Thesis (M.A.)--Villanova University, 2009. / Theology and Religious Studies Dept. Includes bibliographical references.

Thesis (M.A.Geo.)--Texas State University--San Marcos, 2009. / Vita. Includes bibliographical references (leaves 48-51). Also available on microfilm.

Thesis (M. Arch.)--Carleton University, 2001. / Includes bibliographical references (p. 242-248). Also available in electronic format on the Internet.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, 2008. / Abstract. Includes bibliographical references (leaves 54-56).

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

This project seeks to unpack and moderate the postmodern debate surrounding James Joyce's 1922 novel, Ulysses, by examining how the text responds to global-local dichotomies, be they geographical or conceptual, and considering its stylistics in light of these themes. In doing so, it casts the likes of Laurence Sterne, Walt Whitman, Joseph Conrad, Gertrude Stein, John Cage, Robert Rauschenberg, Bob Dylan and Kurt Vonnegut, among others, alongside Joyce, connecting similar themes and stylistic responses. Ultimately, it suggests that the avant-garde response on the part of Joyce and these others is not necessarily a manifesto bolstering the style, but a reminder to the interpreter to not take the ability of traditional narrative to subsume the surprisingly complex local moment of experience as given. Instead of being "anti-art," as these avant-garde stylistics are often accused of, these aesthetics place new value on the old aesthetic and the act of interpretation, asking the interpreter to perennially re-evaluate the old and given amid the continuously new and complex local moment of experience resulting from the convergence of contrast brought on by the dynamically mapped globe in the process of globalization.

This comparative project investigates different representations of the sandman between the 19th century and the 20th century. My discussion focuses on Romantic texts, in particular E.T.A. Hoffmann's 1816 literary tale "Der Sandmann." While the traditional scholarship on Hoffmann uses both psychoanalytical and feminist approaches, I show how Friedrich Schlegel's concept of chaos and Jean-François Lyotard's concept of the postmodern sublime help us to understand Hoffmann's complex narrative structure. I argue that in Hoffmann's tale there is no unified sandman figure. However, different storytellers in the tale shape the sandman's various depictions. In a way, the sandman figure becomes a fluid character whose enigma the narrative's structure sustains. Paul Berry's 1991 stop-motion animation "The Sandman" visualizes Hoffmann's narrative. However, the film also reintroduces a unified sandman figure that is characterized by uncanny strangeness. My analyses both of Hoffmann's literary and Berry's cinematographic narrative show that their complex structures allow for ceaseless interpretations. This leads me to conclude that fantastic narratives lend themselves to insightful and critical ponderings.

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.

abstract: Paseo is a postmodern dance performance that reveals the migrational passage of bodies through space and time. Paseo included five dance participants, and the choreographer/pedagogue. Paseo members participated in rehearsal and performance events that completed the investigational study. The creative process focused on integrating somatic and improvisational movement practices to design an environment where dancers could build body-mind awareness and sensitivity to their surroundings, participate democratically, and build agency in their performative decision-making. Paseo investigated the performance as an informal site for learning and understanding of migration, identity, and community. Another objective of Paseo was to explore the performance as an informal site of learning and its transformative effects on lived experiences that occur from the act of doing, the act of becoming, and experiential sensations. Paseo was part of the Arizona State University’s (ASU) School of Film, Dance, and Theatre Emerging Artists I series, one of two performances that shared the stage with fellow graduate cohort member, Grace Gallagher. Paseo took place at ASU’s Margaret Gisolo Theatre, located at the Physical Education Building East. Performance dates were the following; fix punctuation Friday, November 6th, Saturday, November 7th, and Sunday, November 8th. Paseo had a fourth presentation on Saturday, December 5th, 2015, at Margaret Gisolo Theatre as part of the post-conference performance and dialogue event, “By The People.” The conference was hosted by the Participatory Government Initiative on the ASU Campus from December 3rd-5th, 2015. / Dissertation/Thesis / Masters Thesis Dance 2016

Esta tese propõe, a partir da premissa de que existe um cinema pós-moderno, observar e identificar marcas estéticas e técnicas nos filmes contemporâneos que construam uma imageria audiovisual pós-moderna. Após, procura compreender que sentidos são criados por essa imageria e que figuras comuns do “espírito pós-moderno” estão engendradas nessa estética. Para tanto, conduzo um mapeamento de filmes realizados entre 1980 e 2010, a partir de onde busco compreender os clichês visuais, ou recorrências técnicas e estéticas, que marquem a produção audiovisual contemporânea, a fim de organizar um objeto de análise. Essas recorrências são analisadas dentro de quatro estéticas, categorias de pesquisa dentro das quais relaciono as marcas estéticas e técnicas como formas com as figuras históricas e culturais que caracterizam o período pós-moderno. Nesse percurso teórico-metodológico, lanço mão de uma abordagem de Omar Calabrese e de um constructo teórico que articula, por um lado, as teorias de Fredric Jameson e Zygmunt Bauman sobre a contemporaneidade e, por outro, uma abordagem da imagem e do audiovisual principalmente das perspectivas de Philippe Dubois, Arlindo Machado e Jacques Aumont, assim como da contribuição de Maria Beatriz Rahde e Flávio Cauduro no que tange o apontamento sobre formas pós-modernas nas artes visuais gráficas. / This thesis proposes, based on the premise that there is a postmodern cinema, observe and identify aesthetic and technical marks of the contemporary movies that build a postmodern audiovisual imagery. Following, to understand the meanings created by this imagery and common figures of the "post-modern spirit" engendered in these aesthetics. In order to do this, I mapped films made between 1980 and 2010, from where I try to comprehend the visual cliches or technical and aesthetic recurrences that mark the contemporary audiovisual production in order to organize an object of analysis. These recurrences are analyzed within four aesthetics, categories of research within which I relate the aesthetic and technical marks as forms and the historical and cultural figures that characterize the postmodern period. Along the theoretical and methodological course, I made use of an approach by Omar Calabrese and a theoretical construct that hinges on the one hand, the theories of Fredric Jameson and Zygmunt Bauman on contemporary and, secondly, an approach of image and audiovisual, mainly the prospects for Philippe Dubois, Arlindo Machado, Jacques Aumont, as well as the contribution of Maria Beatriz Rahde and Flavio Cauduro regarding the appointment of postmodern forms in visual graphic arts.