Thesis (Ph. D.)--North Texas State University, 1986. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 367-404).

This thesis examines, from a feminist perspective, conceptions of the body proposed by poststructuralist philosophy and postmodernist art practice. Within both feminist and postmodern critiques of the humanist subject, the body has come to be understood as a site of cultural inscriptions. In tracing the relationship between postmodernism and feminism, the thesis addresses specifically the shift from celebratory, affirmative female imagery typical of feminist art in the seventies, to the semiotic analysis of images of women which, in the eighties, problematized the question of sexual difference as one of representation. During the eighties women artists generally eschewed figurative representations of the female body in recognition of its over-determined socio-sexual status. Within this historical framework, the tension between the "de-materialized" body of postmodernity and the insistently present body of gendered experience is explored both in the work of feminist theorists and contemporary women artists. In conclusion, three corporeal sites--the cultural, the epistemological and the psycho-sexual--are analysed in the postmodern practices of Jana Sterbak, Nell Tenhaaf and Kati Campbell.

Thesis (M.A.)--Eastern Illinois University, 1977. / Includes bibliographical references (leaves 60-62).

Thesis (D.C.A.)--University of Wollongong, 2004. / Typescript. Includes bibliographical references: leaf 123-132.

Thesis (Mestre literatura brasileira)--Universidade Federale de Minas Gerais, 2006. / Includes bibliographical references (p. 110-114).

Thesis (Ph.D.)--Murdoch University. / Thesis submitted to the Division of Arts.

M.Tech. / My research investigates whether the notion of a Goddess is still relevant as a metaphor to contemporary feminist art, both globally and within a South African context. My hypothesis is that the debate between the first and second-generation feminists regarding the relevance of the Goddess to feminism is incomplete. Using critical literary analysis I examine the issues surrounding the debate, exemplified through an analysis of artworks by Ana Mendieta and Tracey Rose. A further aim of my research is to raise critical debate as to whether a multifaceted and contradictory Goddess, such as the Hindu goddess Kālī, is more relevant to the diversity of options suggested by both postmodernism and a multicultural South Africa. Evidence and interpretation of such an ambivalent Goddess is sought in the work of South African artists Claudette Schreuders and Diane Victor. Arguments from texts relevant to the artworks are critically examined, augmented in the case of Schreuders by an interview. The presence of an ambivalent Goddess is developed in my practical work through exploratory research. Assemblages of varying materials have been created to suggest a metaphorical Goddess. Discussion of these artworks reveals that both materials and concepts are inextricably linked and are intended to invite multiple interpretations. By exploring the issue of feminism in a South African context and adding to a general body of knowledge on South African artists, my research contributes to the University of Johannesburg’s niche area Visually Embodying Identity in a Postcolonial Environment.

No description available.

This research surveys ideology and iconology in the presentation of the autobiographical and biographical female nude as envisioned by American women artists in the painting, drawing and printmaking media from 1969 to 1983. Contemporary dialogue by critics, artists and feminists on the definition of feminine content led to the articulation of the undraped nude torso as the central icon of the study. This static icon was pushed through a variety of styles into multi subtleties of iconology. The female nude by women artists is autobiographical even in biography emphasizing self-identification and authenticity. General constraints were placed on the survey the definability or explicit articulation of the female torso as opposed to suggestive imagery, the time frame in which the nude was created, and the chosen media for study. Art historical methodology was employed to descriptively examine image and intent of the nude presentations in references through time as well as visual traditions of symbology. This survey began at the turn of the century for historical background to emphasize the greater proliferation of the nude from 1969 to 1983. There were limitations specifically associated with the earlier time frame (1900-1969)--the lack of art educational opportunities for the female student, the socio-political climate dealing with the acceptability of the nude, and a very general lack of attention from the publishing market towards women artists. Six artists were identified: Lillian Genth, Romaine Brooks, Margarite Zorach, Isobel Bishop, Louise Nevelson and Louise Bourgeois. The coalescence of socio-political circumstances around 1969, allowing for the greater incidence of the female nude occasioned the selection of 1969 as a perimeter of research. Within 19 69-1983 a greater number of artists and a far greater number of works were evident, seventeen in all, including Alice Neel, Marisol, Mary Frank, Nancy Spero, Joan Brown, Sylvia Sleigh, Martha Mayer Erlebacher, Mary Beth Edelson, Joan Seminel, Jillian Denby, Daphne Mumford, Juanita McNeeley, Martha Edelheit, Shirley Gorelick, Janet Culbertson, Anita Steckel, and Pat Steir. The amazing diversification of the work presented is united by the female nude icon which by subtle visual manipulation and compositional placement offers ideology which expands the Twentieth century definition of female.

何思博. / 光碟碟名: 憧憬--何思博繪畫 Aspiration : paintings by Ho Sze Pok. / "2003年6月". / 論文(藝術碩士)--香港中文大學, 2003. / 參考文獻(leaves 25-27). / 附中英文摘要. / Guang die die ming: Chong jing--He Sibo hui hua Aspiration : paintings by Ho Sze Pok. / "2003 nian 6 yue". / He Sibo. / Lun wen (yi shu shuo shi)--Xianggang Zhong wen da xue, 2003. / Can kao wen xian (leaves 25-27). / Fu Zhong Ying wen zhai yao. / 摘要 --- p.II / Abstract --- p.III / 致謝詞 --- p.IV / 附圖目錄 --- p.V / 緒論 --- p.1 / Chapter 第一節 --- 論文研究動機 --- p.1 / Chapter 第二節 --- 論文硏究方法與步驟 --- p.2 / Chapter 第一章 --- 女性意象對女性藝術語彙之開拓 --- p.4 / Chapter 第一節 --- 藝術創作中的女性意象 --- p.4 / Chapter 第二節 --- 女性意象在藝術上之形成因素 --- p.6 / Chapter 一、 --- 遠因一一社會建構蘊釀下的女性意象 --- p.6 / Chapter 二、 --- 近因´ؤ´ؤ女性運動對女性藝術語彙的啓發 --- p.8 / Chapter 第二章 --- 從意象走進自我´ؤ´ؤ台灣女性藝術語彙之衝擊 --- p.10 / Chapter 第一節 --- 台灣女性藝術語彙的衝擊 --- p.10 / Chapter 一、 --- 衝擊過程 --- p.10 / Chapter 二、 --- 女性意象在藝術上的推展 --- p.12 / Chapter 第二節 --- 從意象走進自我 --- p.14 / Chapter 一、 --- 文化差異下的轉異 --- p.14 / Chapter 二、 --- 邁向自我探索的創作方向 --- p.15 / Chapter 第三章 --- 個人創作理念之形成與實踐 --- p.18 / 創作理念形成與實踐 --- p.18 / Chapter 一、 --- 女性意象對創作的啓發 --- p.19 / Chapter 二、 --- 從自我探索方向出發 --- p.20 / 結論 --- p.23 / 參考書目 --- p.25 / 附圖 --- p.28