Дисертації: "Interrelations of literature and art"

1

Terzis, Timothy R. (Timothy Randolph). "Melville's Vision of Society : A Study of the Paradoxical Interrelations in Melville's Major Novels." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278456/.

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I hold that Melvillean society consists of paradoxical relationships between civilization and barbarianism, evil and good, the corrupt and the natural, the individual and the collective, and the primitive and the advanced. Because these terms are arbitrary and, in the context of the novels, somewhat interchangeable, I explore Melville's thoughts as those emerge in the following groups of novels: Typee, Omoo, and White-Jacket demonstrate the paradox of Melvillean society; Redburn, Moby-Dick, and Mardi illustrate the corrupting effects of capitalism and individualism; and The Confidence-Man, Israel Potter, and Pierre depict a collapsed paradox and the disintegration of Melville's society.

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2

Valente, Liz Fagundes Oliveira. "Space and art – interrelations between architecture and contemporary art at Inhotim." Universidade Federal de Viçosa, 2016. http://www.locus.ufv.br/handle/123456789/8449.

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A presente dissertação é o resultado de uma pesquisa fenomenológica, onde o objeto de pesquisa são as inter-relações entre a arquitetura e as expressões artísticas contemporâneas em Inhotim. A teoria da fenomenologia entende que a experiência sensorial do espaço é também uma função singular da arquitetura. Em arquitetura ela é demonstrada pela manipulação de elementos materiais e imateriais do espaço, a fim de produzir um impacto nos sentidos humanos. Desde a consolidação da arte contemporânea, particularmente da arte pós- objeto2 como arte ambiental, site-specific, new media, instalações e outras que promovem experiências sensoriais, tem se fortalecido a necessidade preservação das relações entre a obra e seu lugar. Mudanças no caráter essencial da arte, como a arte é, tem interferido no formato coerente dos espaços para arte. Portanto, por meio do estudo de caso do Inhotim, a questão central que direciona esta dissertação é como as mudanças nos paradigmas nas artes trouxeram novas conformações arquitetônicas que melhor acomodam a arte contemporânea. Este trabalho é organizado em três escalas de análise dessa inter-relação: (1) a escala do “fato” artístico em relação ao espaço; (2) a escala da galeria em relação ao fato artístico; e, (3) a escala de todo espaço físico do museu, analisando Inhotim como um todo, lendo sua forma que é orientada por percursos, suas paisagens construídas e seu conjunto arquitetônico. O termo “pós-objeto” foi extraido do CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, p. 181–189, Abril de 2011.
This thesis is the result of a phenomenological research study, where the object of the research is the interrelations between architecture and contemporary artistic expressions at Inhotim. The theory of phenomenology acknowledges that the sensory experience of space is also unique function of space. In architecture it is demonstrated through the manipulation of material and immaterial elements of space in order to produce an impact on the human senses. Since the consolidation of contemporary art, particularly post-object1 art such as environment, site-specific, new media, installations and others that convey sensorial experiences, the need to preserve the relationship between the work and its place has strengthened. Changes in what/how art is have interfered in how art spaces are. Therefore, through the case of the Inhotim, the central matter that this thesis seeks to address is how the changes of paradigms in the arts brought about new architectural conformations that better accommodate contemporary art. This work is organized in three scales of analysis of this interrelation: (1) the scale of the artistic fact in relation to space; (2) the scale of the gallery in relation to the artistic fact; and, (3) the scale of the whole physical space of the museum, approaching Inhotim as whole, reading into its path- oriented form, its created landscapes and architectural set. The term “post-object” was extracted from CARRIER, D. The art museum today. Curator: The museum journal. Volume 54, Issue 2, pages 181–189, April 2011.
O autor não apresentou título em português.

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3

Engelhardt, Nina Malaika. "Mathematics in literature : modernist interrelations in novels by Thomas Pynchon, Hermann Broch, and Robert Musil." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7769.

