Inaug.-Diss.--Munich. / Vita. Includes bibliographical references.

Thesis (M.A.)? -- Zhongguo wen hua xue yuan. / Cover title. Reproduced from typescript. Includes bibliographical references (p. 93-98).

This thesis, titled '[Re]viewing the Chinese Landscape: Imaging the Body [In]visible in Shanshuihua ?????????,' examines shanshuihua as a 'theoretical object' through the intervention of the present. In doing so, the study uses the body as an emblem for going beyond the surface appearance of a shanshuihua. This new strategy for interpreting shanshuihua proposes a 'Chinese' way of situating bodily consciousness. Thus, this study is not about shanshuihua in a general sense. Instead, it focuses on the emergence and codification of shanshuihua in the tenth and eleventh centuries with particular emphasis on the cultural construction of landscape via the agency of the body. On one level the thesis is a comprehensive study of the ideas of the body in shanshuihua, and on another it is a review of shanshuihua through situating bodily consciousness. The approach is not an abstract search for meaning but, rather, is empirically anchored within a heuristic and phenomenological framework. This framework utilises primary and secondary sources on art history and theory, sinology, medical and intellectual history, Chinese philosophy, phenomenology, human geography, cultural studies, and selected landscape texts. This study argues that shanshuihua needs to be understood and read not just as an image but also as a creative transformative process that is inevitably bound up with the body. In addition, the thesis contends that the body is 'invisible' in shanshuihua not because it is absent or irrelevant, but rather because it had been 'naturalised' within the landscape as a palimpsest. Further, the thesis urges that the seemingly 'invisible' may be made visible through knowing how and what to see. In all, this study presents a different view of shanshuihua: as a theoretical object it 'theorises'; as a painting it 'transforms'; and as a process it 'embodies'.

Thesis (Ph. D.)--University of Michigan, 1979. / Each Chinese entry in the bibliography is in characters and is transliterated. Includes catalogs of works. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 282-308).

Thesis--Bonn. / Vita. Includes bibliographical references (p. 311-339) and index.

Thesis (M.F.A.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains iii, 42 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 23).

Thesis (Ph. D.)--University of California, Berkeley. 1976. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 207-223).

Thesis (Ph. D.)--Princeton University, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 303-320).

'Images of the Petrine Era in Russian History Painting' examines the changing iconography of Petr I (1672-1725) in nineteenth-century Russian painting, and its relationship with Petr's symbolic role in the cultural debate between the Westernisers and the Slavophiles over the interpretation of the Russian past and the direction of Russia's future. Artistic developments are discussed against a background of history, historiography and literature. Paintings by Academic artists that were produced as contributions to the official cult of Petr, fostered by Nikolai I, are explored as expressions of aspects of the archetypal Hero. The evolution of historical genre painting, and particularly the developments introduced by Shvarts in the 1860s, are examined as a crucial component of the context for the emergence of the Peredvizhniki. The main focus of this study comprises the Realist history paintings of the Peredvizhniki. The pursuit of historical truth, after Aleksandr Il's relaxation of censorship in the late 1850s, became a significant factor in the application of Realism to history painting. The treatment of Petrine themes by the Peredvizhniki in their First Exhibition in 1871 is discussed in relation to the celebrations for Petr's bicentenary in 1872. Ge's ‘Petr I interrogates Tsarevich Aleksei Petrovich at Peterhof' is analysed in detail for its importance as the first treatment in a Realist style of a controversial historical incident which was unfavourable to Petr. Evidence, exemplified by Myasoedov's ‘The Grandfather of the Russian Fleet', is brought forward which suggests continuities between the Academy and the Peredvizhniki. The Peredvizhniki's varied approaches to Petrine themes are examined, emphasising the group's lack of ideological uniformity. History paintings are explored in their social and cultural context, for instance, nineteenth-century depictions of Tsarevna Sof'ya Alekseevna and the rise of Russian feminism, and the effect of Surikov's personal experience of cultural conflict on his works.

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