Thesis (Ph. D.)--Johns Hopkins University, 1938. / Reproduced from type-written copy. Vita. Bibliography: p. 127-132.

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 (D.M.A.)--University of Oklahoma, 1995. / Includes bibliographical references (leaves 241-249).

The purpose of this research report is to analyze arts-based development and revitalization strategies undertaken by small and rural communities, with a specific focus on artist housing and relocation incentives. Using case study analysis from programs around the country, this paper attempts to categorize and compare development models and their potential application in different types of communities. From a theoretical perspective, the report is grounded in the literature from various disciplines on the social and economic impacts of the arts and artists in communities. This includes academic research and policy studies from the fields of planning, urban studies, economic development, social work, community-arts practice, geography, and sociology. After completing a thorough scan of artist housing and relocation incentives around the U.S., six were selected for further analysis including semi-structured interviews with program leaders, and four were developed as case studies. From these case studies, inherent challenges emerged that are discussed along with potential mitigation strategies. Finally, the conclusion offers summary recommendations and a proposal for a new housing/relocation model involving limited equity homeownership and a community benefits agreement between community artists and residents. It is intended that this report can be used as a reference and resource for communities interested in pursuing arts-based community development by offering a variety of policy and planning tools that can be used when crafting an artist housing and relocation incentive program. / text

This dissertation is focused on the Künstlerroman, or artist-novel, which can be understood as a variation of the Bildungsroman, or novel of formation. The artist-novel describes the creative learning of a young artist and is centered on the development of the protagonist's aesthetic ideals, the struggles to accomplish them, and the quest for self-achievement. This quintessential Modern genre emerges in Germany at the end of the 18th century. However, it is not until the late 19th and early 20th century when esteemed writers from Europe and the Americas, fascinated by the narrative possibilities of its premises, raise it to a higher artistic status and confer upon it great critical prestige. In spite of its importance in the Spanish context, artist-novels and their relation to turn-of-the-century aesthetics have not been properly addressed. This dissertation analyzes five Künstlerromane of key Spanish authors of this period: Pío Baroja's Camino de perfección (1902), José Martínez Ruiz, Azorín's La voluntad (1902), Emilia Pardo Bazán's La Quimera (1905), Vicente Blasco Ibáñez's La maja desnuda (1906), and Gabriel Miró's La novela de mi amigo (1908). Considering the critical and theoretical framework of the Künstlerroman as a point of departure, this approach studies how these novels incorporate and develop its structures and conventions by concentrating on three essential aspects. First, it examines the fictional portrait of the artist as a "divided self." Deriving the concept from Maurice Beebe, this dissertation argues that the tensions of Modern society have a direct influence on the artist-hero's portrayal and perspectives of self-realization. Second, it considers the voyage as a key narrative device that functions as a structural component in these novels. Third, it discusses the Künstlerroman as a synthesis of creative contemporary issues. Specifically, the combination of two concepts of language--one that exists in space with one that exists in time--contributes to the analysis of modern relationships between literature and other artistic expressions, especially painting and architecture. As a conclusion, the Künstlerroman implies an exploration of new anti-Realistic modes of representation in search of an innovative lyrical and subjective discourse: the novel of the artist becomes simultaneously an art of the novel. / text

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.

The concerns of the artist-figure are a central issue in the work of Leonard Cohen. His novels, poems, and songs, seen as a whole, form a portrait-of-the-artist. Cohen's artist-story is crafted with attention to the romantic tradition of the Kunstlerroman but extends beyond an initial apprenticeship phase, the focus of the Kunstlerroman, offering a more extensive exploration of the artistic vocation. The artist-figure, as he develops, encounters conflicts between his vocation and the demands of the outside world. Cohen's artist-figure endeavours both to make art and to self-create, and this creative impulse is simultaneously propelled and hindered by the romantic-love relationship, by the demands of an artist's role in the public sphere, by the aesthetic requirements of art itself, and by spiritual and religious issues. The last of these four concerns provides the artist-figure with a degree of lasting comfort through its mediation of some of the ongoing internal struggles of the artistic temperament. Cohen's portrait-of-the-artist attains a degree of depth and perspective by his own artistic persona's intrusion into his work, a persona he constructs in an ironic, self-conscious, and self-reflexive fashion.