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The focus of this thesis is on four novels’ illustrations of the parallels and interrelations between the foundational crisis of mathematics and the political, linguistic, and epistemological crises around the turn to the twentieth century. While the latter crises with their climax in the First World War are commonly agreed to define modern culture and literature, this thesis concentrates on their relations with the ‘modernist transformation’ of mathematics as illustrated in Thomas Pynchon’s Against the Day (2006) and Gravity’s Rainbow (1973), Hermann Broch’s The Sleepwalkers (1930-1932), and Robert Musil’s The Man without Qualities (1930/32). In the revaluation of mathematics during its foundational crisis, the certainty and rationality of this most certain science is challenged, and the novels accordingly employ mathematics as an example for the dramatic transformation of the modern West, the wider loss of absolute truth, and the increasing scepticism towards Enlightenment values. Crisis, however, also implied some freedoms and opportunities for literature and criticism. When the developing modern notion of mathematics is defined by autonomy and independence from the natural world, it bears traits more commonly associated with literary fiction, and the novels examine the possible convergence of mathematics and literature in the freedom of imaginary existence. The novels thus highlight the unique position of the structural science mathematics in the relation of the (natural) sciences and the humanities and suggest it to escape or straddle the perceived divide between the disciplines. The examination and historicising of relations between fiction and mathematical conceptualisations of the world as introduced in the major works by Pynchon, Broch, and Musil thus also contributes to distinguishing the specific conditions of studying mathematics in fiction in the wider field of literature and science.

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4

Sagerson, Erin Jean. "Art and bread Mike Gold, proletarian art, and the rhetoric of American communism /." [Fort Worth, Tex.] : Texas Christian University, 2009. http://etd.tcu.edu/etdfiles/available/etd-05012009-115428/unrestricted/Sagerson.pdf.

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5

Johnson, Scott. "Systemic concepts in literature and art." Diss., This resource online, 1991. http://scholar.lib.vt.edu/theses/available/etd-07282008-135409/.

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6

Heuser, Manfred Franzmann Majella. "Studies in Manichaean literature and art /." Leiden ; Boston ; Köln : Brill, 1998. http://catalogue.bnf.fr/ark:/12148/cb370364711.

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Diss.--Bonn university, 1992.
Réunit : "The Manichaean myth according to the Coptic sources" / M. Heuser ; transl. by Majella Franzmann et : "Selected studies" / H.-J. Klimkeit. Bibliogr. p. [315]-331 et notes bibliogr.

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7

Guzy, Marta A. "What is art?, Gombrowicz, Eco, and Barthes on art and literature." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0002/MQ42068.pdf.

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8

Nickels, Zachary. "The Art of Loneliness." Kent State University Honors College / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462549085.

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9

Reginio, Robert, David Houston Jones, and Katherine Weiss. "Samuel Beckett and Contemporary Art." Digital Commons @ East Tennessee State University, 2017. https://www.amzn.com/3838210794/.

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This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary art―he is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond.The volume explores Beckett's formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernism's theoretical presuppositions congruent with trends like minimalism and conceptual art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Beckett's work. Perceiving Beckett's ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Beckett's remains, as it were, contemporary artists find endless inspiration.
https://dc.etsu.edu/etsu_books/1182/thumbnail.jpg

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10

Williams, Cheryl Lynn. "Mapping the art historical landscape : genres of art history appearing in art history literature and the journal, Art education /." Connect to this title online, 1997. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1102365647.

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11

Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.

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12

Kelly, Michael R. ""Be living and not dead souls" : Gogol's art of transformation." Connect to resource, 1996. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229698451.

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13

Suarez, Cifuentes Marco. "Corps, gestes, perceptions : Interrelations, articulations et poétiques de l'espace instrumental, acoustique et électro-acoustique." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLET002/document.

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14

Ranyard, Marie Phyllis. "Transcontextual mechanisms in contemporary art music." Thesis, City University London, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264241.

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15

Town, Caren Jamie. "The art of suspended compromise in American literature /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/9453.

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16

Mathewson, Steven D. "The art of preaching Old Testament narrative literature." Theological Research Exchange Network (TREN) Access this title online, 2000. http://www.tren.com/search.cfm?p068-0218.

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17

Gibson, Ebony Z. "Art for whose Sake?: Defining African American Literature." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/aas_theses/17.

