This thesis is an investigation into the construction of ephemeral phenomena through material means and at multiple scales. Studies utilized abstract methods that are not immediately relatable to the scale of occupable architecture but at the same time convey inhabitability. These investigations informed the design of an art gallery for Virginia Polytechnic Institute and State University and the town of Blacksburg, Virginia. / Master of Architecture

Reckoning is a body of sculptural work that explores the emotional resonance contained within memory through a combination of personal ephemera and handcrafted objects. The physical presence of this work underscores the importance of its materiality, in both the handmade and collected objects, in emphasizing their ability to conjure a memory. Reckoning evokes the intangible emotions and overwhelming sensations that accompany the act of remembering, and an inability to forget. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2020. / FAU Electronic Theses and Dissertations Collection

32% of the Archive explores memory, loss, and the power of ephemera through recording and re-presenting objects from a personal archive. Through uniform recording, framing, and treatment of the art objects, 32% of the Archive, attempts to neutrally display personal objects so the audience can objectively investigate the material. The gesture falls short of impartial, though, for the specificity of the subject and the enormity of the act carries an emotional charge. Beyond presenting data, this work reflects a sincere effort to remember and preserve, to puzzle and piece together, to pay homage to what is lost in the transience of life. These re-presentations recall the concept of the indexical image. It is not the thing itself but the trace of the thing. It is not the moment itself but the conjured memory of the moment and the place and the people who inhabited it. Struggling to find the appropriate distance from these personal objects reflects the ambivalence of love, loss, and memory. But this is the true power of the photograph--to preserve and keep present that which is ephemeral.

An exploration of the various ephemeral sources of Bernini's Fountain of the Four Rivers. This thesis brings together other authors' observations of Baroque ephemera. Additional sources are proposed by the author to create a more complete discussion of the fountain and its relationship with Baroque ephemera.

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Dans cette thèse entreprise entre les études littéraires et intermédiales et l’histoire et la critique des arts, nous articulons le rapport de compatibilité entre l’impératif promotionnel auquel doit répondre l’artiste aux fins de promotion de son oeuvre et les conséquences éthiques générées par sa réponse. Nous y analysons notamment les réponses d’artistes dont les pratiques furent classées sous la rubrique de la critique institutionnelle. Par l’entremise d’une série d’études de cas, notre analyse couvre une période historique qui traverse la fin des années 1960 jusqu’au tournant 1990 (Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo, Andrea Fraser). Nous avons opté pour une méthodologie composite, empruntant à l’analyse du discours et à l’histoire et à la critique des arts. En prenant comme cadre de référence les dernières recherches de Michel Foucault sur les questions de l’éthique et de la critique, la portion de l’oeuvre de Judith Butler qui concerne l’éthique et la performativité, l’analyse pragmatique de Mieke Bal et les analyses sociologiques de Pierre Bourdieu, nous proposons une relecture d’une sélection d’objets littéraires et visuels issus de l’appareil publicitaire et dont le statut et la fonction sont marqués par l’ambivalence, combinant – sans en annuler l’effectivité – la critique à la promotion. Nous démontrons ainsi que les aspérités de la critique peuvent être conservés dans l’espace apriori inapproprié de la publicité, et que cette critique relève de l’éthique. En somme, nous démontrons comment l’articulation de la critique à l’éthique concerne l’ethos de l’artiste, mais aussi celui de l’universitaire. / In this thesis, written between several disciplines (intermedia and literary studies, art history and art criticism), I aim to examine the relationship of compatibility between the promotional imperative artists are compelled to adopt in order to publicize their work via institutions, artists’ response to this imperative, and the resulting ethical consequences. My analysis focuses on this response as articulated by artists whose practices are characterized by criticality and reflexivity, and who have been classified under the rubric of institutional critique. Through a series of case studies, I cover a period spanning the late 1960s to early 1990s, with a focus on the work of Marcel Broodthaers, Louise Lawler, Christopher D’Arcangelo and Andrea Fraser. I aim to address this lacuna by way of a broad-based methodological approach, drawing from discourse analysis, art history and art criticism. Using a referential framework that encompasses Michel Foucault’s later research on ethics and critique, Judith Butler’s work on ethics and performativity, the pragmatic analyses of Mieke Bal, and Pierre Bourdieu’s sociological examination, I propose a rereading of several literary and visual objects that, while produced in a promotional context, are characterized by a certain ambivalence of status and function, combining as they do critique and promotion in such a way as that both modes remain operative. In this sense, I hope to demonstrate that the sometimes abrasive nature of critique can be maintained within the ostensibly unsuitable space of promotion, and that this critique is fundamentally ethical in nature. In sum, I will show how the articulation of ethical critique has bearing on the ethos of both the artist and the academic.

