Thèse--Université de Paris. / "Bibliographie": p. [287]-297.

No description available.

Thesis (Ph. D.)--University of North Carolina at Greensboro, 1982. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 243-260).

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).

Thesis (Ph. D.)--University of Chicago, Dept. of Art History and Dept. of Philosophy, Aug. 2003. / Includes bibliographical references. Also available on the Internet.

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.

Edouard Manet's paintings of working-class women reflect the dramatic social changes which occurred in Paris during the late nineteenth century. This thesis examines Manet's paintings which represent some of the sites of femininity within modern Paris: the home and garden, the prostitute's bedroom, and the new public sphere of the boulevards and cafes. With references to contemporary writings and social histories, the result of this study is a more profound understanding of how Modernism affected women's lives and the way in which they were represented in art.

The vitality of the human figure has been an unending source of curiosity for artists from the beginning to now. Although many artists have focused their creativity to searching for the perfect, in fact, beautiful, human form, others have striven to convey the human experience within the spirit of their own era. The latter is true of this creative project, which has addressed the following problem: hog: could large-scale intaglio printmaking be used to 02arify the negative impact our rigid contemporary notion of beauty can have on individual women? The project was inspired by the work of Kaethe Kollwitz, German artist of the early 20th century whc used her technical drawing skills to translate her knowledge of war and famine shattered women into forceful lithographs and etchings. The insight she Portrayed vividly combined her intensely personal vision the Vicious events of her times: social commentary at its finest.The significance of the project has been, first of all, its benefit to myself, the artist. The journey which I undertook through historical research on Kollwitz; conceptual investigation of women and rigid norms for beauty; and extension of my technical expertise as an etcher-has produced insights about creating art that are invaluable to the mature artist. The second significance involves the viewer, whom I hope reconsiders the images of women displayed in contemporary society.The project’s five large-scale etchings of the female figure portray in a series my ideas about roles women are expected to assume in contemporary American society. These ideas unfolded especially during the creation of the first and second etchings.The report of the project deals extensively with the drawing and etching techniques used for each print; a description of each of the works; the ideas which inspired the content of the works; how these ideas were transformed into visual images; and the technical competencies that I acquired while working through each plate. / Department of Art

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 39 p. : col. ill. Includes bibliographical references.

Rev. and enl. ed. of the author's thesis, Göttingen, 1968. / Includes bibliographical references (p. vii-viii).