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Анотація:

This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment. (3) Black writers should balance aesthetic and political concerns in a text.

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18

Pennee, Donna. "Femicide in the critical construction of The Double hook : a case study in the interrelations of modernism, literary nationalism, and cultural maturity." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28509.

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This thesis participates in a reconsideration of English-Canadian literary critical history through a reading of the critical construction of Sheila Watson's novel, The Double Hook. The thesis examines the rhetoric by which Watson's novel has been read as central to and representative of Canada's literary cultural maturity. That maturity has been measured by such modernist formal principles as the objective correlative and the mythical method, formalist standards and tastes valorized by New Criticism and by the synchronic mythographies of Freudian psychoanalysis, structuralist anthropology, and structuralist literary criticism (such as Frye's mythopoeics). The thesis argues that a structural mechanism of sacrifice is central to the literary critical narrative about this novel; that the myth-making by which violence becomes sacred and thereby marks the establishment, redemption, or survival of culture, is founded specifically on the sacrifice of women in The Double Hook.

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19

Shaw, Phillip. "Personalism in John Donne's Art." TopSCHOLAR®, 2003. http://digitalcommons.wku.edu/theses/566.

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This study examines personalism in John Donne's art: to what extent his poems are a product of his personality over and above conscious invention and artifice. It argues that Donne writes the way he does because, for the most part, he fails to attain distance from his work. The subjects that he writes about regularly are straight from his own life, and his take on them is highly personal. This paper brings in some biographical details but in general is concerned with scrutinizing Donne's writings in order to understand his imagination. Its primary method is to trace the repetition, resonance, and echoes of words, ideas, and themes throughout Donne's opus. Donne uses the same word or phrase repeatedly throughout his writings to dissect a single idea, so this essay discusses letters and sermons at the same time as love poetry and divine poetry. All are the product of a single imagination, and no genre necessarily precludes personalism. The first chapter looks at Donne's approach to art. Because he rarely writes explicitly about art itself, his approach must be reconstructed from his work. An inter-chapter follows, examining the effect of apostasy on Donne's work. The second chapter treats Donne's memories of the past that appear frequently in his poems and prose. The third chapter shows how Donne's formal invention is itself a product of his irrepressible personality, and the fourth chapter looks at his uses of argument and conceit and examines the structure and sources of some of his ideas.

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20

Box, M. "The suasive art of David Hume's writings." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371606.

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21

Galikowski, Maria B. "Art and politics in China, 1949-1986." Thesis, University of Leeds, 1990. http://etheses.whiterose.ac.uk/2287/.

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The objective of this thesis is to examine the complex pattern of the relationship between politics and art in the People’s Republic of China between 1949 and 1986, analysing the three most important aspects of this relationship , namely organisational structures, the ideological framework and political movements. The principal issue addressed in this research is that of how the Communist Party's policies on culture and art have affected the development of art theory and the creative work of artists in China. The thesis consists of four chapters representing the major historical stages of the People's Republic of China. Each chapter focuses on the different manifestations of the relationship between politics and art in aparticular social phase. Chapter one deals with the early formation of the organisational structures , the ideological framework and political campaigns in the arena of Chinese culture and art between 1949 and 1956. Chapter two examines the further development and the vacillating nature of the relationship between the state and artists during the years 1957 to 1966. Chapter three looks at the stormy years of the Cultural Revolution during which the political discourse and artistic work were merged. The fourth Chapter discusses the new trends of Chinese art by describing the newly emerging "self" (individual subjectivity) and the search for modernity in the period of 1978 to 1986. The general methodology employed in my thesis is composed of three dimensions - social, historical and comparative. The analysis of the social conditions and the general account of the historical process are closely combined with individual case studies. A comparative perspective is also adopted in order to reveal the extent of foreign influence. The central argument submitted in the thesis is that art in the People's Republic of China should be seen as an image of social reality. The argument is pursued by a method which seeks to relate art to social-political settings, and to explore not only the aesthetic dimension of artistic work, but also the political discourse embodied in it.

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22

Svensson, Åsa. ""[T]he Free Play of Fantasy" The Interrelations between Ethnicity and Sexuality in Shyam Selvadurai´s Funny Boy." Thesis, Växjö University, School of Humanities, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-2178.

