Calligraphic rubbing collections or rubbing collections of model calligraphy (fatie 法帖) are frequently described as a source of canonical models for the learning of calligraphy. They are often associated with and usually refer to the calligraphy of the Two Wangs (Wang Xizhi 王羲之, 303-61, or 321-79, and his son Xianzhi 獻之, 344-86). They also became acknowledged as embodying the classical tradition transmitted mostly from the Jin (265-420) Dynasty, one which was well-known as the calligraphy canon. In general, recent scholarship on rubbing collections holds that rubbing collections often transmitted important and highly recognized works which represented the classical tradition or calligraphy canon. This thesis aims to analyze how Ming Dynasty (1368-1644) people received new forms of rubbing collections, and explores some of their social roles in Ming China. Apart from traditional concerns, for instance for the aesthetic value and the origins of various editions of rubbing collections, other aspects of rubbing collections of the Ming, for example, socio-historical and material culture perspectives, have not been explored in detail. The development of this form of calligraphy reproduction in China is important as an instance, alongside original works of calligraphy, of how the history of calligraphy was created and contested. The thesis will evaluate which calligraphers were chosen to be reproduced in rubbing form, which of their works were included, and what proportion of rubbing collections their work occupied, as well as who the patrons were and when the collections were published. An analysis of this information will show how the rubbing collections challenged the calligraphy canon and facilitated social mobility between various social groups particularly, scholars-officials, merchants and commoners. It will be demonstrated that Ming rubbing collections were no longer exclusively devoted to the traditional canon, nor did they contain only calligraphy of high aesthetic value. Calligraphy after masterpieces written in the copiers’ own styles and writings of those without significant reputations in calligraphy were made into rubbing collections as well. The thesis will attempt to show the cause(s) for this change.

This study explores the interrelationship between spatiality and subjecthood in the work of Stéphane Mallarmé, Guillaume Apollinaire, Maurice Maeterlinck, and Alfred Jarry. Concerned with various modes of poetry and drama, it also examines the cross-pollination that can occur between these modes, focusing on a relatively narrow corpus of core texts: Mallarmé’s Igitur (c. 1867-70) and Un Coup de dés (1897); Apollinaire’s “Zone” (1912) and various of his calligrammes; Maeterlinck’s early one-act plays—L’Intruse (1890), Les Aveugles (1890), and Intérieur (1894); and Jarry’s Ubu roi (1896) and César-Antechrist (1895). The poetic and dramatic practices of these four authors are assessed against the broader cultural and philosophical contexts of the fin de siècle. The fin de siècle witnessed a profound epistemological shift: the Newtonian-Cartesian paradigm, increasingly challenged throughout the nineteenth century, was largely dismantled, with ramifications beyond physics, philosophy and psychology. Chapter 1 introduces three foundational notions—Newtonian absolute space, the unitary Cartesian subject, and subject-object dualism—that were challenged and ultimately overthrown in turn-of-the-century science and art. Developments in theatre architecture and typographic design are examined against this philosophical backdrop with a view to establishing a diachronic and interdisciplinary framework of the authors in question. Chapter 2 focuses on the spatial dimension of Mallarmé’s Un Coup de dés and Apollinaire’s calligrammes—works which defamiliarise page-space by undermining various (naturalised) conventions of paginal configuration. In Chapter 3, the notion of liminality (the experience or condition of the betwixt and between) is implemented in an analysis of character and diegetic space as constructed in Jarry’s Ubu roi and Maeterlinck’s one-acts. Chapters 4 and Chapter 5 undertake a more abstract investigation of parallel inverse processes—the subjectivisation of space and the spatialisation of the subject —manifest not only in the works of Mallarmé, Maeterlinck, Apollinaire and Jarry, but in the period’s poetry and drama more generally.

