek thought asemphasized by Plato and Aristotle. The second period does not correspond to synchrony between China and the West. However, it manifests in both cases a profound reformation of the educational value of the arts. For the West, this reform corresponds to the Luminaries, especially German, for example with the 18th century birth of aesthetics in the writings ofBaumgarten. If China stayed within the tradition of Spring and Autumn, it wasn’t until the republic period, from 1919 onward, that this reform happened, precisely under the influence of the Chinese intellectuals, who introduced new conceptions which were highly influenced by the European Luminaries.This is the historical course that this thesis proposes, in order to return to the question of its comparative approach on the basis of the “bipolar” or the “tripolar” configuration. The entire corpus that we present oscillates on this basis, in China as well as in the West. This double configuration, found at the center of the axes presented here, is well suited, beyond the educational value of the arts, to articulate a “transcultural” comparative operator. This proposition constitutes the originality of this thesis with respect to Chinese-Western approaches
Hanrahan, Siun. "A combined philosophic and artistic research methodology." Thesis, University of Ulster, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338318.
Повний текст джерелаAntunes, Gomes Ana Beatriz. "Bergson e a criação artística." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00988983.
Повний текст джерелаLjungberg, Roland. "En resa från det ordlösa : en kartläggning av ett personligt yrkeskunnande." Doctoral thesis, KTH, Yrkeskunnande och teknologi, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4877.
Повний текст джерелаQC 20100824
Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
Повний текст джерелаThe philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
Becker, Dominique. "Alan Watts (1915-1973) : le philosophe-artiste." Nancy 2, 1996. http://www.theses.fr/1996NAN21014.
Повний текст джерелаIn our doctoral thesis, Alan Watts : the philosopher as artist, we present the ideas of Alan Watts, a key figure of the American counterculture. We believe that the terms "philosopher as artist" account for most of Watts's ideas concerning psychology, psychotherapy, eastern and western religions and metaphysics, especially Christian mysticism and zen buddhism. First, in the incidental approach, we study Watts's life and ideas and this leads us to a number of definitions of the "philosopher as artist", showing originality, lack of seriousness, cynism and a special attraction for such primitive characters as the shaman and the trickster. In the direct approach, we start from the notion of "philosopher as artist", explore several definitions of "the philosopher" and "the artist" and study what the latter term adds to or removes from the former : the philosopher as artist appears as someone in search of wisdom, who is at once original, constantly bewildered, is an interpreter and an aesthete. Watts's originality appears in his style, humour, play and purposelessness. Watts as an aesthete appreciates music and dance, recognises in beauty a reflection of divine beauty and, accordingly, tastes the beauty of life and the emotion derived from religious practice. We shall eventually wonder where the way of the philosopher as artist leads, and conclude that Watts stands between Nietzsche and Granier. In our third part, the circular approach, we study the influence of Watts on the American counter-culture and the interest for Watts today, and, last, we shall relate Watts to such thinkers as Trungpa, Merton, Fromm, Huxley and Graf Durckheim
Manniste, Indrek. "Henry Miller and philosophy of the inhuman artist." Thesis, University of Auckland, 2011. http://hdl.handle.net/2292/7527.
Повний текст джерелаWhole document restricted until Aug. 2013, but available by request, use the feedback form to request access.
Firmo, Adrienne de Oliveira. "Exposições de arte brasileira: um estudo de exposições como meio para a compreensão dos fundamentos e da recepção da arte contemporânea." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-27062017-144240/.
Повний текст джерелаThis thesis examines the status of the artistic fact in contemporary exhibitions, through the investigation of its reception in national and international Brazilian art exhibitions. It is founded on texts concerning expositions in light of multiculturalism, some aspects of contemporary philosophy and demands of recognition in contemporary societies. It is divided into four parts: where the tendencies of national avant-garde art exhibitions of the 1960s are examined, in order to understand how procedures were transferred from the artistic object to the exhibitions, through the concept of performação; it is then ascertained how tendencies perform in the expository narratives in the 1980s; then exhibitions towards the discursive proposition are identified and conceptualized by the research as propositional expositions in face of other expositive projects; finally, it dialogues with university production concerning the subject matter.