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The goal of this essay is to pursue a reading of ethnicity and sexuality in Shyam Selvadurai’s novel Funny Boy to show the importance of the interrelations between the two and how equally crucial both of these are in order to understand the protagonist Arjie’s journey and search for identity. To investigate the interrelation between ethnicity and sexuality, the analysis makes use of a method of simultaneous consideration that is similar to Mae Gwendolyn Henderson’s focus on “simultaneity of discourse” used by black women writers.

The turning points in the protagonist’s life and search for an identity are crucial and influenced by issues of separation, and the theme of exile is prominent in the novel. Selvadurai uses the theme in several aspects on a number of levels, concerning both ethnicity and sexuality. However, the narrative also allows the protagonist to find an alternative route in exploring his identity as a “funny one”.

These turning points are illustrated by a moving beyond the traditional gender roles and the idea of masculinity in areas of gendered and racialised spaces. Selvadurai shows a people that are ethnically and/or sexually divided while at the same time being linked through words and languages that can give and/or take away possibilities.

Hence, a second aim of this essay is to show that the protagonist overcomes the limitations that society has set by choosing the path that is right for him, a path that allows him to be “funny”.

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23

Toropov, Stephen William. "Interpretation As Art: A Collection and Examination of Ekphrastic Poetry." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429877149.

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24

Woollam, Angela M. "The rhetorical art of some Vernon refrain lyrics." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6051.

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The dissertation considers how the anonymous authors of six moral and religious pseudo-ballade refrain poems first attested in the late fourteenth-century Vernon manuscript (Oxford, Bodleian Library, MS. Eng. poet.a.1) manipulate devices such as speaking persona, word-play, and allegory in ways that support rhetorical strategies hitherto unrecognized in Middle English lyric. The study begins with stemmatic analyses that identify, as far as is possible from the physical record, the archetypal text, or "work," of each poem. Chapter One then provides an overview of scholarship that has focussed on two important technical devices used in the Vernon refrain lyrics-the speaking voice and the refrain---and articulates how the lyrics use those devices in hitherto unrecognized ways. Chapter One concludes by considering the kinds of word-play found in other Middle English literature, in order to define that found in the Vernon lyrics. In the next six chapters, each of the six "works" is considered as a communicative event. Using mainly historicist, formalist, and reader-response methodologies, I explore, for each poem in turn, how the poet moulds language to signify indirectly so that the message is communicated figuratively, and how the implied audience is cast into a specific role vis-a-vis the communicative action in a way that inflects the message. I also explore how the rhetorical strategies of the poems are informed by various theories of signification, which are defined in relation to the socio-linguistic circumstances and philosophical currents of the time, and consider the poems in relation to other medieval, mostly earlier Middle English, lyrics. In the Conclusion, findings are assembled to indicate how the recovery of the Vernon refrain lyrics' rhetorical art expands the parameters that currently define Middle English lyric. I also turn from considering the implied audience of the "works" to considering the historical audience of the Vernon manuscript, and suggest that the recovery of the Vernon refrain lyrics' rhetorical art bolsters theories that maintain the Vernon manuscript was intended, at least in part, for an upper gentry or aristocratic audience, and that its thorough Englishness is more of a polemic assertion of the strength of the English language than a reflection of socio-linguistic conditions.

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25

Boulton, David. "Fine art image classification based on text analysis." Thesis, University of Surrey, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.252478.

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26

吳長和 and Cheng-woo Ng. "References to culinary art in the Shijing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31239122.

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27

Bickley, Pamela Carol. "Rossetti's 'Tributary Art' : medievalism and aesthetic interdependence in the writing of Dante Gabriel Rossetti with some reference to his visual art." Thesis, Royal Holloway, University of London, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251359.

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28

Swirski, Peter. "Poe, Lem, and the art and science of literature." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=40004.

