張經緯. / 論文(哲學碩士) -- 香港中文大學硏究院敎育學部, 1998. / 參考文獻: leaves 64-66. / 中英文摘要. / Zhang Jingwei. / Chapter 第1章： --- 引言 --- p.1 / Chapter 1.1 --- 研究背景 --- p.1 / Chapter 1.2 --- 研究問題 --- p.3 / Chapter 1.3 --- 研究目的 --- p.3 / Chapter 1.4 --- 研究重要性 --- p.4 / Chapter 第2章： --- 文獻回顧 --- p.5 / Chapter 2. 1 --- 美學 --- p.5 / Chapter 2.1.1 --- “自上而下的美´學ح與“自下而上的美´學ح --- p.5 / Chapter 2.1.2 --- 客觀論美學與主觀論美學 --- p.5 / Chapter 2.1.3 --- 美學發展的簡介 --- p.5 / Chapter 2.2 --- 藝術心理學 --- p.6 / Chapter 2.2.1 --- 藝術心理學之始 --- p.6 / Chapter 2.2.2 --- 藝術心理學發展的三大取向 --- p.7 / Chapter 2.3 --- 完形心理學 --- p.9 / Chapter 2.3.1 --- 完形心理學的源起 --- p.9 / Chapter 2.3.2 --- 完形(Gestalt) --- p.10 / Chapter 2.3.3 --- 同型論(lsomorphism) --- p.11 / Chapter 2.3.4 --- 圖形與背景 --- p.12 / Chapter 2.3.5 --- 完形視知覺組織定律 --- p.12 / Chapter 2.4 --- ARNHEIM的完形藝術心理學 --- p.16 / Chapter 2.4.1 --- 視覺思維 --- p.16 / Chapter 2.4.2 --- 形狀與形式 --- p.17 / Chapter 2.4.3 --- 形式與力 --- p.17 / Chapter 2.4.4 --- “美即適´切ح及“美即動力性結構對´應ح --- p.18 / Chapter 第3章： --- 研究方法 --- p.21 / Chapter 3.1 --- 研究對象 --- p.21 / Chapter 3.2 --- 研究過程 --- p.21 / Chapter 3.3 --- 材料 --- p.22 / Chapter 3.4 --- 資料分析 --- p.22 / Chapter 第4章： --- 研究結果及討論 --- p.26 / Chapter 4. 1 --- 砌圖過程 --- p.27 / Chapter 4. 1.1 --- “具意´念ح的創作開端及過程 --- p.27 / Chapter 4. 1.2 --- """乏意´念ح的創作開端及“具意´念ح的創作過程" --- p.28 / Chapter A) --- 漸現式 --- p.28 / Chapter B) --- 頓現式 --- p.29 / Chapter C) --- 速現式 --- p.30 / Chapter D) --- 平衡式 --- p.31 / Chapter E) --- 反覆驗式 --- p.33 / Chapter 4.2 --- 美的解釋 --- p.33 / Chapter 4.2.1 --- 初步個案分析 --- p.33 / Chapter 4.2.2 --- 美的解釋分類歸類過程及架構重建 --- p.33 / Chapter 4.2.3 --- 美的解釋類別要義 --- p.35 / Chapter 4.2.4 --- 美的解釋分類架構 --- p.35 / Chapter 4.2.5 --- 美的解釋分佈與個案組別分佈 --- p.37 / Chapter 4. 3 --- 美的解釋與個人獨特性及經驗的關係 --- p.42 / Chapter 4.3.1 --- 美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.43 / Chapter 4.3.2 --- 美的解釋類別與個人獨特性(包括經驗)的關係---以解釋類別為單位的整理 --- p.46 / Chapter 4.3.2.A --- 形式特質(F0)與個人獨特性 --- p.46 / Chapter A1 --- 視覺元素/構圖原則(Visual Elements/ Compos itional Principles)與個人獨特性 --- p.46 / Chapter A2 --- 表徵(Representation)與個人獨特性 --- p.48 / Chapter 4.3.2.B --- 個人關聯(PR)與個人獨特性 --- p.48 / Chapter B1 --- 自我肯定(Self-assurance)與個人獨特性 --- p.48 / Chapter B2 --- 感覺(Fee ling)與個人獨特性 --- p.49 / Chapter B3 --- 喜好/價值(Liking/Value)與個人獨特性 --- p.51 / Chapter B4 --- 意念（ldea)與個人獨特性 --- p.51 / Chapter 4.3.2.C --- 創作關係(CR)類別與個人獨特性 --- p.55 / Chapter C1 --- 思想空間(Horizon)與個人獨特性 --- p.55 / Chapter C2 --- 創作態度/感受(Attitude/Feeling of Creation)與個人獨特性 --- p.55 / Chapter 4.3.2.D --- 互動 (IN)與個人獨特性 --- p.55 / Chapter 第5章： --- 結論 --- p.58 / Chapter 5.1 --- 研究結果摘要 --- p.58 / Chapter 5.1.1 --- 砌圖過程 --- p.58 / Chapter 5.1.2 --- 美的解釋 --- p.58 / Chapter 5.1.3 --- 美的解釋與個人獨特性(包括經驗)的關係 --- p.61 / Chapter 5.2 --- 研究限制建議 --- p.62 / 參考資料 --- p.64 / 附錄 A---幾何圖形(GEOMETRIC SHAPES)舉隅及其數量與色彩分佈表 --- p.67 / 附錄 B---不規則圖形（IRREGULAR SHAPES)(1:5. 3) --- p.73 / 附錄 C---幾何圖形與不規則圖形色表 --- p.77 / 附錄 D---“GUMMED MOSAICS JUMBO PAC´Kح舉隅 --- p.78 / 附錄 E---創作指引 --- p.79 / "附錄 F---審美訪談(AESTHETIC JUDGMENT INTERVIEW, AJI)" --- p.80 / 附錄 G---美的解釋個案分析 --- p.82 / 附錄 H---美的解釋分類(以個案為單位) --- p.107 / 附錄 I---美的解釋類別要義 --- p.117 / 附錄 J---美的解釋與個人獨特性(包括經驗)的關係---以個案為單位的整理 --- p.125

