Thesis advisor: Mary J. Hughes / Thesis advisor: Brian J. Braman / Drawing different people with unique tastes into relationships with one another, the dinner table acts as an anchor for the human community. Though a daily practice for most, can we mark one meal as being more significant, or more influential, or more artistic than another? While we may not consciously realize the forces at work while attending a dinner ourselves, examining the retelling of the shared human experience with meals and meal preparation allow us to analyze more objectively the multi-faceted meanings behind the event. One way in which to do this is through examining the role that mealtime has played in literature. Virginia Woolf's novel, To the Lighthouse, Isak Dinesen's short story Babette's Feast, and Frances Osbourne's biography Lilla's Feast explore the unique human transformation present as their heroine hostesses go beyond simply feeding to truly cater to their guests. Although three very different narratives, the works share the same heart as their presentation of grandiose meals, creative spirit, mystical energy, and ultimate human transcendence express the unique power each hostess has to create warmth in even the coldest of homes.Yet, what about each hostess' artistic, culinary masterpieces, their mode of self-expression, allow those who partake in their creations to better themselves? Can the meal, like art, do anything for the soul? Our psyches can be affected by the ritual act of dining. Through reflection on the communal culinary experience, as presented to us in ready-to-analyze literature, we may almost spiritually experience the art and its encouragement of the perfectibility of our own human natures. / Thesis (BA) — Boston College, 2008. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Philosophy. / Discipline: College Honors Program.

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Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte's first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte's various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexity of Mangolte's practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.

Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte''s first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte''s various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexity of Mangolte''s practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.

Water Motor', der Film mit dem Babette Mangolte 1978 das Solo von Trisha Brown dokumentierte, wird im Kontext anderer Arbeiten von Mangolte als eine spezifische Form, Bewegung zu modulieren und zu reflektieren untersucht. Dabei steht weniger die Indexikalität des Films im Zentrum als vielmehr die filmische Signatur, die Mangoltes Arbeiten verbindet, sowie die Frage, wie sich ihre ästhetischen Entscheidungen mit Diskursen der Filmgeschichte und Filmtheorie verschalten lassen. Anhand von drei Beispielen zeigen die Autorinnen, dass die Filme eine strukturale mediale Dimension freilegen. Mangoltes Filme machen, indem sie eine Wiederholungsstruktur aufweisen, das Problem der Rekonstruktion von Bewegung selbst zum Thema. Das Moment der Wiedererkennung offenbart dabei den Tanz als medial reflektiert.