Inaug.-diss.--Leipzig. / Vita.

Thesis--Faculté des lettres de Paris. / Includes bibliographical references.

No description available.

Texte remanié de: Dissertation--Institut für Altorientalistik--Freie Universität Berlin, 2001. Titre de soutenance : Die Ritule der Vogelkundigen. / Contient des textes en hittite translittéré avec traduction et commentaire en allemand. Bibliogr. p. 380-396.

Inaug.-diss.--Bonn. / "Adiecta sunt alearum oracula ex codice monacensi primum edita." Includes bibliographical references and index.

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

Master of Visual Arts / Abstract/Summary Dissertation Divination: Exemplifying and Configuring Archetypes in Ceramics is a study of my research practice. The cards of the tarot can be used as a conceptual framework and source of inspiration for making ceramic sculptures. The cards can be used to understand the creative process as an expression of archetypes. My dissertation discusses these archetypes from the tarot cards, both in their historical operation, their manifestation in my art practice, as well as, examining approaches taken to these archetypes by other artists such as Salvador Dali and Niki de Saint Phalle. The theoretical basis for the dissertation is informed by the writings of Carl G. Jung who has proposed concepts dealing with creativity, coincidence, a collective unconscious and archetypes. These ideas form a model for the understanding of my studio work. As background, the dissertation examines examples of artworks that could be seen to be drawn from a collective unconscious. Studio Work The studio work consists of a series of ceramic sculptures formulating the archetypes that I have derived from the tarot cards. The three dimensional clay, with found inclusions, examines the idea of specific archetypes. These archetypes are titled in the works including: The Fool, Strength, The Magician, Tarot Sun, The Empress II, The Lovers, Empress l, The Chariot I and II The Angel Temperance, The Tarot Devil and The World. The ceramic objects have been created in clay using handbuilding techniques. The clay was such that it could include found ceramic pieces and be refired. The pieces have been re-fired many times to achieve a variety of glaze effects. The works range in size from 30-60 cms approximately and include freestanding sculptures and complementing flat wall works.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 459-484).

Th. 3e cycle--Étud. extrême-oriental.--Paris 7, 1978.

Bien que j’envisage de couvrir une variété de pratiques divinatoires, je me concentre surtout dans ma thèse sur un type particulier de divination par les pierres pratiquée par les Bonpos tibétains. Cette forme de divination, parfois traduite par « Manifestation de Connaissance » (lde’u ’phrul), possède une tradition textuelle presque vierge qui, d’après les histoires Bon, remonte au 11ème siècle. En plus de terrains effectués en divers lieux de l’Himachal Pradesh et de l’Uttaranchal Pradesh, ma présentation du lde’u ’phrul est enrichie de la traduction de plusieurs manuscrits sur la lithomancie encore jamais étudiés. Je me concentre notamment sur le sMra seng rdel mo gsal ba’i me long, composé par Kun grol grags pa, un œcuméniste et historien du 18ème siècle. Certains points de ce texte sont comparés à deux commentaires plus tardifs traitant de la lithomancie : (1) le Ma sangs ’phrul gyi rdel mo mngon shes rno gsal gyi sgron me, écrit par Slob dpon mKhas grub Lung rtogs rgya mtsho, premier précepteur du monastère de Yung drung gLing au Tibet Central ; et le (2) sMra seng ’phrul gyi rdel mo mngon shes gsal ba’i sgron po, version datant du 19ème siècle d’un gter ma censé avoir été découvert au 11ème siècle par le « découvreur de trésors » (gter ston) Khro tshang ’brug lha. Lors de l’utilisation de ces matériaux, j’adopte une approche herméneutique large, qui ne restreint pas la critique au manuscrit étudié mais cherche à incorporer les performances contemporaines de lde’u ’phrul, et en particulier la perspective unique du devin sur sa performance. / Though I intend to survey a variety of divination practices, my thesis focuses upon a particular type of pebble divination performed by Tibetan Bonpos. This form of divination, which is known as "Manifestation of Knowledge" (lde'u 'phrul), possesses a nearly unstudied textual tradition that, according to Bon histories, originates in the eleventh century. In addition to fieldwork conducted in various locations in Himachal Pradesh and Uttaranchal Pradesh, my discussion of lde' u 'phrul is supplemented by the translation of a number of previously unstudied lithomantic manuscripts. Chiefly, I focus upon the sMra seng rdel mo gsal ba'i me long, written by the 18th century ecumenicist and historian Kun grol grags pa. Certain aspects of this work will also be read against two later commentaries on the subject of lithomancy: (1) the Ma sangs 'phrul gyi rdel mo mngon shes rno gsal gyi sgron me, written by Slob dpon mKhas grub Lung rtogs rgya mtsho, the first preceptor of Yung drung gLing Monastery in Central Tibet; and (2) the sMra seng 'phrul gyi rdel mo mngon shes gsal ba'i sgron po, a 19th century witness of an alleged 11th century gter ma discovery attributed to the Bon "treasure revealer" (gter ston) Khro tshang 'brug lha. In using these materials, I adopt a broad view of hermeneutics, which does not restrict criticism to the manuscripts that I study, but also seeks to incorporate the contemporary performance of lDe'u 'phrul and, in particular, the diviner's unique perspective on the performance of divination into my textual critique.