Zussman, Na'ama. "Artists' Books---Both Map and Territory." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1590433.
Повний текст джерелаThe field of artists' books is a realm in which a phenomenon is mapped and territorialized. This is based on the human necessity to map the world and have a better grasp of it. Additionally, it is constructed on the understanding of the history of the book’s physicality as an important emblem in civilization. An artist’s book is an isolated realm, both a map and a territory. It is closed in itself, and has its own rules and dynamics, yet carries varied affinities with the outside world.
Dalmoro, Daniel. "Tempo da representação em A Sociedade do Espetáculo, de Guy Debord." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11637.
Повний текст джерелаThis work focuses in the book The Society of Spectacle, from the french polemicist Guy Debord (1931-1994). Initially, there is the study regarding the influences to whom the author dialogues directly or indirectly Marxism, French philosophy, the artistic avant-gardes of the twentieth century. Subsequently, it follows more closely to the refered book, in particular in the matter of representation the representation in politics, representation in language and representation of time. Finally, there is a brief critical readback of the 1988's text, Comentaries about the Society of Spectacle
Este trabalho versa sobre a obra A sociedade do espetáculo, do polemista francês Guy Debord (1931-1994). Num primeiro momento são levantadas as influências com quem o autor dialoga direta ou indiretamente , o marxismo, a filosofia francesa, as vanguardas artísticas do século XX. A seguir se debruça mais detidamente sobre o livro referido, em especial na questão da representação a representação na política, a representação na linguagem, a representação do tempo. Enfim, há um breve cotejamento crítico com o texto de 1988, Comentários sobre a sociedade do espetáculo
Lima, Agra Emídio Manuel. "Materiales y Artistas." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/399924.
Повний текст джерелаThis thesis attempts to weave together the texts of T.W. Adorno and artworks, Adorno's theory of art and particular works of art. On the one side, an aesthetic of the primacy of experience is put forward, whereby works of art are considered in their historical dynamics, in their now; on the other, radically experimental works, resulting from a new perception that takes shape in modern metropolises, from the fragmentation of experience, is focused on. The debate between Adorno and Walter Benjamin goes right through this project: their differences, their commitment, the conformity in their theoretical intentions. Adorno and Benjamin's thought on modernity considers its destructive dynamics as well as its capacity to trigger new aesthetic potentials. Both understand the modern as an attribute of experience. Both seek a new direction for avant-garde art. In this thesis, Adorno’s texts are intersected with works of art like those of painter Francis Bacon, of composer György Ligeti or of film director Andréi Tarkovski. The purpose is to create a contrast, to shift the viewpoint, to set in motion central categories of Adorno's aesthetics, like autonomy and commitment, mimesis and rationality, art beauty and natural beauty, truth and semblance, negativity and utopian content, harmony and dissonance, old and new. The point is to ponder the relationship between art and society from the perspective of Adorno’s aesthetic, from the perspective of the artist’s relation to a historical material.
Clarke, Daniel Wade. "The social poetics of place making : challenging the control/dichotomous perspective." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/692.
Повний текст джерелаLutkus, Lauren Julia. "Holistic Approaches to Art Education: A Case Study of Choice-based Art Education." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1564572381222662.
Повний текст джерелаBracewell, Pamel Joyce. "Space, time and the artist : the philosophy and aesthetics of Wyndham Lewis." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/3027/.
