The aim of my dissertation, as the title indicates, is to determine the relationship between modernism and fragmentation. The objective, however, is twofold. In addition to the argument through which I explicate the neglected discussion of the connection between modernism and fragmentation, this paper reveals the thought processes and artistic influences crucial to my own development as a painter. The majority of artists I discuss have informed my practice stylistically as well as aesthetically. The thesis therefore serves not only as a theoretical discussion but also as a partial justification of my personal conceptions regarding my work, on which I will elaborate in appendix. This paper demonstrates that the resolution of all things depends upon the collection, selection, arrangement and rearrangement of fragments, including my painting and this paper itself / Master of Arts

This thesis examines the politics of twenty-first century ???guerrilla??? performance. It historicises site-specific, political performance by examining ???guerrilla??? art forms from the 1960s to the present. It argues that recent community-based, site-specific performance events can be seen as a ???new??? type of guerrilla work, as they utilise techniques which challenge public space, authorship and control without resorting to traditional guerrilla forms of didactic street protest. The author establishes two main political tactics of the community-based guerrilla artist. The first is the utilisation of a problematised definition of ???community??? and the second is an understanding of physical, conceptual and experiential ???space??? as open to intervention. Community-based performance and site-specific art practices are investigated and space and community are placed into critical theoretical frameworks using post-structural and spatiality theory. The author then argues that post-structured communities which are based on an ethics of difference can trouble and create site, conceptual space and place (site/concept/place) through contemporary guerrilla performance events. Three examples of community-based guerrilla performance in Australia are examined. The first case study explores Western Sydney based Urban Theatre Projects and their 1997 performance event TrackWork. The second focuses on community-based hip-hop artist Morganics and his facilitation of two hip-hop tracks Down River and The Block in 2001. The third considers US theatre director Peter Sellars??? problematic curation of the 2002 Adelaide Festival of the Arts. In all three case studies, guerrilla artists are shown working with post-structured communities to challenge and trouble site/concept/place in order to improve the lives of their participants and audiences. This thesis proposes new post-structural frameworks for the powerful presence of community and site in performance events, thus contributing to performance and cultural studies and to the emerging field of community-based performance scholarship.

My thesis is made up of words and images. This study investigates the way in which silence operates productively within and between the two modes of communication. I suggest that in the process of changing words into images or scripto-visual art-practice, the silence in women's lives can be articulated. I argue that women draw on the generative qualities of silence to create forms of speech that override the cultural constructions of gender which have placed them within the space of ‘mute’ silence. To gain an historical perspective of this practice by women, I consider the lives of medieval nuns within religious enclosure and their work with words and images in the illuminated manuscript. I make a comparative study of original illuminated manuscripts, focussing mainly on visual language and locating aspects of the work closest to my own art-practice: the visual treatment of the space and inter-textual components of the page or folio. This project does not include an examination of miniatures or historiated initials. Rather, its aim is to identify and compare the use of other aesthetic devices available to the medieval scribe/artist through which they might have interacted with the text. I suggest links between verbal and visual performances of language and the repetition, or copying of texts by medieval nuns, as a means of female embodiment of words and their spaces. From the outcomes of my studio investigations and my consideration of other contemporary feminist art practices, I demonstrate how women artists may ‘re-write’ the text and ‘speak’ their silence through visual language and the acts of writing, drawing and painting the words of others. Through my engagement with feminist critical theory, the work of medieval scholars, original illuminated manuscripts and my studio research, I propose that scripto-visual practice remains particularly significant for women despite the differences between the medieval period and our own. As a generative practice, it negotiates some of the societal constraints on women's speech and visibility, because its language is ‘silent and disembodied’ from the image of woman constructed by male discourse. It is a form of speech that acknowledges as it defies the social and cultural conditions that shaped its necessity, articulating an alternative voice of women in the space of words and images.

Theses (Master's)--Vienna University of Economics and Business Administration, 2007. / Collection of master's theses of the 2005/2007 postgraduate program "International Tax Law" at the Vienna University of Economics and Business Administration.

Thesis (M. Phil.)--University of Hong Kong, 2005. / Also available in print.

Thesis (Ph. D.)--University of Pennsylvania, 1904.

Habilitationsschrift--Marburg, 1974. / Includes bibliographical references (p. [259]-266).

No description available.

Renew thyself completely each day; do it again, and again, and forever again.Jon Kabat-Zinn, Wherever You Go There You AreThe above quotation sums up my feelings about this thesis. By reviewing my life I feel a sense of renewal. I think that my memories are true and accurate. My story certainly is a living memory of my time. I have found that in telling my story I have purged myself of much of my past and refreshed myself in mind and spirit.I start my story by reviewing the three artists who have influenced my work over the past two years, Squeak Carnwath, Jean Hammond and Nancy Spero.I then give a chronological resume of my life to date: my time as a mother, teacher and artist. I describe some of my earlier works together with the moods and emotions which accompanied them. The latter part of the chapter deals with my life in the United States and how my work is developing and the many influences which are helping in this process.In Chapter 3, I talk about my imagery and my latest thoughts as an artist, and go on to describe the paintings which make up the exhibition which accompanies this thesis.Finally, I have attempted to evaluate the fragments of my life, fragments which make up the whole. This is my catharsis. I have released much of myself and my inhibitions. I have absorbed a variety of stimuli and felt a multitude of sensations. My emotions have ebbed to and fro, and in retelling my story I have renewed myself. / Department of Art

The purpose of this creative project was to explore various ways of using acrylic paint other than the traditional methods of direct application to canvas or paper and produce a suite of fifteen mixed media drawings using methods developed during the creative project. With the drawings produced during the creative project the writer discovered a new approach in using acrylic polymers. Subtle relationships of color, texture, value, and spacial illusion were achieved through the use of this method. The technique involved making a thin sheet of nonsoluable, flexible acrylic, cutting it, manipulating it, and applying it to a sheet of paper. Through the creative project the writer explored riew concepts in composition and personal imagery. Work completed during the project yielded over one hundred drawings. Works from the project have been exhibited regionally and nationally. Two pieces were included in Indiana Artists Exhibition in 1983 and two others were purchased by the Evansville Museum for their permanent collection.