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161	Scholastic traditional minimalism : a critical analysis of Intra-Sunni sectarian polemics Islam, Tajul January 2015 (has links) This thesis is an analytical exploration of the influence of medieval theology on contemporary scholastic traditionalist polemics within Sunni Islam. Intra-Sunni sectarian polemics as an emerging area of study is relatively untouched as opposed to sectarian violence. A detailed mapping of the theological terrain from the genesis of Sunni ‘orthodoxy’ and the perennial tensions within the classical theological tradition and how they have manifested parochially into the contemporary scholastic traditionalist trends of the Barelwi, Deobandi, Ahl-i-Ḥadīth and Wahhābī within the backdrop of the Sufi-Salafi contestation of Sunni authenticity is timely. Concern regarding growing extremism prompted Muslim Ulama, academics and political leaders to create unity initiatives such as the Amman Message and the Sunni Pledge in dealing with this problem and also delineating ‘orthodoxy’. The theological basis for these neo-credos can be explained as doctrinal ‘minimalism’. Minimalism is a growing social construction of scholastic traditionalists through which the warring factions are attempting to salvage the historical continuity with ‘orthodoxy’ and placate Sunni infighting. The thesis aims to examine the theological veracity of the minimalism project and explore its doctrinal, methodological and ethical facets. Polemicism and excommunication is the current state of affairs within Sunni theological discourse. Minimalism is deemed as the antidote to this problem. 297.8
162	Operní inscenace v divadle Kolowrat - opera v komorním prostoru / Opera productions in the Kolowrat Theatre - opera in a chamber theatre Dolejšová, Barbora January 2011 (has links) This thesis presents the history of opera productions which have been staged by the National Theatre Opera Company in the Kolowrat Theatre during last fifteen years. The author reflects the problems of staging chamber operas in general and, by analysing several productions, she points out certain possibilities of using the chamber space for staging operas.
163	Elegaic materialism : the poetry and art of Susan Howe Barbour, Susan Jean January 2014 (has links) The American poet Susan Howe (1937-present) began her career as a visual artist, but owing to a dearth of information about her early collages it has been difficult to say anything substantive about how they might have shaped her poetic practice. In 2010, she placed her collages on archive. Along with a number of personal interviews with Howe, this heretofore unavailable material has enabled me to consider Howe's subsequent work in a new light and to establish significant links between her early visual aesthetics and the poetics of bibliography, historiography, and elegy for which she is now known. Howe's collages, like her poetry, focus on details that are at risk of vanishing from cultural memory and printed record. For this reason, I argue that her work evinces an 'elegaic materialism', or a way of reading, viewing, and thinking about texts that is attuned to loss. If “history is the record of the winners,” as Howe says, then one way of rescuing marginalized perspectives is by regarding manuscripts as drawings, thereby rescuing the concrete particulars deemed irrelevant by editors and historians. As Howe's late work turned increasingly toward elegy, her early aesthetic contributed to a nuanced poetics of personal loss and to a series of astonishing new formal tropes. The Introduction to this thesis discusses Howe's materialism in the context of current literary theory and textual scholarship. Chapter 1 concerns itself with Howe's art historical context. Chapter 2 analyses a selection of her word-drawings. Chapter 3 considers Howe's transition to poetry. Chapter 4 addresses her turn to archival documents in her middle period. Chapter 5 looks at the influence on Howe of documentary film, especially in connection with the task of representing a lost loved one, and Chapter 6 discusses her two most recent elegies, The Midnight and THAT THIS. A Coda completes the circle by once more considering Howe in the context of the visual arts at the moment she was selected to exhibit at the 2014 Whitney Biennial. 811
164	[en] ON THE EDGE: THE CONCEPTUALISM OF DAN GRAHAM / [pt] NO FIO DA BORDA: O CONCEITUALISMO DE DAN GRAHAM MICHEL NUNES LOPES MASSON 04 January 2018 (has links) [pt] Figura-chave da chamada arte conceitual, o artista norte-americano Dan Graham iniciou sua trajetória artística em meados da década de 1960 muito por acaso. Convidado por amigos, tornou-se sócio da John Daniels, galeria em Nova York bastante ativa, mas de vida breve. Falido, viu-se obrigado a retornar à casa de seus pais em Nova Jersey. Durante a viagem de trem, pôde observar a nova cidade. Dessa experiência surgiu Homes for America, notório ensaio fotográfico sobre as habitações em massa dos subúrbios norte-americanos, que integra um primeiro conjunto de trabalhos do artista destinados a revistas. Algum tempo depois, Graham ingressou