In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.

My work is concerned with perception and presentness. Using digital video I am employing a notion of “perceptualism” put forward by artist Jack Chambers. Acknowledging HD television and high speed internet, this work challenges the pace and expectations of a contemporary screen event. It ranges in focus from the domestic to the rural, the intimate and sublime. These works, structured in various conceptual configurations of the 5 - 7 - 5 haiku poem, form an immersive gallery installation. Seventeen haiku videos in this series stretch a primary perceptual impact of various circumstances using superimpositions and quick edits in order to reconsider an immediate present and evoke a sense of wonder.

My work is concerned with perception and presentness. Using digital video I am employing a notion of “perceptualism” put forward by artist Jack Chambers. Acknowledging HD television and high speed internet, this work challenges the pace and expectations of a contemporary screen event. It ranges in focus from the domestic to the rural, the intimate and sublime. These works, structured in various conceptual configurations of the 5 - 7 - 5 haiku poem, form an immersive gallery installation. Seventeen haiku videos in this series stretch a primary perceptual impact of various circumstances using superimpositions and quick edits in order to reconsider an immediate present and evoke a sense of wonder.

In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.

Thesis (M.A.)--Rowan University, 2006. / Typescript. Includes bibliographical references.

L'objet de cette thèse se situe à la croisée de la linguistique et de la littérature puisqu'il porte sur le haiku dans la littérature hispanique, qu'il s'agit de caractériser en tant que forme poétique dans le contexte littéraire hispanophone et comme « prototype » du bref du point de vue de ses modalités discursives et énonciatives. Traditionnellement associé à la culture japonaise dont il est issu, le haiku se pose comme une des formes poétiques les plus brèves au monde. Avec ses dix-sept syllabes en tout, il oblige à la plus grande rigueur dans le choix des mots, une expression concise et une « condensation » du sens qui en font un poème dense, qu'il faut souvent méditer après sa lecture. Ni le vers ni la rime ne font partie de contraintes métriques du haiku japonais. Son esthétique, influencée par le bouddhisme zen, se veut contemplative, portée par la subjectivité de la voix poétique qui apparaît comme « témoin du monde », ne faisant que retranscrire des faits parfois « insignifiants », souvent triviaux, qui font pourtant le quotidien de tout homme. Dans la poésie occidentale, le haiku n'a pas d'équivalent, tant du fait de sa brièveté que du fait de son esthétique « puriste ». Or, force est de constater qu'il est fortement représenté dans la littérature hispanique contemporaine. Ni l'orientalisme du début du XXe siècle ni les remises en question poétiques débutées par les Modernistes et poursuivie par les Avant-Gardes ne suffisent à expliquer cet engouement des poètes de langue espagnole pour ce poème japonais. En effet, la littérature hispanique s'empare de ce phénomène littéraire dès la publication des premières traductions des anthologies poétiques japonaises dans les années 1910. Il n'y a pourtant aucun lien linguistique entre le haiku et les poètes de langue espagnole. Néanmoins, les premiers recueils de haikus datent également des années 1910, signe qu'il n'y guère de latence entre l'apparition du haiku et son adaptation en espagnol. C’est en partant de ces constats que nous avons tenté par une approche mutli-focale fondée notamment sur l'analyse littérale, de retracer l’itinéraire littéraire et linguistique de cette forme poétique, depuis les rouleaux en papier de riz japonais jusqu'au haiku dit « hispanique ». / The purpose of this thesis is set at a crossroads between linguistics and literature since it is about the haiku in Hispanic literature, which we aim to characterize as a poetic form in the Spanish-speaking literary context and as a "prototype" of the brief from the perspective of its discursive and enunciative terms. Traditionally associated with Japanese culture, in which it takes root, the haiku is one of the shortest poetic forms in the world. With its seventeen syllables in all, it compels to the greatest thoroughness in the choice of words, a concise expression and a "condensation" of the meaning that make it a succint poem, often to be pondered after reading. Neither verse nor rhyme are part of the metrical constraints of the Japanese haiku. Its aesthetics, influenced by Zen Buddhism, aims to be contemplative, supported by the subjectivity of the poetic voice, which appears as a "witness of the world", only transposing facts that are sometimes "unimportant", often trivial, yet nonetheless a part of any person's daily life. In Western poetry, the haiku has no equivalent, owing as much to its brevity as to its "puristic" aesthetics. However, it should be noted that it is strongly represented in contemporary Hispanic literature. Neither the Orientalism from the beginning of the XXth century nor the poetic re-assessments started by the Modernists and carried on by the Avant-Garde movements are enough to explain this enthusiasm of the Spanish-speaking poets for this Japanese poem. Indeed, Hispanic literature took hold of this literary phenomenon as soon as the first translations of Japanese anthologies were published, in the 1910s. There is, however, no linguistic connection between the haiku and Spanish-speaking poets. Nevertheless, the first collections of haikus also date back to the 1910s, which indicates that there was no latency between the appearance of the haiku and its adaptation into Spanish. Starting from these observations, we attempted, through a multi-focal approach notably based on literal analysis, to retrace this poetic form's literary and linguistic path, from the Japanese rice paper rolls to the so-called "Hispanic" haiku.

Zugl.: Köln, Universiẗat, Diss., 2008.

This research explores the use of haiku poetry to connect with persons with dementia. The happenings during two one-hour sessions provide the main focus for this study. These sessions were part of an ongoing spiritual care program on the secure dementia unit of a long-term care facility. The sessions were co-facilitated by the chaplain who leads the ongoing program, and by myself as both guest poet and researcher. Haiku were used as prompts to reminiscence. Words and phrases from the stories that were spoken during the session became the building blocks for creating collaborative haiku within the group setting. “Inferences all over” was spoken by a person with severe dementia and became a part of one of the collaborative haiku. This comment is remarkable for its association to poetry where the words on the page often only hint indirectly at a deeper meaning, and for its association to spirituality where the stories we tell often only hint at our deeper truth. The ambiguity around what is evident and what is implied paradoxically invites connection. The first chapter of this thesis, Beginning, describes the format of a haiku session where building connection is the primary intention. It also explores issues around the creative arts. “Inferences all over” also speaks to the hermeneutic phenomenological approach of this thesis, where the stories speak for themselves. These stories appear in the second chapter entitled During, along with insights gleaned from interviews. “Inferences all over” well describes the third chapter, After, where I reflect on my experiences as a participant in this research, and where I detail some of the ripples of this study into the dementia care, haiku, and educational communities. “Their capacity to delight” in the thesis title was spoken by the chaplain who developed the spiritual care program. Her belief in the possibility of connection with persons with dementia forms the bedrock of the program—where hospitality invites connection and validation affirms their responses. This capacity has implications for all teaching—formal as well as informal—as it invites learning as an experience to enjoy rather than endure. / Thesis (Master, Education) -- Queen's University, 2008-04-24 09:27:30.949

Diss. Stockholm : Stockholms universitet, 2006.

No description available.