Дисертації з теми "Liminal landscape"
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Iyengar, Varsha G. "Liminal Landscapes: Conditioning Climates on the Chicago Riverfront." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1553618489377804.
Повний текст джерелаMiller, Catherine Annalisa. "Earth. Water. Sky. The Liminal Landscape of the Maya Sweatbath." Diss., Virginia Tech, 2013. http://hdl.handle.net/10919/52636.
Повний текст джерелаPh. D.
Parrott, Jennifer Mae. "Ghostly Faces and Liminal Spaces: Landscape, Gender, and Identity in the Plays of Marina Carr." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/dissertations/196.
Повний текст джерелаBurdick, Elizabeth. "Rediscovering the Ruderal: An Alternative Framework for Post-Industrial Sites of Accumulation." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306868718.
Повний текст джерелаFoster, Jeremy Adrian. "The poetics of liminal places : landscape and the construction of white identity in early 20th century South Africa." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287901.
Повний текст джерелаZandi, Sophia. "Grotesque, Bodily, and Hydrous: The Liminal Landscapes of the Underworld In Homer, Virgil, and Dante." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1625864941501779.
Повний текст джерелаSola, Jiménez Rocío. "El País de los Sueños de Alfred Kubin: Cartografías del paisaje interior del artista." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/670941.
Повний текст джерелаAlfred Kubin’s Traumland portfolio (1922) is the most personal and complex, yet understudied, work of the artist’s career. By comprehensively analysing his life and works, context and personal writings, this thesis explains Kubin’s portfolio as a project for mapping his inner landscapes, which draw directly from his oneiric experiences and from the bond with his environment. The study is framed within the context that embraced the beginning of Expressionism until 1920, and assesses the importance of the Kubinian works within that period. The image of the city in Expressionism is analysed through different typologies exhibited in Art and Literature, to which Kubin contributed. Concepts of Stimmung, heterotopia, and ‘collective memory’ are applied to explore his artistic shift from city to nature, something shared with other artists of the interwar period. The synthesis of findings culminate in the technical and symbolic analysis of Traumland and the prototype of the Kubinian landscape.
Alfred Kubins Traumland Mappe (1922) ist das persönlichste und komplexeste, denoch das am selten berücksichtigste Werk des Künstlers. Nach einer ausführlichen Analyse von Kubins Leben, Werk, Zeitrahmen und privaten Schriften, präsentiert diese Doktorarbeit die Mappe als Projekt zur Abbildung seiner Innenlandschaften, die sich aus seinem Traumerleben und der Verbindung mit seiner Umgebung schöpfen. Diese Untersuchung wird zwischen dem Ursprung des Expressionismus bis 1920 eingerahmt, unter besonderer Hervorhebung des kubinischen Werkes. Das Bild der Stadt im Expressionismus wird durch verschiedene Typologien analysiert, die Kunst und Literatur betreffen, an denen Kubin beteiligt war. Durch Konzepte wie Stimmung, Heterotopie und „kollektives Gedächtnis“ wird der Wandel vom Stadtbild zur Natur untergesucht, der Kubin mit anderen Künstlern aus der Zwischenkriegszeit teilte. Die Synthese unserer Ergebnisse gipfelt in einer technischen und symbolischen Analyse des Traumlandes und des Modells der kubinischen Landschaft.
Burton, Carrol Duane. "Off the page, on the page, and into the cyberspace screen, bringing together liminal states and the pedagogy of bricolage on virtualized landscapes." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40134.pdf.
Повний текст джерелаHanley, Roger. "Margin walker - a theatre of disembodied poetics." Thesis, 2014. http://hdl.handle.net/1959.13/1042424.
Повний текст джерелаThis exegesis, which is essentially an auto-ethnographic account, examines the particularities of my photographic practice, which has been forged and elaborated over a period of years, and which coalesced into an exhibition titled Margin Walker - A Theatre of Disembodied Poetics. The questions and concepts that are inevitably and tangentially raised by its singular style are interrogated. Margin Walker invites investigations into the nature of photographic truth, which are approached through applying pataphysical and surrealistic constructions in the directorial mode, using analogue large-format photography. Time and space are distorted and elevated to unfamiliar dimensions by what I call the process-exposure, an ever-evolving method whereby a dense temporal layering on the negative occurs. This enables me to create an unfamiliar, or even recondite, vision of the liminal landscape. It is one which, given that I do not apply post-production manipulations to the images, I argue is a literal recording of time and light, and thus, even impossible photographs are available for the interpretation of being truthful. An overview of the nature and style of Margin Walker is given in the first chapter, A Theatre of Disembodied Poetics. Here, the notion of a fundamental paradox upon which my photographs hinge, which structures and enables the work, is introduced. In the following chapter, Estrangement, Displacement, Belonging, I explore the primary motivations of the work, which derive from personal psychology. That very private realm is not just motivation, but it shapes the work in conceptual and practical terms as well. The chapters Nothing and Beingness, and then Periphery and Centre, ponder, respectively, the qualitative temperament of the photograph, and of the landscape, especially as they exist in the peculiar milieu of Margin Walker. I then, in Thinking Sideways, Building Backwards, use a number of ‘case studies’ of individual photographs as a matrix in which to explore not only their particular idiosyncrasies, but also the ways in which they serve more generally to illustrate and illuminate themes and motifs which occur throughout the larger body of work. Lastly, I consider the work of some contemporary photographic artists whose work I find of special interest; and I then review how my work has, over the years, been received in the wider world, and how it is shown in a culminating exhibition, in December, 2013.
