This MA thesis is focused on the analysis of stylistic originality of Mykola Bazhan texts of the 1920-30s. The texts are considered in cultural and ideological context of this period, which is a result of a mixture of two artistic and philosophical platforms: avant-garde and socialist realism. Trying to reach this aim I trace the correlation of avant-garde and socialist realism poetic and cultural paradigms in Mykola Bazhan poems, the correlation which defines the stylistic originality of his texts from this period. The introductory chapter presents a detailed analysis of the development of Ukrainian literature in the late 19th - early 20th century. I focus on modernist and then on avant-garde movements and literature groups. One part of the MA thesis is dedicated to literary theory - I attempt to apply basic terms like "modernism", "avant-garde", "socialist realism", etc. to the area of my research. Another problem discussed is the change of Bazhan's approach to the communist ideology during several periods of his career. After that the dissertation shifts to philological and cultural analysis of several chosen poems of Mykola Bazhan in historical, philological and ideological contexts which were discussed in the previous chapters of my work. Keywords Mykola Bazhan, modernism, avant-garde,...

This thesis identifies the existence and significance of a rhetorical gesture that has circulated widely since at least the nineteenth century: the comparison between war and sport. The introduction outlines the background for this rhetoric through a genealogy of the phrase, 'the battle of Waterloo was won on the playing fields of Eton', in nineteenth-century writing. Part one of the thesis examines the metaphors and cultural practices of energetics in European sporting life until the Second World War. The first chapter presents a cultural history of 'sporting aviation' between the Wright brothers' first European flight in 1908 and the declaration of war in 1914, arguing that the new technology of the aeroplane was initially understood through a tension between sporting and bellicose associations. The second chapter performs a close analysis of F.T. Marinetti's writings and Umberto Boccioni's paintings to reveal the role of sport in Italian Futurism and its significance for our understanding of its infamous glorification of warfare. Chapter three examines the militarist displays at the 1936 Olympic Games in Berlin and their enduring cultural legacy. Focusing on the role of crowds, rhythm is shown to be at the centre of how martial symbolism was embedded in the Games' sporting displays. Framing the transition into part two, the fourth chapter reads Georges Perec's use of the Olympics as an allegory for both the Second World War and the Holocaust in W, or the Memory of Childhood (1975) beside a number of post-war conceptualisations of 'play' and 'game'. The chapter identifies a re-organisation of the play concept according to an emerging concern with information, one which, in Perec, also articulates an alternative register for war's cultural memory. From here, the thesis' second part identifies the emergence of a metaphorical nexus of computation, war, and sport in post-war American culture. Chapter five argues that Don DeLillo's End Zone (1972) and David Foster Wallace's Infinite Jest (1996) satirise the logic of nuclear strategy by employing the formal properties of information theory in their language, collapsing the distinctions between war and sport when each is subjected to computational representation. The final chapter analyses the 'military shooter' videogame, and the new form of sport it has produced - 'e-sports' - considering these games as a material instantiation of the convergence between the discourses of military and sporting culture. Across the case studies presented in these six chapters, a transition is identified from metaphors concerned with war and sport's energetic qualities to those concerned with the processing and abstraction of war and sport as information. Rather than conceive of this transition as an epistemic break, however, the thesis identifies continuities across the principles to be found in cultural energetics and informatics.

This dissertation examines the transformative and decolonizing potential of Indigenous art-making and creativity to resist ongoing forms of settler colonialism and advance Indigenous nationhood and resurgence. Through a transdisciplinary investigation of contemporary Indigenous art, aesthetics, performance, music, hip-hop and remix culture, the project explores indigeneity’s opaque transits, trajectories, and fugitive forms. In resistance to the demands and limits imposed by settler colonial power upon Indigenous artists to perform indigeneity according to settler colonial logics, the project examines creative acts of affirmative refusal (or creative negation) that enact a resistant force against the masked dance of Empire by refusing forms of visibility and subjectivity that render indigeneity vulnerable to commodification and control. Through extensive interviews with Indigenous artists, musicians, and collectives working in a range of disciplinary backgrounds across Turtle Island, I stage an Indigenous intervention into multiple discursive forms of knowledge production and analysis, by cutting into and across the fields of Indigenous studies, contemporary art and aesthetics, performance studies, critical theory, political philosophy, sound studies, and hip-hop scholarship. The project seeks to elaborate decolonial political potentialities that are latent in the enfolded act of creation which, for Indigenous artists, both constellate new forms of community, while also affirming deep continuities within Indigenous practices of collective, creative expression. Against the colonial injunction to ‘represent’ indigeneity according to a determinate set of coordinates, I argue that Indigenous art-making and creativity function as the noise to colonialism’s signal: a force capable of disrupting colonial legibility and the repeated imposition of the normative order. Such force gains power through movement and action; it is in the act of turning away from the colonial state, and toward one another, that spaces of generative indeterminacy become possible. In the decolonial cypher, I claim, new forms of being elsewhere and otherwise have the potential to be realized and decolonized. / Graduate / 0357 / 0413 / 0615 / martij@uvic.ca

