Thesis (doctoral)--University of Stockholm, 1993. / Includes bibliographical references (p. 130-131).

Thesis (Ph. D.)--Universität Hamburg, 1969. / Vita. Includes bibliographical references (p. i-iv).

Basically there is no fixed meaning for the term „Nachahmung“ Imitation. In order to understand the nuances of the meaning of the term "mimesis" and its different interpretations, it is necessary to take into consideration the connotative extension of this concept. In this work the focus will be particularly on the fields of poetry, art and aesthetics in the 18th century on the theories of Winckelmann, Gottsched and Lenz. Such accentuation arises from the fact that fundamental circunstancies occured through the use of the term „Nachahmung“ in German culture by these theorists, namely the introduction of Greek aesthetics in art by Winckelmann, the acquisition of classical premises of the German poetry by Gottsched and Lenz´s anticipation and foundation of the German literary Realism.

This thesis falls into two distinct parts. The first gives an account of the economic and social factors which contributed to the emergence of the new post- Cartesian world order in early nineteenth-century Germany and attempts to ground the German response to the French theories of mimesis in this broader context. The second, larger, part engages in an analysis of the philosophical aesthetics of the critic and writer Wilhelm Heinrich Wackenroder, and the Idealists Friedrich Wilhelm Joseph Schelling and Georg Wilhelm Friedrich Hegel, paying particular attention to the notions of musical closure embedded in the their usage or intimation of the terms autonomy, ontology and the ideal. To this end, this thesis attempts to analyse the relationship between the organic structures of early nineteenth-century Naturphilosophie and aesthetic approaches to music from that same period.

Thesis (Ph.D.)--University of Tulsa, 1971. / Bibliography: leaves 148-153.

The central theme of my thesis are theoretical assumptions of Plato's arguments based on the figure appearance in dialogues X. Republic and Sophist. Separated chapters are devoted to the interpretation of selected passages of dialogue. Some partial assumptions are developed in details, such as The one over many argument in dialogue X. Republic and the essence of the image from Sophist. One conclusion follows from these work: the use of figures appearance is extremely problematic, for that reason, because we can not clarify the nature of image, as its a definitional feature. Reduction of imitation and in the second case of the art of Sophists on a certain type of representation, however, does not lead to the intended goal (to know the subjects of interpretation), but pointed out some non-trivial descriptions of the philosophical framework of Plato's thought. Powered by TCPDF (www.tcpdf.org)

Thesis (doctoral)--University of Stockholm, 1993. / Includes bibliographical references (p. 130-131).

My project can be read as an intervention that aims to disrupt the "innocence" of burlesque's dominant historical narratives, where burlesque is fashioned as related to minstrelsy but not as minstrelsy. A discussion of the White women as minstrel performers is lacking in the available burlesque histories because they have not addressed the meanings of musical sounds and movements, elements that constitute the core of burlesque. Using music as a lens to re-evaluate the meanings of burlesque performance, I show how burlesque, like minstrelsy, has functioned on the historical erasure of Black and Brown bodies. In burlesque, White women performers have predicated their departures from norms of White femininity on racist performances of "black"-ness. These minstrel performances were enabled by a White fetishization of musical sounds and movements coded Black or "Other." Building on the work of Jayna Brown and Sherrie Tucker, and responding to Susanne Cusick's call to address how musical performances might be read productively through Judith Butler's theory of performativity, I foreground music and embodiment to ask: How do burlesque artists perform and (re)perform gender, sexuality, and race? To unpack this question, I first look at historical (re)presentations of burlesque performance and music. After this historical section, I read key scenes from classic era films featuring burlesque music and performance, using semiotics to argue that these performances can be read as an extension of blackface minstrelsy. I discuss how certain jazz-influenced musical devices - horn smears, belting or "loud" singing, angular or jerky dancing - primarily functioned to signal "black"-ness, sex, and modernity to the intended White audience/spectator. In the next chapter, I examine the extent to which neo-burlesque could be considered a queering of burlesque by doing close readings of contemporary burlesque performances. From here, I look more critically at how racial and genre boundaries are created and maintained within contemporary burlesque, resulting in a new burlesque normativity. Finally, I highlight the work being done by burlesque performers of color who work within and against burlesque's dominant ideologies, subverting racist representations of people of color through mimetic resistance. / text

This thesis examines the relationships between fictional narratives and material objects through writing and sculptural practice. Its purpose is to explore how fiction assists in an understanding of the world we inhabit and, conversely, how our experiences of the world and its real and physically accessible contents (or objects) prevent fiction from transgressing into nonsense. It is anticipated that the combination of material practice and textual fiction will not be an easy marriage: it may be the objects which ultimately give presence to our voices, voices which historically have often attempted to claim and own of things through utterance. The sculptural component of the project addresses the tactility of objects and examines the space where so many tales are told – the home. In so doing, the project explores issues of isolation and connection through objects and materials which harbour a narrative of ostensible comfort. Objects may simultaneously project conflicting accounts of comfort and unease, connection and isolation, contributing to an articulated consciousness of the home.

Esta tesis trata de las relaciones entre la arquitectura y la naturaleza, naturaleza esta considerada a partir de su concepción científica contemporánea, dentro del marco de la Ciencia de la Complejidad. En este contexto, se da una especial énfasis al tema de la mímesis de la naturaleza, cuestionándose la vigencia de este procedimiento en arquitectura y analizándose sus perspectivas en la actualidad.En primer lugar, se identifica y se hace un primer análisis de la producción arquitectónica contemporánea que asume vinculaciones con los conceptos provenientes de la Ciencia de la Complejidad. En esta producción, se detecta una tendencia predominantemente simbólica y formalista en la incorporación de los conceptos científicos frente a una limitada consideración del potencial que la nueva visión científica de naturaleza sugiere aportar. A continuación, se profundiza en la Ciencia de la Complejidad, clarificando sus principales conceptos y horizontes filosóficos, con vistas a su adecuación al contexto de la mímesis. En este panorama, se nos desvela un universo complejo pautado por conceptos como autoorganización, no-linealidad, azar, imprevisibilidad e indeterminismo; además, se destaca la pertinencia de estos conceptos en todo sistema dinámico, en lo que se incluye la sociedad y el cuerpo humano, tanto a nivel biofísico como psicosocial.En seguida, se elabora un cuadro evolutivo de la mímesis de la naturaleza en las artes y la arquitectura, analizándose el tema desde una larga perspectiva histórica. Con ello se demuestra la persistencia y diversidad de este procedimiento a lo largo de la historia del arte y de la arquitectura, aunque no siempre teorizada como tal.Por fin, se establecen las conclusiones finales sobre el tema. Analizándose las estrategias y los argumentos de la mímesis de la naturaleza en arquitectura, se detecta su plena vigencia en la actualidad, con tendencia a una cientificización de este proceso, algo que remonta al Renacimiento. Y analizándose las aportaciones de la Ciencia de la Complejidad en el proceso mimético, se discute sobre su amplio potencial en distintos aspectos de la arquitectura: la perspectiva de un continuado futuro para una mímesis cognoscitiva fundada en la ciencia; la nueva imagen de naturaleza y la pertinencia de la imagen de la complejidad en arquitectura; el potencial de una subjetivación de la complejidad científica en la consideración del hacer arquitectónico; y una doble lectura mimética de arquitecturas ecológicas.