published_or_final_version / Literary Studies / Master / Master of Arts

Abstract is not available.

Thesis (M. Phil.)--University of Hong Kong, 2000. / Includes bibliographical references (leaves 217-229).

Thesis (M.F.A.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains iv, 17 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 15).

Thesis (M.A.)--University of Hong Kong, 1991.

Thesis (M.A.)--University of Hong Kong, 1991. / Also available in print.

No description available.

This thesis examines the notion of a 'third space'. 'Third space' is a way to examine the question of culture in a time marked by large epistemic, political and representational shifts. Recent theorization of 'third space' often locates this as a cultural 'in-between' or field of liminality, beginning with the polarities of hierarchical and binary dualisms. The body, as one half of dualistic thought and practice, remains conspicuously absent from concepts of 'third space' and its activities. A series of dynamic modes of engagement, in which embodiment figures centrally, constitutes 'third space' in this theorization of it. Rather, however, than approach the articulation of a 'third space' solely through academic and literary texts, its primary 'sources' of 'information' to date, photographic imagery is proposed as a means to access 'third space'. The photographic, through its mediation of "vision," provides visual 'clues' by which to approach the "subjects" and "objects" of 'third space'. A trialectical relation of Visuality, Embodied Inter(ob)subjectivity and Space therefore characterizes a feminist approach to, and conceptualization of, 'third space'. An interpretative analysis of the contemporary photographic practices of Genevieve Cadieux, Marlene Creates, and Sylvie Readman contributes to an understanding of the significance of a notion of 'third space'.

This exegesis forms part of an ongoing enquiry on the concept of time. Artist, Barnett Newman sought the ‘physical sensation of time’ in his painting. My research questions, through a program of creative work, whether a moment in time can be represented in a two dimensional art work; or if we only experience the sensation of time passing, as we are viewing it. A key issue within this creative practice-based approach, is to examine if empty visible space within an artwork ‘ignites’ a sense of time; if a visualisation of empty space can capture an event, an awareness of the immediacy of a moment experienced in the studio. / Master of Arts (Honours) in Fine Art

This thesis culminates in an exhibition resulting from the artist’s investigation of the relationship between space and time, and on perception and experience of space with connections to ‘everyday’ ideas of space. A recurring link in this paper is the process of ‘being present’ in relation to spatial viewing. The artist’s studio practice focuses on the visual changes she sees within a particular space or spaces, and how these visual changes are perceived and experienced when presented to the viewer in a photographic image. The intention is to present a photographic image to the viewer that not only changes the space from which it originally came, but also highlights the beauty of the space that may be missed or overlooked. The research questions the way people see, the visual representation of the ‘void’ or ‘empty space’, and spatial representation. The paper also discusses how the artist visually perceives and experiences space. The work of other artists and writers who research space, time and perceptual consciousness are also considered. / Master of Arts (Hons)