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Thesis.

Thesis (M.F.A.)--Rochester Institute of Technology, 1983. / Typescript. Includes bibliographical references (leaf 21).

張惠文. / "2011年2月". / "2011 nian 2 yue". / Thesis (M.F.A.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 64-68). / Abstract in Chinese and English. / Zhang Huiwen. / Chapter (一） --- 引 言 --- p.1 / Chapter (二） --- 古代中國動物畫 --- p.4 / Chapter 2.1 --- 被觀賞者與觀賞者的關係 --- p.4 / Chapter 2.2 --- 動物作爲人的陪伴和工具 --- p.13 / Chapter 2.3 --- 寄情寓意的媒介 --- p.16 / Chapter (三） --- 二十世紀至當代中國動物畫 --- p.23 / Chapter 3.1 --- 承接傳統，在技巧上創新 --- p.23 / Chapter 3.2 --- 政治愛國的投射 --- p.29 / Chapter 3.3 --- 當代畫家的動物世界 / Chapter i. --- 人類與歷史文明、自然關係的失落 --- p.37 / Chapter ii. --- 個人欲望投射 --- p.40 / Chapter iii. --- 保育的對象 --- p.43 / Chapter iv. --- 寵物的關係 --- p.46 / Chapter (四） --- 結論 --- p.48 / Chapter (五) --- 個人作品分析 / Chapter 5.1 --- 動物家庭系列 --- p.49 / Chapter 5.2 --- 《皮草秀》系列 --- p.51 / Chapter 5.3 --- 《京城棉花糖》系列 --- p.54 / Chapter 5.4 --- 《給我一杯水》系列 --- p.60 / Chapter 5.5 --- 反思和展望 --- p.63 / 參考書目 --- p.64

Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2005. / Typescript. Includes bibliographical references (leaves 289-318). Also available in electronic format on the World Wide Web. Access restricted to users affiliated with the licensed institutions.

Thesis--Copenhagen. / At head of title: J. Brondsted.

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 12 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 4).

From Thesis: Why the animal as our point of departure in this discussion of prehistoric art, and why as a sacred symbol? Prehistoric art stretched over an immensely long period, from the first evidence of the activities of Neanderthal tribes during the Mousterian period, ± 35,000 B.C., to the end of the Magdalenian, ± 8,000 B.C. We are dealing with a time-span of nearly 30,000 years, during which a strictly Zoomorphic attitude existed. The animal was the dominant feature. It was constantly used in the decoration of cave walls, on engraved stone slabs, and on all kinds of utilitarian objects.

Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en images. / To evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images.

Thesis (M.A.)--West Virginia University, 2007. / Title from document title page. Document formatted into pages; contains v, 100 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 97-100).