na Nova Scotia College of Art and Design, Halifax, dando início a um período em que seu interesse se volta para o vídeo, a performance e a instalação, interrompido por Public Space/Two Audiences, trabalho realizado para a Bienal de Veneza de 1976 que impõe ao artista uma autocrítica. A despeito de seu êxito, Graham reconhece que a instalação se aproximara em demasia do conceito de cubo branco. Como saída para o impasse, adotou a ideia de plano da cidade, passando a propor projetos de intervenção urbana até iniciar, no começo dos anos 80, seus pavilhões. Levando em conta a obra de Graham, ampla e diversa em seus meios, a tese é monografia que tem por objetivo realizar um estudo analítico sobre a prática do artista, definida, a meu ver, nos termos de um modelo crítico-conceitualista. / [en] Key figure of the so-called conceptual art, the North American artist Dan Graham began his artistic career in the mid-1960s quite by chance. Invited by friends, he became a partner of the John Daniels, a gallery in New York very active, but short-lived. Bankrupt, he was forced to return to his parents home in New Jersey. During the train ride, Graham can saw the new city. From this experience came Homes for America, notorious photographic essay on mass tract housing of North American suburbs, which is part of a first set of works for magazines. A while later, Graham joined the Nova Scotia College of Art and Design, Halifax, starting a period in which your interest turns to video, performance and installation, interrupted by Public Space/Two Audiences, work done for the Venice Biennale in 1976 that impose the artist self-criticism. Despite its success, Graham recognizes that the installation was near of the concept of the white cube. As out of the impasse, he adopts the idea of city plan, going to propose urban interventions projects, starting in the early 80s their pavilions. Considering Graham s work, broad and diverse in its mediums, the thesis is a monograph that aims to carry out an analytical study of the practice of the artist, defined, in our view, in terms of a critical-conceptualist model. [pt] CULTURA [en] CULTURE [pt] POS-MINIMALISMO [en] POST-MINIMALISM [pt] ARQUITETURA [en] ARCHITECTURE [pt] ARTE CONTEMPORANEA NORTE-AMERICANA [en] NORTH AMERICAN CONTEMPORARY ART [pt] CONCEITUALISMO [en] CONCEPTUALISM [pt] DAN GRAHAM [en] DAN GRAHAM
165	An Overview and Performance Guide to Johannes Möller's "Shenandoah Fantasy for Two Guitars" Douglas, Charles William 05 1900 (has links) Johannes Möller's 2014 composition Shenandoah Fantasy for Two Guitars, is a theme and variations on the American folksong Oh Shenandoah and is the composer's only work dedicated to American music. An informed performance of this work requires biographical information. Since no scholarly work on this composer is currently available, this paper includes Möller's biographical information, compositional background and performance suggestions. This information was acquired through a recorded video interview with the composer that covered his early education as a guitarist and composer, his formal conservatory training, career accomplishments, influences that informed the piece, and suggestions for performance practice. The insight gained through this interview reveals its main influences as the Romantic Fantasy, American Minimalism, Keith Jarret's harmonization of Oh Shenandoah, American country and bluegrass music, and the sounds of American folk instruments. These are the subjects of the body of this paper. In addition to an overview of some scholarly writing on the styles which influence the piece, some solutions are offered at the end of the paper to aid in the performance of difficult passages. The intent of these solutions is to make the piece easier for the left and right hand, without sacrificing those musical elements that represent its influences. This is currently the only scholarly work available for Shenandoah Fantasy for Two Guitars and its composer. Johannes Moller Guitar music Keith Jarret Bluegrass American Minimalism Guitar music -- Analysis, appreciation. Guitar music (Guitars (2)) Academic theses
166	A Crack In Everything Hoffman, Jeffrey 01 January 2012 (has links) Contained herein is a close examination of self-awareness and self-portraiture as it applies to the works of artist Jeffrey Hoffman. Water, frozen into various forms and combined with natural elements of wood, slowly melt over an indeterminable amount of time, each droplet documented as the process transforms the elements. Through this process, we see change. We see time. We see truth. This documentation of change and time through natural elements is where the artwork comes full circle. Working with new media to explore man's interconnectivity to life, energy, and the cosmos, he produces time based installations, photographs, videos, and sculptures that serve as both existential metaphors and Tantric symbols. With the use of digital cameras and video, a record is created by which the disintegration which occurs from the unseen forces of gravity, heat and time upon sculptures made from natural elements and ice is