1 Abstract The thesis "The image of a woman in the press at interwar Czechoslovakia" deals with the visual presentation of a woman who was an integral part of the First Republic press. The thesis attempts to provide an analysis of selected periodicals (magazines especially for women) in terms of the depiction of women. The thesis surveys the changes in society and lifestyle in this epoch of our history which complements the cultural-historical background of the time and familiarity with contemporary press. The thesis focuses primarily on issues of women's emancipation, which were at that time very current and projected also into all areas of the art. Emancipation influenced significantly the whole Czech artistic creation. We can find some evidence especially in the press, which also mediated the reflection of period. The thesis focuses only on the most important press at these times with regard to its scope. Eva revue was especially important for emancipatory efforts and is compared here with men's magazine Gentleman and avant-garde magazine ReD. The main part of the thesis focuses on the actual image of women, generally and in specific cases. The thesis deals with the image of a woman in selected sections of the interwar women's magazines - fashion, sport and motoring. The thesis compares some newspapers...

A Poem Carved in Stone, a work for piano solo by Washington DC-based Chinese composer Wu Yiming was composed in Spring 2020 and is dedicated to the author of this dissertation. The piece is inspired by the poetry of Han Shan, a recluse who lived during the Tang Dynasty (618-907 A.D.). His poetry is in Chan (Zen) tradition. Wu depicts the imagery and philosophy in Han Shan's poetry through highly complex rhythms, extreme sound effects and pitches, tone clusters, and extended piano techniques. This dissertation provides practical instructions for achieving these effects and executing the unconventional techniques found in this piece, which include playing inside of the piano, various standing and sitting positions, and coordination and balance. A guide to interpret this piece is from both the composer's and the performer's perspective. Observations are drawn directly from communications and coaching received from the composer. This study briefly explores the historical and cultural context of Han Shan's poetry and discusses how Wu's use of modern western compositional devices reflects the Zen philosophy. An interview with the composer is included along with an overview of both his compositions and those of composers who influenced him. It is hoped that this dissertation will encourage pianists who are not experienced with non-traditional techniques to explore new music from living composers.

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This study examines the ideological shift towards right-wing conservatism within specific segments of the Polish contemporary art scene following the Law and Justice Party (PiS) rise in 2015. The party's cultural policies, aligned with nationalist and right-wing ideologies, brought significant changes to institutions like Ujazdowski Castle Centre for Contemporary Art (CSW), reflecting a broader trend seen in Poland for many years. Through the exhibition Sztuka Polityczna (2021) at Ujazdowski Castle Centre for Contemporary Art, this study investigates the conservative discourse shaping Polish art. The study employs Actor-Network Theory (ANT) and Critical Discourse Analysis (CDA) to map the actors, networks, and power dynamics influencing the exhibition's discourse. Utilizing political scientist Andrew Heywood's pillars of conservatism, the study analyzes the interplay between conservatism and contemporary art, focusing on CSW's director Piotr Bernatowicz’s trajectory toward a conservative outlook on contemporary art. The analysis of Sztuka Polityczna reveals the influence of "avant-garde conservatism," a theory formulated by philosopher Paweł Rojek, that merges populism, culture war rhetoric, conservatism, and national identity to redefine conservatism in modern Poland. Bernatowicz's role in promoting issues like cancel culture underscores the exhibition's unconventional discourse. While the study acknowledges the limitations of a single exhibition's scope, the systemic influence of conservative tendencies on Polish contemporary art suggests a broader trend with potential future ramifications for the European art scene. The findings underscore the possible instrumentalization of contemporary art to conform to political ideologies.

