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1
Zuckerman, Lola, and Layla Zami. "Contemporary PerforMemory." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/18656.
Повний текст джерелаАнотація:
Die Dissertation von L. Zuckerman (auch bekannt als Layla Zami)
erforscht die Wechselbeziehungen zwischen Erinnerung, Bewegung, Diaspora und Zeit/Raum in Tanzproduktionen des 21. Jahrhunderts. In einer innovativen transkulturellen, transdisziplinären und transtemporalen Perspektive setzt die Publikation den Akzent auf die Solo-Arbeiten von sieben zeitgenössischen Choreograph_innen, die in Deutschland, Frankreich, Taiwan, Martinique, Palästina und den USA leben, und Interpret_innen ihrer eigenen Stücke sind. Ausgehend von der Hypothese, dass Körper eine zentrale Rolle in der Aushandlung und Überwindung von Machtverhältnissen spielen, fragt die Forschung was geschehen kann, wenn tanzende Körper die Vergangenheit in die Gegenwart transportieren, im materiellen und im metaphorischen Sinne. Die Autorin leitet ein neues Konzept ein, das im Englischen sowohl Substantiv als auch Verb ist: (to) perforMemory. Sie reflektiert die Besonderheiten der Ausdruckform Tanz in der Darstellung, Herstellung, und Tradierung von kultureller Erinnerung im Bezug auf historische Traumata wie der Holocaust, der Transatlantische Sklavenhandel, die Maafa, die Nakba und zeitgenössische gesellschaftspolitische Herausforderungen.
Das als Spirale konzipierte Buch lädt zu einer Wanderung durch diasporische Tanz_schaften, in denen sich Fragestellungen zu Identität, Körperlichkeit, Zugehörigkeit, Räumlichkeit und Zeitlichkeit entfalten, und sich in der Diskussion von bestimmten Tanzsequenzen wechselseitig beleuchten. Die Doktorarbeit basiert auf den Ergebnissen einer vierjährigen internationalen Forschung. Die Quellen schöpfen aus unterschiedlichen Fachrichtungen, u.a. Gender und Queer Studies, Tanz/Performance, Kulturwissenschaften, Erinnerung, Postkoloniale Studien, Literatur, Quantenphysik, und Lyrik. Die Veröffentlichung beinhaltet ebenfalls die vollständigen Transkripte von persönlichen Gesprächen, die die Autorin mit den Künstler_innen Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel und Chantal Loïal aufgenommen hat, sowie Links zu Performance-Ausschnitten.The dissertation by L. Zuckerman (aka Layla Zami) explores the interrelations and interactions between memory, movement, diaspora, and spacetime in 21st century dance productions. In an innovative transcultural, transdisciplinary and transtemporal approach, the publication focuses on solo works by seven contemporary dancers-choreographers based in Germany, France, Taiwan, Martinique, Palestine and the USA. Contending that corporeality is a site and a source of power, the research asks what happens when moving bodies propel the past into the present, metaphorically and materially. The author introduces a new concept: (to) perforMemory, which is both a noun and a verb, and discusses the specificity of dance in the production and transmission of cultural memory in relation to historical trauma such as the Holocaust, the Transatlantic Slave Trade, Maafa, the Nakba and contemporary sociopolitical challenges. Conceived in a spiral-like fashion, the book takes the reader through diasporic dancescapes in which notions of identity, home, embodiment, spatiality and temporality unfold and are brought into resonance with each other in the discussion of specific dance examples. The theoretical references connect such various fields as gender studies, dance and performance studies, cultural memory studies, postcolonial studies, literature, quantum physics, queer studies and poetry. Based on doctoral research conducted across the globe from 2013 to 2017, the electronic publication also features the full interview transcripts of personal conversations recorded by the author with the artists Oxana Chi, Zufit Simon, Wan-Chao Chang, André M. Zachery, Farah Saleh, Christiane Emmanuel and Chantal Loïal, as well as links to audiovisual performance excerpts.
La thèse explore les interrelations et interactions entre mémoire, mouvement, diaspora et espace-temps dans la danse au XXIème siècle. Dans une approche transculturelle, transdisciplinaire et transtemporelle, la publication se concentre sur des pièces solo chorégraphiées et interprétées par sept chorégraphes contemporain.e.s basé.e.s en Allemagne, France, Martinique, Palestine, à Taiwan et aux Etats-Unis. Estimant que les corps humains sont objets et sujets de relations de pouvoir, la thèse étudie ce qui se passe lorsque les corps dansent le passé au temps présent, au sens propre et au sens figuré. L'auteure introduit un nouveau concept: (to) perforMemory, à la fois un substantif et un verbe en anglais. Elle met en relief la spécificité de la danse comme forme de production et transmission de la mémoire culturelle, en relation avec des traumas historiques tels que l'Holocauste, la Traite triangulaire ou Maafa, la Nakba ainsi que des défis sociopolitiques contemporains. Conçu comme une spirale, le livre est une invitation au voyage à travers des paysages diasporiques dansés, dans lequel les notions d'identité, d'appartenance, de spatialité, de temporalité et de représentation émergent tour à tour, et s'illuminent mutuellement dans l'analyse de séquences de danse concrètes. Le corpus théorique puise dans des domaines aussi variés que les études de genre, la danse, les études postcoloniales, la litérature, les Cultural Studies, la physique quantique, les études queer et la poésie. Basée sur des recherches doctorales conduites de 2013 à 2017 à travers le monde, cette publication électronique comprend également les transcriptions intégrales des entretiens personnels menés avec les artistes Oxana Chi, Zufit Simon, Chantal Loïal, Christiane Emmanuel, Farah Saleh, Wan-Chao Chang, et André M. Zachery, ainsi que des liens vers des extraits audiovisuels de spectacles.
2
Ourrad, Samia. "Contre-culture et marginalité dans le roman contemporain : le signe d’un déclin littéraire ?" Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20022.
