• Refine Query
  • Source
  • Publication year
  • to
  • Language
  • 5
  • Tagged with
  • 5
  • 5
  • 5
  • 5
  • 5
  • 4
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 2
  • 1
  • 1
  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
1

The postmemory paradigm Christian Boltanski's second-generation archive /

Altomonte, Jenna A. January 2009 (has links)
Thesis (M.A.)--Ohio University, June, 2009. / Title from PDF t.p. Includes bibliographical references.
2

Dancing with the dead generations after the Holocaust a fictional blogged phenomenology and pedagogy of embodied post-Holocaust inherited memories via a/r/tography /

Dresser, Karen Elizabeth. January 1900 (has links)
Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2009. / Directed by Glenn Hudak; submitted to the Dept. of Educational Leadership and Cultural Foundations. Title from PDF t.p. (viewed May 5, 2010). Includes bibliographical references (p. 349-362).
3

The city that never sleeps

Furgang, Lynne Eva, Art, College of Fine Arts, UNSW January 2008 (has links)
This research documentation explores representations of the Holocaust in the visual arts in relation to the post-Holocaust ??ripple effect????the impact of the Holocaust on the world today, in both the wider arena of global political conflicts and in the lives of individuals. In the following chapters, I address the complex ethical and political aspects of representations of the Holocaust in the context of the evolution of Holocaust awareness and memorialisation. I also investigate recent developments in art and theory that challenge prevailing conventions governing Holocaust representation, especially how the relationship between the perceived political exploitation of the Holocaust and the intergenerational effects of Holocaust trauma is addressed. Given these are sensitive and contentious issues I discuss my studio work in terms of how trauma affects the political rather than as an overt polemically/politically motivated art. I examine my attempts to bypass controversy (maintaining respect for victims and survivors), yet maintain engagement with these issues in my art. In doing this I aim to liberate both my art and the viewer from habits of perception in regard to the subject. From this principle I propose a ??strategic?? form of self-censorship that paradoxically gives me the freedom to do this. This strategy enables me to create an art of ambiguity, which exists in an amoral zone. The art evokes reflective thought, uncertainty and ambivalence, where references to the Holocaust or political content are often not explicit, leaving room for lateral and open readings. My work, which incorporates interdisciplinary methods, is often based on photographs from a variety of sources. I also create three dimensional constructions. The sourced images and the constructions are disguised, decontextualised, cropped, erased or digitally altered, and also experiment with optical illusion. Through transformative processes these images are changed into drawings, paintings, photographs. This research documentation acknowledges the gap between the gravitas of the subject with its ethical and geo-political complexities and my idiosyncratic, subjective, introverted approach to making art. I conclude that there is potential in the exploration of an ??anxiety of representation?? in relation to the Holocaust in the contemporary context.
4

The city that never sleeps

Furgang, Lynne Eva, Art, College of Fine Arts, UNSW January 2008 (has links)
This research documentation explores representations of the Holocaust in the visual arts in relation to the post-Holocaust ??ripple effect????the impact of the Holocaust on the world today, in both the wider arena of global political conflicts and in the lives of individuals. In the following chapters, I address the complex ethical and political aspects of representations of the Holocaust in the context of the evolution of Holocaust awareness and memorialisation. I also investigate recent developments in art and theory that challenge prevailing conventions governing Holocaust representation, especially how the relationship between the perceived political exploitation of the Holocaust and the intergenerational effects of Holocaust trauma is addressed. Given these are sensitive and contentious issues I discuss my studio work in terms of how trauma affects the political rather than as an overt polemically/politically motivated art. I examine my attempts to bypass controversy (maintaining respect for victims and survivors), yet maintain engagement with these issues in my art. In doing this I aim to liberate both my art and the viewer from habits of perception in regard to the subject. From this principle I propose a ??strategic?? form of self-censorship that paradoxically gives me the freedom to do this. This strategy enables me to create an art of ambiguity, which exists in an amoral zone. The art evokes reflective thought, uncertainty and ambivalence, where references to the Holocaust or political content are often not explicit, leaving room for lateral and open readings. My work, which incorporates interdisciplinary methods, is often based on photographs from a variety of sources. I also create three dimensional constructions. The sourced images and the constructions are disguised, decontextualised, cropped, erased or digitally altered, and also experiment with optical illusion. Through transformative processes these images are changed into drawings, paintings, photographs. This research documentation acknowledges the gap between the gravitas of the subject with its ethical and geo-political complexities and my idiosyncratic, subjective, introverted approach to making art. I conclude that there is potential in the exploration of an ??anxiety of representation?? in relation to the Holocaust in the contemporary context.
5

Narrating the German loss : small histories and the historiography of Fascist violence /

Hennlich, Andrew J. January 2007 (has links)
Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007. / Includes bibliographical references (p. 38-39).

Page generated in 0.0766 seconds