Thesis (M.Arch.)--University of Detroit Mercy, 2007. / Includes bibliographical references (p. 104).

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

Thesis (Ph.D.)--York University, 2006. Graduate Programme in Language, Culture and Teaching. / Typescript. Includes bibliographical references (leaves 286-314). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR29534

Towards the end of the last century discussions on the representation of masculinity in male body-based performance art placed emphasis on the deconstruction of normative masculine identities. The focus of these investigations tended to position the image of masculinity within Lacan’s sexuation matrix, and as such, these representations were usually referred to as being phallic. That is, they reinscribed the behaviours, traits and characteristics of normative masculinity into the performance space. The central thrust of this practice-as-research thesis is that while some male artists deconstruct the performance of phallic masculinity, to challenge normative masculine ideologies, they often first reinscribe normativity onto their bodies. I argue that, while achieving a destabilisation, this approach does not take into consideration the multiplicity of masculine identities that emerge through the individual lived experiences of masculinity This thesis proposes that the performance of my personal experiences of having a masculine identity, and the exploration of these through my male body, might offer an alternative challenge to normative masculinity. Deriving from performance practices that I refer to as ’muscular masculinity’ consideration is given to how I might make space in my work to encourage a focus on the sensorial qualities of having a masculine identity. I mean this in relation to, for example, the feelings of emotions such as shame, anxiety, and vulnerability that emerge as a result of challenging my own identity, and also the different corporeal pleasures I experience as a result of having a male body. In this thesis, I refer to the practice of attending to these sensorial qualities and the gaps that emerge through an intersubjective exchange in performance, as generosity. Furthermore, I argue that generosity can challenge normative representations of masculinity because it requires the male artist to struggle; to struggle with the incoherence of their identity, to struggle with their body, and to struggle with the insecurity of meaning making.

In a Polynesian feast, food is a metaphor for the essence of Polynesian culture—giving without self regard. As Polynesian culture evolves, its aesthetic standard must necessarily change. Two seemingly conflicting essentials are necessary here for the survival of culture—the evolution of the cultural aesthetic, and the constancy of the culture's essence. One might consider as a metaphor the evolution of a tree through the seasons—though the foliage blooms, changes colors, dies and grows brittle, falls and regenerates, etc., the roots remain constant—ever nourishing the tree and ever supporting it and holding it up. As with the tree, the essence of the Polynesian culture must always remain constant, though the aesthetic trappings evolve and adapt to survive in an ever-changing environment. The work described herein demonstrates the glacial drift of culture and how, in the trappings of a modern, ever-evolving world, the Polynesian culture's essence survives. This work stands as a signpost on the road of identity, helping the earnest searcher to see, through the ever-changing foliage, the root or essence of identity. Thus, this work imbues its viewer with a sense of freedom with respect to her search for identity; for once the viewer recognizes that which is necessarily constant, she can freely embrace that which is necessarily evolving.

This thesis tries to understand and to have a better insight into adolescence and it is interested in options of forming personality of a young person with a mental disability. Based on the qualitative research, it tries to describe the development of personality particular aspects in the group of people in a two-year practical school. Sub themes of personality development are elaborated on the basis of cross-section theme Personality and social education in art lessons, where they are using the benefit of the art work, feeling and reflection as a formative element by creating self-identity in the behavioral-educational process. Thesis describes ways, which simplify the self-knowledge, strengthen the self-concept, operate in the area of psycho-hygiene and help to reveal the hidden potentials, which specify and focus the life course of a young person with a mental disability on the edge of adulthood. Powered by TCPDF (www.tcpdf.org)

This paper is intended to serve as a supporting document for the exhibition Collective Case Studies that was held in The Gallery, at Sheridan College Institute of Technology and Advanced Learning. In Collective Case Studies, the head sculptures act as blank slates for my expression of personality archetypes. They embody a longstanding interest in the psyche, character and identity that continues to influence my art-making practice. These sculptures introduce a particular personality trait or present a case study to make human idiosyncrasies manifest in visual terms, both individually and relationally. Collectively, the works are inspired by psycho-social aspects of personality, including archetypes and stereotypes, in the past and present time. The leading sources for my work are psychological, cross-cultural and empirical.

This paper is intended to serve as a supporting document for the exhibition Collective Case Studies that was held in The Gallery, at Sheridan College Institute of Technology and Advanced Learning. In Collective Case Studies, the head sculptures act as blank slates for my expression of personality archetypes. They embody a longstanding interest in the psyche, character and identity that continues to influence my art-making practice. These sculptures introduce a particular personality trait or present a case study to make human idiosyncrasies manifest in visual terms, both individually and relationally. Collectively, the works are inspired by psycho-social aspects of personality, including archetypes and stereotypes, in the past and present time. The leading sources for my work are psychological, cross-cultural and empirical.

Thesis (MA (Hons.)) -- University of Western Sydney, Nepean, 1998. / Bibliographies : leaves 48-50.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 193-198). Also available in electronic format on the Internet.