by Susan Blumberg Liu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1996. / Includes bibliographical references (leaves 112-116). / ACKNOWLEDGMENTS / ABSTRACT / DECLARATION / CHAPTER / Chapter I. --- NTRODUCTION --- p.1 / Civil Society as a Theoretical Concept / Relevance of Thesis / Organization of Thesis / Chapter II. --- CIVIL SOCIETY AND LATE IMPERIAL CHINA --- p.11 / Habermas and the Public Sphere / Habermas as Applied to the Chinese Case / Recent Debate on Civil Society in Late-Qing China / Rankin versus Wakeman / Rowe versus Wakeman / Recent Discussion on Civil Society in Contemporary China / The Question of Autonomy / Civil Society with Chinese Characteristics / Gathered Comments / Chapter III. --- THE DYNAMICS OF CIVIL SOCIETY IN THE LATE-QING ERA --- p.44 / The Emergence of a New Public / Social Class Correlation / The Constitutionalists / Women in Late-Qing China / The Press and Public Opinion / Chapter IV. --- THE MOVEMENT FOR ESTABLISHING PROVINCIAL ASSEMBLIES --- p.63 / Getting Started / The Elections / Chapter V. --- THE PROVINCIAL ASSEMBLIES COMMENCE --- p.75 / The Nature of the Assemblies / Interaction and Organization of the Assembly Members / Chapter VI. --- TWO CASE STUDIES FROM THE PROVINCIAL ASSEMBLIES --- p.83 / The Jiangsu Assembly / Organization and Preparation / The Assembly Commences / Zhang Jian: Example of the New Gentry in Late-Qing China / The Hubei Assembly / Organization and Preparation / The Assembly Commences / Chapter VII. --- CONCLUSION --- p.107 / The Fate of the Assemblies / Analysis of Findings / Lasting Implications of Civil Society in China / BIBLIOGRAPHY --- p.112

Thesis (Ph. D.)--Sydney College of the Arts, University of Sydney, 2003. / Title from document (viewed 21/7/08). Bibliography: p.335-350.

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.

This thesis examines the intersections of the concept of pilgrimage and the visual imagination in Britain from the years 1790 to 1850. Historically, distinctions between understandings of pilgrimage as motif, metaphor, artistic process, and actual journey have been blurred to varying degrees, resulting in the creation of images that were at once narratives, memorials, and stimuli for contemplative journeys from pictorial space to imagination. In the first half of the nineteenth century, religious architecture, sacred landscapes, and the emblematic figure of the pilgrim with coat, hat, and scrip functioned as temporal reminders of a promised land to come, as mediated through artistic practice. Through a close analysis of a range of interrelated visual sources, I contend that pilgrimage, both in practice and as a form of mental contemplation, helped to shape the religious, literary, and artistic imagination of the period and beyond. This study draws out the various levels at which pilgrimage engaged the visual imagination. In doing so it offers a detailed perspective on the conjunction of content, form, meaning, and process for artists and theorists, as notions of the transfer of ‘spirit’ from sacred space to represented space re-emerged as a key aspect of the theological and artistic discourse of the period. Chapter 1 outlines the antiquarian dissemination of medieval pilgrimage texts and images. I suggest that an awareness of pilgrimage as embodying the real and imagined emerged with the recovery of allegorical texts, histories of actual pilgrimages, and an interest in pilgrimage souvenirs. The discussion moves on to intersections between pilgrimage and religious art in Chapters 2 - 4, including the idea of painting as pilgrimage, as demonstrated through specific case studies, and the refashioning of relics and religious ruins as contemporary sites of pilgrimage (Chapter 5).

