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51	"Fotopurismus" v díle Františka Drtikola / "Photopurism" in Art of František Drtikol Froněk, Pavel January 2011 (has links) Author's name: Pavel Froněk School: Faculty of Arts, Charles University in Prague Program: Institute of Art History Title: "Photopurism" in Art of František Drtikol Consultant: Prof. PhDr. Vojtěch Lahoda CSc. Year: 2011 The present paper aims to explore fine art photography of František Drtikol between years 1929-1935. Most of these photos were pictures of artifical figures made by autor himself. The paper also tries to tell, if all of fineart photos of 1929-1935 can be called "photopurism" and make some of more distinctive of them known to reader. Drtikol's spiritual background is also examined and possible interpretation of artworks is attempted. Key words: František Drtikol, photography, nude body, figure, photopurism, buddhism, christianity, Antonín Mattas, Lehr und Versuchsanstalt für Photographie, Antonín Mattas, Georg Heinrich Emmerich, Gordon Craig
52	Creative performer agency in the collaborative compositional process Buckley, Morgan January 2018 (has links) The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.
53	Arlecchino's Journey: Crossing Boundaries Through La Commedia Dell'arte Sobeck, Janine Michelle 15 August 2007 (has links) (PDF) La commedia dell'arte is a recognized, vibrant theatrical form that emerged in Italy during the Renaissance. However, while great attention has been given to the particulars of the genre (performance techniques, important troupes, leading players), there lacks a study behind the reasoning for its vast international popularity. In this thesis, I explore why this particular genre was able to cross cultural and linguistic boundaries, finding a dedicated and enthusiastic following in most European countries for over 200 years. After analyzing commedia dell'arte's original development in the Italian peninsula, examining the predominating Carnival ideology and the ability of the troupes to establish both regional and national symbols through the creation of specific stock characters, I will concentrate on the international tours and performances. By looking at the adaptive qualities of the troupes, and specifically their ability to play off of Europe's lack of national identity and Northern European's fascination with their exotic southern neighbor, I will discuss the reaction of Northern Europe with the Italian theatre, with a detailed look into the success of the troupes abroad. The popularity of the troupes will also be explored through the unique adaptation, assimilation and adoption of commedia dell'arte techniques and characters into developing national theatres of the other countries. I will conclude with a look of how commedia dell'arte has been and can continue to be effectively used in today's theatre. The examination of what drew both native and foreign audiences to the commedia dell'arte performances opens up possibilities for modern practitioners who wish to capitalize on the ability of the troupes to successfully play to a wide spectrum of people. commedia dell'arte Italian theatre renaissance international theatre masks stock characters improvisation carnival lazzi Vsevolod Meyerhold Dario Fo San Francisco Mime Troupe Jacques Copeau Edward Gordon Craig Arlecchino Pantalone Dottore Pulcinella Pierrot Punch Ganassa Bottarga Film and Media Studies Theatre and Performance Studies
54	"An Hungry Man Dreameth": Transcendental Film Theory and Stylistic Trends in Recent Institutional Films of the LDS Church Lewis, Mark T. 01 May 2016 (has links) To the religiously minded, few things carry greater importance than a connection to the divine. For centuries, the literature of prophets and the work of gifted artists have served to create a liminal space where man and Maker can meet. The advent of cinema and the creation of the Internet pose unique questions for the artist seeking to lead an audience toward an encounter with God. In a modern world where discretionary time is dominated by on-demand video streaming, the value of understanding cinema and its myriad potential is particularly relevant. As a religious organization, The Church of Jesus Christ of Latter-day Saints has eagerly (and to a certain extent, uniquely) embraced and used film to further its aims. This thesis will further the conversation already begun on the topic of spirituality in official LDS Church productions, particularly adding new analysis regarding the form and content of more recent institutionally produced films. How do stylistic trends in recent official film productions of the LDS Church relate to the broader academic and theological discussion regarding cinematic spirituality? After the introduction and thesis overview in Chapter 1, Chapter 2 will provide a survey of prominent works regarding cinematic spirituality. Theories that entertain how movies speak to human spirits are varied and highly subjective. Many theories about what makes a work "spiritual" grow from particular religious traditions and are informed by that theorist's beliefs about God's nature. Some theories are dependent on loosely measured criteria (editing pace, complexity of music, distance between camera and subject, etc.), while others rely almost entirely on the "feeling" a work conveys (which may or may not be determined by objectively measurable parts).Chapter 3 relates the prominent theories laid out in Chapter 2 to the cinematic efforts made by The Church of Jesus Christ of Latter-day