This thesis describes questions of combination of recording and visual arts by means of sound objects creation. The theoretical part deals with the function of arts as a common sphere of musical and creative expression. In particular chapters there are described the essence of visual and auditory perception from a viewpoint of psychology and the interconnection of a creative and a music medium within the selected periods, whose solution are sound objects in visual arts. The last chapter of the theoretical part is about permeation of the music medium to the school subject named Art Education. The project part shows the practical outcome of the thesis- it presents methodically compiled file of creative activities connected with the creation of sound objects within art education at primary school.

Entre 1911 et 1920, Kazimir Malévitch découvre de nouvelles lois artistiques. Grâce à l' « Optique physiologique » d'Hermann von Helmholtz (1856-1866), il transforme les lois scientifiques des sensations optiques (couleur, lumière, mouvement) et celles des structures optiques de la vision en lois artistiques avec lesquelles il crée ses tableaux néo-primitivistes (1911-1912), proto-cubistes (1912-1913), futuristes (1912), cubistes (1913-1914) et suprématistes (1915-1920). Cette transformation des lois scientifiques de la vision en principes créatifs explique les innovations et l'évolution stylistique de Malévitch de 1911 à 1920. Ces découvertes sur les procédés créatifs de Malévitch sont totalement nouvelles, car ce travail est le premier à porter sur ce sujet. La présente thèse est composée de deux parties. La première présente en trois chapitres les lois de la perception sensorielle. Ell explique comment l'oeil voit la direction, la position, la taille et les dimensions dans le champ visuel. La seconde consiste également en trois chapitres, dans lesquels l'auteur analyse l'exploration par Malévitch de la sensation et de la perception sensorielle dans ses tableaux néo-primitivistes et proto-cubistes, de la perception sensorielle seule dans le cubisme et des sensations de couleur et de lumière pures dans le suprématisme. Tandis que la science révèle à l'artiste les vérités de la vision, les tableaux de Malévitch deviennent l'art de la vision optique. Ces recherches fournissent une contribution majeure pour la compréhension de l'oeuvre de Kazimir Malévitch. / Between 1911 and 1920, Kazimir Malevitch was discovering new artistic laws with which to create. Relying on Hermann von Helmholtz's, « Treatise on Physiological Optics (1856-1866), scientific laws of optical sensations (colour, light and movement) and optical structures of seeing were transformed into artistic laws. With them Malevitch created his Neo-Primitivist paintings (1911-1912), Proto-Cubist paintings (1912-1913), Futurist paintings (1912), Cubist paintings (1913-1914), and Suprematist paintings (1915-1920). Adapting scientific laws of vision to creative laws of painting is what accounts for Malevitch's innovations and artistic development, 1911-1920.These are entirely new discoveries about malevitch's creative processes, a subject investigated here for the first time. Divided into two parts, the first part consists of three chapters on the science of optical sensations, the laws of light and colour, and the laws of sense perceptions : how the eye sees direction, position, size and dimensions in the visual field. The second part consists of three chapters analysing how Malevitch explored sensation and sense perception in the Neo-Primitive and Proto-Cubist paintings, sense perception in Cubism, and, in Suprematism, the pure sensations of colour and light. With science providing the truths of vision, Kazimir Malevitch's paintings became the art of the seeing eye, and this is a major new contribution to the understanding of the painting of Kazimir Malevitch.