Повний текст джерелаBortoleto, Marco Antonio Coelho 1976. "O carater objetivo e o subjetivo da ginastica artistica." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/274942.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas. Faculdade de Educação Fisica
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Resumo: Neste trabalho estudamos a modalidade Ginástica Artística (GA), no contexto delimitado ao esporte de Alto Nível, realizando a apresentação e discussão do que seja o caráter Objetivo e o Subjetivo desta prática. Com relação a estes aspectos, buscamos além da compreensão dos mesmos, entender sua relação e a importância de cada um deles perante a prática da GA, dissertando sobre as características objetivas e subjetivas desta modalidade. Para aproximarmos este estudo teórico da realidade prática da modalidade, e para obtermos respaldo e comprovação para nossas colocações, realizamos uma pesquisa de campo com sete sujeitos de representatividade nacional, sendo que dois foram abordados somente na condição de árbitro, dois na condição de técnico e três em ambas as perspectivas. Para esta pesquisa, utilizamos uma metodologia qualitativa, com uma análise de cunho etnográfico-interpretativo, segundo a proposta metodológica sugerida por Clifford Geertz, onde os dados foram obtidos por meio de duas entrevistas semi-estruturadas para cada sujeito da pesquisa, com duração de aproximadamente duas horas para cada entrevista. Come considerações finais, podemos destacar que ambos os aspectos fazem parte da realidade da GA e merecem serem vistos com atenção, contudo, o caráter Objetivo (Técnico) está muito mais presente tanto na literatura quanto no discurso dos entrevistados. Neste sentido, entendemos que a GA necessita rever alguns de seus conceitos sobre estes aspectos, sobretudo, voltar seu olhar para o caráter Subjetivo (Expressivo). Este fato, pode contribuir para a evolução desta modalidade como esporte de característica artística
Abstract: This work brings the study of an Artistic Gymnastic (AG) event, in a context tumed to the high performance sport, achieving the introduction and discussion of what is the Objective and Subjective characters of this practice. Relating to these aspects, we searched beyond its comprehension, understanding this relation and the importance of each one of them in the presence of Artistic Gymnastic practice. The Objective and Subjective character of this practice has been disserted. To approach this theoretic study to the practical reality of the event, we suggest and executed a field reserch with five referrers and five coaches of the national representation, aiming to achieve the support and proof for our position. For this research, we used a qualitative methodology, with the analyses of an ethnography nature according to the methodological support suggested by Clifford Geertz, which the data were taken through semi-structured interview, lasting two interviews of approximately two hours for each subject of the research. As final considerations, we can emphasize that both aspects make to Artistic Gymnastic reality and it deserve to be seeing with attention, however, the Objective (Technical) character is as much as present in the literature as in the Artistic Gymnastic environment and in the speech of the interviewed subjects. In this direction, we can understand that the Artistic Gymnastic needs to review some of its concepts about these aspects, especially, tums its consideration to the Subjective (Expressive) character. This fact can contribute for the evolution of this event, as a sport of artistic characteristic
Mestrado
Shepard, Kathryn Ann. "Artists for Humanity's Sake: An Ameliorative Project Concerning Artists and the Existentialist Struggle Against the Dominant Narrative." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/104036.
Повний текст джерелаDoctor of Philosophy
We have all heard the disparaging stereotypes surrounding the arts--the arts aren't a viable career choice, they aren't important, they're just meant for hobbies, or they're for folks who aren't smart enough to do something "useful" with their lives. If you have been a practicing artist for any number of years you have surely been offered payment in "exposure" at least half a dozen times by now. And yet, creating art is perhaps one of the most powerful and political acts we may undertake as humans. With each creative act we make claim to our own identities and have the opportunity to support the unique identities of others. In a world plagued by injustice perhaps artists are just the heroes we need. In this work I outline the connection between the artistic act and liberation. It is a call to action both to artists and audience to recognize the great potential that artists have to shape the world for better or worse. It asks you, the reader, to support social justice by supporting accessibility to confrontational, vulnerable, and deliberate artistic acts both by others and yourself.
Morton, Luise H. "Theories of three conceptual artists : a critique and comparison." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/425069.
