O poeta e cineasta britânico Derek Jarman, morto em 1994, aos 52 anos, vitimado pela AIDS, é uma figura controversa e polêmica no âmbito da História da Arte. Sua poética faz alusão à liberdade sexual, ao ateísmo, à anarquia e à deformação sócio-política vivida na Europa entre as décadas de 1960 e 1990. Filmes como Sebastiane (1976) e Jubilee (1978) são amostras violentas desse ataque às instituições. Por outro lado, uma observação mais atenta a trabalhos como Blue (1993), Glitterbug (1994) e, sobretudo, Caravaggio (1985), apontam para um projeto estético muito mais elaborado e ambicioso. Observamos nessas obras específicas uma tentativa de releitura da História da Arte num corte sincrônico em relação a seu próprio tempo, e além disso uma busca pela identificação do papel do artista no contexto da História em si, de maneira que vida e obra unam-se simbioticamente num projeto de totalização da poética, da estética e da fenomenologia que envolvem ambas. Este trabalho pretende resgatar a memória do artista Derek Jarman, posto que seu trabalho se perdeu no hermetismo a ele atribuído pela crítica ao longo dos anos que se seguiram à sua morte e, a partir desse resgate, examinar elementos históricos e estéticos presentes em Blue, Glitterbug e Caravaggio, que evidenciam uma releitura da História da Arte à luz da contemporaneidade com vistas a discutir o papel e o lugar do artista no contexto da vida enquanto obra aberta e como ator na transcorrência sincrônica da História. Com isto, a presente tese faz uma excursão pelos anos formativos de Jarman, quando cursou Artes Visuais e quando tomou contato com artistas da vanguarda do pós-Segunda-Guerra, em seguida examina a ocorrência dos efeitos de tal contato em suas obras derradeiras Blue e Glitterbug, para, finalmente, dissecar sua obra Caravaggio em busca de comprovações para nossa hipótese de que Jarman ocupou-se de criticar seu tempo e sua cultura fundindo-se ao personagem do pintor italiano, criando uma vida-obra indissociável em que se verifica o estudo histórico e fenomênico da Arte e, por fim, reavalia os papéis do artista Caravaggio e seu próprio papel em relação ao fazer artístico, dentro de uma compreensão metafísica. / British poet and filmmaker Derek Jarman, who died in 1994 at 52, a victim of AIDS, is a controversial figure in the History of Art. His poetics allude to sexual freedom, to atheism, to anarchy and to the socio-political deformation experienced in Europe between the 1960s and 1990s. Films such as Sebatiane (1976) and Jubilee (1978) are violent samples of this attack on institutions. On the other hand, a closer observation to works such as Blue (1993), Glitterbug (1994) and, especially, Caravaggio (1985) points to a much more elaborate and ambitious aesthetic project. We observe in these specific works an attempt to reread the History of Art in a synchronic cut in relation to its own time, and, in addition, a search for the identification of the artist\'s role in the context of History itself, so that life and work unite symbiotically in a project of totaling poetics, aesthetics and phenomenology that involve both. This work intends to rescue the memory of the artist Derek Jarman, since his work was lost in the hermeticism attributed to him by the critics throughout the years that followed his death and, from this rescue, to examine historical and aesthetic elements present in Blue, Glitterbug and Caravaggio, which show a re-reading of the History of Art in the light of contemporaneity with a view to discussing the role and place of the artist in the context of life as a work in progress and as an actor in the synchronous transcurrency of History. With this, the present thesis makes an excursion in the formative years of Jarman, when he studied Visual Arts and when he made contact with artists of the vanguard of the post-Second World War. Next, it examines the occurrence of the effects of such contact in its works Blue and Glitterbug, to finally dissect his work Caravaggio in search of evidence for our hypothesis that Jarman was concerned with criticizing his time and his culture by merging with the character of the Italian painter, creating an inseparable life-work in the historical and phenomenal study of Art and, finally, re-evaluates the roles of the artist Caravaggio and his own role in relation to artistic making, within a metaphysical understanding.

