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Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision. / Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.

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One significant feature of this dissertation is an alternative reading of an eminent thinker of the Enlightenment such as Kant, specifically in the arena of art theory and art history. In so doing, one cannot claim that contemporary theory is free of past shortcomings that characterize the assumptions of the Enlightenment; neither should we forget that the past contains the seeds for future theoretical and practical directions. The focus of this dissertation is to elucidate how Kant's conception of fine art can be reinterpreted in such a way that it can be perceived as both Modernist and Postmodernist. Initially, I state the position of Kant in terms of a Formalist understanding of art. This focus on the form of an artwork coheres with certain basic Modernist tenets. Kant's aesthetics is shown to converge with that of the Modernist art critic, Clement Greenberg. Based on this Modernist reading of Kant, I analyze the paintings of Newman and Hoffman, who are both Abstract Expressionists. Thereafter, I question Kantian and Modernist aesthetics with the use of Postmodern theories. The Formalist work of Abstract Expressionism is critiqued first from the perspective of Pop art strategies and then by using the philosophical stance of Conceptual art. Lastly, Kant is reinterpreted in the light of Postmodern theories, such as the linguistic turn, the sublime and the metaphorical nature of art. In exploring the overlapping of Kant's aesthetics with Postmodernism, the boundaries between Modernism and Postmodernism become somewhat blurred. In this way, Newman is reevaluated in such a way as to eschew a purely Formalist critique and to offer a critical perspective closer to a Postmodern viewpoint. / Art History, Visual Arts & Music / (M.A. (Art History))

高慧玲. / 手稿本(複印本) / Thesis (M.A.)--香港中文大學, 1991. / Shou gao ben (fu yin ben) / Includes bibliographical references (leaves 87-99). / Gao Huiling. / Thesis (M.A.)--Xianggang Zhong wen da xue, 1991. / Chapter ´第¡章 --- 音樂的意義 / Chapter （一） --- Hospers的觀點 --- p.3-6 / Chapter （二） --- 對Hospers的駁斥 --- p.7-11 / Chapter （三） --- 音樂與符號 --- p.Dec-18 / Chapter （四） --- 表徵與表現 --- p.19-22 / Chapter ´第Ł章 --- 表徵論 / Chapter （一） --- 三種符號 --- p.23-26 / Chapter （二） --- 歌曲與表徵作用 --- p.27-31 / Chapter （三） --- 樂曲與表徵作用 --- p.32-51 / Chapter ´第Ø章 --- 表現論 / Chapter （一） --- 「表情」的三個向度 --- p.52-57 / Chapter （二） --- 音樂與情感的抒發 --- p.58-60 / Chapter （三） --- 音樂與情感的喚起 --- p.61-66 / Chapter （四） --- 音樂與情感的顯露 --- p.67-76 / 總結 --- p.77-79 / 註釋 --- p.80-86 / 書目 --- p.87-99

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Thesis (M.F.A.)--Georgia Southern University, 2007. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." Under the direction of Patricia J. Walker. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 37-38) and appendices.

Thesis (M.F.A.)--Georgia Southern University, 2007. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Fine Arts." In Art, under the direction of Patricia J. Walker. ETD. Electronic version approved: May 2007. Includes bibliographical references (p. 37-38)