Avant même la première distribution d'un film allemand en France, la presse spécialisée s'emploie à dénigrer les productions de l'ennemi héréditaire qui sont réduites à des œuvres de propagande. Ce n'est qu'à la fin de l'année 1921 que Louis Delluc parvient à projeter un premier film germanique. Aux réactions chauvines et nationalistes succèdent rapidement des commentaires plus réfléchis. Ces analyses sont construites sur des stéréotypes issus d'une vision romantique de l'Allemagne telle que Madame de Staël a pu la décrire. Pour les critiques, le succès mondial du cinéma d'outre-Rhin montre la supériorité des cultures européennes sur la « jeune » civilisation américaine. Dès lors, les productions allemandes deviennent un modèle pour le cinéma hexagonal. Avec Les Nibelungen ou Faust, le 7ème art allemand apparaît aux yeux de la critique comme l'archétype de la culture européenne. Ces longs métrages sont représentatifs de l'identité allemande mais dépassent les cadres nationaux pour atteindre une forme d'universel qu'atteste les réussites économiques des productions du milieu des années 1920. L'apparition du cinéma parlant renouvelle les relations franco-allemandes. Les collaborations sont désormais le lot commun des réalisations du début des années 1930 ce que symbolise la production de versions multiples. De part et d'autre du Rhin, les professionnels coopèrent à l'édification d'un cinéma européen sans pour autant perdre de vue l'indispensable ancrage national des films. Des transferts culturels franco-allemands seront multiples jusqu'en janvier 1933. Toutefois l'émigration allemande ne trouvera pas un accueil favorable dans les studios parisiens. / Just after the first World War, French critics commented German film like an industrial or propaganda product. It was until the end of 1921, that Louis Delluc showed a first German movie in France. After some nationalists reactions, critics built around stereotypes an romantic vision of German films. These romantics visions maded by Madame de Staël in the beginning of 19 century. For French critics, the german production worlwide success proved the suporiority of European culture to the “ young “ american civilization. With The Nibelungen or Faust, these features represented German identity. But these film beyond nationalist space to acceded universal signification. Germans productions became the archetype of European Culture in the middle of the 1920s. In the beginning of the 1930s, talkies transformed French-German relations. There were a lot of collaboration on both side of the Rhine: of course, in Babelsberg studios – the most important in European space – and Parisians studios too. For example, Georg Wilhelm Pabst realized three differents versions of Die Dreigroschenoper : the first in german language, a second in french and the third in english. Pabst worked with differents actors and differents technincian. French and German works together – in some case English – to build European cinema without losing national identity. Until January 1933, the French German cultural transfers were multiple. However, the German Emigration didn't find acceptance in the Parisan studios. / Schon vor der ersten Aufführung eines deutschen Films in Frankreich setzt sich die französische Fachpresse dafür ein, die Produktionen des Erbfeinds als reine Propagandawerke herabzuwürdigen. Erst Ende des Jahres 1921 gelingt es Louis Delluc einen deutschen Film in Frankreich zu zeigen. Auf chauvinistische und nationalistische Reaktionen folgen schnell besonnenere Kommentare. Diese Analysen basieren auf Stereotypen, die einer romantischen Vision Deutschlands entspringen, wie sie Madame de Staël beschrieben hat. Die Kritiken stellen den Welterfolg des deutschen Kinos, als Überlegenheit der europäischen Kulturen über die „junge“ amerikanische Zivilisation, dar. Von jetzt ab werden die deutschen Produktionen zu einem Model für das französische Kino. Mit „Die Nibelungen“ oder „Faust“ erscheint die deutsche Kinokunst den Kritikern wie eine Urform der europäischen Kultur. Diese Filme repräsentieren zwar die deutsche Identität, reichen aber über nationale Grenzen hinaus, um eine universelle Form zu erreichen, die durch die wirtschaftlichen Erfolge der Produktionen Mitte der 20er Jahre bezeugt wird. Das Erscheinen des Tonfilms führt zu einer Erneuerung der deutsch-französischen Beziehungen. Zusammenarbeit ist von nun ab ein Kennzeichen der Filmproduktion des Beginns der 30er Jahre. Dies wird durch Herstellung von verschiedenen Versionen deutlich. Auf beiden Seiten des Rheins kooperieren die Filmemacher bei der Erschaffung des europäischen Kinos, ohne dabei die wichtige national Verankerung des Films zu vernachlässigen. Bis zum Januar 1933 gibt es einen mannigfaltigen deutsch-französischen Kulturaustausch. Dennoch findet die deutsche Emigration in die Pariser Studios keinen wohlwollenden Empfang.

The diploma thesis deals with design of the polyfunctional center and the whole complex for the Brno University of Technology, which would serve for its representation. The land is in Brno on Kraví hora and its location has huge potential. However, the area is not used by the university, so the existing buildings are in poor condition. Therefore, the aim of the proposal is to find a suitable use of the land that would meet the university's requirements together with the city's intentions.

This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generated for art categorisation (or definition), art appreciation, and art cultural distribution. Two empirical studies involving more than 1,000 participants tested the most important of these predictions. In study 1, a relationship was found between how much a series of works of art were liked and how easy they were to understand. Study 2 comprised four experiments. In experiment 1, a series of hyperrealistic paintings were preferred when they were labelled as paintings than when they were labelled as photographs. In experiments 2a and 2b, a series of paintings were considered easier to understand and, under some conditions, were preferred, when they were accompanied by titles that made it easier to understand the artist’s intention. In experiment 3, a series of artefacts were more likely to be considered “art” when they were thought to have been created intentionally than when they were thought to have been created accidentally. The results of studies 1 and 2 confirmed the predictions tested, and are interpreted in the framework of relevance theory. The art experience involves speculation about the artist’s intention, and it is partly assessed as a form of communication that is constrained by relevance dynamics. Implications for anthropology of art, psychology of art, and the art world are discussed.

The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.