Повний текст джерелаParra-Aledo, Marie Cholley Jean. "L'artiste dans la société japonaise moderne philosophie de la création au Japon /." Lyon : Université Lyon3, 2007. http://thesesbrain.univ-lyon3.fr/sdx/theses/lyon3/2006/parra_m.
Повний текст джерелаHuang, Jui-Yi. "An artist of Tai Chi : a critical study of the life, art and culutral philosophy of the children's literature artist Ed Young /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204281593.
Повний текст джерелаMedeiros, Maria Beatriz de. "L'artiste plasticien, sujet et objet de l'art, ses interventions : manie-festa-actions." Paris 1, 1989. http://www.theses.fr/1989PA010604.
Повний текст джерелаMann, Lyndsay. "Voice and uncertainty : processes of voice in artists' nonfiction moving image." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25829.
Повний текст джерелаOliveira, Neto Mario Cysneiros de. "A morada do artista." Universidade Católica de Pernambuco, 2018. http://tede2.unicap.br:8080/handle/tede/989.
Повний текст джерелаMade available in DSpace on 2018-05-18T17:44:21Z (GMT). No. of bitstreams: 2 Mario_Cysneiros_Oliveira_Neto.pdf: 2118291 bytes, checksum: 07d525c3215463d95e9b1db52a2e8914 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-04-04
In this dissertation we have realized a reflective study over some of the reasons for the existence of the creative impulse and of Art. We had as a general goal to investigate the motivations for production and appreciation of art through theories of psychanalyses, philosophy and immersion in the artistic universe of Francisco Brennand. From psychanalyses, we’ve studied the concepts of pulsion, phantasy and sublimation in Sigmund Freud, the bond between sexuality and regression to the motherly womb in Sándor Ferenczi and the theory of creativity of Donald Woods Winnicott. From philosophy, we’ve used the concept of will from Arthur Schopenhauer, the subjective experience of spaces in the theory of Gaston Bachelard and the transcendence phenomena under the prism of Plato. Concerning the field research, we’ve investigated the creative aspects of Francisco Brennand and his relations with his atelier through personal contact and an interview with the artist, visits to the Oficina Brennand and access to the artistic and bibliographical collection of the place, as well as through texts and videos published in the media. Having collected the data, we’ve stablished connections between his artistic production with the theories studied and we’ve developed some thought and intuitions. We’ve oriented the research from dimensions, three spaces, the intrapsychic, intersubjective and transcendence, and to facilitate the understanding of our purpose we’ve created a metaphorical image, The Tree of Existence, which, respecting this tripartition, organizes our theoretical writings and offers a general view of the existing dynamics between the dimensions. We’ve considered the presence of a feeling of existential discomfort due to the interaction between those dimensions, and the existence of a conflict of opposing forces, each plane seeking to impose itself over the other and be dominant. Then we followed the guiding hypothesis that through the fruition of art, its creation and contemplation, there would be a reduction in the feeling of discomfort, and that this decrease would happen through two main experiences, two phenomena, the existential increase due to the achievement of metaphysical planes and the movement of return to a mythical past of fusion and completeness – the fire. This fact showed resemblances between the path and destiny of sexuality and art, sex and the divine, chaos and the superior world. The present text sought to explore some of these purposes and their means of realization.