Повний текст джерелаАнотація:
L’introduction de la marginalité et de la contre-culture dans le roman contemporain révèle une certaine crise dans la conception même du statut de la littérature à la fin du XXe siècle et à l’aube du XXIe siècle. On proclame souvent la mort de la littérature et du roman, mais aussi la crise de la fiction, de la narration, du sujet. On remarque ainsi des interférences croissantes dans la littérature contemporaine entre les « mauvais genres » et les genres nobles, entre la Littérature et la « sous-littérature ». Cette idée de fin ne va-t-elle pas de pair également avec la croyance aiguë que le monde court à sa perte et que les fondements « modernes » sont morts également ? De nombreuses œuvres contemporaines explorent la violence extrême, le sadisme et la cruauté afin de montrer de façon désenchantée une humanité emplie d’animalité. Mais cette surenchère de violence et cette survalorisation de la marginalité ne sont-elles pas l’expression d’un désenchantement sans précédent ou a contrario d’une écriture résistante, qui use de son langage acide pour refuser ce nouvel état du monde et de l’art ? Cette écriture, qui enthousiasme la critique journalistique, renouvelle-t-elle profondément la littérature ? Est-elle véritablement novatrice et subversive ou n’est-elle qu’une sous-littérature qui exploite les expérimentations des auteurs modernes ? La critique savante semble partagée quant à sa fonction critique et quant à sa littérarité, mais la violence et l’inscription volontaire des auteurs dans le « Tiers-monde linguistique » montre que la littérature n’a plus les mêmes visées et la même place dans le champ littéraire. En effet, quelle est la fonction de la littérature dans un contexte de mondialisation et de médiacratie ? Ces œuvres ne reflètent-elles pas une évolution profonde du champ littéraire et une remise en question des critères esthétiques traditionnels ?The introduction of marginality and of the counterculture in the contemporary novel reveals a literature crisis at the end of the twentieth century and at the beginning of the millennium. The death of literature is often claimed as the fiction, narrative or identity crisis. There are increasing interferences between the highbrow Literature and “bad-literature”. Is this idea of End on a par with the extreme belief in the End of the World of Western and in the Death of the modernist thesis? Many contemporary novels explore extreme violence, sadism and cruelty to expose, with disappointment, a brutal and animal humanity. But are not these violence excess and overdeveloped marginality the expression of a radical disappointment or a strong writing that use acid language to refuse this new face of the world and of art? This writing, that elate journalistic critic, does it really change literature? Is it really new and subversive or is it popular literature that follows up the modernists experiments? The highbrow critic seems sceptic concerning its literarity; but the inscription in the “linguistic third-world” reveals the changes of the aims of literature. In fact, what is the function of literature in globalisation and mediacraty? Don’t these novels reveal a deep evolution of literature and a critic of the traditional artistic criterions?
3
Smurthwaite, Kathryn C. "Using Contemporary Art to Guide Curriculum Design:A Contemporary Jewelry Workshop." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3903.
Повний текст джерелаАнотація:
There is currently need for reform in art programs of all kinds, in regards to use of and focus on contemporary art and current practices. Teaching about art of our time and place enables students to understand and make connections to their world, and facilitates art making that is creative and relevant. This thesis describes theory and rationale for basing curriculum on contemporary art practices and presents a jewelry workshop, for all skill levels, that teaches contemporary art themes and practices. There are two units. The first teaches metal texturing, shaping and simple soldering skills while, focusing on art that deals with spectral and compensatory remembering themes. The second unit teaches bezel setting while focusing on alternative to the establishment art themes. The lessons in the workshop were also created using contemporary art teaching techniques and new principles and elements of design.
4
Jones, Juliane. "Contemporary kunqu composition." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/51241.
Повний текст джерелаАнотація:
Kunqu is an operatic singing style that developed in the town of Kunshan near Suzhou, China in the sixteenth century. Kunqu is currently experiencing a revival in China, but only five professional musicians are actively composing, continuing the tradition of creating kunqu melodies with qupai (preexisting tune structures) for the singing of literary lyrics. This dissertation investigates current practices of kunqu composition with an ethnographic approach that employs a variety of research techniques including: translations of historical and contemporary compositional treatises, participant-observation in composition lessons, formal and informal interviews, as well as analysis of musical scores, sound recordings, and live performances. I theorize kunqu composition as a process of composers’ translating personal and intellectual knowledge of historical Chinese and Western music as well as collective knowledge of the key branches of kunqu theory into performable and audible musical works (introduction). To explain the genre’s musical vocabulary, I describe traditional and contemporary features such as: relationships between linguistic and musical tones, musical modes, qupai, rhythm and meter schemes, and use of musical instruments. I then describe the process of composing an aria from qupai according to contemporary practice (chapter 2). To contextualize kunqu composition, I trace the history of the genre (chapter 3). Then I analyze how two contemporary kunqu composers engage in methods of kunqu composition in their own creative and theoretical ways (chapters 4 and 5). Finally, I explore a musical dialogue between Western and Chinese musical cultures through examining Tan Dun’s version of the kun opera The Peony Pavilion performed at the Metropolitan Museum in 2012 (chapter 6).Arts, Faculty of
Music, School of
Graduate
5
Miller, Bruce Barnett. "Immutability contemporary models /." Theological Research Exchange Network (TREN), 1986. http://www.tren.com.
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6
Peplow, Mark Andrew. "Contemporary metal carbonyl." Thesis, Imperial College London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419989.
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7
Sargisson, Lucy. "Contemporary feminist utopianism." Thesis, Keele University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295799.
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8
Powell, Michael R. (Michael Randall). "Contemporary urban frontiers." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/34417.
Повний текст джерелаАнотація:
Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2006.Includes bibliographical references (p. 184-190).
This thesis is a provocation; to the profession of architecture at large and every person who reads it. In reading this work, the manner in which our profession functions in society should be questioned. Architecture affords us the opportunity to conceive beyond the confines of formal design, tectonics, and technology. In it we may find the ability to significantly engage with culture, to comment, and to influence change. If we neglect this capacity, we are assured to continue on the path of a formalistic tradition set before us by so many others. This thesis studies the benign, the ubiquitous; considers it as a vehicle of change. In doing this, an alternative to the prevalent stylistic driven methodology of architecture is presented. The typology of retail presents itself as a beginning, a gestation point from which a new mode for consideration of design is born. Discovered is a new trajectory of thought, one capable of taking a common cultural circumstance and re-conceptualizing it as social progress. In this, a new paradigm for architecture is conceived. One less concerned with how something is made or what it represents, and more concerned with what architecture may accomplish on a variety of scales; from the individual, to the community, to culture as a whole.
by Michael R. Powell.
M.Arch.
9
Marmur, Michael. "Contemporary Jewish homiletics." Universitätsbibliothek Leipzig, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-197606.
Повний текст джерелаАнотація:
This article deals with the derasha, the Jewish sermon and offers an inventory of the key dimensions of the Jewish sermon as practiced today and in the past from a reformed Jewish perspective. It shows its connection to the particular moment, its functions (further distinguished as contextual, intentional, educational, and symbolic), its message,
sources, structure, and the techniques involved in its delivery and gives a brief example of one of the author’s own
derashot from July 2015.