Saints in the past two decades. Examining the form and content of these media projects will reveal trends that indicate inherent assumptions on the part of the LDS Church's media department regarding the purpose and potential of spirituality and film. Chapter 4 explores how the Church's typical approach compares and contrasts with films made by independent Latter-day Saint filmmakers. Some stylistic possibilities will be derived from the efforts of Mormon artists more generally and may have implications for how Latter-day Saint films could help spiritually engage audiences. Mormon cinema LDS Church media Mormon Messages I'm a Mormon Mormon film the Life of Jesus Christ Bible Videos Joseph Smith: Prophet of the Restoration Meet the Mormons Spirituality and film cinematic transcendence Paul Schrader Craig Detweiler Dean Duncan Religion
55	The resurrection revived : a critical examination Janse van Rensburg, Hanre 12 July 2010 (has links) Why has the resurrection once again become the centre point of a new storm brewing in both popular and academic culture? Because of the combination of a realisation of death, and of human beings’ need to interpret its (death’s) mysteries; a question innate to the human experience. In a fear-filled world where war, terrorism, and economic collapse bring the question of death (and the afterlife) to the fore, people are asking – perhaps more than ever – what happens after we die. This popular fascination with the end, with death, and with what (if anything) lies beyond it, has also influenced the theme and the direction of academic work in the theological field. For this reason an informed analysis of the resurrection debate has become necessary – a process of analysing the different strata of understanding as it relates to current resurrection research. Any consideration given to gender or power, birth or burial, money or food is made in an effort to situate the debates being studied. Could a reason for these still varied conclusions on the subject be that those writing on it are not equipped for the task of analysing and interpreting history and historical method? In order to be able to begin answering this question, one of this study's main objectives is to learn and apply the approach of historians – outside of the community of Biblical scholars – to the question of whether Jesus of Nazareth rose from the dead; thus providing interaction with philosophers of history related to hermeneutical and methodological considerations. The method proposed here is a combination of historiography and an ethics of understanding, with the use of Correspondence theory (in which history is described as knowable, and some hypotheses as truer than others in a correspondence sense). This study wants to address both the different questions and analyses of the debate by asking: What if we see things differently? What if we were to ask a different set of questions? In order for this to be possible, we need to develop an ethics of interpretation – instead of asking the expected questions, this study aims to ask: What interests and frameworks inform the questions we ask and the way in which we interpret our sources? How does scholarship echo (and even participate in) contemporary public discourses about Christian identity? These questions will be attended to through three intersecting practices – critical reflexivity, complemented by the use of the two related practices of textual re-reading and public debate. However, these are not methodical steps in a linear progression, they are mutually interacting practices that draw on each other; raising new possibilities for the way in which we historically reconstruct the Jesus movement, allowing us to enter into the public debate about Jesus and eschatology in a way that takes the ethical possibilities and consequences of our reconstructions of Christian origins and identity seriously. For, though fragmentary and broken human words may be, they nevertheless possess a capacity to function as the medium through which God is able to disclose himself. Copyright / Dissertation (MTh)--University of Pretoria, 2010. / New Testament Studies / unrestricted Public debate Ancient resurrection beliefs Modern resurrection debate Exponents of modern resurrection debate Gary habermas William craig Tom wright Alexander wedderburn James dunn John dominic crossan The jesus seminar Michael licona Geza vermes Michael goulder Gerd lüdemann Pieter craffert Resurrection Textual re-reading Critical reflexivity Development Jesus History Historiography UCTD
56	Newswire Vice President Research, Office of the January 2008 (has links) No description available. Royal Soceity of Canada Mandarkranta Bose Institute of Asian Research David Brydges Mathematics Donald Douglas chemistry Charles Haynes Chemical and Biological Engineering Michael Smith Laboratories Brian MacVicar Psychiatry Marco Marra Medical Genetics BC Cancer Agency Jack Saddler Forestry Graeme Wynn geography Clarence W. de Silva Mechanical engineering Curtis Suttle Earth and Ocean Sciences Ann Marie Craig Ivar Ekeland Martha Cook Piper MOST Canadian Space Agency Jaymie Matthews Alzheimer’s Sadayuki Hashioka Liane Gabora cognitive psychology evolution Orthopedics ICORD Pro-Neck-Tor body language non-verbal expressions Sauder School of Business UBC Okanagan
57	Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition Syme, Neil January 2014 (has links) This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches. 823

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