Global ETD Search

1	Patterns of survival : four American women writers and the proletarian novel / Samuelson, Joan Wood January 1982 (has links) No description available. Literature Kelley Smedley Olsen Arnow Proletariat in literature
2	Le Blafringo-Arumerican dans l’œuvre de William Melvin Kelley : l’afro-américanité entre concept et expérience vécue / The Blafringo-Arumerican in William Melvin Kelley’s Works : African American Blackness between Concept and Lived Experience Blec, Yannick 09 December 2016 (has links) Caractéristique de la littérature noire des années 1960 aux États-Unis, la revendication de l’Être-noir est présente dans les moindres mots écrits par les auteurs africains américains de cette période. William Melvin Kelley, en tant qu’écrivain du Black Arts Movement, le met en avant dans ses œuvres au profit d’une éducation de l’Africain Américain contre la ségrégation et d’autres formes de racisme. Il ne s’agit pas seulement de conceptualiser le Noir par l’écriture, mais surtout de le dépeindre. Selon l’auteur en effet, son rôle est d’abord de mettre en action des personnes, et non pas des idées travesties qui résulteraient d’une quelconque idéologie noire. C’est ce schéma – le passage du monde réel à un monde fictif, ainsi qu’à une représentation idéologique – qui sera étudié dans cette thèse. Il faudra toutefois noter la transformation de l’attitude de l’auteur. En effet, de l’état de simple narrateur, il passe à celui d’activiste. Ce changement est notable par la différence des idées et de la verve entre le premier livre et le dernier publiés par Kelley. Cette évolution de la pensée sera ensuite reliée aux récentes directions prises par l’écrivain. Située au carrefour entre la phénoménologie, la philosophie de l’existentialisme noir, la sociologie ainsi que la littérature, l’analyse qui sera menée aura pour but de mettre en avant l’existence noire vue par William Melvin Kelley. L’auteur ne se place pas seulement en tant que représentant des Noirs, mais comme chargé d’une mission : celle d’aider l’Africain Américain à comprendre la société étatsunienne pour améliorer sa position sociale et culturelle. / Blackness is one of the keywords of the African American literature of the 1960s. It is to be read in each and every word that an Afro-American writer would put down on the paper. As a Black Arts Movement writer, William Melvin Kelley sets blackness forth in his works so that the black population can better struggle against segregation and other forms of racism. Yet, he does not only conceptualize the African American person by writing him or her up, but above all, he depicts them. For Kelley, the role of the author is primarily to show people, not disguised ideas resulting from some other black ideology. It is this pattern – the passage from a real world to a fictitious one, as well as to an ideological representation – that I will study in my dissertation. However, I am first going to note down the transformation in Kelley’s conduct toward race relations as he goes from the narrator to the activist. This change is to be seen in the difference that exists in the verve between his first novel and the last that was published. This renovation will also be linked to the recent direction taken by Kelley in his more recent writings. Phenomenology, Black existentialism, sociology and of course literature will be the bases for this dissertation. The analysis will insist on black existence as seen by William Melvin Kelley. The writer does not only act as a representative of black people, but as one who must help the “Africamerican understand the American society in order to improve his or her social and cultural position.” Être-Noir Identité noire William Melvin Kelley Philosophie de l’existence noire Phénoménologie Black Arts Movement Blackness Black Identity William Melvin Kelley Africana Philosophy of Existence Phenomenology Black Arts Movement 810.6
3	Emotional responses to a sustainable interior environment and a non-sustainable interior environment / Northup, Reade B. January 1900 (has links) Thesis (M.S.)--Oregon State University, 2009. / Printout. Includes bibliographical references (leaves 83-89). Also available on the World Wide Web.
4	A Study of the Contributions of Kelley Ezell to Education Services Programs in the United States Air Force Flanagan, Georgia Marion 05 1900 (has links) This study concerns the contributions of Kelley Ezell to Air Force Education Services Programs and examines the impact of his educational leadership in developing the Education Services Program at Sheppard Air Force Base, Texas, into its current position as an officially recognized Air Force leader in program excellence. It determines the effects of his leadership on subsequent leaders in the Sheppard Education Services Center and identifies the systems and procedures which contribute most significantly to the Center's success. Kelley Ezell Sheppard Air Force Base education services United States Air Force leadership Ezell, Kelley, 1916-1980. Military education -- United States.
5	It's Always Better With A Good DM colannino, david 13 May 2016 (has links) It’s Always Better With A Good DM is about our relationship with objects and maps as a vector for fantasy. Beginning from the premise that humans understand the world via narrative, I am concerned with the loss of imagination in adulthood in lieu of ideology, which is no more real than stories of future and fantastic places. Colannino, David Deleuze, Gilles Lyotard, François materialism cartography Kelley, Mike Art Practice Continental Philosophy Esthetics Fine Arts Metaphysics
6	Speaking out : class, race, and gender in the writings of Ruth McEnery Stuart, Edith Summers Kelley, and Harriette Simpson Arnow / Reynolds, Claire E. January 2008 (has links) Thesis (Ph.D.) -- University of Rhode Island, 2008. / Typescript. Includes bibliographical references (leaves 161-168).