10
Shtonda, A. O. "Great Contemporary Photographers." Thesis, Київський національний університет технологій та дизайну, 2017. https://er.knutd.edu.ua/handle/123456789/8399.
Повний текст джерела
11
Shnit. "CONTEMPORARY ENVIRONMENTAL LOGISTICS." Thesis, Київ 2018, 2018. http://er.nau.edu.ua/handle/NAU/33904.
Повний текст джерела
12
Joy, Clair. "Contemporary landscape painting." Thesis, Goldsmiths College (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523650.
Повний текст джерелаАнотація:
This thesis will look at the concept of contemporary landscape painting as well as examples of artists whose work could be described as landscape painting in a contemporary context. I will be using different models (both theoretical and artistic) from those associated with the history of landscape painting to look at what contemporary landscape painting might now be. My purpose is twofold: to argue that the concept of landscape has been redefined and as a result landscape painting has new ways of being thought about, and to establish a context for my own practice. I look at the idea of space-time to investigate how it defines place and as a result redefines landscape painting in a contemporary context. As a way of doing this I look at montage and at maps/mapping, both as ideas and as ways of working. Differing approaches and mediums as 'producing' spaces, rather than an emphasis on depicted visual characteristics (of buildings or the rural for instance), is also discussed as a concept that relates to contemporary landscape painting. Paintings can have a diverse materiality that may embody and refer to our experience of place. Paintings may also engage the 'discursive site' of landscape, reflecting the questions and issues related to shifting conceptual understandings of 'landscape' . I look at the work of three established artists that may be seen as establishing new contexts in which to see contemporary landscape paintings. These artists are Robert Smithson, Alighiero Boetti and Eugenio Dittborn. Examples of artists who connect with concepts of space-time as unexpected and unpredictable, or use the co-existence of different 'spaces' in their methods of making and in their subject matter, are described as contemporary landscape painters. I have selected the artists Julie Mehretu, Sarah Morris, Angela de la Cruz, Neil Jenney, Nigel Cooke and Keith Tyson.
13
Carroll, Alice. "The contemporary vessel /." Online version of thesis, 1992. http://hdl.handle.net/1850/11622.
Повний текст джерела
14
KRAUS, JODY STEVEN. "CONTEMPORARY HOBBESIAN CONTRACTARIANISM." Diss., The University of Arizona, 1987. http://hdl.handle.net/10150/184172.
Повний текст джерелаАнотація:
Contemporary Hobbesian contractarianism began in the wake of John Rawls' revitalization of contractarianism in A Theory of Justice and the subsequent body of critical literature which has grown up around it. Philosophers have been impressed with Rawls' powerful application of a contractarian framework to traditional issues in moral and political philosophy but dismayed at the extensive normative precommitments of his particular contractarian theory. They have thus sought an equally powerful contractarian approach unwed to strong normative precommitments. Of all extant contractarian theories, Thomas Hobbes' theory in Leviathan uniquely constitutes such an approach. Like all contractarians, Hobbes specifies a hypothetical choice problem consisting of a choice environment, a choice problem, and a method of resolution. But Hobbes' choice environment purports to make virtually no substantive normative precommitments. The strength of Hobbesian contractarianism is that it seeks to generate substantive normative conclusions from premises established in a normatively minimalistic theoretical framework, and thus promises not to beg any fundamental normative questions. This dissertation considers in detail three comprehensive and game-theoretically sophisticated books which are central to the current corpus of contemporary Hobbesian contractarianism. These are Jean Hampton's Hobbes and the Social Contract Tradition, Gregory Kavka's Hobbesian Moral and Political Theory, and David Gauthier's Morals by Agreement. We explain the common denominators and points of divergence among these theories while undertaking an extensive critical investigation of each. Two fundamental themes emerge from these investigations. First, Hobbesian contractarianism tends to run afoul of collective action problems at various levels of its overall argument. Collective actions problems arise when the requirements of individual and collective rationality diverge. Second, the normative minimalism which is heralded as the primary virtue of Hobbesian contractarianism is also revealed as one of its fundamental problems. By minimalizing its normative precommitments, Hobbesian contractarianism undermines its ultimate goal of generating powerful normative conclusions.
15
Barlas, Kaya. "The contemporary camera." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202921.
Повний текст джерела
16
Sevier, Lou Ann Hopper. "The Contemporary Manager." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etd/812.
Повний текст джерелаАнотація:
Diversity has entered the leadership arena, as it has all other aspects of life. As we prepare leaders to lead in a more diverse world and train managers in the skills needed to succeed in a competitive society, we must understand what managers’ activities consist of and how leadership styles differ. The purpose of this qualitative study was to investigate the activities of Chief Executive Officers in businesses from a variety of sectors, document differences in male and female leadership styles, and compare these findings with previous studies. Data were collected through observation and creative interviews with three female and three male CEOs, one of which was a minority. The CEOs had been employed in his or her position for at least two years, and the organizations were diverse, successful, and well-known.
Observation notes, dialogue and creative interviews were analyzed using Glaser and Strauss’s (1967) constant comparative method. Variety, brevity, and fragmentation were found in the activities of a contemporary manager, and attitudes toward scheduled breaks, interruptions, outside activities, outside businesses, reflection, communication, technology, and identity were found to be similar between male and female leaders. The CEOs tended to value the importance of breaks, have tolerance for interruptions, participate in outside activities, and establish outside business relationships. Also, they tended to value reflection, have informal and formal ways of sharing information with employees, have been impacted for the better by technology, and have a multi-faceted identity.
Additional qualitative and quantitative research was recommended to further explore how studies can help prepare leaders by understanding the activities and leadership styles of contemporary managers.
17
Holtmeier, Matthew. "Contemporary Political Cinema." Digital Commons @ East Tennessee State University, 2019. https://www.amzn.com/1474423418.
Повний текст джерелаАнотація:
The political films that have emerged on the global film festival circuit since the 1990s mark a shift in cinematic strategies for critically addressing dominant, militant, or otherwise repressive ideologies. From a focus on the representation of oppression in films like The Battle of Algiers, films such as Timbuktu, Nobody Knows About Persian Cats and Chop Shop now contribute to the active formation of political characters and viewers, a form not fully realized until the 21st century due to shifts in information technologies and resulting political organization. This book demonstrates that a contemporary form of political cinema has emerged, centered on the production of subjectivity and networks of protest, which depicts the active formation of political identities that resonates with off-screen protest movements.https://dc.etsu.edu/etsu_books/1211/thumbnail.jpg
18
Kay, Marja Liisa. "Contemporary vocal music : language, technology and contemporary vocal music of Finland." Thesis, University of York, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.583263.