Barber, Natalie. "The Way They Never Were: Nationalism, Landscape, and Myth in Irish Identity Construction." 2014. http://scholarworks.gsu.edu/rs_theses/47.
Повний текст джерелаTaylor, C. J. "Collapsible Time: Contesting Reality, Narrative And History In South Australian Liminal Hinterlands." Phd thesis, 2017. http://hdl.handle.net/1885/131791.
Повний текст джерелаBrown, Heather Kathleen. "A Giant's Quiet Decay: The Latency of Superior North." Thesis, 2012. http://hdl.handle.net/10012/6753.
Повний текст джерелаBrown, Liam David Renshaw. "Death in the City: The St. Lawrence Funeral Centre." Thesis, 2012. http://hdl.handle.net/10012/6756.
Повний текст джерелаVenter, Willem Pretorius. "Landskapskildering as ver-beeld-ing van die liminale in geselekteerde werke van Pauline Gutter / Willem Pretorius Venter." Thesis, 2014. http://hdl.handle.net/10394/12212.
Повний текст джерелаMA (History of Art), North-West University, Potchefstroom Campus, 2014
Hay, Anne Persida. "Physical and metaphysical zones of transition : comparative themes in Hittite and Greek Karst landscapes in the Late Bronze and Early Iron ages." Diss., 2021. http://hdl.handle.net/10500/27463.
Повний текст джерелаWhile there is increasing interest in the effect of landscape on ancient imagination, less attention has been paid to the impact of restless karst hydrology on ancient beliefs. By identifying shared themes, this study compares and contrasts the way Hittites and Aegean people in the Late Bronze and Early Iron Ages reshaped peripheral karst landscapes into physical and imagined transitional zones. Karst geology underpins much of the Aegean and Anatolian landscape, allowing subterranean zones to be visible and accessible above ground via caves, springs, sinking streams, sinkholes and other unusual natural formations. In both cultures, certain dynamic landscapes were considered to be sacred porous points where deities, daemons, heroes and mortals could transit between cosmic realms. Evidence suggests that Hittites and Aegean people interpreted dramatic karst landscapes as liminal thresholds and spaces situated between the world of humans and the world of deities. Part One investigates physical zones of transition via the karst ecosystems of rural sanctuaries. Part Two considers the creative interpretation in myth and iconography of karst phenomena into metaphysical zones of transition. The examples reveal the way in which Hittites and Aegean people built their concept of the sacred on the extraordinary characteristics of karst geology. Numinous karst landscapes provided validity and a familiar reference point for the creation of imagined worlds where mortal and divine could connect.
Vandag is daar toenemende belangstelling in die effek van die landskap op die verbeelding van die mensdom in die oudheid - maar minder aandag word bestee aan die impak van die rustelose karst landskap op die mens se gelowigheid in die oudheid. Deur die identifisering van sekere gemene temas, vergelyk hierdie verhandeling die manier waarop die Hetiete en die Egeïese volkere in die Laat Brons- en vroeë Ystertydperke die omliggende karstlandskap herskep het in fisiese en denkbeeldige oorgangszones. Die Egeïese en Anatoliese landskap bestaan grotendeels uit karst geologie, met tot gevolg dat ondergrondse zones bo die grond sigbaar en toeganklik is in die vorm van grotte, bronne, sinkgate en ander uitsonderlike natuurlike formasies. In beide bogenoemde kulture is sekere landskapstonele beskou as heilige en poreuse punte waar gode, demone, helde en sterwelinge tussen die kosmiese zones kon beweeg. Die getuienis van die tyd suggereer dat die Hetiete en die Egeïese volkere die dramatiese karst landskappe as grense of drempels tussen hulle wêreld en dié van die gode beskou het. Deel Een ondersoek die fisiese oorgangszones deur te kyk na die karst ecostelsels waarin plattelandse heiligdomme hulle bevind het. Deel Twee beskou die kreatiewe gebruik van karst verskynsels as voorstellings van metafisiese oorgangszones in die gekrewe bronne en ikonografie. Die geselekteerde voorbeelde dui aan die manier waarop die Hetiete en Egeïese volke hulle konsepte van heiligdom gebaseer het op die buitengewone verskynsels van karst geologie. Numineuse karst landskappe het hulle idees gestaaf en ‘n bekende verwysingspunt uitgemaak waar die menslike en die goddelike met mekaar in kontak kon kom.
