Thesis (M.A.)--Ohio University, August, 2007. / Title from PDF t.p. Includes bibliographical references.

Univ., Diss.--Cambridge. / Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1962. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 274-286).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 259-264).

Thesis (Ph. D.)--Miami University, Dept. of English, 2004. / Title from second page of PDF document. Includes bibliographical references (p. 90-93).

Mass destruction imagery within the science fiction film genre is not a new cinematic development. However, a swell of destruction-centred films has emerged since the proliferation of digital technologies and computer-generated imagery that reflect concerns that extend beyond notions of spectacle. Through illusionistic realism techniques, the aesthetics of mass destruction imagery within science fiction cinema can be seen as appropriating the implied veracity of other film traditions in order to create a baseline of visual credibility, even to the extent of associating its own fantastical fictions with recent historic destruction events. This thesis investigates the representation of mass destruction across the spectrum of contemporary science fiction films emerging from around the world by examining the various methods employed to affect the spectator. The study is divided into four sections: realism, spectacle, sublimity, and correlation. It is structured so as to escalate from the establishment of a baseline of vraisemblance of the spectator’s empirical understanding of the world, to new representations of death and destruction, whereby visual aesthetic correlations emerge between science fiction and historical fact. My study attempts to contribute to the current discourse on science fiction cinema by focusing on the relationship between the aesthetics of realism and spectacle and their impact on spectatorial affect. By re-defining notions of film realism and the cinematic sublime, and through close textual analyses of a number of contemporary science fiction films, the intent of this paper is to present a greater understanding of the complicated inherencies borne by mass destruction spectacle.

Programa de Pós-Graduação em Filosofia. Departamento de Filosofia, Instituto de Filosofia, Artes e Cultura, Universidade Federal de Ouro Preto. / Submitted by giuliana silveira (giulianagphoto@gmail.com) on 2016-04-27T17:22:28Z No. of bitstreams: 1 DISSERTAÇÃO_SublimeTrágicoProjeto.pdf: 1222609 bytes, checksum: dd35043254ef4331e359a65918196cb8 (MD5) / Approved for entry into archive by Oliveira Flávia (flavia@sisbin.ufop.br) on 2016-04-28T12:29:43Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO_SublimeTrágicoProjeto.pdf: 1222609 bytes, checksum: dd35043254ef4331e359a65918196cb8 (MD5) / Made available in DSpace on 2016-04-28T14:10:22Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO_SublimeTrágicoProjeto.pdf: 1222609 bytes, checksum: dd35043254ef4331e359a65918196cb8 (MD5) Previous issue date: 2016 / O presente trabalho se detém à análise de como os conceitos de tragédia e de sublime participam do projeto de educação estética de Schiller. Uma vez tendo Schiller identificado que o problema da sociedade alemã do século XVIII era um problema político, mas que, no entanto, não poderia ser resolvido unicamente pela tarefa da razão, como propunha a filosofia moral de sua época, Schiller afirmará que a tarefa do político deveria passar antes pela questão beleza, pelo estético. Nesse sentido, a tragédia e o sublime ganham para Schiller imensa potência uma vez que tais manifestações da arte revelam, sobretudo, o caráter moral do homem e da humanidade. Na medida em que a faculdade racional joga com as faculdades sensíveis e, por consequência, geram um terceiro impulso, o lúdico, o homem alcança, através do estético, a consciência de uma moralidade objetiva e universal. _________________________________________________________________________________ / RÉSUMÉ : Ce mémoire s’occupe de l'analyse de comment les concepts de tragédie et de sublime participent-ils au projet de l’Éducation Esthétique de Schiller. Une fois que Schiller ait identifié que le problème de la société allemande au XVIIIe siècle était un problème politique, mais, cependant, ne pourrait pas être résolu seulement par le travail de la raison, comme proposait toute la philosophie morale à son époque, Schiller affirmera que le rôle du politique devrait s’engager, premièrement de la beauté, de l'esthétique. Dans ce sens, la tragédie et le sublime gagnent, aux yeux de Schiller, une énorme puissance, car telles manifestations de l'art révèlent, surtout, le caractère moral de l'homme et de l'humanité. Dans la mesure où la faculté rationnelle joue (spielt) avec les facultés sensibles et, par conséquent, produisent la troisième impulsion, l’impulsion ludique, l’homme arrive, à travers de l’esthétique, à la conscience d’une moralité objective et universelle.