My dissertation studies gender and politics in printed imagetexts in colonial Bengal. It covers the period from the publication of the Bengali Punch Magazine, Basantak, in 1874 to the circulation of anti-imperial newspaper gags during WWII. At the core of this project are colonial illustrated periodicals—the quintessential mediums of colonial modernity and pedagogy, and the bearer of anticolonial imagetexts. The dissertation analyzes printed imagetexts like comics, cartoons, caricatures, newspaper gags, posters, and advertisements in periodicals and their effects on anti-imperial thought and the politicization of colonial popular culture. Imagetexts are synthetic mediums where ‘image’ and ‘text’ compositely create meaning. I argue that the printed imagetexts understood nationalist politics and gender through the stereotypes of English-educated babu, native politician, and the urban clerk. Imagetextual satire, for anticolonial and nationalist politics, framed these three stereotypes as both the oppressor and the oppressed in relationship to which other genders were conceived in colonial Bengal. These imagetextual stereotypes provided the bases for imagining the self and the other and a set of sensibilities, practices, and modes of sociability that defined late colonial South Asia. The circulation, co-existence, and deployment of these satirical discursive models for decolonial projects in English and vernacular illustrated periodicals stemmed from the nineteenth-century phenomenon of print erotophobia—the national and imperial fear of Indian erotic literature. I examine the imagetextual satire born in the wake of this print erotophobia at the intersections of class, gender, and nationalist politics. This cultural history of imagetexts also draws attention to the fictional properties of the colonial archival documents, which served as mediums of political exclusion and representation, history-recording, storytelling, and articulating nationalist sentiments.

