Inaug.-Diss.--Berlin. / Lebenslauf.

Inaug.-Diss.--Berlin. / Lebenslauf.

No description available.

No description available.

The monumental paintings that Canadian artist Attila Richard Lukacs (b. 1962, Edmonton) created while in Berlin (after 1986) focus on the themes of desire, power, masculinity, and eroticism. This focus, however, is not only a representation of what he sees, but is also an attempt to order things to a political and ethical end. Using the major works of Michel Foucault ( The Order of Things, The History of Sexuality), the thesis demonstrates how Where the Finest Young Men... (1987) and Authentic Decor (1988), may be interpreted as achieving a fundamental ordering and representation of desire. In particular, the thesis shows how Lukacs intervenes on existing codes and conventions of culture through heterotopia, and how he articulates political, sexual, and ethical choices through a concept of self-forming ethics. / If one is to situate Lukacs' work within the dynamic of heterotopia, and support the claim that these paintings not only intercede on existing codes and conventions, but also manifest ethical choices, then one ought to read the work against a prior understanding of sexual politics proper to the art historical and socio-political moment of the 1970s. The basis of that historical glance is established through the work of General Idea and notions of sexual identity. The sensuosity and pleasure characteristic of mass media entertainment formats, such as beauty pageants and variety shows, is similar to that featured in much of General Idea's work created throughout the 1970s. Importantly, the aesthetics that General Idea embraces in their brand of performance art increasingly becomes evident at the end of the 1970s, with the emergence of the New Painting. An assessment of the so-called "return of painting from exile"---as it appeared in Italy, Germany, and Canada---considers the output of Lukacs' contemporaries. The intention there is to establish whether a newer focus exists in the work of the late 1970s and early 1980s, which supports the hypothesis that what Lukacs aims to do is to order things to a political and ethical end. Upon setting forth an examination of the framework in which Lukacs appears, the dissertation then presents a highly detailed analysis of Where the Finest Young Men... and Authentic Decor, with particular focus on the function of heterotopia in these works. Finally, an explication of power and ethics in Lukacs is proposed through the later works of Michel Foucault, in order to demonstrate how, teleologically, the paintings operate as political, sexual, and ethical choices.

This thesis examines the evidence surrounding the Battle of Nedao, an engagement between Ardaric, leader of the Gepids and other rebelling tribes, and Ellac, the eldest son of Attila. It argues against the claim that, after Attila’s death, it was the sons of Attila who ruined the Hunnic empire through civil war. Instead, the political crisis which inevitably led to the battle was brought about by Attila’s murdering of his brother and co-king, Bleda, in 445 and his intestate death in 453. If there was civil war between Attila’s sons, it did not occur until after Nedao. Furthermore, Ardaric was not of Royal Hunnic status fighting for succession at Nedao. He was, instead, one of the leaders of a rebellion that was not limited to Germanic tribes. The thesis focuses primarily on one source, Jordanes, since his Getica is the only known account of the battle which is not mentioned by any other contemporary source. The paper analyzes both Jordanes as an author and the language in his Getica, finding him not to be the semiliterate copyist of Cassiodorus, but instead underlines his own agency in the organizing of the work. From this broader understanding of Jordanes and Getica, it furthermore determines that he may, in fact, harbor an anti-Gepid sentiment towards the Gepid kingdom of his own day in the sixth century. Jordanes may, therefore, be anachronistically ascribing strength and importance to the Gepids’ role at Nedao, as Gepid-Constantinopolitan tension reached its zenith at the time he composed his work, thereby critically affecting our interpretation of the Battle of Nedao narrative.

No description available.

Made available in DSpace on 2016-06-02T19:39:02Z (GMT). No. of bitstreams: 1 2344.pdf: 10544774 bytes, checksum: 93725fbde8755139e67f8bd4a9be77d6 (MD5) Previous issue date: 2009-02-27 / Financiadora de Estudos e Projetos / This Master s Dissertation introduces a dialogue between music and dance languages in a collective music practice context, more specifically in a community orchestra. With this purpose, the researcher, dancer and dance educator shares her own experiences in the field of Music Education and discusses the interaction developed with some members of the Experimental Orchestra of the Federal University of São Carlos (São Paulo state). The aim of this research is to discuss how experiences and reflections of dance activities can contribute for self perception, perception of the other and perception of music practice in order to benefit humanizing Education. The research includes eight movement themes related to the Choreological study proposed by Preston-Dunlop. They are: Body - whole and parts; Space kinesphere; Space octahedron; Space Shape; Space Projection; Dynamics Time; Dynamics Weight; and Relationships. The interaction meetings included experiences and reflections of dance activities. The methodological approach for the interaction was the context-based Art in Education/ Dance which articulates authors as Paulo Freire and Rudolf Laban main references in this research as well as Fiori, Gainza, Kater, Koellreutter and Marques. Results discuss the speeches from conversation circles proposed at the end of each interaction meeting. Presented in a discursive way, results include the researchereducator s reflections articulated with theoretical references, and point out the contributions of this process for self perception, perception of the other and perception of music collective practice. / Esta dissertação de mestrado apresenta um diálogo entre as linguagens da música e da dança em contexto de prática musical coletiva, mais especificamente em uma orquestra comunitária. Para isso a pesquisadora, dançarina e educadora de dança compartilha suas experiências de inserção na Educação Musical e discute o processo de intervenção realizado com alguns integrantes da Orquestra Experimental da UFSCar Universidade Federal de São Carlos (SP) no primeiro semestre de 2008. A investigação qualitativa teve como objetivo discutir como a vivência e reflexão de atividades em dança podem contribuir para a percepção de si mesmo, do outro e do significado da prática musical em contexto de Orquestra Comunitária de modo a se constituir em uma Educação Humanizadora. A pesquisa aborda sete elementos do movimento relacionados ao estudo coreológico do movimento proposto por Valerie Preston-Dunlop. São eles: Corpo - partes e todo, Espaço - kinesfera, Espaço - Octaedro, Espaço Forma, Espaço - Projeção, Dinâmica -Tempo e Dinâmica - Peso. Estes temas foram selecionados pela pesquisadora a partir da sua inserção no campo onde teve oportunidade de identificar interfaces relevantes para a prática musical do grupo envolvido. Os encontros para intervenção incluíram vivência e reflexão de atividades de dança. Como base metodológica da intervenção foi adotada a Metodologia de Ensino Arte no Contexto/ Dança, que articula autores como Paulo Freire e Rudolf Laban referências centrais deste trabalho, bem como Fiori, Gainza, Kater, Koellreutter e Marques. Os procedimentos utilizados para registro dos dados foram diário de campo e filmagem. Os resultados discutem as falas presentes nas rodas de conversa propostas ao final de cada encontro de intervenção. Apresentados de forma discursiva, trazem reflexões da educadora-pesquisadora à luz do referencial teórico abordado ao longo do trabalho e apontam as contribuições desse processo para percepção de si mesmo, do outro e da prática musical coletiva.