Повний текст джерелаАнотація:
This thesis is centred on a number of contemporary vocal performances and projects I encountered, and often single-handedly organised, during years of study and exploration. An introduction provides insights as to how I came to connect my original performance research goals with additional subject matters in an effort to provide a more complete illustration of the broad span of the music at hand. The bulk of this submission lies within the recordings of performances, which are supported by three exploratory chapters that discuss the relationships of the works to one another. The first chapter examines Finnish contemporary vocal music from a performer's point of view. Following this are two chapters that look at selected vocal works of two of the most internationally famous composers today, Esa-Pekka Salonen and Kaija Saariaho, in juxtaposition with an array of non-Finnish composition that share common themes. These chapters are accompanied by five audio CDs and one DVD, an extensive listing of recording tracks and performances, programmes and notes from all relevant concerts, press releases and reviews where applicable. An afterword sums up conclusions I arrived at regarding the role ofthe contemporary vocal artist and our responsibilities to the future of musical art.
19
Fouquet, Monique. "Contemporary art/contemporary pedagogy : interrupting mastery as paradigm for art school education." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31304.
Повний текст джерелаАнотація:
Contemporary art/contemporary pedagogy: interrupting mastery as paradigm for art school education is a narrative exploration of artistic and pedagogical practices within the specific context of post-secondary art school education in stand alone art schools as opposed to a university art department. This study considers the following three primary questions: How can art school education better reflect postmodern cultural production? What are some of the ways in which pedagogical practice disrupts the monolithic model of mastery? How can art school pedagogy be re-oriented away from an overly deterministic notion of education? Through reflexive inquiry, I offer a personal perspective on art school education, weaving together my own experiences as student, artist, teacher and administrator, and juxtaposing 'my' text against the text of three artist pedagogues, representing specific aspects of field experience. Throughout the dissertation I seek to unearth the hidden assumptions that are embedded in historically inherited ways of being and doing in relation to contemporary art. I suggest that the partitioning of the institutional space into studio disciplines also segregates knowledge, and as such, largely determines the pedagogical framework of art schools. In the face of the interdisciplinary character of contemporary practice, I question the usefulness and relevance of disciplinary pedagogues modeled around the notion of achieving mastery as a paradigm that has shaped curricular practices in art schools in the past, and largely continues to define art school education today. I propose that the three artist pedagogues in this dissertation are each contributing to creating new inquiry structures that challenge boundaries between studio disciplines, between school and not-school, and between and among places of learning. I end by suggesting, as a topic for further research, complexity science as it may offer a productive framework to re-consider art school education.Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
20
Gonullu, Ayse. "Contemporary Women&." Master's thesis, METU, 2005. http://etd.lib.metu.edu.tr/upload/2/12606618/index.pdf.
Повний текст джерелаАнотація:
The main aim of this study is to investigate the tools of the women’
s activism which are used in transforming the gender equality agenda in Turkey in terms of legislative reform. To illustrate and study of the tools of women&
#8217
s activism descriptively, a case study on the women&
#8217
s activism for legislative reform in Turkey is conducted. The findings of the research verified the research thesis that women&
#8217
s activism that occurred after 1980s and institutionalized during 1990s was incredibly influential in transforming the Turkey&
#8217
s political agenda. The inner organization manner of women&
#8217
s movement, its use of the media, lobbying activities such as finding allies in the commission and parliament, engagement with international women&
#8217
s rights mechanisms, conducting effective communication through list-serve, arranging street demonstrations and actions can be enumerated as important tools.
21
Konya, Akari. "Chanting in Contemporary Palau." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/199423.
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22
Mynett, Mark. "Contemporary metal music production." Thesis, University of Huddersfield, 2013. http://eprints.hud.ac.uk/id/eprint/19314/.
Повний текст джерелаАнотація:
Distinct challenges are posed when conveying Contemporary Metal Music’s(CMM) sounds and performance perspectives within a recorded and mixed form. CMM often features down tuned, heavily distorted timbres, alongside high tempi, fast and frequently complex subdivisions, and highly synchronised instrumentation. The combination of these elements results in a significant concentration of dense musical sound usually referred to as ‘heaviness’. The publications for this thesis present approaches, processes and techniques for capturing, presenting and accentuating heaviness, as well as intelligibility and performance precision which facilitate the listener’s clear comprehension of the frequent overarching complexity in the music’s construction. Intelligibility and performance precision are the principal requirements for a high commercial standard of CMM, and additionally can enhance a production’s sense of heaviness. This synoptic commentary defines heaviness from an ecological perspective, by highlighting invariant properties that shape the embodied experience of being human. Heaviness is primarily substantiated through displays of distortion and, regardless of the listening levels involved, the fundamentals of this identity are ecologically linked to volume, power, energy, intensity, emotionality and aggression. In addition to distortion, a vital component of heaviness is sonic weight, which refers to CMM’s low frequencies being associated with large, intense and powerful entities. CMM’s heaviness is also considered in terms of the perceived proximity of activity, apparent size of performance environment, and level and type of energy being expended. In particular, CMM provides the listener with the sense of utmost proximity to the band, usually without any significant perspective of depth. Production strategies for achieving a high commercial standard in CMM are then presented. This is followed by a reflective commentary on the portfolio of productions, which includes discussion of the author’s transition from emulative to professional level of production and considers originality within this body of work. By presenting the subject as an important, valid and authentic scholarly discipline, this work bridges the gap between the worlds of academia and music production practice for this style.
23
Guo, Jianwu. "Contemporary Chinese Marxist philosophy." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq22461.pdf.
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Tokaryk, Wendy Alexandra. "Printmaking, a contemporary perspective." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape4/PQDD_0015/MQ55187.pdf.
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25
Gillen, Sheila Ann. "Contemporary textiles using cloqué." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0006/MQ59719.pdf.
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26
Hansen, Chris Robert. "Contemporary choral arrangements product /." Theological Research Exchange Network (TREN), 1987. http://www.tren.com.
Повний текст джерелаАнотація:
Thesis (M.C.M.)--Western Conservative Baptist Seminary, 1987.Bound with accompanying tape of the arrangements recorded, by the mixed choral ensemble from Milwaukie First Baptist Church, Milwaukie, Oregon and the men's chorus from Western Seminary in Portland.