[ES] La presente Tesis aborda el cine de no ficción construido en base a reglas preestablecidas, constricciones o estrategias formales heterodoxas. Piezas fílmicas y videográficas radicales en su forma y en su aproximación a lo real que desafían las convenciones del cine documental y se vinculan con otras prácticas artísticas. Esta investigación teórico-práctica se centra, por un lado, en la búsqueda y análisis de obras de no ficción con una clara vocación minimalista, ligadas al documental de vanguardia, el cine experimental y el videoarte, que se fundamentan en estrategias muy precisas, no como un mero hecho anecdótico, sino como elemento básico que determina la construcción de las mismas. La selección de los filmes y de los videos se ha llevado a cabo analizando sus cualidades para establecer tipologías de estudio y definir la base de modelos teóricos de análisis. Según la técnica o mecanismo utilizado, las cualidades de las películas que se analizan se basan en la restricción del espacio-tiempo, la elección de un único dispositivo formal o algoritmo que estructura toda la pieza, el empleo de estrategias reduccionistas en las que se omiten procedimientos esenciales del cine (como el abandono de la cámara o del montaje) o el uso de fórmulas propias del juego (como el azar o la participación), entre otras. No obstante, nuestro propósito no es tanto hacer un ejercicio de clasificación como de análisis y comprensión de estas fórmulas renovadoras que abren nuevas vías en el cine de lo real. Asimismo, a partir del análisis anterior, nos hemos propuesto idear y generar fórmulas (reglas del juego) que puedan servir de soporte a nuevas obras, ya sean propias o de otros y que presentamos en forma de catálogos y, además, hemos puesto en práctica algunas de estas estrategias en obras videográficas propias e inéditas. / [CA] La present Tesi aborda el cinema de no ficció construït sobre la base de regles preestablides, constriccions o estratègies formals heterodoxes. Peces fílmiques i videogràfiques radicals en la seua forma i en la seua aproximació al real que desafien les convencions del cinema documental i es vinculen amb altres pràctiques artístiques. Aquesta investigació teoricopràctica se centra, d'una banda, en la cerca i anàlisi d'obres de no ficció amb una clara vocació minimalista, lligades al documental d'avantguarda, el cinema experimental i el videoart, que es fonamenten en estratègies molt precises, no com un mer fet anecdòtic, sinó com a element bàsic que determina la construcció d'aquestes. La selecció dels films i dels vídeos s'ha dut a terme analitzant les seues qualitats per a establir tipologies d'estudi i definir la base de models teòrics d'anàlisis. Segons la tècnica o mecanisme utilitzat, les qualitats de les pel·lícules que s'analitzen es basen en la restricció de l'espaitemps, l'elecció d'un únic dispositiu formal o algorisme que estructura tota la peça, l'ús d'estratègies reduccionistes en les quals s'ometen procediments essencials del cinema (com l'abandó de la càmera o del muntatge) o l'ús de fórmules pròpies del joc (com l'atzar o la participació), entre altres. No obstant això, el nostre propòsit no és tant fer un exercici de classificació com d'anàlisi i comprensió d'aquestes fórmules renovadores que obrin noves vies al cinema del real. Així mateix, a partir de l'anàlisi anterior, ens hem proposat idear i generar fórmules (regles del joc) que puguen servir de suport a noves obres, ja siguen pròpies o d'uns altres i que presentem en forma de catàlegs i, a més, hem posat en pràctica algunes d'aquestes estratègies en obres videogràfiques pròpies i inèdites. / [EN] This thesis deals with non-fiction cinema built upon the premise of pre-established rules, constraints or heterodox formal strategies. Radical filmic and videographic pieces both in terms of their form their approach to reality that defy the conventions of documentary cinema and are related to other artistic practices. On the one hand, this theoretical-practical research is centred around the search and analysis of non-fiction works with a clear minimalist vocation, linked to avant-garde documentary, experimental cinema and video art, which are based on very precise strategies, not just as a mere anecdote, but rather as a basic element that determines their construction. The selection of films and videos has been carried out by analysing their qualities to establish study typologies and hence define the basis for theoretical analysis models. Depending on the technique or mechanism used, the qualities of the films that are analysed are based on the restriction of space-time, the choice of a single formal device or algorithm that structures the entire piece, the use of reductionist strategies in which essential cinema procedures are omitted (such as abandoning the camera or montage)or the use of game-related formulas (such as chance or participation), among others. Nevertheless, our purpose is not so much to carry out a classification as to analyse and understand these renovating formulas that open up new avenues in the cinema of reality. Similarly, drawing from the previous analysis, we have suggested to devise and generate formulas (rules of the game) that can serve as support for new works -whether they are our own or those of others- and that we present in the form of catalogues and, in addition, we have put into practice some of these strategies in our own and unpublished videographic works. / Marín Ramos, R. (2022). Reglas del juego: Pautas, constricciones y dispositivos creativos en el cine de no ficción [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183361

