Thesis (Ph. D.)--University of Delaware, 1992. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 660-682).

L’œuvre d'Andy Warhol a été évaluée dans le contexte culturel du Pop Art en fonction de certains thèmes : condition de l'image médiatique, héritage duchampien, paradoxes du modernisme, statut de la marchandise, unicité de l’œuvre d'art... Ce faisant, la culture propre de Warhol, déterminée par son rapport à la religion chrétienne, a été largement ignorée. Ces essais interrogent l'articulation d'une culture et d'une pensée religieuses à une pratique et à des motifs modernes à partir d'un changement de paradigme et de perspective. Il fallait vérifier comment ces sources chrétiennes se manifestent dans le détail et en évaluer les conséquences sur l'interprétation. Les questions de l'incarnation et de l'individuation, telles qu'il les traite dans ses portraits, ne sont pas envisageables sans une réflexion sur son rapport à la religion chrétienne. Plus généralement, ce point de vue fait ressortir le rapport complexe de Warhol à la modernité. / The work of Andy Warhol has been evaluated in the context of Pop Art, and scholarship favored a number of themes: the condition of the mass media image, Marcel Duchamp's legacy, the paradoxes of modernism, the status of commodities, the notion of originality of the artwork... So that his specific culture, established in a stringent relationship to Christian religion, has regularly been largely ignored. This dissertation envisions the articulation of a religious culture and thinking to modern praxis and topics. Thus, a change of paradigm and perspective is required. It became necessary to substantiate how the Christian inspiration reveals itself in the work and modify its interpretation. The issues of incarnation and individuation, as Warhol handles them in his series of commissioned portraits, can't be understood without an extended examination of his relationship to Christian theology. More generally, this standpoint does stress Warhol's complex attitude towards modernism.

A presente dissertação de mestrado propõe-se a analisar o processo de criação da primeira e única edição da Bienal Latino-Americana de São Paulo, que teve como título-tema Mitos e Magia, realizada no período de 3 de novembro a 17 de dezembro de 1978, na cidade de São Paulo. Os registros remanescentes, deste acontecimento, testemunham a importância do encontro entre críticos de arte, artistas e intelectuais das humanidades em debate sobre as questões polêmicas relativas às identidades culturais da América Latina, na sua produção artística contemporânea. O centro dessa discussão girou em torno do tema, sua expansão e seus limites. Observou a regulamentação da mostra e a análise do processo da I Bienal Latinoamericana de São Paulo, trouxe à luz a falta de um ideário capaz de abranger o universo plural das nossas culturas. / The remaining records of this event attest to the importance of this meeting among art critics, artists and intellectuals of humanities who debated about controversial issues related to cultural identities in Latin America, in its contemporary production. The focus of their discussion was the Biennials theme, its expansion and limits. The regulation of the display and the development of the process of the I São Paulo Latin American Biennial were analyzed in this research. It also raises issues concerning the lack of a body of ideas that comprises the plural universe of the Latin American continent.

In the decades following 1945, Americans moved increasingly out of cities into suburbs. The migration illustrated the emergence of a new, broader middle class as a result of growing postwar affluence. In the previous half-century, families living in a suburb could claim middle-class status. The emerging class built its identity on the forms and values adopted from this earlier, more affluent Victorian middle class. These adopted values were played out in a home designed around Progressive era ideals of the family. Through this Progressive filter, the new concept of the home was scaled down, without servants, and ceased existing wholly as the wife's sphere of influence--as in the Victorian version. The Progressive impulse also reduced the size of the house to make it more efficient, and through government subsidies shaped the home into a smaller, economically sized package. The financial framework that determined the shape of the postwar home also influenced the technology placed within its walls. This financially influenced technology particularly affected the shape and content of the kitchen. The new, efficient kitchen did not release women from their duty to provide daily family meals, but it did create a culturally safe space for men to cook as a hobby. In the postwar, suburban kitchen women and men contended with economic pressures and changing social realities which complicated the Victorian values and Progressive ideals. Middle-class women needed to leave the home for work, and--now separated from traditional urban social outlets--middle-class men sought refuge in the suburban home. By examining Sunset magazine's "Chefs of the West" column, traditional women's cookbooks and service magazines, men's magazines, building industry trade journals, and census reports, the kitchen demonstrates that women and men reshaped the home in response to changing middle-class values. While financing regulations at first shaped how the emerging middle class lived within the postwar, suburban home, residents reinterpreted the space as a reaction to the economic changes around them. This cycle continued with each new interpretation of the postwar single-family home.