Omeros, le long poème du Saint-lucien Derek Walcott, est mis en relation avec le recueil Moi, laminaire... du Martiniquais Aimé Césaire et avec le roman Otra vez el mar du Cubain Reinaldo Arenas. Dans ces trois oeuvres, la focalisation sur la Grèce antique permet aux trois auteurs de réinvestir les paysages antillais. Cette pratique du détour constitue une esthétique antillaise commune : le passage par des motifs grecs donne lieu à des constructions textuelles originales de ces paysages antillais. Dans une première partie, nous étudions les stratégies mises en place pour montrer le paysage à partir de sculptures grecques et de personnages grecs incorporés aux paysages. Dans une seconde partie, nous montrons comment l'imaginaire grec nourrit l'art de la métaphore chez Walcott. Dans Omeros, l’artisanat de la pêche [coupe et fabrication des gommiers, sciage et évidage des troncs, navigation, pêche à la nasse] constitue une mise en abîme de la technique walcottienne. La fonction de la mer dans le roman Otra vez el mar confirme l'antillanité de la composition d’Omeros. Dans la troisième partie, nous étudions les relations entre discours et paysages. Chez Walcott, la mangrove permet le renouvellement de la mémoire antillaise de la traite. Chez Césaire, ce milieu lagunaire constitue une réponse métaphorique au contexte politique martiniquais. Enfin, dans Omeros, la représentation de l'oralité créole est associée au motif de la cendre et de la forêt saint-lucienne. Finalement, nous affirmons que la variété des procédés esthétiques chez Walcott se fonde sur la diversité des paysages antillais. / Omeros, the long poem written by the Saint-Lucian Derek Walcott is analyzed in relation with the poetic collection Moi, laminaire… by the Martiniquan Aimé Césaire and with the Cuban writer Reinaldo Arenas’s novel Otra Vez el mar. In their works, the focus on Ancient Greece enables the authors to reinvest the West Indian landscape. This common practice of the detour creates a common West Indian aesthetics: the use of Greek motifs gives birth to original textual constructions of Caribbean landscapes. In the first part, we are studying the strategies set up to portray the landscape through Greek sculptures and characters involved in the landscapes. In the second part, we are showing how the Greek imagination nurtures the art of the metaphor in Walcott’s work. In Omeros, the fishing craft [the cutting of the gommier trees, the sawing and the hollowing out of their trunks, for the building of the canoes, navigation and net fishing] reveals the techniques at work in Walcott’s writings. The function of the sea in Arenas’s novel confirms the West Indian aspect in the aesthetic process of Omeros. In the third part, the relations between discourse and landscapes are brought into light. In Walcott’s work the mangrove allows the renewal of the Caribbean memory of the slave trade. In Césaire’s work, this lagoon environment constitutes a metaphoric response to the Martiniquan political background. Then, in Omeros, the representation of creole orality is linked with the motif of the ashes and the Saint Lucian forest. Finally, we assert that the diversity of Caribbean landscape sets in motion Walcott’s poetics.

Biography and Derek Six''s big five ideas on compliance

No description available.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Jason Brody / Within the past decade, waste landscapes of decaying regional shopping centers and malls have been transformed into new buildings, streets, and towns— otherwise known as greyfield redevelopments. The most successful of these greyfield redevelopment projects are designed as vibrant town centers that exhibit traits of larger 24-hour cities. Unfortunately, landscape has been less relevant within these projects than they have in historical town center precedents. Landscape architecture originated from societal, cultural, and environmental needs and emerged as a profession to meet those needs. Theory, research, and design principles have emerged as well from studying the importance of landscape within the urban realm. Based upon the theory of Landscape Urbanism, landscape should be the primary element of urban order and that landscape architects possess the ability to enhance these multi-disciplinary projects. In CenterScapes, explorative design projects act as experimental subjects for a landscape architecture approach to current successful greyfield-redevelopment-into-town-center design. This masters project illustrates design research in theory, precedent, design principle, analysis, and explorative design through two applications. While both applications exhibit traits of a greyfield-redevelopment-into-town-center typology, one is designed solely by landscape architects and the other is designed by an interdisciplinary team represented by architectural, landscape architectural, and real estate development disciplines. This report functions to reveal the importance of strategically allocated and designed open space to act as catalysts for new town center developments.

Situé au croisement de l'histoire sociale des idées politiques et de la théorie sociologique de l'État, ce mémoire de maîtrise effectue une excursion dans la sociologie historique de l'État de Derek Sayer. À partir de deux ouvrages majeurs de Derek Sayer, soit The Great Arch : English State Formation as Cultural Revolution (Corrigan et Sayer, 1985) et The Coasts of Bohemia : A Czech History (Sayer, 1998), l'auteur tente de retracer l'évolution de la sociologie historique de l'État de celui-ci. Afin d'y arriver, il porte une attention particulière aux différentes transformations axiomatiques (autant thématiques, épistémologiques que méthodologiques) manifestes dans l'analyse comparative de ces deux ouvrages. Plus spécifiquement, ce mémoire cherche à répondre à la question suivante : Qu'est-ce qui amena Derek Sayer à développer de nouveaux outils théoriques et à réorienter ses préoccupations académiques? Par la mobilisation de différents niveaux d'analyse contextuelle (contexte sociolinguistique, contexte sociopolitique, contexte biographique), l'auteur souligne le jeu constant entre ces différents niveaux dans l'éclairage de la trajectoire de Derek Sayer. La conclusion à laquelle arrive ce mémoire est que l'œuvre de Derek Sayer est traversée par plusieurs fils conducteurs qui relativisent la thèse d'un changement radical de sa sociologie historique où matérialisme historique et poststructuralisme se tiendraient aux deux extrémités d'un axe théorique. Le changement de posture théorique est analysé non pas comme une rupture, mais plutôt comme la radicalisation d'éléments théoriques et sociologiques présents depuis le début de sa trajectoire. À partir de l'exemple de Sayer, l'auteur termine en remettant en question l'interprétation que plusieurs marxistes ont faite du passage de la théorie marxiste aux théories postmarxistes. Plutôt que de concevoir cette transition comme une fuite pathologique du marxisme vers le nihilisme, l'auteur montre que ce passage est une façon d'assumer les conséquences de la critique de la réification déjà présente dans certains développements du marxisme occidental. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Derek Sayer, sociologie historique, histoire sociale des idées politiques, théories sociologiques de l'État, capitalisme, abstraction, poststructuralisme.