Conversations about Mortality is a series that uses installation, sculpture, painting, and audio to explore our relationship to mortality. The premise of the work relies on the quote, “The truth is rather than the images, though beautiful in themselves, come to life in the act of vanishing…” The research begins with a recorded conversation with four individuals who have all lost someone they love. The audio explores the memories each speaker has of the deceased. A portrait of the speaker is painted on watersoluble paper with a quote from the conversation laser etched into the back of the painting. The painting is then placed in a water vessel made of plexiglass, and then installed on found raw wood and steel for support. Viewers are encouraged to sit on a provided chair to listen to each speaker. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.

Not available / text

For the past eighty years I have started each day in the same manner. It is not a mechanical routine but something essential to my daily life. I go to the piano, and I play two preludes and fugues by Bach??? It is a sort of benediction on the house??? It is a rediscovery of the wonder of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day it is something new, fantastic, and unbelievable. That is Bach??? a miracle! A whole radiance of space and poetry pours forth from them! They are the very essence of Bach, and Bach is the essence of music. (Casals:1974:17 & 47). Such comments, common among musicians, are usually ignored by the disciplines that study music. This thesis, however, is the result of a decision to take these comments seriously. This thesis addresses the issues of creativity, order and discipline, through the perspective of a sociology and phenomenology of everyday life. The main issues of this thesis are first introduced through Bachelard???s phenomenological study of poetry and Heidegger???s approach to art. Embodied modes of knowing are introduced through Buber???s dialogic I-Thou concept. This is followed by Winnicott???s discussion of creativity and Bohm and Peat???s discussion of order. Discipline is introduced through a counter-analysis of some central sociological theorists on authority and power: Lukes, Foucault and Durkheim. Among other writers influential for the thesis are Eliade on origins, sacred temporality and ???eternal return???, Simmel and Douglas on space, Levinas, Merton, Herrigel and Stendl- Rast on ethics and discipline. Hegel and Sartre on identity-logic and Serres on relational modes of knowing. The main issues are drawn from experiences with music and particularly with the music of J. S. Bach. These experiences raise ontological, cosmological and epistemological questions that are examined in this thesis. The material used in the analysis is drawn from musicians??? experiences and from a variety of sources non-academic and academic.

This thesis is a selective history and critical analysis of collaborations and orthodox models of authorship in international art after 1960. Artistic collaboration in the late 1960s and during the 1970s occupied a special position: redefinitions of art and of artistic collaboration intersected. The thesis focuses on artistic collaborations that came to notice in the 1970s, locating them within the evolution of post-object art, conceptual art, installations, Earth Art, Art and Body Art. (For complete abstract open document)

Thesis (MPhil)--Macquarie University, Division of Society, Culture, Media and Philosophy, Department of Critical and Cultural Studies, 2007. / Bibliography: leaves 241-251. / Introduction -- Re-devising theatre: towards a genealogy of devising practice -- Pre-devising: group formation, development and games -- Devising theatre: This is not an exit -- Conclusion. / This non-traditional thesis explores the practical and theoretical processes of group-devised theatre. The research informing this thesis is derived from two interrelated components - a practical project in group devising, and a theoretical study of alternative theatre, devising methodologies, and performance theory. -- Chapter One defines "devising" before tracing its origins through the development of experimental practices from the historical avant-garde to the present day. These practices include radical disruptions to discursive language and structure, increased multimedia, reconsiderations of the performer's function and the use of improvisation. This genealogy is argued to be a "literature of practice" capable of informing contemporary devising projects, as well as helping to establish the position of devising within contemporary performance theory. -- Chapter Two examines how creative collaborators begin to form and function as a devising group, a period I theoretically term "pre-devising". By examining the experiences of my group, gaps in devising literature concerning group formation and composition are identified, complemented by an investigation into the role of theatre games in building ensemble. -- Chapter Three draws upon the genealogy of devising, devising literature and performance theory to interrogate the process of devising our production, This Is Not An Exit. The theoretical and practical problems of our methods are explored. These methods include organising the group as an artistic democracy, developing naturalistic characters, and establishing a "postmodern aesthetic". By analysing our experiences, this chapter attempts to illustrate the complex tangle of influences informing contemporary performance practitioners, and highlight areas ripe for future critical research. / Mode of access: World Wide Web. / 251 leaves

Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves [51]-54).

Thesis (Ph. D.)--University of Toronto, 2005. / Source: Dissertation Abstracts International, Volume: 66-10, Section: A, page: 3596. Includes bibliographical references (leaves 140-149).

Thesis (Ph.D.) -- University of Newcastle, 2002. / Faculty of Education. Includes bibliographical references (leaves 194-222). Also available online.