7	Inventing ritual : moving images of social reality in contemporary art Vogt, Naomi January 2017 (has links) Ritual is a notion that the art world has increasingly reclaimed. From critical writing that zealously identifies rituals to artists who qualify their work as ritualistic, the notion circulates, poking at the boundaries of art practice. The pattern raises critical questions for art history: does it vanish the distinction between art and social practices, casting art's separation from ritual as a passing historical phase? What are the distinctions in the first place between representing and producing a ritual? These concerns come to the fore with moving images, given that ritual has long been at the heart of ethnographic film, while the very act of filming is becoming central to a growing number of social customs. Addressing these relationships, this thesis focuses on video work since the late 1990s. The thematic research moves through three case studies: series of works by Mike Kelley, Pierre Huyghe, Ryan Trecartin and Lizzie Fitch, while keeping a comparative view towards other observers and producers of ritual in premodern painting, ethnographic filmmaking, post-internet practices, mainstream cinema, and homemade videos. Among the most influential artists at the turn of this century, Kelley, Huyghe, Trecartin and Fitch share the singular practice of restaging, for and through film, the rituals that surround them, from high school hazing and carnivals to coronations, corporate team-building, Halloween, Valentine and May Days, suburban street fairs, birthdays, and the new observances of social media. Through close study of the artworks and of moving image tropes that shape social imaginaries, the thesis suggests that these artists produce new insights into contemporary human behaviour. While art and ritual tend to be tackled as coded objects to be deciphered, holding condensed information about the societies to which they point, anthropological theory that considers ritual for what it does (rather than what it symbolises) invites us to examine them instead as practices where portions of social reality are produced - formalised and reinvented.
8	My Room Abells, Diana 20 May 2015 (has links) No description available. Fine Arts Childhood Memories Space Geometry Artwork Installation Artwork Video Artwork Bruce Nauman Robert Morris Mike Kelley Uncanny Perception Memory Confusion Misunderstanding Childhood Perception of Space
9	Beyond Darwin: Race, Sex, and Science in American Literary Naturalism Masterson, Kelly 01 October 2018 (has links) No description available. African American Studies American Literature Literature Science History Womens Studies American literary naturalism naturalism Paul Laurence Dunbar Charles Chesnutt Pauline Hopkins Evelyn Scott Edith Summers Kelley race sex science heredity
10	Le "pour de vrai" et le "vrai" en art performance : fiction vs trace / The "Like true" and the"True" in performance art : Fiction Vs Trace Lagouarde, Clément 04 July 2018 (has links) L’art performance est un art contemporain difficile à définir. Néanmoins il peut se décrire par l’action d’un artiste de performance qui, à la différence du théâtre traditionnel, se présente lui-même devant un public, s’infligeant parfois de véritable blessure. Cet art questionne le « pour de vrai » et le « vrai ». En le comparant au théâtre il semble moins fictif car les blessures est le sang sont « vrais », et sa trace (captations vidéos, captations sonores, photographies, objets, croquis, écrits, etc.) le prouve. La fiction et la trace paraissent opposées, là où la première est une invention (le « pour de vrai ») l’autre est un élément pérenne d’une action vécue (le « vrai »), l’art performance permettrait alors de penser ces deux notions non plus comme opposés mais comme corrélatives. L’art performance présente sa trace comme un élément pérenne d’une action plus ou moins inventée : le « vrai » dont la frontière avec le « pour de vrai » peut être questionné. Cette thèse argumente ces hypothèses à travers une première partie comparative entre l’art performance et l’art théâtral, avec comme problématique la fiction qui semble opposée au « vrai ». Et une seconde partie corrélative sur le possible « pour de vrai » de la trace, qui permet l’étude de trois traces épistémologiques : la mémoire, l’écriture et l’indice à travers des exemples respectifs d’artistes de performance. / Performance art is a contemporary art is hard to define but which can be described as an action made an audience by a performance artist who, in contrast to the traditional theater, is the artist himself is inflicting sometimes real physical injuries. This art questions the 'like true' and the 'true' and seems less fictitious than traditional theater because blood’s physical injuries is 'true' and that he uses his trace as evidence (video recordings, sound recordings, photographs, objects, sketches, written, etc.). If the fiction and the trace seem opposed, because the first is an invention (the "like true") the other is a sustainable living action (the ' true') element, performance art then would think these two concepts not as opposites but as Horn related. As performance art, object of study here, presents his trail as a perennial element of a more or less invented action: as the 'true' including the border with the "like true" can be questioned. This thesis argues its assumptions through a comparative part between performance art and theatrical art, with as problematic fiction that seems opposite to 'true'. And a second consequential part on the possible "like true" of the trace, which allows the study of three epistemological traces : memory, writing, and trifle through respective examples of performance artists. Art performance Performance Performeur Fiction Pour de vrai Trace Vrai Théâtre Art scénique Mimèsis Jean-Marie Schaeffer Imitation Représentation Connaissance Public Richard Schechner Alexandre Serres Paul Ricœur Mémoire Marina Abramovic Jacques Derrida Ecriture HP Process Carlo Ginzburg Indice Mike Kelley Performance Art Performance Performer Fiction Like true Trace True Theater Scenic art Mimesis Jean-Marie Schaeffer Imitation Representation Knowledge Public Richard Schechner Alexandre Serres Paul Ricœur Memory Marina Abramovic Jacques Derrida Writing HP Process Carlo Ginzburg Trifle Mike Kelley

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