A stunning poem that draws the attention of the reading public, Omeros is often regarded as the most famous and most successful of Derek Walcott¡¦s works. In one sense, Omeros is the Greek name for Homer, and Walcott chose it for the title of the poem to show his ambition to be a Caribbean Homer, a poet developing an epic from a West Indian perspective. With the epic form and resonant mythic Greek namesakes, Omeros is built upon Walcott¡¦s innate love for St. Lucia. Structurally, the epic form provides the vast framework he needs to describe the multicultural Creole society. However, after a close reading of the text, we can actually find that it does not follow so much the conventions of a classical tradition, since it is not actually a heroic poem. Unlike the superhuman characters in Homeric epics, the male protagonists in Omeros are common people who endure the suffering of individual in exile and try to put down roots in a place where they think they belong. One famous critic, Robert D. Hamner, reads Omeros as an epic of the dispossessed, one in which each of its protagonists is a castaway in one sense or another. In this respect, the male characters are injured (either spiritually or physically). In contrast, the female characters in Omeros, though few in number, play the important roles of heroines to heal the wounds of the male protagonists and to help them trace their roots. This thesis will, therefore, analyze three female characters in the poem. Chapter 1 will focus on Ma Kilman, a black obeah woman. She embodies the memories of the past as well as the connection between African experience and West Indian culture. Through the practice of obeah, a holistic healing method different from Western diagnosis, she is capable of soothing wounds caused by past sufferings. Chapter 2 will examine Maud Plunkett, a white Irish housewife. She represents the physical link between Ireland and St. Lucia due to their inherent similarities ¡Vboth are being colonized with St. Lucia being divided by race and class, while Ireland is split along religious and class lines. Maud¡¦s existence symbolizes the alienation gap on the island; her death, at the end, bridges the gap and relieves historical traumas. Chapter 3 will deals with Helen, an ebony local woman. Appropriating mythical as well as historical allusions, Walcott gives new voice to this Caribbean Helen. She demonstrates her autonomy to male characters and becomes an unapproachable goddess that they attempt to possess. She reestablishes peace and achieves a new harmony in St. Lucia as a way of cross-cultural healing.

This thesis aims to interpret the construction of cultural identity of the Caribbean islands in Derek Walcott¡¦s The Haitian Trilogy: Henri Christophe, Drums and Colours, and The Haitian Earth. To rely on the postcolonial and cultural critics¡¦ study on mimicry, multiple voices and identity construction, I take the construction of cultural identity as a transitional process to fabricate a way to identify with the land that people live on. The colonial background and the postcolonial exploration in the Caribbean islands combined with its diverse racial components, the Caribbeans always experience the predicament in identity construction. Derek Walcott composes his writings from this complex environment and represents the identity formation through continuing observation and exploration. In Introduction, the historical context and the literary development in the Caribbean islands introduce the theme of history and cultural as the common consideration of Caribbean writers; therefore, among their writings, the construction of cultural identity situates a significant position in their writings. The Haitian Revolution plays a significant role in the cultural identity formation in the Caribbean literary writings, since it is the turning point to lead this area from colonization to postcolonial situation, and it inspires writers to review the historical incident and to rewrite the history that they, at this time, write by themselves. Derek Walcott¡¦s The Haitian Trilogy comes not from a planned writing sequel, but from spontaneously reiterative consideration of the Haitian Revolution as a means to write the history of one¡¦s own land and to construct the cultural identity from the self-articulation. Chapter Two¡XHenri Christophe examines the means of mimicry to loosen the colonial control over the colonized and furthermore subvert the colonial power. Chapter Three¡XDrums and Colours portrays the colonial and postcolonial subject relation by way of writing the colonial history and juxtaposing multiple voices of the different classes of characters. Chapter Four¡XThe Haitian Earth aims to demonstrate the struggle to free from the colonization in order to construct the cultural identity from the identification with the land rather than with the remorse of the suffering past. The conclusion collocates the above discussion about the trilogy for the transitional process of the cultural identity formation and illuminates Walcott¡¦s position on the construction of the cultural identity in the Caribbean islands and other similar areas.

Thesis (M.A.) - Carleton University, 2002. / Includes bibliographical references (p. 135-142). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of California, San Diego, 2005. / An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.