The purpose of this thesis is to use specific fat pornographic imagery as a means to help us understand fat tropes and fetishization. The goal is to use our understandings of masculinity and race within fatness to create a possible launching point for further study within the field of fat sexuality studies. My rationale for writing such a paper is because fat sexuality studies is a field which has very little content, but potential for incredible scholarship which can impact not only our understandings of fat bodies, but of all bodies. The method for this thesis involves looking at specific images of “still-image” fat pornography and using these images to explain theoretical conceptions of fat sexuality. My hope for the significance of this work is that it will help to more firmly place fat sexuality studies in the academic landscape as a site for further research.

Since Russia’s annexation of the Crimean Peninsula 2014, the security policy for many European countries have changed. The Russian aggression in Ukraine have led to a shifted view on security policy in both Sweden and Finland. This case study will focus on Sweden and Finland, both members of the EU however not members of Nato. The case study will not compare the two nations, it will rather compare each nation’s change over time.  This case study aims to explain how Sweden’s and Finland’s security policy has changed since the Russian annexation of the Crimean Peninsula, by using Allison’s and Zelikow’s Rational Actor and Governmental Politics models, to explain the change. By analyzing documents of Swedish and Finnish governments, it should be possible to see differences over time.  The study shows that the security threat has changed after 2014, mainly due to the annexation of the Crimean Peninsula. The big difference in Sweden is that the threat has increased since 2014, and the security goal for Finland has increased. Above all, Sweden is trying to strengthen bi- and multilateral relations with other countries, meanwhile Finland is trying to influence GUSP and the EU to play a greater roll in European security policy.

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This dissertation explores the way for late 20th century poets use form in their work as means to map, encounter, witness to, and struggle with various kinds of silences. It explores the work of Louise Glȕck, M. Nourbese Philip, Jorie Graham, and Michael Palmer. / Published version / Doctor of Philosophy in English / In the conversion to current Word and PDF formats, pagination has changed slightly from the original document.

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Le présent travail s'attache à envisager le thème de la réconciliation avec le passé à l'ère postmoderne chez Graham Swift. Il s'agit d'envisager ce dernier thème en relation d'une part avec les métamorphoses des personnages (un des sens à donner aux métamorphoses de l'histoire dans mon titre) et d'autre part avec celles de l'histoire et du temps. Les aléas psychanalytiques de l'identité, les rapports de l'être à l'histoire et au temps sont analysés. S'il n'est pas vraiment question de statuer sur la réussite d'une telle réconciliation, on examinera ses stratégies et notamment quelques uns de ses versants narratifs. L'échelle individuelle est envisagée dans son aspect métonymique. / This work examines how Graham Swift's works tackle the issue of a potential reconciliation with the past. Reconciliation will be analysed together with the character's metamorphoses over time (one of the meaning that has to be given to the metamorphoses of history in my thesis's title) and the fictional transformations of time and history. The psychoanalytic evolutions of identities and the relationships of the characters with time and history will be studied. If it is difficult to precisely assess the success of reconciliation, we will focus on some of its underlying strategies and narrative treatments. The individual level will serve as a model for the collective level.

Freie Univ., Diss.--Berlin, 2000. / Literaturverz. S. 283 - 297.

Orientador: Renato Ferracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T18:20:46Z (GMT). No. of bitstreams: 1 Peter_CarolineSilveira_M.pdf: 1050767 bytes, checksum: 65f53ab53b6563fb4924d45b8a44143d (MD5) Previous issue date: 2009 / Resumo: A presente dissertação visa a contribuir para a discussão acerca dos procedimentos técnicos para a formação do ator-bailarino. Para tanto, estuda duas propostas formativas de corpo-em-arte, Dança Moderna/Martha Graham e o método de trabalho desenvolvido pelo Lume - Núcleo de Pesquisas Interdisciplinares de Teatro da Unicamp. Também identifica e descreve os princípios norteadores destas duas práticas, correlacionando-os para, assim, analisar as possibilidades de semelhanças existentes entre os mesmos. A partir de experiência prática com ambas as técnicas, especulou-se que pudessem existir princípios comuns entre ambas e relações entre os trabalhos técnicos desenvolvidos, apesar dos resultados cênicos serem diferenciados, não se constituindo como objetos de interpretação neste estudo. Desse modo, foi analisada a possibilidade de diálogo existente entre alguns princípios que compõem o fazer prático dessas propostas, tomando como ponto de partida o trabalho de campo realizado com Carlos Simioni, fundador do Lume, e com Nair Moura, professora de dança moderna e discípula de Cecy Frank / Abstract: The present study aims at contributing to the discussion concerning the technical procedures for the formation of the actor-dancer. In order to do that, it analyzes two formative proposals of body-in-art, Modern Dance/Martha Graham and the method of work developed by LUME - Nucleus of Interdisciplinary Research on Theater from Unicamp. It also identifies and describes the principles of these two practices, correlating them for, thus, analyzing the possibilities of similarities between them. From the practical experience with both techniques, it was speculated that there could exist common principles between both and relations between the technical works developed, although the scenic results are different and do not constitute an object of interpretation in this study. This way, it was analyzed the possibility of dialogue between some principles that compose the practical aspect of these proposals, having as a starting point the field work carried out along with Carlos Simioni, founder of LUME, and with Nair Moura, teacher of modern dance and Cecy Frank's disciple / Mestrado / Artes / Mestre em Artes