Realizamos nesta dissertação um estudo reflexivo sobre algumas razões da existência do impulso criativo e da Arte. Tivemos como objetivo geral investigar as motivações da produção e apreciação da arte através de teorias da psicanálise, filosofia e imersão no universo artístico de Francisco Brennand. Da psicanálise, estudamos os conceitos pulsão, fantasia e sublimação em Sigmund Freud, o vínculo entre sexualidade e regressão ao útero materno em Sándor Ferenczi e a teoria da criatividade de Donald Woods Winnicott. Da filosofia, utilizamos o conceito de vontade de Arthur Schopenhauer, a vivência subjetiva dos espaços na teoria de Gaston Bachelard e os fenômenos da transcendência sob o prisma de Platão. Sobre a pesquisa de campo, investigamos os aspectos criativos de Francisco Brennand e sua relação com seu atelier a partir do contato pessoal e entrevista com o artista, por meio de visitas à Oficina Brennand e acesso ao acervo artístico e bibliográfico do local, por textos e vídeos publicados na mídia. Colhidos os dados, estabelecemos conexões entre sua produção artística com as teorias estudadas e desenvolvemos algumas intuições e reflexões. Orientamos a pesquisa a partir de dimensões, três espaços, o intrapsíquico, intersubjetivo e transcendência, e para facilitar o entendimento de nosso propósito criamos uma imagem metafórica, A Árvore da existência, que, respeitando essa tripartição, organiza nosso escrito teórico e oferta um panorama geral da dinâmica entre as dimensões. Consideramos a presença de um sentimento de mal-estar existencial decorrente da interação entre tais dimensões, por existir um conflito de forças opostas, cada plano buscando se impor aos demais e ser predominante. Então seguimos a hipótese norteadora de que pela fruição da arte, sua criação e contemplação, haveria a diminuição do mal-estar; e que tal minoração de desconforto ocorreria a partir de duas experiências principais, dois fenômenos, a ampliação existencial com alcance de planos metafísicos e o movimento de retorno a um passado mítico de fusão e completude – o fogo. Tal fato demonstrou semelhanças entre os caminhos e destinos da sexualidade e arte, o sexo e o divino, o caos e o mundo superior. E o presente texto buscou explorar alguns desses propósitos e suas vias de realização.
Goodwin, Matthew J. "The artist and the philosopher : the aesthetic phenomenological method of Maurice Merleau-Ponty /." Available to subscribers only, 2007. http://proquest.umi.com/pqdweb?did=1362525641&sid=21&Fmt=2&clientId=1509&RQT=309&VName=PQD.
Повний текст джерелаRuck, Erica. "Touches visuelles de la pensée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080099.
Повний текст джерелаThe aim of our research is to outline a conceptual elaboration of thethought of the artist -philosopher according to Nietzsche, Artaud Eisenstein,conceived as visual thinking. The thinking of the artist philosopher is veryancient, dates back to Plato, before reappearing with Nietzsche and elaboratingwith Artaud.Declaring that music and word are related, Nietzsche still belongs to thePlatonic tradition of the artist -philosopher. According to him, artist thinkingshapes on music because music is the only art that allows us to accomplish andreach abstractions of thought.Artaud, on the other hand, states an anti-platonic conception of thethought of the artist - philosopher as visual thinking. This is the overthrow ofvalues, sought by Nietzsche, but not achieved in aesthetics. Against the idea of atheater as representation, Artaud has theorized a theater of cruelty that allows usto discover the truth, to go beyond reality. The language proposed by this theater,made up of forms, sounds, gestures, may have the same intellectual effects asverbal language. We are so in the presence of a proper thought, where the word isnot suppressed, but where its function is modified.Eisenstein, thanks to its attractions editing, is able to shape the idea-image.The audience is shaken by several attractions that lead to a clear thought.Intellectual cinema becomes the place of thought
Parra-Aledo, Marie. "L'artiste dans la société japonaise moderne : philosophie de la création au Japon." Lyon 3, 2006. https://scd-resnum.univ-lyon3.fr/in/theses/2006_in_parra_m.pdf.
Повний текст джерелаHachmeister, John. "Pluralism and the hard sell historically unique influences on young artists today." Thesis, Kansas State University, 1985. http://hdl.handle.net/2097/9845.
Повний текст джерелаGleason, Paul William. "The artist-hero novels of D.H. Lawrence, James Joyce, and Samuel Beckett and the transformation of aesthetic philosophy /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004271.
Повний текст джерела