Esse trabalho pretende investigar as diferentes percepções de significado da palavra paisagem e seus desdobramentos na atividade do arquiteto urbanista. Para tanto, percorre um primeiro desenvolvimento que associa paisagem às diferentes concepções que se têm dela, procurando distinguir a qualidade que nos parece fundamental: a de ser um grande articulador de temas, lugar de múltiplas valências estéticas que dão significado à relação entre homem e natureza. A confusão entre paisagem e o que venha a ser natureza, associado ao fenômeno de supremacia de uma suposta ciência e conseqüente crescimento da figura do planejamento corroboram a redução do complexo significado da paisagem. A questão da possível sobrevivência em tempos modernos de chaves estéticas ligadas ao século XVIII constitui o cenário para a distinção da figura de Frederick Law Olmsted como pioneiro da atividade da arquitetura da paisagem com dimensões para toda a cultura de uma época. A paisagem como a construção de um olhar comparece nessa elaboração, tecendo a partir de exemplos históricos uma multiplicidade de significados que recusam os estreitamentos, apontando algumas fontes de possíveis enganos. A tese afirma a dimensão cultural e estética da arte como pivô nas criações de uma arquitetura da paisagem. / This research intends to explore the several meaning perceptions of the word landscape and their connection to the activity of the architect. Therefore, it runs at first the different concepts of the term landscape, trying to sort out of them the quality that seems fundamental to us: to be the great link to different themes, the place of multiple aesthetic values that makes meaningful the human-nature relationship. The confusion between concepts of landscape and nature, due to the supremacy of so-called science, and the subsequent outgrowth of planning corroborate the reduction of the complex meaning of the landscape concept. The question of a possible survival in modern times of aesthetic keys from the 18th century constitutes the background to the distinction of Frederick Law Olmsted as a pioneer in the activity of landscape architecture, of great significance of a whole era. Landscape as a construction of the eye appears in this elaboration, interlacing from historical examples a multiplicity of meanings that rejects to be straitened, and points to sources of possible misunderstandings. This work reaffirms the cultural and aesthetic dimension of art as motor for the inventions of landscape architecture.