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Transcending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. A critical approach to these writers that ignores the epistemic dimension in their works opens itself to the charge of misunderstanding their artistic goals and aspirations. In my dissertation I thus define, justify, and conduct an interdisciplinary study of Poe and Lem's works.
My project is underwritten by the epistemological assumption that literary works, and notably works of fiction, can make a contribution to knowledge that can be assessed in terms of interdisciplinary criteria. In the first chapter, where I discuss literature and knowledge within the interdisciplinary context, I examine various epistemological arguments in light of my central assertion. Next I examine the concepts involved in the discussion of literary works. Following the pragmatic re-orientation in literary and philosophical aesthetics, many fundamental concepts we take for granted--artworks, fictions, and texts among them--require exact re-examination and definition. Consequently, in Chapters Two and Three I review and refine the recent theories concerning the nature of works of art, the specificity of literary fictions, and the problem of literary interpretations.
My subsequent discussion of Poe and Lem is built on the theoretical base of (literary) epistemology and analytical aesthetics. I study Poe and Lem's literary fictions and theoretical essays, and the contributions they make to various fields of inquiry. In the process I critique, and sometimes refine, the explicit and implicit hypotheses articulated in their works. Specifically In Chapters Four and Five I discuss strategic and game theoretic models in the interpretation of fiction, including the concepts of communication and rationality. In Chapter Six, completing the epistemological circle inaugurated in Chapter One, I discuss the epistemological and cosmological theories proposed in Poe's "Eureka".

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29

Otty, Lisa. "Signals and noise : art, literature and the avant-garde." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.

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Анотація:

One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.

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30

Waite, Noel D. "Adventure and art : literature publishing in Christchurch, 1934-95." Thesis, University of Canterbury. English, 1996. http://hdl.handle.net/10092/6652.

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Анотація:

This thesis charts the evolution of a publishing infrastructure in Christchurch, where a resourceful, and unusually professional commitment to the development of New Zealand literature has been exhibited. Specifically; it presents histories and preliminary bibliographical checklists of Caxton, Pegasus, Nag's Head, Hawk and Hazard Presses, as well as briefly examining the future of the publishing industry in the face of the Whitcoulls takeover and revolutionising computer technology. This examination of the development of a locally based publishing infrastructure provides insight into the development of a New Zealand literary canon, and goes some way towards contextualising the work of writers such as Allen Curnow, Janet Frame, Denis Glover, and Alan Loney. By contrasting the different dynamics that operate in the private presses of Gormack and Loney with the more commercial presses of Caxton, Pegasus and Hazard, the thesis draws attention to the complex relationships existing within institutions of literature production. The extent to which technological change is revealed to influence the development of literary movements emphasises the very public process that intervenes between author's imagination and the supposedly private act of reading. The establishment of an indigenous book culture is then located in a more international context, and is traced from its origins in the renaissance of printing in England in the late nineteenth and early twentieth centuries, through a revitalisation of small presses in the 1970s (and the accompanying re-orientation of the cultural matrix to American models), to the impact of computer technologies in the eighties and nineties. The emergence of a distinct set of bibliographic codes (as per Jerome McGann's formulation of "the textual condition") is also contrasted with contemporaneous developments in the visual arts.

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31

Hoffman, Nicholas D. "The Art of Information Management| English Literature, 1580-1605." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10013556.

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“The Art of Information Management” explores the ways that information technologies influence thought and take shape in imaginative works of literature at the turn of the seventeenth century in early modern England, from 1580 to 1605. Imaginative literature becomes a space for articulating the challenges presented by discourses perceived to have been unalterably expanded and amplified through technology, as well for experimenting with strategies to respond to those challenges.

Drawing on studies of early modern Materialism, New Historicism, Literary History, Digital Humanities, and Media Archeology, this project seeks to move the understanding of the role information technologies as agents of change forward by relocating debates concerning technology to the spaces imagined in early modern English literature of the fantastic: Thomas Nashe’s multi-modal London and ocean-sanctuary Yarmouth, Edmund Spenser’s Faery Land, William Shakespeare and Robert Armin’s holiday Kingdom of Illyria, and Samuel Daniel’s pastoral Arcadia. In each imagined space, this project looks at the printing press and beyond to attendant technologies in order to develop a better understand of the period’s relationship to our own.