[pt] Figura-chave da chamada arte conceitual, o artista norte-americano Dan Graham iniciou sua trajetória artística em meados da década de 1960 muito por acaso. Convidado por amigos, tornou-se sócio da John Daniels, galeria em Nova York bastante ativa, mas de vida breve. Falido, viu-se obrigado a retornar à casa de seus pais em Nova Jersey. Durante a viagem de trem, pôde observar a nova cidade. Dessa experiência surgiu Homes for America, notório ensaio fotográfico sobre as habitações em massa dos subúrbios norte-americanos, que integra um primeiro conjunto de trabalhos do artista destinados a revistas. Algum tempo depois, Graham ingressou na Nova Scotia College of Art and Design, Halifax, dando início a um período em que seu interesse se volta para o vídeo, a performance e a instalação, interrompido por Public Space/Two Audiences, trabalho realizado para a Bienal de Veneza de 1976 que impõe ao artista uma autocrítica. A despeito de seu êxito, Graham reconhece que a instalação se aproximara em demasia do conceito de cubo branco. Como saída para o impasse, adotou a ideia de plano da cidade, passando a propor projetos de intervenção urbana até iniciar, no começo dos anos 80, seus pavilhões. Levando em conta a obra de Graham, ampla e diversa em seus meios, a tese é monografia que tem por objetivo realizar um estudo analítico sobre a prática do artista, definida, a meu ver, nos termos de um modelo crítico-conceitualista. / [en] Key figure of the so-called conceptual art, the North American artist Dan Graham began his artistic career in the mid-1960s quite by chance. Invited by friends, he became a partner of the John Daniels, a gallery in New York very active, but short-lived. Bankrupt, he was forced to return to his parents home in New Jersey. During the train ride, Graham can saw the new city. From this experience came Homes for America, notorious photographic essay on mass tract housing of North American suburbs, which is part of a first set of works for magazines. A while later, Graham joined the Nova Scotia College of Art and Design, Halifax, starting a period in which your interest turns to video, performance and installation, interrupted by Public Space/Two Audiences, work done for the Venice Biennale in 1976 that impose the artist self-criticism. Despite its success, Graham recognizes that the installation was near of the concept of the white cube. As out of the impasse, he adopts the idea of city plan, going to propose urban interventions projects, starting in the early 80s their pavilions. Considering Graham s work, broad and diverse in its mediums, the thesis is a monograph that aims to carry out an analytical study of the practice of the artist, defined, in our view, in terms of a critical-conceptualist model.

My dissertation examines mass movement and dancing choruses as forms that proliferated across national, political, and artistic boundaries during the interwar period. Bringing together diverse professional and amateur dance practices such as German movement choirs, American and Soviet pageantry, Busby Berkeley films, and early Martha Graham, I analyze how concepts of unity, precision, and futurity operated within the shared mass movement aesthetics but divergent politics of the United States, Germany, and Soviet Russia. While these forms have been examined by dance scholars as individual phenomena or in their national settings, there has been no full-length comparative study that encompasses this range of forms of dance and national and political ideologies. I argue that form does not predetermine a politics; rather, forms gain political significance through use and interpretation by artists and spectators with political and ideological perspectives—sometimes overt, sometimes implicit. Furthermore, the relationship among the individuals within a group and whether and how they relate to a leader is indicative of how the group participates in politics. I examine the development of German movement choirs and their association with political movements in Weimar and Nazi Germany; I pay special attention to the leftist movement choir activity of Martin Gleisner and Jenny Gertz, figures not well-known in English-language scholarship. I compare Soviet mass spectacles and American leftist dance, both of which were influenced by the Pageantry Movement, and argue that the artists’ political relation to the state impacted what kinds of futurity they could imagine. To argue that the precision chorus line was a site that produced and contested ideals of American womanhood, I bring together the Radio City Rockettes, the chorus in the all-Black film Harlem is Heaven (1932), and Busby Berkeley’s Dames (1934). Finally, I analyze Martha Graham’s all-female 1930s company alongside her political work Chronicle (1936) to discover connections between the company’s social visions and how the choreographed work implicated spectators in a collective future. My project contributes to the dance historical field by bringing together a broad range of artistic and cultural phenomena that are more often found within their national or genre boundaries. By connecting these sites of inquiry through archival research and analysis of textual and visual materials, I show that the political identity of a mass or chorus develops from the particular way that the individuals within the group relate to one another, to any leader present or imagined, and to the constituted outside of the group. In making these arguments, I seek to make dance history part of a larger social history of aesthetics and politics.