Ngenkathi intshisekelo ekhulayo yethonya lokwakheka komhlaba emcabangweni wasendulo, kunakwe kancane umthelela we-karst hydrology engenazinkolelo ezinkolelweni zasendulo. Ngokukhomba izingqikithi okwabelwana ngazo, lo mqondo uqhathanisa futhi uqhathanise indlela amaHeti nabantu base-Aegean kweLate Bronze kanye ne-Early Iron Ages abuye abuye abumbe kabusha imigwaqo ye-karst yomngcele ibe yizingxenye zesikhashana zomzimba nezicatshangwe. I-Karst geology isekela kakhulu indawo yezwe i-Aegean ne-Anatolian evumela ukuthi izindawo ezingaphansi komhlaba zibonakale futhi zifinyeleleke ngaphezu komhlaba ngemigede, iziphethu, imifudlana ecwilayo, imigodi yokushona nokunye ukwakheka okungokwemvelo okungajwayelekile. Kuwo womabili amasiko izindawo ezithile eziguqukayo zazithathwa njengezindawo ezingcwele zokungena lapho onkulunkulu, amademoni, amaqhawe nabantu abafayo bengadlula phakathi kwezindawo zomhlaba. Ubufakazi bukhombisa ukuthi amaHeti nabantu base-Aegean bahumusha imidwebo emangazayo yekarst njengemikhawulo yemikhawulo nezikhala eziphakathi komhlaba wabantu nezwe lonkulunkulu. Ingxenye yokuqala iphenya izindawo eziguqukayo zomzimba ngokusebenzisa imvelo ye-karst yezindawo ezingcwele zasemakhaya. Ingxenye Yesibili ibheka ukutolikwa kokudala kunganekwane nakwizithonjana zezinto ze-karst kube izingxenye eziguqukayo zenguquko. Izibonelo ziveza indlela abantu abangamaHeti nabantu base- Aegean abawakha ngayo umqondo wabo ongcwele ngezimpawu ezingavamile ze-karst geology. Amathafa amahle we-karst ahlinzeka ngokusebenza kanye nephuzu elijwayelekile lesethenjwa lokwakhiwa kwamazwe acatshangelwe lapho abantu abafayo nabaphezulu bangaxhuma khona.
Biblical and Ancient Studies
M. A. (Ancient Near Eastern Studies)
Joubert, Christiaan Johannes. "Die verhouding tussen ruimte en identiteit in Eben Venter se prosakuns : ballingkapliteratuur en die postkoloniale diskoers." Thesis, 2017. http://hdl.handle.net/10500/22690.
Повний текст джерелаThis dissertation presents a non-empirical and a conceptual analysis of the relationship between space and identity in the works of prose of Eben Venter (1954) within the context of the postcolonial discourse and exile literature. The manifestation of the space-identity dialectic, as portrayed in Venter’s writing, is described on the basis of postcolonial theories and insights related to terms and concepts like space, place, exile, diaspora, spatial displacement, sexual migration, intra-national migration, international migration, empirical and cultural landscapes and identity as a social-cultural construction. For the purpose of this study the following narratives were selected: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot en Brouhaha (2010). At a juncture of mass migration, global uncertainty, transnational capitalism and radical decolonization in the form of violent crime, violent protests at universities, hate speech, farm murders, land reform, labour unrest, xenophobia and the dismantling of minority rights, Venter addresses an assortment of social issues. This include: the aftermath of apartheid, the Afrikaner-diaspora, landownership, the ideological appropriation of land, racism, homophobia, queer-migration, the viability of an inclusive African-identity and the altered role, place and identity of Afrikaners since 1994. The autobiographical element is evident in Venter’s writing and is discussed by referring to the relationship between fictional and real spaces and to autobiography as a hybrid genre and creative project. This study also presents a critical-analytical reflection of Venter’s involvement with writing topics such as self-imposed exile, estrangement between place and self, global displacement/non-belongingness and “exile as a discontinuous state of being” (Said: 2000: 177). One of the key insights Venter demonstrates in his writing, is that space, like identity, is not an essentialist concept, but an incomplete and diffuse construction that is constantly changing depending on socio-political interventions, international migration patterns and the individual's subjective perception of places.
Afrikaans and Theory of Literature
D. Litt. et Phil. (Afrikaans)
"Teachers’ mo(u)rning stories: A living narrative inquiry into teachers’ identities on emergent high school inquiry landscapes." Thesis, 2013. http://hdl.handle.net/10388/ETD-2013-08-1154.
Повний текст джерела