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Dilley, Sherrie. "Conceptualizing the contemporary monster." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/30240.
Повний текст джерелаАнотація:
Through the challenges of Donna Haraway and Giorgio Agamben to Michel Foucault's theory of biopolitics I develop a conceptual frame for thinking about the sociological role of monsters in modern society. I argue that Foucault's position on the concept of monsters submerges expressions of liminality and exclusion from western society which are based on the mistaken narrative of how static natural laws and dynamic socio-political laws define the individual. Underneath the contemporary iterations of inclusive abnormality and expressions of repressed human desires, monsters illuminate the contradictory "nature" of such laws, and provide the form in which to debate who – or what – is allowed within the definition of a human individual and, therefore, within the human population.
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Scott, Kerry M., and University of Lethbridge Faculty of Arts and Science. "A contemporary winter count." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Native American Studies, 2006, 2006. http://hdl.handle.net/10133/1302.
Повний текст джерелаАнотація:
The past is the prologue. We must understand where we have been before we can understand where we are going. To understand the Blackfoot Nation and how we have come to where we are today, this thesis examines our history through Indian eyes from time immemorial to the present, using traditional narratives, writings of early European explorers and personal experience. The oral tradition of the First Nations people was a multi-media means of communication. Similarly, this thesis uses the media of the written word and a series of paintings to convey the story of the Blackfoot people.
This thesis provides background and support, from the artist’s perspective, for the paintings that tell the story of the Blackfoot people and the events that contributed to the downfall of the once-powerful Nation. With the knowledge of where we have been, we can learn how to move forward.x, 153 leaves : col. ill. ; 29 cm
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Gordon, Emma Catherine. "Understanding in contemporary epistemology." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6408.
Повний текст джерелаАнотація:
My main aim is to contribute to the exploration of the nature of the epistemic state of understanding. It seems that the most productive way in which this might be done is by (i) investigating what sort of conditions must be fulfilled in order for one to understand, and (ii) comparing understanding’s place in certain contemporary debates to the place that knowledge has in those debates. Regarding conditions for understanding, I will argue that there are two types of understanding that are most relevant to epistemology—objectual understanding and atomistic understanding. I will contend that atomistic understanding is entirely factive while objectual understanding is moderately factive, that objectual understanding admits of degrees, that both types involve some sort of grasp of explanatory relations, that both possess a measure of luck immunity, and that both are cognitive achievements with instrumental, teleological, contributory and (crucially) final value. It must be stressed that the general accounts of both types of understanding that I attempt to provide are not supposed to be exhaustive sets of necessary and sufficient conditions—I remain particularly open to the possibility that there are further necessary conditions that are as yet undiscovered, especially for objectual understanding. Regarding understanding’s place in contemporary debates, it is perplexing that existing work does not capitalise on the thought that treating understanding in conjunction with many of the most prominent issues in recent epistemology is a worthwhile project that could yield interesting and important results. I will summarise understanding's potential significance for a number of these topics, looking at all of the following (in varying degrees of detail): factivity, coherentism, norms of assertion, the transmission of epistemic properties, epistemic luck, the nature of cognitive achievement, and epistemic value. This last topic is one that I think is particularly important to an investigation into understanding, because it is quite plausible that there is a particularly strong revisionist theory of epistemic value focused on understanding. Such a view would be one on which knowledge is not finally valuable, but one by way of which we could nonetheless explain why we might pre-theoretically think that knowledge is finally valuable. Since revisionist views often involve a claim that we should think of a different, closely related epistemic state as distinctively valuable, it is natural to consider understanding as a prime candidate for the focus of such a theory.
30
Fisher, Tom. "Plastics in contemporary consumption." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542812.
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Mokhtabad-Amrei, Seyed Abdolhossein. "Iranian contemporary art music." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500084.
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Chambers, Janet Denise. "Three contemporary Korean artists." Thesis, University of Canterbury. Humanities, 2012. http://hdl.handle.net/10092/7822.
Повний текст джерелаАнотація:
This thesis examines the work of three Korean contemporary art practitioners: Lee Ufan (b. 1936), Lee Bul (b.1964) and the collective flyingCity (formed 2001). Lee Ufan is a senior Korean sculptor, painter and writer, who, during a long and productive career, has been based in Tokyo and Paris, and is now recognised in Korea, as well as internationally. Both Lee Bul and flyingCity have participated in projects at the Govett-Brewster Gallery for Contemporary Art in New Plymouth, New Zealand.
These three art practices demonstrate a trend during the last fifty years from the individual artist working in a studio (Lee Ufan), to the artist moving from city to city making and showing artworks (Lee Bul), to artist collectives, working with community groups in the mode of relational aesthetics (flyingCity).
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Wu, Pak-lai, and 胡百禮. "City Contemporary Dance Complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984289.
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Rogers, Alan. "The contemporary horror film." Thesis, Sheffield Hallam University, 1990. http://shura.shu.ac.uk/3121/.
Повний текст джерелаАнотація:
This thesis approaches the contemporary horror film from a number of directions. Firstly, it is considered in relation to the historical roots of horror fiction, the tradition of the literary Gothic which stretches back as far as the late eighteenth century. The same chapter elaborates the broad outline of a methodology, drawing upon an established body of genre theory in both literary and film studies, which is then applied to the gradual diffusion of the Gothic legacy into the related genres of detective stories/thrillers, horror, and science-fiction, the inter-relatedness of these three genres forming part of the cultural context for modern horror. Chapter 3 considers Alfred Hitchcock's Psycho (1960) in relation to the structures and iconography of the original Gothic, and in the light of its fusion of conventions drawn from the horror film and the thriller. Chapter 4 compares this film with a similarly influential movie - Halloween - made almost two decades later, assessing some of the changes which the genre has undergone in the intervening period. The following five chapters (5-9) discuss a number of films of the period 1968 - 80, paying particular attention to works that have figured prominently in the established critical literarure around the genre, both as an appraisal of existing approaches and as an indication of the immediate context for developments over the last decade. The remaining four chapters (10 - 13) consider some developments of the 1980's, disputing the critical construction of the "body horror" category and providing an account of the horror-comedies which have generally been neglected by critics. The conclusion involves a synthesis of the material covered and a return to the Gothic tradition in order to conceptually situate the findings. There is an extensive biblography involving a variety of material ranging from popular magazines and newspapers to influential academic works, drawn more or less equally from the fields of literary criticism and film studies.
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Brown, Robin C. M. "Escalation in contemporary war." Thesis, Aberystwyth University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420484.