Politicians attract their voters by promising more jobs and investment in education, health and social care. Against this background, I wonder how the situation of artists will be affected by the followingquestions:➢ What political views on the artist's position in society appeared in propositions of Socialdemokraterna and Moderaterna?➢ In what way did these propositions influence the conditions of artists?➢ How have the artists of Värmland been affected by different (Socialdemokraterna and Moderaterna) cultural policies? With my investigation I find out more about the artists' conditions on a national level, but I also investigate the situation in Värmland. By examining policy proposals and reports, I learn more about the issues. I also conduct a survey and three in-depth interviews to obtain opinions from various sources.The respondents are the cultural departments of Värmland and representatives from cultural organizations.What is clear from my research is that politicians differ on some issues, especially those relating to commercialism and artist salaries. The questionnaires shows that culture proponents may not always come from the political side. The interviews provided different points of views on the situation inVärmland, but to some extent there are difficulties for the artists who work here. If knowledge of art is low, how is one able to appreciate art and those who create it?

The general idea of imprisonment in Bernard Malamud's ficiton manifests itself in his artists, who may be understood as "prisoners" dramatizing the artistic process as Malamud views it.Malamud's artists' struggle to balance art and life is expressed through the idea of imprisonment. When overemphasizing art, the artist is isolated, "imprisoned" in his or her work. Although this imprisonment is necessary temporarily, the artist must meet worldly responsibilities to find the freedom to create art, though artistic success is not guaranteed.Malamud's artists are always somehow imprisoned. In "The Girl of My Dreams" (1953), the writer Mitka rejects an uncooperative world, whereas the writer Olga transcends poverty and accepts the world. In "Man in the Drawer" (1968), the writer Levitansky is trapped in a totalitarian state. In "Rembrandt's Hat" (1973), the failed sculptor Rubin perseveres in art. And in "The Model" (1983), Elihu, mistaking himself for an artist, dehumanizes his model, Ms. Perry.In Pictures, Qj Fidelman (1969), Fidelman is imprisoned in artistic perfectionism. I n the Tenants (1971), writers Harry Lesser and Willie Spearmint are imprisoned in their obsessions. And in Dubin's Lives (1979), dubin is trapped in a false self-image.Malamud's artists are of two types: (1) the successful whose continued fulfillment is in question and (2) the so-far unsuccessful. Subtypes in the first group are the liberated (Dubin), the potentially liberated (Mitka, Levitansky), and the perpetually imprisoned (Lesser). Subtypes in the second group are the liberated (Fidelman, Ms. Perry) and the perpetually imprisoned (Rubin, Willie, Elihu).The exception is the successful a liberated Olga. Appearing in an early (1953) story, Olga embodies an answer to the problems of the artist; twenty-six years later, in Dubin's Lives (1979), Malamud's answer is the same: Maintain balance between art and life; keep the demands of art subordinate to those of life.The idea of the artist as prisoner in Malamud's fiction implies the difficulty of artistic endeavor. Malamud's artists, like his other characters, face suffering. Their art is a potentially imprisoning complication, not an escape from life's problems. Ultimately, the artist must face the world and its demands.

The nineteen forties and nineteen fifties, acknowledged as the decades in which New York first emerged as a locus for modern art production of international stature (particularly the so-called 'New York School '), also witnessed its development into a market for modern art, both European and American, and it is upon this that this study focuses. A modern art market is a 'support-system' which consists of not only the producer-artists and consumer-collectors but also of a number of 'intermediaries'. This complex, in addition to the actual purchase of art works, serves, for instance: to disseminate a knowledge about modern art in general; to select particular artists and promote their work in the public eye; to support contemporary artists financially; and to enhance the sphere of collecting activity. The groups or institutions involved in these functions vary according to historical circumstances, and the first part of this study identifies the key constituents of the 'support-system' in the New York art market in this period as: New York museums concerned with modern and contemporary art, both foreign and native, private dealer-galleries, and collectors; and examines what parts each played in the structure of the art market as a whole, paying particular attention to the influence of wider socio-economic factors upon this. This 'support-system' structure discussed in the first part may be considered as synchronic. The second part of this study, however, concentrates upon an examination of changing trends in prices and in collectors' preferences for different artistic expressions (particularly the relative status of American as against European modern art). Emphasis is placed in this upon demonstrating where possible how such developments were related to the functioning of the support system as discussed; and to situating the behaviour of the New York art market of the period into a wider national socio-economic context.