Montréal Trigonix inc. 2018

Cette thèse étudie le processus de variation continue comme une trame de fond de l’oeuvre complète de Gherasim Luca, afin de mettre en valeur ses aspects plastiques et phoniques, leur articulation ainsi que la façon dont la pictopoésie et l’ontophonie participent à l’autogénération textuelle. Considérant l’oeuvre à la croisée des arts, l’analyse souligne la structure des espaces textuel et iconique. Elle s’intéresse en outre aux figures (personae) émergeant d’une esthétique protéiforme et à l’espace figural du langage, mettant aussi à l’épreuve la théorie deleuzienne de la variation continue pour en montrer les ressorts et les dépassements. Enfin, la mise en oeuvre organique, phonique et linguistique del’ontophonie interroge les voix/voies nouvelles établies par la poésie orale et la médiopoétique, ménageant un accès vers l’analyse de la répétition et de la reformulation en tant que genèse infinie. / The aim of this PHD is to study the process of the continuous variation, as the guiding principle for the complete works of Gherasim Luca. The purpose is to highlight both its plastic and its phonic aspects, how they work together, and also the way pictopoésie and ontophonie help create a perpetual selfgenerated text. Since the works stand at the crossroads of several arts, this analysis underlines the structure of the iconic and textual spaces. One of the axis of research, that focuses on the persona, as it emerges from a protean aesthetics, and on the figurative space proper to language, calls thus intoquestion Deleuze’s theory of “continuous variation”, while showing its internal mechanism and its exceedance. Finally, the phonic, the linguistic and the physical performance, in staging the ontophonie, brings into question the voices and the media as a means, established by the oral poetry and the mediopoetics, granting access to an analysis based on endless repetition and reformulation.

1 Abstract The thesis focuses on the involvement of Jiří Mařánek in the management of the Film Department of the Ministry of Information during the years 1945 - 1948. His ministe- rial engagement is related to the contemporary strengthening of the importance of literary preparation of the film and to the associated state dramaturgical supervision. Jiří Mařánek belongs to the circle of writers connected on one hand through their affiliation with the interwar avant-garde movements, on the other hand by their postwar involve- ment in the power apparatus that ended by the political and economic changes in the late forties and fifties. His professional fate speaks about the changes of cultural policy of the state, about the institutional development of the cinema and about the relations between literary and cinematic arts. It is a testimonial of what a successful professional career meant for a man of letters and what relationship it had to the cinema. We follow therefore a relatively brief but breakthrough episode of a writer and retired officer in the position of the Ministerial Counsellor, and we try to place its course and causes into a complex network of historical and social contexts and personal motivation. Focusing on this personality unburdened neither by a historical uniqueness, fundamental role of...

Ecrivaine bolivienne des années 30 - oubliée jusqu'aux années 90- Hilda Mundy s'est fait connaître notamment à la fin de la guerre du Chaco (1932-1935) et dans l'immédiat après-Guerre comme chroniqueuse humoristique à Oruro, sa ville natale. Ses chroniques sont autant d'exemples d'une écriture des moeurs, critique et satirique de la bonne société de son temps et notamment à l'égard d'une morale hypocrite et bigote. Satire des puissants, les écrits d'Hilda Mundy viseront également les travers et les scandales de la vie politique de l'époque ainsi que la montée du militarisme qui se profilait à la fin de la guerre ; ceci marquera le destin de l'écrivaine sous le signe de la censure. Son seul livre Pirotecnia, ensayo miedoso de literatura ultraista, publié à La Paz en 1936, est la suite de cette écriture des formes brèves, centrée sur la désacralisation des symboles du pouvoir. Les thèmes de la ville moderne, de la technique, du jeu et de l'attaque contre la tradition, présents aussi dans ses écrits parus dans la presse, constituent l'univers avant-Gardiste de Pirotecnia. Mouvement et méfiance sont au coeur de cette littérature moderne qui dit moi. Le moi de l'écriture mundyenne, riche de son hétéronymie, est porteur d'un projet poétique propre à une esthétique des arts scéniques où le masque dont on parle le plus est celui de la parole. / A Bolivian writer in the thirty's - forgotten until the 90's - Hilda Mundy became known especially at the end of the Chaco War (1932-1935) and in the immediate post-War period as a humouristic columnist in Oruro, the town where she was born. All her columns are instances of a literature of manners, on which she turns a critical and satirical eye. Her remarks on hypocritical and sanctimonious moral standards of her time are particularly scathing. Hilda Mundy's texts satirize the powerful and target the faults and scandals of political life, and the rise of militarism which was looming at the end of the war. This marked the destiny of the writer under the sign of censure. Her only book, Pirotecnia, ensayo miedoso de literatura ultraista, published in La Paz in 1936 remains loyal to this type of writing, favouring short texts and focused on deconsecration of power symbols. The themes of the modern city, of technology, games and gambling and the attack on tradition, which are also present in her press articles, made up the avant-Garde universe of Pirotecnia. Movement and mistrust are at the heart of this modern literature, which is written in the first person. The self of Hilda Mundy's writing is enriched by its heteronymy and continues a poetic project related to an aesthetics of scenic arts, where the most important mask is that of language.