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VIEIRA, MARTHA ALKIMIN DE ARAUJO. "(LITERARY) FICTIONS: CONTEMPORARY CHALLENGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5886@1.
Повний текст джерелаАнотація:
UNIVERSIDADE ESTACIO DE SÁO estudo das ficções (literárias), no marco dos sistemas midiáticos e da mediação digital e suas conexões com o processo de produção e sistematização do conhecimento, em modelos de realidade aponta a presença da ficcionalidade como fenômeno constitutivo de todos os segmentos da vida social e não apenas com o objeto sob jurisdição exclusiva da literatura. O estatuto das ficções literárias em interseção com a proliferação de ficções não literárias e a virulênncia das transformações tecno-científicas, das práticas sociais, estatisticas e culturais tensionam tanto o entendimento das formas de ficção quanto as noções de realidade, sugerindo uma aliança interdisciplinar entre literatura e cultura como possibilidade de compreensão dos conteúdos semânticos que abastecem e organizam repertórios compartilhados em sociedade.
With the development of digital and media systems and their connection with the process of production and systematization of knowledge, the study of (literary) fictions in models of reality points to fictionality as a phenomenon present in the makeup of every segment of social life, rather as an object restricted to literature. The status of literary fictions in their relation with nonliterary fictions, together with radical changes taking place in technology and science and in social and aesthetic practices, has challenged our understanding not only of fictional forms but also of our notions of reality, suggesting an interdisciplinary link between culture and literature as a possibility of understanding the semantic contents organizing the repertoires shared by contemporary society.
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(UPC), Universidad Peruana de Ciencias Aplicadas, and Chávez Jorge Luis Lossio. "Contemporary history - TR122 201801." Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/623610.
Повний текст джерелаАнотація:
Contemporary History is taught fully in English in the Translation and Interpreting Faculty to students in their
second year at university.
Contemporary History covers a survey of the main historical events, political ideologies, economic upheavals
and cultural changes which shaped Europe and other regions of the world in the 20th Century. It explores the
causes that lead to the First and the Second World Wars and their consequences; it looks at internal affairs in
Germany, the USA and the USSR in the twenties and thirties; analyses the effects of post-war peace settlements
on the peoples of Europe, the Middle East and Asia; reveals the origins, developments and demise of the Cold
War and how it has affected peoples around the world. It finally speculates about possible outcomes of today's
international politics.
The purpose of the course is to allow students to become acquainted with events and circumstances that
occurred before their times so that they can understand the impact they have in their lives today. It aims to show
them how the past is linked to the present and shapes future situations.
This knowledge will allow them to develop their analytical skills and critical thinking as well as other
connected skills more pertinent to the field of history such as concept formation; comparing; causation and
evaluating.
Furthermore the fact that it is taught in English contributes to their acquisition of a second language.
Throughout the course they are expected to read, write, present orally and in general, communicate in English at
all times. The course develops one main UPC competence: critical thinking in level 3 and additionally, it
enhances their understanding of cultural diversity in level 2, a specific competence in the program. As a
prerequisite: HU03 Comprensión y producción de lenguaje 1 and TR06 Inglés TI3.
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Skwarlo, Zuzanna. "Institute of Contemporary Escapes." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-228502.
Повний текст джерелаАнотація:
This project aims to create physicalambience for escapism, that can take place in a variety of ways. Inmoderation it can be a healthy habit, that in times of fast pace of life, hectic schedules and information overload, can help us keep our sanity. The building is located in heart of Stockholm, on the waters oflake Mälaren, by the forgotten part of Gamla Stan – the infamousother exit of the subway. This project tries to intertwine reality with fantasy in a form of a new culture house – a public institution of our time. In the age of celebration of individualism on one hand and affirmation of communication, teamwork and cooperation on the other, this project aims to reflect those two natures of a contemporary person and translate them into architecture. Therefore one can find a sequence of spaces for individualistic, introvert, spiritual escapes, as well as rooms for extrovert activities, places for people to gather and reconnect in an analogue way, tête-à-tête, in times of prevailing digital communication. The building is located in the middle of the capital, but aside the main focus. Jetting out from land, part is submerged, half above water. What is underwater is solid, austere, opaque, concrete. What is above is light, flexible, wooden, translucent. It serves the individual, but can host masses. Architecture mirrors the society and zeitgeist of our times. Hence this projects reflects the contradictions that we impose on ourselves and are expected of us. One has to be strong, but gentle; spontaneous, but disciplined; social, but self-aware.Therefore one can find in this project set of binary architectural qualities: intimate and overwhelming spaces, solemn and lively, warm light and blue light, open perspectives and framed views…
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Solomons, Deon Mark. "Topics in contemporary cosmology." Doctoral thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/5965.
Повний текст джерела
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Chen, Yao. "Contemporary City Recreation Center." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/93054.
Повний текст джерелаАнотація:
Through a ramp circulation system connect each floor of the building and horizontally link inside and outside the gym with an urban environment. People experiencing continuing from in/out, enclose/opening, artificial/nature, green/gray, void/solid from beginning to "begin".Master of Architecture
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Jiang, Yingyun. "Contemporary Jewelry and Nature." Thesis, Konstfack, Ädellab, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7797.
Повний текст джерелаАнотація:
This paper presents an investigation of how a jewelry artist understands the life/death cycleof nature and natural processes, the relationship between the human (body), nature,materials, and jewelry, by communicating in the form of jewelry.I will discuss the relationship between human, nature and jewelry from many aspects. Themovement of objects, life and death, how jewelry shows the position and state of humanin nature and the relationship with nature, as well as the significance to the contemporarysociety. My main method is jewelry. My jewelry is emotional and expresses the series ofcollision and balance when humankind meets nature, and the acceptance of life and death.
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Wertz, Robert George. "The Contemporary Coben Analysis." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/121774.
Повний текст джерелаАнотація:
Oral BiologyM.S.