Létude comparatif entre lAlmanaque Brasileiro Garnier, publié entre 1903 et 1914, et lAlmanach Hachette, édité entre 1894 et 1980, cherche corroborer lengendre anuel des cités idéales, Paris et Rio de Janeiro, par lacte poétique recupérateur du Beau, pour la tessiture du Sublime, dans le meilleur des mondes possibles. Cest la fabrication incessante de ce microcosme mystique-poétique qui permet aux lecteurs acquerir une vie protégée des problématiques modernes, puisque dans cette cloche en verre onirique ils subissent une thérapeutique des maux contractés dans la foule caotique environnante, puis guéris, puissent voir la vraie beauté du monde. Cest le rôle de tirer les échelles des yeux, de la Paidéia Poétique quotidienne, pour la conquête de lacuité de vision, qui permet la plainte du Laid symbolisé par les malheurs de la modernité, ce qui permet lédification de ce paradis terrestre pour lexpérience du Temps Sacré concernant la nouvelle Création. Cette recupération du principe du monde, par la Poiésis, traduit le véritable âge dor de la soi-disant Belle Époque brésilienne et française, dans laquelle les citoyens vivent un temps déternelle bonaventure, avec toute sorte dabondance et de jouissance, caractérisée par linfinité dalmanaquias pour leur ravissement à partir du Pays de Cocagne et de lEldorado. Cest labondance de nourriture poétique, servie sur la grande table de la Terre sans Maux dalmanach, qui agit sur le corps et lesprit comme tonique regénérateur de la plenitude perdue, laquelle symbolise linfini récupéré par lengendrement ininterrompu du Sublime dans les Républiques des délices de lEldorado, pas celui des Amériques, mais de tous les continents qui composent ce site merveilleux. / O estudo comparativo entre o Almanaque Brasileiro Garnier, publicado entre 1903 e 1914, e o Almanach Hachette, que esteve em circulação entre 1894 e 1980, busca aferir o engendro anual das cidades ideais, Paris e Rio de Janeiro, por meio do ato poético resgatador do Belo, para tessitura do Sublime, no melhor dos mundos possíveis de almanaque. É a feitura incessante de tal microcosmo místico-poético que permite aos leitores uma vida resguardada das problemáticas modernas, posto que dentro de tal redoma onírica passam por um processo terapêutico de cura dos males contraídos na massa caótica circundante, para então, sãos, poderem enxergar a verdadeira beleza do mundo. É, pois, o papel de tirar as escamas dos olhos, da Paidéia Poética diária, para alcance da acuidade de visão, que possibilita a denúncia do Feio simbolizado pelas mazelas da modernidade, o que permite a edificação de tal empírio terrestre, para a vivência do Tempo Sagrado advindo da nova Criação. Tal resgate do princípio do mundo, pela Poiésis, traduz a verdadeira idade de ouro na chamada Belle Époque brasileira e francesa, onde seus cidadãos vivem um tempo de eterna boa ventura, com toda sorte de abundância e de regozijo, caracterizada pela infinidade de almanaquias para deleite proveniente do Pays de Cocagne e do Eldorado. É a fartura de alimento poético, servido periodicamente na grande mesa da Terra sem Males de almanaque, que age no corpo e no espírito como tônico resgatador da plenitude perdida, simbolizadora da infinitude reconquistada, pela tessitura ininterrupta do Sublime, nas Repúblicas das delícias do Eldorado, não das Américas, mas de todos os continentes que compõem tal sítio maravilhoso.

The landscape, industrial machine and human endeavour needs to be reconciled in Cullinan. The newly proposed group framework aims to do this by focussing on four nodes along a circular route which follows the circumference of the scar in the landscape. It is suggested that the once the mine (currently the only livelihood of the town) closes that a multi scalar network of craft industries, educational facilities, tourist attractions and agriculture would continue to support the town. This network doesn’t just rely on one method on one scale, as the mine did, ensuring a more resilient support system Ernstson, van der Leeuw, Redman, Meffert, Davis, Alfsen & Elmqvist 2010). In this scheme, located at the soon to be closed No.1 shaft and headgear, it is proposed that if a resilient connection between town, users and landscape needs to be established by diversity of program, it might be necessary to also investigate a diverse generation of building form which reinforces this idea. Gelernter (1995) identified five core theories on the generation of form. It is argued that the influences on form within these theories are either generated by the object (nature) or the subject (the mind). The generators of form found within the extant fabric of the study area was found to be mainly generated by influences from the physical world, thus if a diversity of form generation needs to be established, a form that was generated by intuition and links the emotions and mind of the user needs to be investigated within the design. Following this, Romantic theories relating to the backlash to pure rationality is tapped into together with an understanding of the influence of the sublime on the mind of the user, and the emotional link it creates between the subject and object is used in the design and process. These theories have influence on the creation of spaces, form, and the relation to extant fabric in the new building. The concept uses and adapts sublime elements in the landscape and in the industrial machine to establish this emotional link. Although program is not the main design generator of this project, it cannot be ignored and a bakery and baking school, and mill is proposed, as presents us with aspects that can be tapped into to enhance the experience of spaces as well as linking into all of the proposed networks of resilience as mentioned before. The concept is drawn through into the technical exploration of the building, where the form is seen as a threshold between rationality and the sublime. Rational construction is decayed from the extant fabric into the landscape where natural materials are used more in the construction, and the structure is not as evident as before. This enhances the existing sublime elements of the site and strengthens the above mentioned emotional link between man and nature. / Dissertation (MArch(Prof))--University of Pretoria, 2015. / Architecture / MArch(Prof) / Unrestricted