A presente dissertação tem por objetivo apresentar a degradação da experiência humana na modernidade a partir do diagnóstico feito por Walter Benjamin. Para tanto, num primeiro momento, parte-se de um rápido percurso da história da filosofia a fim de delinear o conceito de experiência e analisar um dos primeiros textos em que Benjamin trata diretamente do assunto, “Sobre um programa da filosofia vindoura”. Num segundo momento, busca-se demonstrar como vai acontecendo a decadência da experiência a partir do ensaio “Experiência e pobreza”, em que Benjamin considera que aos pobres de experiência resta apenas assumir uma nova barbárie. O tema também aparece em “O narrador”, em que o autor demonstra o aniquilamento de uma experiência, outrora sinônimo de sabedoria e autoridade, consolidada por meio de sua transmissão de geração em geração, própria de uma organização coletiva, comunitária, ritualística e artesanal. As formas narrativas correspondentes são sintomáticas deste processo de esfacelamento da experiência: a narração - que vigorava no solo de um tempo onde ainda tinha-se tempo para contar e ouvir histórias - fora substituída pelo romance, caracterizador dos indivíduos isolados e solitários, e este, por sua vez, substituído pela informação jornalística, forma narrativa fragmentada e desconexa. Analisar a questão da experiência (erfahrung) em Walter Benjamin é contrapô-la à noção de vivência (erlebnis). Na esfera da vivência, saturada de eventos e sensações, resta ao ser humano a capacidade de reagir a esses estímulos (reportando à noção de choque em Freud). A memória (e seu correlato – o esquecimento) é imprescindível à experiência, mas perante os choques, o ser humano só armazena suas vivências na camada mais superficial da consciência, impossibilitando recursos para a experiência estética ou poética. Num terceiro momento, procura-se, nesse estudo, fazer um diálogo entre as constatações e os conceitos da filosofia da experiência benjaminianas com algumas imagens literárias, buscando, na literatura, elementos que vicejam a reflexão filosófica. O conto de Jorge Luis Borges - “Funes, o memorioso” - e o trecho de “Cem anos de solidão”, de Gabriel Garcia Marquez, sobre a doença do esquecimento, são preciosos mananciais para esse fim. Por último, problematiza-se a constatação da degradação da experiência na modernidade. Discute-se a possibilidade da realização da experiência, bem como o resgate de seu aniquilamento provocado pelas idiossincrasias da contemporaneidade e, ainda, quais espaços propiciariam este possível resgate. / This thesis presents the degradation of human experience based on Walter Benjamin’s diagnosis of it. In order to do that, firstly a brief overview of the history of philosophy is presented so as to delineate the concept of experience and analyze one of the first texts in which Benjamin directly deals with the subject (“Sobre um programa da filosofia vindoura” – “On the Program of the Coming Philosophy”). Secondly, the decadence of experience is demonstrated in the essay “Experiência e pobreza” (“Experience and Poverty”), in which Benjamin considers that the poor of experience are left with only taking on a new barbarism. That theme is also dealt with in “O narrador” (“The Narrator”), in which the author demonstrates the annihilation of an experience once synonymous with wisdom and authority, consolidated through its transmission from generation to generation and proper to a collective, communitarian, ritualistic, and artisanal organization. The corresponding narrative forms are symptomatic of that process of experience ruin: narration, which thrived at a time when one had time to tell and listen to stories, was replaced by the novel, a characterizer of isolated and lonely individuals. The latter, in its turn, was replaced by journalistic information, a fragmented and disconnected narrative form. Analyzing the issue of enduring experience (erfahrung) in Walter Benjamin means opposing it to the notion of fleeting experience/ephemera (erlebnis). In the sphere of fleeting experience/ephemera, saturated with events and sensations, the human being is left with the capacity to react to those stimuli (reminding us of Freud’s notion of shock). Memory (and its correlate – oblivion) is essential to enduring experience, but in the presence of shocks, the human being only stores his fleeting experiences/ephemera on the most superficial layer of consciousness, precluding resources for the aesthetic or poetic experience. At a third moment, this study promotes a dialogue between the realizations and concepts mentioned above and some literary images, searching in literature for elements which cause philosophic reflection to bloom. Jorge Luis Borges’ short story “Funes, o memorioso” (“Funes the Memorious”) and the extract from Gabriel García Marquez’s Cem anos de solidão (One Hundred Years of Solitude) about the disease of forgetfulness are precious sources for that end. Lastly, the realization of the experience ruin in modernity is discussed. Is it still possible to have an enduring experience and rescue it from its annihilation caused by the idiosyncrasies of contemporary times? What possible spaces would allow that rescue?

The aim of my master’s thesis has been to examine the situation of the price lists in the National Library of Sweden, in Uppsala University Library and in the Nordiska Museet Library. The starting point was that the institutes have been operating within different institutional practices. These operational differences between the institutes have affected the collecting, the organizing and the accessibility to the information of the price lists. My master‘s thesis is based on Birger Hjørlands theories of domains and knowledge organization. The main sources of the information in the thesis are interviews conducted with informants within these three institutes. The findings of the study show that the main differences in how the institutes have been organizing the price lists, results from the different assignments the institutes have in collecting the material. Based upon the facts that have emerged in the interviews, some general and some specific problem areas have been highlighted. These problem areas have been discussed in the thesis and possible solutions in how to proceed have been presented.

p.37の史料1、史料2およびp.38-39は都合により掲載しておりません