During the Modernist period, generally defined between the years 1890 and 1945, artists were attempting to break away from previous forms and styles. For example, writers like Henry James and Virginia Woolf sought to change the novel by exploring the consciousness of characters, while playing with the ideas of time and space to create the present moment. The thesis explores the modernist techniques used by James and Woolf, but also connects the work of the writers with the architecture of Frank Lloyd Wright. Using Joseph Frank's theory of spatial form, my work explores the similarities between Wright's designs of private residences with the design of space in the novel. All three artists, I argue, are working with spatial form, blending interior with exterior, to provide the reader and the dweller with the opportunity to experience an organic unity, which ultimately results in a freezing of the moment. In addition to Frank's theory, I also incorporate Stanley Fish and Reader Response theory and William James's Principles of Psychology. The reader and the dweller must actively engage with the structure, whether a text or the home, to develop and realize the possibilities of spatial form. Also, William James's ideas about the mind and consciousness influenced Henry James and Virginia Woolf, especially in their focus on character, rather than description. I have chosen James's The Turn of the Screw and The Wings of the Dove along with Woolf's To the Lighthouse and The Waves to study with Wright's Prairie and Usonian residences. Each chapter looks at one novel and Wright's corresponding work during approximately the same time period. By connecting literature and architecture, the thesis provides new ways of thinking about the two disciplines, especially concerning interiority and consciousness. James, Woolf, and Wright are all experimenting with time and space to create a unified experience, and the striking parallels between their work deserves more attention.

Embodied pedagogy is a way of facilitating lessons which use the body as a locos of learning. Through a practice of storytelling, reflection, and imagination, embodied pedagogy evokes enactment and a release of emotions. This qualitative narrative study created multimodal portraits of embodied educators in the Newark Board of Education using the lens of Native Science and Ubuntu as epistemological frameworks. Using portraiture methodology, the lives of embodied educators were documented and reported in multimodal ways. The study is divided into three phases representing Ubuntu’s ontotriadic structure. The African philosophy of Ubuntu (“I am because you are”) centers community and recognizes the harmonious flow of life through three stages of existence (living dead—ancestors, living, yet to be born) and sees life as continuous motion. The three primary participants mirrored these three phases. The living dead was an ancestor, a deceased educator, and a dancer. The living is a current Newark teacher, and the yet-to-be-born is a preservice teacher (to be licensed). Their portraits were supported by interviews with secondary participants (colleagues, administrators, former students, cooperating teachers, family, and friends). Data were collected through interviews and observations. Portraiture methodology combines art and science to blend empiricism and aestheticism; the audience responds by being pulled into the narrative to experience the story as it unfolds. The portraits in this study function as art by exploring the physical context of the setting and illuminating the relationship between the researcher and participants. Each portrait is a beautiful, evocative, deep, compelling story of what is good and shines light on those aspects rather than on what is wrong and trying to right those wrongs. To actualize a full embodied experience, data analysis, and reporting included letter writing, poetry, visual art, movement phrases, song composition, and spoken word. The findings revealed the power of these collective stories, revealed through six themes and lessons learned that inform urban teacher preparation programs. The narratives demonstrate the importance of supporting students in their journey of becoming and recognizing the humanity in teachers and students.

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