examined. In its sculptural form, his work can be categorized as Installation art and Performance art due to its evolving nature. Each piece is intended to either change over time or to have that change halted by another temporal force like that of flowing electricity. The possibility of allowing varying levels of self-awareness to emerge through self portraiture is also examined. The existential, as well as the metaphysical, can be present in a physical form when the form is imbued with evidence of an evolutionary process. In many ways, the work serves as a self portrait. It is a means for Hoffman to examine his own existentialism as a student of the modern western world and life. Ice sculpture art time self actualization heat gravity natural processes buddhism freezer water transformation temporality ephemeral receptual disintegration decomposition buddha head minimalism Art and Design Sculpture
167	Prophecy Fulfilled? Walter Benjamin's Vision and Steve Reich's Process Weatherman, Andrea Dawn 23 March 2011 (has links) No description available. Germanic Literature Steve Reich Walter Benjamin music Minimalism aura fascism technology phasing reproducibility mechanical reproduction technical reproduction aesthetics politicization aestheticization politics art musicology perceptibility
168	Birdhouse and other stories: Exploring Quiet Realism Raines, Torri 11 May 2016 (has links) No description available. Literature quiet realism realism minimalism fiction short story history of realism history of short story craft of fiction character inner life unspoken unsaid short fiction realistic short story qualifier realism
169	Art in the mirror: reflection in the work of Rauschenberg, Richter, Graham and Smithson Doyle, Eileen R. 01 December 2004 (has links) No description available. Art History Philosophy art mirrors reflection Minimalism Post-Modernism theory Robert Rauschenberg Gerhard Richter Dan Graham Robert Smithson Maurice Merleau-Ponty Jacques Lacan
170	( vill )( will ) : tankar i närheten av två halvcirklar thoughts near a broken circle / ( vill )( will ) : tankar i närheten av två halvcirklar thoughts near a broken circle Boman, Ida January 2022 (has links) Marken är något fundamentalt. Jag dras till att skapa hålrum och att gjuta av dem. Låta händerna leda. Det är något som attraherar mig med att inte riktigt kunna föreställa mig formen av hålrummet i tanken, att det är ett glapp i överföringen mellan händernas rörelser och tankens. Att värdera det definierade högre än det odefinierade, vill jag lägga i en parantes. Vi använder språk som materia, vi bygger betydelser, rum som skapar sammanhang, stödkonstruktioner, konstruktion som är dikt, som är en rörelse som är jord som är ett arbete som är sten som är en förflyttning som är trä som är en handling som är metall som är nära intill, att skulptera en tanke. Det är idén om att kroppen har en korrekt form som gör kroppen korrupt. Den brutna cirkeln är på ett sätt en helhet av två korrupta kroppar. Kategorier och definitioner är något verkligt, oavsett hur de är skapade eller kommit till. Vi uppmärksammar genast om något är konstigt. Två enheter som vi uppfattar som separata, är separata. Om de inte varit separata skulle vi uppfattat de som ett och inte som två. Det här ser vi omedelbart. Om vi inte är i ett främmande sammanhang med främmande definitioner, men då kommer säkerligen någon ganska snart att uppmärksamma oss på hur saker hänger ihop. Människor är hjälpsamma på sådant sätt. / My work may be described as bordering between sculpture and installation, intuitive and conceptual, it could in a way be seen as a broken circle, as one, but i will work hard to make the two entities, the two seemingly half circle shaped entities, to be separate, to be two. I will assert they are one work but also not, I will assert their indepencence, they are two. The bridge, the connection, will (or will not) happen in the thought, not by sight. There will be no side-by-side, object dialog in near space, rather association through memory and through distance. Like an object or some kind of occurence is planted early on in a movie and then reoccurs later on with the purpuse to further the understanding of course of events. We tend to read two half circles near each other as a whole circle. Robert Morris made two half circles with only a thin lit gap underlining their distinct form, but at the same time dissolving them as a broken circle. It is the idea of of a correct body that makes a body corrupt. The broken circle is in a way the whole of two corrupt bodies. art conceptual undefinable sculpture poetry clay body hole language power place identity feminism concrete minimalism land art photography performance installation passivity normalization distortion relational aesthetics colonialism postmodernism konst konceptuell odefinierbar skulptur poesi lera kropp hål språk makt plats identitet feminism betong minimalism land art fotografi performance installation passivitet normalisering skevhet relationell estetik kolonialism postmodernism Humanities and the Arts Humaniora och konst

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