This study reappraises the role and value of statues (i.e. the figure as sculpture) in order to determine what happens when we encounter these objects. The consideration and construction of statues in my studio practice has generated specific insights into statues as person-shaped objects and into our encounter with these objects. From the perspective of a practice making statues this study addresses how, through the encounter, statues both stimulate and obscure our perceptions of them as objects. My practitioner's understanding of statues is articulated and enlarged by developing methods which allowed me to gain an expanded perspective of my practice, through data collected from conversations about statues, and via a subsequent diffractive dialogue with concepts gleaned from other disciplines. This research process has revealed specific characteristics of the encounter, and of statues themselves, that have been excluded or obscured by familiar assumptions and theories, such as a tacit consideration of statues that allows us to be unsettled by their nudity, or the role touch plays in considering statues, and ultimately the history of the object itself. These findings are considered through a sustained engagement with Object Oriented Ontology (after Harman). Through this process, my initial findings are subsequently expanded and further enhance a re-conception of the encounter and of statues as objects. Finally, I argue for the importance of considering this reappraisal of the role the encounter with statues could play in revealing and reframing our relations with objects more generally.

Texte remanié de: Diss.--Philosophische Fakultät--Münster--Westfälische Wilhelms-Universität, 1991. / Notes bibliogr. Index. Résumés en allemand et en anglais.

Freie Univ., Diss. u.d.T.: Bumke: Frei aufgestellte Gruppen in der griechischen Kunst von der geometrischen Epoche bis zum Ende der frühklassischen Zeit--Berlin, 1997.

Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-09-05Bitstream added on 2014-06-13T20:09:35Z : No. of bitstreams: 1 alcantara_as_me_ia.pdf: 955474 bytes, checksum: 9fa77531cdb9717c1f0821596c52b168 (MD5) / Universidade Estadual Paulista (UNESP) / A produção de imagens sacras no Brasil teve uma importante função didática para difusão do evangelho, uma ação educativa realizada pelas ordens religiosas que foram se instalando em várias partes do país. Em virtude disto, o sucesso da missão propiciou a edificação de muitas igrejas que continham em seus altares belas imagens sacras de cunho erudito para o culto coletivo, envoltas em um contexto místico, nas quais o fiel buscava conforto espiritual, por meio da contemplação. Aliadas aos sucessivos ciclos econômicos, passaram, ao longo da história, por adequações de material, estilo e dimensão, que acabaram por levá-las para o interior das casas e lá permaneceram fazendo parte do cotidiano. Posta assim a questão, no estado de São Paulo, em meados do século XIX, na região que hoje chamamos de Vale do Paraíba, houve uma grande demanda de imagens para o culto doméstico, que possuem vários pontos de tangência com as eruditas barrocas, encontradas nas igrejas locais. Denominadas Paulistinhas, estas imagens foram produzidas, exclusivamente no estado de São Paulo, para suprir as necessidades devocionais de um número significativo de pessoas que migraram para o vale, motivadas pelo cultivo do café, o então chamado ouro-verde. Imagens de devoção confeccionadas, por mais de um século por muitos santeiros, sendo na sua maioria anônimos, os quais, por meio da criatividade, fizeram surgir uma simplificação formal demasiada e muito singular para estas imagens que representavam os santos católicos e que, atualmente, se revelam preciosas não só pela devoção que elas suscitavam, mas também por marcar uma distinta escola de imagem sacra, imbuída do espírito barroco. / The manufacturing of sacred statues had an important educational role in the spreading of the Gospels in Brazil. Such confection was conduced by the religious orders which settled down in various regions of the country. The successful mission led to the construction of many churches whose altars had beautiful baroque statues surrounded by a mystic context, which the churchgoers sought for spiritual comfort through contemplation. Attached to the successive economic cycle, these baroque statues suffered, through history, many adaptations of material, style and dimension, taking them to the follower houses, where they stayed composing the daily life. In São Paulo State, by the middle of the 19th century, in the region called Vale do Paraíba (Paraíba Valey) there was a great search of such statues intended for domestic praying. These domestic versions had much in common with the original ones from the local churches. Such statues, dubbed Paulistinhas, were exclusively made in São Paulo State, responding to a demand for the devotional necessity of a significant number of people who migrated to the area, drawn by the coffee growing, then called “Green-gold”. Devotional statues manufactured, for more than a century, by anonymous sculptors who by means of creativity made a particular and exaggerated formal simplification for the statues which represented the Catholics saints which are, currently, not only important for their devotional values, but also for indicating a different school of sacred statues which are plenty of the baroque spirit.

Revision of the author's thesis (Ph. D.)--Stanford University, 1988. / Includes bibliographical references (p. 141-169) and indexes.

This thesis will investigate how Roman monumental architecture in Tergeste dating to the first and second centuries AD reflected and reaffirmed the social order of the city, and how it was used in the creation and maintenance of identities. The material used will be two select structures, the basilica and theater, located in the eastern and north-eastern sections of Tergeste, respectively. By using theories of social architecture, agency, identity, and compounding them with the ideology of Roman urbanism, focus will be placed on how movement within a structure and the occupation of its different locales influenced the adoption of particular roles and self-conceptions. A number of statues and dedicatory inscriptions associated with the architectural structures will serve to further corroborate these points, and to add information about whether a specific type of identity was favored above others in the city. The results will provide a first overview of how architecture responded to the social reality in Roman Tergeste, in the hope to encourage further research in this direction.

The aim of the thesis is to investigate the standing of Olympic victor statues in Greece and Rome. The major focus is on how the meaning and the perception of the statues become transformed in different contexts. Throughout the study the reception alongside the location and meaning of athletic sculpture are primary points of concern. The standing of the patron and the viewer with respect to transformed models and their perception in relation to context constitute a significant part while formal details of artistic creativity and workmanship are dealt with only as necessary. It is known that Roman victor sculptures go back to Greek models / however remarkable change is revealed in the context and meaning of display &ndash / such as the emergence of statues for the decoration of private villas or public baths &ndash / rather than major stylistic changes in the statues themselves. So, the goal of the study is to understand how the Romans looked to the past and to Greeks in particular. An attempt is made to understand how Romans used their own values to appropriate and transform earlier Greek models, by focusing especially on the display and context.

Texte remanié de: Thesis Ph. D.--Department of Byzantine and modern Greek studies--London--King's college, 2000. / Bibliogr. p. 293-308. Index.

Thesis (Ph. D.)--New York University, 1997. / Includes catalogs of the sculptures and the drawings for Michelangelo's commission for the apostle statues. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.A.)--University of Delaware, 2007. / Principal faculty advisors: Wendy Bellion and Bernard L. Herman, Dept. of Art History. Includes bibliographical references.