The works considered here expose a moment of feverish innovation with regard to the rhetorical construction of authenticity, political expression, and right behavior. The first two chapters argue that the writings of Thomas Nashe and Edmund Spenser reflect a heightened sensitivity to the speed and timings associated with technologically-mediated discourse. The final two chapters examine the efforts of William Shakespeare, Robert Armin, and Samuel Daniel, as they sort through the solidifying perception of discourse structures outpacing traditional modes of thought and learning.

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32

LiBassi, Marguerite. "Specularity in Late Nineteenth-Century French Literature and Art." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/td/4.

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In the mid-to-late 1800s, French writers and artists resolved to shed their Romantic skins in favor of new self-conscious "husks"--to borrow Baudelaire's poetic term--that is to say: Naturalism, Realism, Impressionism and Symbolism. Some of the older reformers found themselves in an awkward, transitional stage contrary to the younger vanguardists who bore no allegiance to the past. The first group included Baudelaire, Flaubert, Courbet, Manet, Degas and Pissarro while the latter listed among its most successful members: Zola, Mallarmé, Huysmans, Morisot, Monet, Renoir and Cézanne. This thesis argues that specularity--a sort of mirror mimesis--was part of the fertile, artistic exchange between these representative writers and artists who shaped nineteenth century French literature and plastic arts during a period of turbulent social and political change. It is important not to conventionalize specular-mimesis into an automatic looking glass response between literature and art. Its primary function in this thesis is to single out, investigate and inter-relate literary and artistic chefs-d'oeuvre which, at times, bear remarkably similar hallmarks, for one reason or another. Given that cultivated conversation was highly esteemed by the Parisian bourgeoisie and held to be an elegant art form by salon and soirée intellectuals, four Dialogues constitute the internal structure of this paper. Each Dialogue is preceded by its own Cadre which serves to introduce and familiarize the reader, using a mise-en-scene framework, with background information that supports the discourse.

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33

Tsaturyan, Christina Ann. "Sport as Art: The Female Athlete in French Literature." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2347.

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The modern conception of organized, codified sport originated in Europe during the 19th century. At this time, instructors began to institute the practice of certain physical activities at school as a means of teaching morals, forming character, and initiating social exchange. Sport is particularly appropriate for forming men because of its public, physical nature. The values it instills—courage, strength, leadership—are also decidedly masculine. What, then, is made of the female athlete? Are the noble qualities that sports affirm inapplicable to women? In this thesis, I argue that female participation in sports often leads to masculinization, unless the sport is transformed into a type of “art” or otherwise feminized by focusing on its ability to enhance feminine roles (e.g. mother). This aestheticization/feminization renders female participation acceptable and allows women to receive their own “formation,” increase their aristocratic elegance, and participate in important social exchange. Sometimes these results come at a cost, such as marginalization or sexualization, but there are far fewer examples of such in the works of female authors. Society generally renounced physicality during the 17th and 18th centuries, and “sport” was an exclusively noble activity, so I will look predominantly at works from the 19th century—the period in which sport became codified, and consequently, “masculinized.” Because the 19th century is often considered a “Renaissance of the Renaissance,” I will also reference the 16th century to set the stage.

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34

Disque, J. Graham, and D. Henderson. "Using Art, Literature, Film and Music in Counselor Education." Digital Commons @ East Tennessee State University, 1995. https://dc.etsu.edu/etsu-works/2837.

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35

Holmes, Barbara. "The decomposer's art : ideas of music in the poetry of Wallace Stevens /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487326511715011.

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36

Hauch, Linda A. "The storyteller's voice: The dialogic art of Elizabeth Gaskell." Thesis, University of Ottawa (Canada), 1991. http://hdl.handle.net/10393/7872.

