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The thesis focuses on those artists who have emigrated from their Middle East homelands since the middle of the Twentieth Century. The first Chapter proposes that the artists form an identifiable group, through the use of common themes deriving from their heritage. The second chapter debates if Post-Colonial theories of alienation, hybridity and ‘third space' are useful concepts and tools for these artists. The last chapter discusses the different approaches to the concept of universalism, which is frequently used in the presentations of the work of these artists. Chapter One identifies the themes of calligraphy, literature, nostalgia/longing and politics which are common to the group of artists. These themes demonstrate a clear cultural memory, with each artist using one or more of these characteristics. Chapter Two questions the usefulness and relevance of Post-Colonial concepts of alienation, hybridity and ‘third spaces' in the analysis of the artists' work. The individuality and complexity of the artists, their lack of clear alienation from either or both of East and West and the absence of predictability in their output makes it difficult yo apply these concepts as analytical tools. The third chapter shows the way in which contemporary Middle Eastern art has taken over from the earlier, Western based, Orientalism. The resulting work has frequently attracted the label of Universalism but this term has different connotations for Western viewers and curators compared to the Middle Eastern artists and their patrons. The former results in differentiation, the latter claims to transcend boundaries and geographies. The Conclusion, thereafter, draws together the discussions and attempts to position Middle Eastern art within the current international art scene, rather than as an ‘other' which is outside a usually Western mainstream. The Middle East expatriates are seen as part of a growing but incomplete globalism, within which localism can co-exist.

Diss.--Eberhard-Karls-Universität, 1972. / Vita. Bibliography: pp. 172-177.

Our understanding of modern art draws a distinction between the Anglo-American and continental European traditions. These two traditions overlapped in the 1920s and 1930s with the publication of transition magazine, an expatriate American journal based in Paris. Its editor Eugene Jolas was an American raised in Europe who used his little magazine to bring to readers in the United States highlights of literary and other artistic innovations on both sides of the Atlantic. The general purpose of this thesis is to explore the role of transition in the development of modernism from the middle of the 1920s, with an emphasis on the important part played by the magazine in transmitting an international vision of modern art to its English-speaking audience. Chapter One provides a chronological history of transition, framing its story in the context of that which has been written about the perils of producing little magazines. Chapter Two outlines the aesthetic program by which transition came to be edited, exploring whether or not an emphasis on writing prejudiced the presentation of other art forms. Chapter Three examines the issues surrounding translation in transition, and the role of the translator in sharing modern writing across frontiers. Chapter Four explains the importance of James Joyce and Gertrude Stein in transition, outlining the ways in which the former was more appropriate to the program undertaken in the magazine. Chapter Five explores the apolitical foundation of transition, outlining the battles it fought against politically engaged writers between the world wars. Chapter Six assesses the influence of transition in America, tracing the way in which its reception mirrored the general reception of modern art in the United States. Chapter Seven explores the role of the little magazine in the historical writing of modernism, distinguishing between its conservative and avant-gardist impulses.

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Florine Stettheimer was an independent painter and eminent "art hostess" among the avant-garde in New York City during the years between the World Wars. In 1916, Stettheimer rather suddenly affected a naive or unschooled style that did not fit within any academic or vanguard movement. This new style, what I have termed conscious naiveté, can be considered the genesis of Stettheimer's mature works. Contemporaneous critical appraisals after the shift in style undervalued the inventive modernity of her work and unfairly “feminized” her style.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University.

Thesis (M.A.) - Simon Fraser University, 2005. / Theses (Faculty of Education) / Simon Fraser University.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William J. Mahoney. Bibliography: leaves 125-127.

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1994. / Résumé disponible sur Internet. CaQCU Document électronique également accessible en format PDF. CaQCU