As orthodontics integrates more digital imagery it has become necessary to reconfigure and adapt the Coben analysis. In its original paper-based form, it is exceedingly time consuming. The objective of this project was to: 1.) Create a novel method for analyzing radiographic cephalometric images in a digital manner using the Coben analysis. 2.) Compare the original norms and standard deviations to the measurements taken on today's patients. 3.) Address any changes in the norms due to secular trends. In the present study 279 digital cephalometric radiographs were separated into 3 age groups by sex. The breakdown is as follows: 53 males age 7-10 with a median age of 8.17 years, 43 females age 7-10 with a median age of 8.67 years, 45 males age 11-14 with a median age of 11.58 years, 50 females age 11-14 with a median age of 11.52 years, 41 males age 15-18 with a median age of 16.08 years and 47 females with a median age of 16.33 years. The cephalometric radiographs were digitally traced using Coben analysis standards to compare to the original Coben analysis norms and assess any differences in secular trends. Based on the results collected, the following conclusions were drawn: 1. As evidenced by the larger standard deviations in the current study compared to the original study, more individual variation exists among the facial skeletal components that form a Class I occlusion than previously thought. 2. We recommend 3.8° should be used for the S-N angle mean in males age 11-14 and 2.9° for females age 11-14 as opposed to the 7° suggested by the original study 3. The hand tracing method previously employed uses graph paper with the coordinate system enlarged 8% to compensate for the 8% enlargement of the radiographic film. This is no longer necessary when tracing a digital cephalometric radiograph. 4. The distance from basion to articulare in this study is consistently within one standard deviation of the original study's measurements for males and females. This distance appears stable for research purposes. 5. The Coben analysis linear and proportional measurements need not be adjusted due to the vast array of variables present in any population which include, but are not limited to, variation in comparative sample populations, genetics, polymorphisms, or endocrine disrupting chemicals.
Temple University--Theses
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Hepfer, Jonathan David. "Thoughts on contemporary percussion." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1467909.
Повний текст джерелаАнотація:
Thesis (M.A.)--University of California, San Diego, 2009.Title from 1st page of PDF file (viewed Sept. 16, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains sound files of the thesis recital in 44K stereo. and 96K formats. Includes bibliographical references: P. 15.
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Wu, Pak-lai. "City Contemporary Dance Complex." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25956358.
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Chalker, Melissa Grace. "Contemporary Non-objective Art." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18614.
Повний текст джерелаАнотація:
My project, Contemporary Non-objective Art, is a practice-led investigation into the dominant narratives surrounding non-objective or abstract art, and how they can be revisited and reimagined. This project aims to challenge typical and chronological ideologies that have defined non-objective art and to demonstrate a new outlook. Particularly by demonstrating how theatricality in art can be embraced, filling the work with both irony and symbolic weight. Throughout this project I use the term “non-objective art” as a way of describing and focusing on the aesthetic and technical elements of my work and practice. I want to stress that this is a visual language of modernist painting and sculpture as a form of practice— even when it is carrying the historical values of its time. I argue that the modernist narrative has changed, and that this is an important element of contemporary reductive practices—in particular, geometric abstraction. The social and cultural narrative of modernity is now self-consciously inflected with the self-critique that led to postmodernity. This has created new contexts and interests in art practice that are no longer aligned with the reductive idealism of early 20th century non-objective or “abstract” art.1 At a time when artists are struggling to maintain sense of non-objective art, I hope to use this paper and my artwork to add strangeness and irony as a way to find new interest and vitality in non-objective art. My research illustrates a resistance to the principals and ideas of the early 20th century through the 21st century’s visual language of unconventionality.
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Almeida, Danielle Barbosa Lins de. "Icons of contemporary childhood." Florianópolis, SC, 2006. http://repositorio.ufsc.br/xmlui/handle/123456789/88755.
Повний текст джерелаАнотація:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente.Made available in DSpace on 2012-10-22T13:19:44Z (GMT). No. of bitstreams: 1 233574.pdf: 5727795 bytes, checksum: 68344deac2f4e8ccbe6d3908a6af4940 (MD5)
A presente tese investiga o discurso de anúncios de bonecas sob uma perspectiva comparativa. Através da análise de dez anúncios extraídos do website da boneca brasileira Susi e dez anúncios extraídos do website das bonecas norte-americanas The Bratz - campeãs em vendas nos dois países de origem, respectivamente - a pesquisa investiga seus aspectos visuais, contextuais e lexicogramaticais de transitividade, a fim de observar como as práticas sociais dos dois países são refletidas e como estas reforçam determinadas estruturas sociais, tais como as referentes a questões de gênero. O arcabouço teórico adotado visa situar os dados obtidos em sua dimensão contextual, valendo-se de estudos em Sociologia da Infância e Estudos da Criança, bem como da gramática sistêmico-funcional de Halliday (1978;1994) e do trabalho de Kress & van Leeuwen (1996) em semiótica visual. Os resultados da análise verbal e visual dos dados apontam para a representação da figura feminina em posições predominantemente passivas, as quais reforçam a imagem da mulher enquanto objeto de atribuições estéticas e perpetuam as práticas sociais e distinções de gênero à medida que representam o universo feminino em seu compromisso de combinar papéis da esfera pública e da privada. This dissertation investigates the discourse of doll advertisements in a comparative manner. Through the examination of ten Brazilian and ten North-American doll advertisements available on the websites of best-selling dolls Susi and The Bratz, it looks at how the verbal and the visual choices of these advertisements reverberate the social practices of Brazil and the United States and how they reinforce the 'status quo' of existing social structures, such as the ones related to gender issues. The theoretical framework provides the means to connect the contextual with the textual features of the data. For the macro, contextual dimension, it draws on studies on The Sociology of Childhood and Children's Studies as well as on Halliday's (1978; 1994) system of transitivity in order to account for the lexicogrammatical aspects of the advertisements and Kress & van Leeuwen's (1996) work on the interplay between verbal and visual language analysis. The verbal and visual analyses of the advertisements have pointed to the portrait of the female figure in predominantly passive, objectified positions which reinforces women's image as repositories of aesthetic attributes and perpetuates social practices and gender distinctions in representing the female universe in its compromise between the public and private sphere.
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Giacomo, Paola Vanesa de. "Contemporary theory of metaphor." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/94393.