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Elizabeth Gaskell was a gifted storyteller. Her letters and her fiction attest to an imagination rooted in oral narrative, marked by the digressiveness and dispersiveness of living speech. She wrote her first novel, she said, as if she were "speaking to a friend over the fire on a winter's night," and the dynamic of telling and listening, the model of the oral narrative act, is paradigmatic of her own narrative. The incorporation of a listener's response into the telling of her story has both formal and semantic implications in Gaskell's fiction. It leads to what one critic has called that "congenial shapelessness of a voice expecting at any moment to be interrupted," and as such it can account, in part, for the shapelessness that has traditionally been deemed a formal weakness in Gaskell's art. As she tells her stories in anticipation of the active, often resistant, response of her listener, the stories take shape accordingly, and traditional norms of narrative with their notions of unity, shapeliness and authorial control must be reconsidered. Gaskell's approach stresses the dynamic of varying, often conflicting, voices in relationship with one another, suggesting her view of language and narrative as active agents in a process of exchange and contestation which calls for a redefinition of the nature of meaning in narrative. The shaping activity that occurs as voices come in contact with and question one another shows meaning to be produced through an open movement of relationship and response, not predetermined by finalized definitions; it is constituted through the transforming act of telling and listening. (Abstract shortened by UMI.)

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37

Jaleel, Nuzhat. "The metaphysician in the dark : T.S. Eliot consciousness art." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275746.

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38

White, R. H. G. "Freud's memory : textuality, art and the problem of mourning." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286635.

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39

Christie, James. "Fredric Jameson and the art of Modernism." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/60251/.

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The primary subject of this thesis is the work which Fredric Jameson has published since the year 2000. It argues that this date has functioned as a kind of watershed in thinking about Jameson, and that the work which appeared after it has not yet received close or rigorous enough critical attention, especially in comparison to his very widely read and discussed work of earlier decades; in particular his various writings from the 1980s on the subject of postmodernism. It claims that as a consequence the full significance of this writing has been broadly overlooked. The thesis identifies the existence of a 'modernist turn' within this later work which is focussed around three texts in particular; A Singular Modernity of 2002, Archaeologies of the Future of 2005, and The Modernist Papers of 2007. It claims that the mutation in regard to modernism which takes place in these works, and the emergence of modernism as the central concern of Jameson's thinking, is not just valuable in itself in terms of the wider contemporary movement within the academy towards an interest in global forms of modernity. It also constitutes a highly significant revision on Jameson's part of the foundations of much of the vast body of far more canonical work which preceded it. The aim of the thesis is to explore this revision and to effect a subsequent movement in the view of Jameson's thinking onto a far more firmly modernist footing. In asserting the value of this modernistic rethinking of Jameson's oeuvre the thesis argues for a resituating of Jameson's thought in relation to two wider theoretical traditions. The first of these is the Frankfurt School, and in particular the form of modernism associated with Theodor Adorno. The second is the current of post-structuralism contemporary with Jameson's 1980s work; in particular the alternative, post-structural model of postmodernism laid out by Jean-François Lyotard, and the deconstructive form of reading associated with Paul de Man. This argument takes place in four chapters. The first discusses the construction of modernism which occurs in Jameson's key works of the 1980s. The second outlines the revision which this construction is subjected to by his later modernist works. The final two chapters then develop the significance of this model of modernist revisionism by using it to intervene in two of the most widely-discussed and controversial areas of Jameson's career to date; the question of totality (the subject of the third chapter), and Jameson's engagement with the subject of 'Third-World Literature' (the subject of the fourth).

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40

Rausch, Juliana Adele. "The New Journalism as Avant-Garde Art." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/443068.

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Анотація:

English
Ph.D.
Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic.
Temple University--Theses

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41

Lazarides, Marcus. "The writings of Walter Sickert and the 'new art criticism'." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285027.

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42

Anderson, Michael J. "Images of the Ilioupersis in Early Greek art and poetry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239383.

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43

Pearn, Julie. "Poetry as a performing art in the English-speaking Caribbean." Thesis, University of Sheffield, 1985. http://etheses.whiterose.ac.uk/1796/.

