In this thesis, I address ephemeras - namely temporary displays in the form of festivals and exhibitions belonging to the field of contemporary art. The most appropriate criterion with which to select and discuss the ephemera, i.e., the data in which I analyse in this thesis, is the notion of the 'event'. 'Event' is a philosophical concept, and therefore does not belong to artistic or aesthetic categories. However, two main characteristics are particularly relevant in considering it, and these are also pertinent to the field of art. Firstly, the tandem contingency and necessity. Secondly, the fact that no one can control the reach and impact of an event, which is also the case with an artwork and its interpretation. In this thesis, I am creating a confrontation between what is usually described as abstract thought (a work of philosophy for example) and the production of contemporary art, which is so often culturally and economically dependent on the art market and hegemonic power structures such as institutions, as well as the apparatus of historians and experts to evaluate and legitimise it. Furthermore, it is also necessary to state my understanding of art. This latter has strong propinquities with that defined by Kant when he coined the term 'fine art', namely a cultivated, context-aware and sensitive art, one's reflection on which provides pleasure exceeding the pure enjoyment or satisfaction produced by erudition or technical virtuosity. Secondly, the artistic manifestations that I discuss are always produced by a collective, group or organisation of which I am part. Consequently, what unfolds is an organisational discourse originating in my praxis of art. Finally, the very fact that I am a member of the group of people whose activities are discussed leads logically to autoethnography, a field of inquiry that I am also contributing to.

Thesis (M.A.)--York University, 2000. Graduate Programme in Musicolgy and Ethnomusicology. / Typescript. Includes bibliographical references (leaves 143-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ56180.

Thesis (Ph. D.)--Ohio State University, 2009. / Title from first page of PDF file. Includes bibliographical references (p. 347-356).

published_or_final_version / Comparative Literature / Doctoral / Doctor of Philosophy

This research study uses a synthesis of theoretical frameworks from sociology and geography to develop critical branding theory that guides an analysis for how urban space is branded with a narrative and identity. The project investigates how a long running Japanese Canadian culture and arts festival called the Powell Street Festival that takes place in Vancouver’s Downtown Eastside acts a branding vehicle and reimages urban space with commemorative aspects. The study consisted of twelve qualitative interviews, document and archival research, and a participant observation. Findings suggest that the Powell Street Festival performed as a vehicle for reimaging space, and through subtle-commemorative branding, Vancouver’s Downtown Eastside has been rebranded, in part, with Japanese Canadian facets. The Japantown brand coupled with the high potential for urban revitalization of this space, leads to a concern over the possible social and physical displacement of current Downtown Eastside residents, many of whom are low-income persons.

No description available.

Thesis (M.A.)--University of British Columbia, 2007. / Includes bibliographical references (leaves 72-77). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.

Thesis (M.A.)--University of British Columbia, 2007. / Includes bibliographical references (leaves 72-77).

Thesis (B.A. (Hons.))--University of Adelaide, Dept. of English, 2001. / Bibliography: p. 63-66.

Originally presented as the author's thesis (Ph. D.)--Nan kai da xue, 2002. / Includes bibliographical references.