Повний текст джерелаАнотація:
Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2010Made available in DSpace on 2012-10-25T09:24:58Z (GMT). No. of bitstreams: 1 286138.pdf: 2374674 bytes, checksum: 759665ea75cbe36caa23c9f33688b823 (MD5)
Nos últimos trinta anos, a metáfora tem sido observada sob aspectos mais psicológicos e cognitivos, tornando-se objeto de interesse central nas ciências humanas, principalmente na psicologia cognitiva que tem desenvolvido uma grande quantidade de pesquisas dedicadas ao processo de compreensão da metáfora. O objetivo deste estudo é contribuir com um mapeamento das diferentes perspectivas dos pesquisadores brasileiros dedicados à Teoria Contemporânea da Metáfora. Os dados consistem de trezentos e cinco estudos empíricos publicados entre 1998 e março, 2010. A análise mostra que (1) São Paulo foi o estado brasileiro mais frutífero a desenvolver pesquisas no tema e PUC-SP foi a universidade com o maior número de publicações, seguida pela UFJF e a UFSC. Também o GEIM - Grupo de Estudos da Indeterminação e da Metáfora - demonstrou ser o grupo de pesquisa com contribuições mais significantes para o campo; (2) a maioria dos estudos foi conduzida em português como língua materna - principalmente os baseados em Lingüística de Corpus; (3) a investigação brasileira tem sido conduzida de forma qualitativa e possui abundantes pesquisas etnográficas e de ação; (4) há uma tendência em favor do uso da metodologia de Lingüística de Corpus com ênfase no uso das ferramentas fornecidas pelos Laboratórios de língua brasileiros; (5) existe um leque de investigadores que têm observado a metáfora conceitual sob uma perspectiva mais filosófica e semântica; (6) a maioria dos pesquisadores selecionados neste estudo analisaram a indeterminação de significados na língua (real) em uso; (7) Metaphors we live by (Lakoff & Johnson 1980) e sua tradução ao português - pelo GEIM - demonstrou ser indispensável na literatura brasileira. Resultados gerais sugerem que Brasil é um campo fértil e tem explorado a abordagem Lakoffiana da metáfora nas mais diversas áreas de estudo.
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Rambaud, Mathias. "Les représentations chrétiennes dans le roman français contemporain de 1991 à nos jours." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30018.
Повний текст джерелаАнотація:
La réappropriation de l’eschatologie judéo-chrétienne par les doctrinaires politiques du XIXe siècle est un topos de l’histoire des idées ; le soubassement religieux de l’idéologie démocratique du XXe siècle, quoique moins éclatant, est tout aussi réel. Quant à l’art, ouvrant dans un monde ultra-territorialisé le champ de l’extraterritorialité par excellence, il constitue peut-être la dernière altérité du discours rationnel positiviste. La théorie spéculative de l’Art a montré en quoi la littérature se rapproche plus d’un logos que d’une tekhnè, et l’écrivain de la figure du messager plutôt que de celle de l’artisan. En outre, dans sa tentation des origines, l’inspiration artistique appelle la surenchère : de mot en mot, on en vient au Verbe, et d’idée en idée au Saint-Esprit. Qu’il le transpose ou le critique, l’illustre ou le rejette, le livre a toujours entretenu des rapports étroits au Livre — et il y a là plus qu’une simple homothétie médiologique, où tout incipit vaudrait genèse. Parmi les pratiques actuelles de transplantation de l’héritage chrétien dans le roman, rares sont les ambitions architectoniques, les prolongements majestueux ; plus fréquents sont les greffons ou les scories. Fragments d’ensembles qui n’existent plus. Il s’agira donc ici de mettre en lumière ces nouvelles insertions du sacré dans l’univers profane de la littérature et d’en étudier la nature singulière en lien avec l’actuelle société française. Et de démontrer qu’entre modèle descriptif, recours spéculatif et détour narratif, le christianisme, plus qu’un simple référent parmi d’autres, demeure, en dépit d'une sécularisation de la société, l’un des horizons privilégiés de la création romanesque française d’aujourd’huiThe taking back of the Judeo-Christian eschatology by political theorists of the nineteenth century is a topos of the history of ideas. Though it is less obvious, the religious foundation of the democratic ideology of the twentieth century is just as real. As for art, since it is perhaps the last otherness of positivist rational discourse, it leads, in an overterritorialized world, to the extraterritorial field par excellence. The speculative theory of Art showed how literature is much more a logos than a tekhnè, and how the writer is closer to the figure of the messenger than to that of the craftsman. Moreover, in its temptation of origins, artistic inspiration calls for upmanship: word by word, we come to the Word, and from idea to idea to the Holy Spirit. Shall it transpose or criticize it, illustrate or reject it, the book has always had close relations to the Bible – and those relations are much deeper than an simple mediological homothety, where every beginning would count as a genesis. Among the current practices of transplantation of the Christian heritage in the novel, few are architectural ambitions or big extensions; most common are grafts or slags. Fragments of bigger schemes that no longer exist. Our aim is to highlight the new insertions of the sacred in the profane world of literature and to study its unique nature in connection with the current French society. And to demonstrate that between descriptive models, speculative crutches and narrative detours, Christianity, more than a mere referent among others, remains, in spite of society’s secularization, one of the privileged backgrounds of French fictional creation today
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de, Feo-Giet Danielle Karanjeet J. "Fantasies of authenticity, anxieties of culture : global capital, entertainment and cultural nationalism in the contemporary popular cinemas of India and China since 1990." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:39cbae3c-354c-4ebc-be09-386af42f78d0.
Повний текст джерелаАнотація:
My thesis is dedicated to the study of popular, commercial cinema as a force within the discourse of national and personal identity in the rapidly changing mega-economies of India and China, and their diasporas, since the watershed year of 1990. Its purpose is to reveal the unique pattern of like and unlike that exists between the "Social Representations" (Serge Moscovici 2000) of contemporary India and China on screen through a juxtapositional comparative approach, close visual analysis, and the development of original theoretical tools. Tense networks of fantasy and anxiety emerge as popular culture actively circulates their shared experiences of changing global status, uneven economic growth (Gong Haomin 2012), and social change. Transnational subjects, Hua and Desi, arrive on screen ready to carve out culturally inflected modernities, in search of "tradition" and "values" to suit contemporary cultural-nations-beyond-borders. I treat film as consumer product, diegetic entity, and text: hence narrative, visual, linguistic and contextual aspects of over fourteen popular commercial films ("Bollywood" and "Yulepian"), are explored. My analysis comprises two interlocking halves: the first two chapters focus chiefly on identities - Hua and Desi, and diasporic persons. The former, conduits for the cultural nation to re-think modernity, the latter a dreamed vanguard of "claim-staking" ethnicised global consumers, defenders of the cultural nation in the "host" country. Chapters Three and Four focus on genres - comedy and history films. Through comedy, these films create state-serving heterotopias or challenge the status quo; perhaps they build cultural nationalist mythos, or lace cynical questions through lavish history film. To understand internecine relationships between economics, society and the imagination, entertainment film cannot be dismissed - in India and China, where change has had intended and unintended consequences unfolding even as uncertainty looms, I show that fresh study, especially in comparison, is absolutely essential.
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Ferguson, Bruce W. "From sight to site : some considerations regarding contemporary theory in relation to contemporary art." Thesis, McGill University, 1988. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61972.
Повний текст джерела