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This thesis seeks to demonstrate that there is a direct relationship between the emergence of poetry as a performing art in the English speaking Caribbean and phases of nationalist agitation from the uprisings against unemployment, low pay and colonial neglect during 1937-8 to the present. Though the poetry has many variations in scope, ranging from light-hearted entertainment, its principal momentum has been one of protest, nationalism and revolutionary sentiment. The thesis seeks to relate tone, style and content both to specific periods and cultural contexts, and to the degree of engagement of the individual artist in the political struggle against oppression. Frequently theatrical, the poetry has commanded a stage and a popular audience. Though urban in style, it is rooted in older, rural traditions. Creole, the vernacular of the masses, is a vital common denominator. The poetry is aurally stimulating, and often highly rhythmic. The popular music of the day has played an integral part, and formative role in terms of composition. The fundamental historical dynamic of the English-speaking Caribbean has been one of violent imperialist imposition on the one hand, and resistance by the black masses on the other. Creole language, with its strong residuum of African grammatical constructs, concepts and vocabulary, has been a central vehicle of resistance. It is a low-status language in relation to the officially-endorsed Standard English. The thesis argues that artists' assertion of Creole, and total identification with it through their own voice, is a significant act of defiance and patriotism. Periods of heightened agitation in the recent past have each led to the emergence of a distinctive form of performance poetry. Chapter two examines the role of Louise Bennett as a mouthpiece of black pride and nationalist sentiment largely in the period preceding independence. Her principal aim is the affirmation of the black Jamaican's fundamental humanity. She uses laughter both as a curative emotional release and as an expression of mental freedom. She lays the foundations of a comic tradition which does not fundamentally challenge the contradictions of the post-independence period. Chapter three relates the emergence of the Dub Poets of Jamaica to the development of Rastafarianism into a mass post-independence nationalist revival, and to the contribution of intellectuals, most symbolically Walter Rodney, to the process of decolonization. Reggae music, the principal creative response to the dynamics of the period both in terms of lyrics and rhythmic tension, infuses the work of Michael Smith, Cku Onuora, Mutabaruka and Erian Meeks examined in this study. Chapter four illustrates the development of performed poetry in the context of periods of insurrection and revolution in the East Caribbean. It examines the Black Rower movement as a stimulus to cultural nationalism and revolutionary sentiment, and its transcendence to internationalism and socialism in the context of the Grenada Revolution. Abdul Malik straddles and exemplifies the creative dynamic which exists between urban, industrial Trinidad and its tiny, rural and poor neighbour, Grenada.

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44

Chakravorty, Bhaswati. "Art and the artist in the poetry of William Morris." Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304554.

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45

Palmer, Sean. "Henry James, women's rights and the art of political evasion." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301896.

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46

Kelly, Julia. "The autobiographer as critic : the art writings of Michael Leiris." Thesis, Courtauld Institute of Art (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.265295.

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47

Bartlett, Mark. "Chronotopology and the scientific-aesthetic in philosophy, literature and art /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.

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48

Platt, Verity J. "Epiphany and representation in Graeco-Roman culture : art, literature, religion." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422525.

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49

Sutherland, Helen Margaret. "The function of fantasy in Victorian literature, art and architecture." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/5183/.

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In this thesis I examine the ways in which the Victorians used fantasy in literature, art, and architecture to explore the main areas of debate and key issues which were giving rise to anxiety in their society, in some cases upholding the status quo, but in others questioning accepted social mores. In particular, I consider the ways in which fantasy was used to examine what happens in a society when its traditional religious beliefs are challenged, either by commercialism as an economic creed, or by the acquisition of new knowledge, be this in the realm of science (theories of evolution) or the humanities (the new biblical criticism from Germany). Following on from this, I look at the possible alternatives to traditional religious belief which fantasy seemed able to offer to an age which appeared to need spirituality without dogma. I argue that one of the strategies most commonly adopted by the Victorians in the creation of fantasy is the disruption of time, and I consider the part played in literature and art by medievalism, and in architecture by the Gothic style and the Gothic Revival movement. This is followed by an examination of the role of Classicism in architecture, and ancient mythologies, such as Greek, Hebraic, or Babylonian, in literature and art. Finally, I consider the use of geological time as a point of departure in creating scientific fantasies. Given the very close links between the arts until the advent of aesthetic criticism at the end of the nineteenth century, I have drawn freely upon the visual and the literary arts. The main emphasis is, however, on literature and painting, with architecture playing a lesser, though still important, part in this thesis.

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Wootton, Sarah. "Consuming Keats : nineteenth-century re-presentations in art and literature." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339951.

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Дисертації з теми "Interrelations of literature and art"

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