Thesis (MA (Psychology))--University of Pretoria, 2008. / Includes bibliographical references. Available on the Internet via the World Wide Web.

Forman, D .: Curious World. Possibilities of applicatiom of the theme in pedagogic practise. [Diploma thesis] Prague 2015 - Charles University, Faculty of Education, Department of Fine Arts, 79 p. (Attachments 7 artistic realizations - oil paintings small and medium size) The thesis is based on a comprehensive comparsion of major interpretation avant-garde art and the modernist thinking, which determined crucially interpretation of the most important events in the art history of 20th century. This work brings together three major confrontations looks at the intentions of selected representatives of avant-garde art and focuses on problematic moment of "interruption" the progression of the avant-garde by socialist realism. Three positions are views of art theorists Clement Greenberg, Theodor Adorno and Boris Groys. Didactic part of this thesis is realized by art education series, which is inspidated by this topic. It focuses on understanding the most basic principles of geometric abstraction, constructivism and abstract expressionism by students. The artwork is also inspired by this topic, it contains the collection of oil paintings. Keywords: avant-garde, kitsch, socialist realism, interpretation of art, art discourse, comparsion, Greenberg, Groys, Adorno

Работа посвящена изучению характерных особенностей публичных выступлений. Объектом исследования являются особенности речей современных американских кинорежиссеров, а предметом – дискурсивные особенности речей современных американских кинорежиссеров в рамках арт-дискурса. Цель исследования – выявить характерные особенности речей современных американских кинорежиссеров в рамках арт-дискурса. Материалом данного исследования послужили интервью семи современных американских кинорежиссеров (Ричарда Линклейтера, Пола Томаса Андерсона, Стивена Содерберга, Квентина Тарантино, Ноа Баумбаха, Уэса Андерсона, Дэвида Финчера) об их недавно вышедших в прокат фильмах и о киноискусстве в целом. В первой части работы рассматриваются множественные определения понятий дискурса и раскрываются особенности дискурс-анализа как комплекса подходов и методов. Далее для практической части работы из всех подходов выбирается подход критического дискурс-анализа Т. ван Дейка как более оптимальный по средствам осуществления и по результатам, которые позволяет получить. Во второй части исследования применяется выбранный подход и проводится дискурс-анализ эмпирических материалов, транскрипты которых размещены в приложениях. В результате исследования удалось обнаружить, что большое количество общих особенностей речей кинорежиссеров находится на лексическом и фонетическом уровнях языка. Главными сходствами в речах режиссеров являются использование разговорной лексики, терминов и специальных слов, употребление дискурсивных слов, заполнение пауз звуками и применение элизии. Актуальность исследования обуславливается тем, что киноискусство – один из самых влиятельных инструментов аудиовизуального воздействия на общественное сознание. Аудиовизуальность в наше время все чаще становится значимым атрибутом современной массовой культуры, позволяя реализовывать манипулятивные стратегии и оказывая скрытое воздействие на человеческое подсознание. Эти факторы подтверждают необходимость многомерного и междисциплинарного изучения медиапространства и медиапродуктов, принадлежащих ему. Данное исследование расширяет представление о дискурсе в сфере искусства. / The work is devoted to the study of salient features of public speeches. The object of the study is the features of the speeches of modern American filmmakers. The subject of the research is discursive features of the speeches of modern American filmmakers within the framework of art discourse. The objective of the research is to identify salient features of the speeches of modern American filmmakers in the framework of art discourse. The material of the study is the interviews with seven modern American filmmakers (Richard Linklater, Paul Thomas Anderson, Steven Soderbergh, Quentin Tarantino, Noah Baumbach, Wes Anderson, David Fincher) about their recently released films and cinematography in general. In the first part of the work, multiple definitions of the notion of discourse are considered and features of discourse analysis as a complex of approaches and methods are revealed. Then, for the practical part of the work, T. A. van Dijk’s approach of critical discourse analysis is chosen from all the approaches as the more convenient in terms of the implementation and the results that it allows to obtain. In the second part of the study, the chosen approach is applied and the discourse analysis of the empirical materials is carried out. The transcripts of the interviews are placed in appendices. As a result of the study, a large number of common features of the filmmakers’ speeches is found at the lexical and phonetic levels of the language. The main similarities in the speeches of the filmmakers are the use of colloquial vocabulary, terms, special words, discursive words, filling pauses with sounds, and the use of elision. The topicality of the research is determined by the fact that cinematography is one of the most influential tools of audiovisual effect on social consciousness. Audiovisuality is becoming a significant attribute of modern mass culture, allowing the implementation of manipulative strategies and having a hidden impact on the human subconscious. These factors confirm the need for the multidimensional and interdisciplinary study of the media space and media products belonging to it. This study expands the understanding of art discourse.

Community art is a multidisciplinary practice that was engendered by two main perspectives on art; a functionalist approach and an ‘art as essential to humanity’ approach. These differing ideological positions led to the construction of polarizing dichotomies that divided the field of practice and stagnated the community art discourse. This thesis re-visions community art as transformative community art (T.C.A.) to integrate a diverse range of practice into a distinct, recognizable field, transcend the binaries inherited from its founding fields, and identify the field as an innovative artistic movement and radical practice for social change. In this thesis T.C.A. is employed as a framework for theorizing practice. Threats to T.C.A. from funding structures, cooptation, and institutionalisation are explored and strategies of resistance identified. The concept of T.C.A. is mobilized to identify areas for future work; raising questions and ideas that can contribute to advancing a more complex, nuanced, and productive discourse.

Community art is a multidisciplinary practice that was engendered by two main perspectives on art; a functionalist approach and an ‘art as essential to humanity’ approach. These differing ideological positions led to the construction of polarizing dichotomies that divided the field of practice and stagnated the community art discourse. This thesis re-visions community art as transformative community art (T.C.A.) to integrate a diverse range of practice into a distinct, recognizable field, transcend the binaries inherited from its founding fields, and identify the field as an innovative artistic movement and radical practice for social change. In this thesis T.C.A. is employed as a framework for theorizing practice. Threats to T.C.A. from funding structures, cooptation, and institutionalisation are explored and strategies of resistance identified. The concept of T.C.A. is mobilized to identify areas for future work; raising questions and ideas that can contribute to advancing a more complex, nuanced, and productive discourse.