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Orientation Device is a tool for understanding the other towards recognizing alternative possibilities, for care and compassion, for expanding our culturally and politically bounded mindset, a tool of vital nausea and questioning compulsory heterosexuality. The work is a series of augmented reality (AR) experiences for mobile device that allow the audience to participate in documentary queer performances in any private or public setting. These immersive experiences challenge our perception of space. The LGBTQIA+ community is often disoriented within heteronormative spaces, and this work reverses that dichotomy by disorienting the audience. As a cisgender creator, I invite queer performers, artists, poets, and thinkers who express their identity in their creative practices. As the AR medium is widely distributable, I want to give the participants the potential opportunity to present themselves to a wide international audience through the poetics of augmented reality and documentary video holograms. / Master of Fine Arts / ORIENTATION DEVICE: poiesis of documentary volumetric video for augmented reality; location-aware interactive mise-en-scène; applied queer phenomenology; the potential of procedural worldmaking in the future

This thesis overviews my experience during graduate school making tangible,object oriented sculpture. I have been working formally to compose space in a way that develops a narrative between parts. The work is also a bridge between the fields of painting and sculpture, in terms of drawing with form and both painted and local, material color. My palette has mostly consisted of bronze casting, steel fabrication, fiberglass and epoxy resin, paint, the found object, woodworking, and mold making. This work is also conceptually based in showing the hand worked qualities of the materials, the transfer of meaning through casting, and my emotional relationship with the various parts of the sculptures. The three major themes of the work are: divine love and the complex of the apocalypse, the complexities and psychology concerning the relationship between a man and a woman, and the intrigue, potential energy, and beauty of the systems mankind hasinvented to harness the atom. The major artistic influences for this body of work have been: Jasper Johns, Marcel Duchamp, Constantine Brancusi, Alberto Giacommetti, Reg Butler, Henry Moore, Lynn Chadwick, Kenneth Armitage, Jeff Koons, Terry Winters, William DeKooning, Richard Diebenkorn, David Smith and Charles Long. I retain a strongrelationship with the movements of Dada, Surrealism, Futurism, and Assemblage, and amalso currently involved in solidifying the Manifesto of Raubeaux with a small group ofesteemed colleagues.

Os objetivos principais da presente pesquisa são apresentar o romance futurista Il Codice di Perelà, de Aldo Palazzeschi, fazer o cotejo entre os originais da primeira (1911) e da última (1958) edições desta obra, para garantir um ponto de vista privilegiado sobre o romance e sua evolução ao longo do tempo, e propor, em anexo, a versão brasileira do romance publicado em 1911: O Código de Perelá. Palazzeschi é um autor que sempre apresenta novidades, não raro subvertendo a matéria da tendência poética e literária ou do movimento do qual se aproxima, o que conduz a novas formas. Com isso, tornam-se evidentes a independência e as características peculiares do autor, se comparado aos seus contemporâneos. A narrativa do Il Codice di Perelà é realizada predominantemente por meio de breves diálogos conduzidos por várias vozes, com ritmos rápidos e dissonantes, conferindo à obra um caráter teatral. Por outro lado, o protagonista, precisamente por ser bastante diferente do gênero humano, apenas com sua presença imprime ao texto um tom fabular, além de fazer com que a história adquira características épicas. Ademais, a supremacia da síntese, do dinamismo, da compenetração e da velocidade, expressos com palavras essenciais e em liberdade, o uso de onomatopeias, de concisão, de justaposição de estilos, todos esses elementos heterogêneos que ainda assim resultam em um texto harmonioso ao conferir originalidade à estrutura do romance, também o ligam aos valores mais caros ao Futurismo, sobretudo no que diz respeito ao Manifesto técnico da literatura futurista. Por fim, o estudo mostra, também, como este romance coloca em prática, ao longo de sua narrativa, os preceitos do Manifesto palazzeschiano Il controdolore. / The main objectives of this research are to present Aldo Palazzeschis futuristic novel Il Codice di Perelà, make the comparison between the first (1911) and last (1958) original editions of this work to ensure a privileged point of view over the romance and its evolution over time and proposes, attached, the Brazilian version of the novel: O Código de Perelá. Palazzeschi is an author that he always presents news, often subverting the subject of poect and literary trend or of movement to which he approaches, leading to new forms. Hence the independence and the peculiar characteristics of the author become apparent if compared to his contemporaries. The Il Codice di Perelà narrative is accomplished mainly through short dialogues from various voices, with fast and dissonant rhythms, granting the work a theatrical tone. In the other hand, the protagonist, precisely because of his difference among mankind, just his presence adds to the book a fable tone, besides making the story to acquire epic characteristics. Furthermore, the synthesis supremacy, the dynamism, the interpenetration and speed, expressed with essential words and freely, the use of onomatopoeia, the brevity, the juxtaposition of styles, all these heterogeneous elements - which still result in a matching text - imprint originality to the novel structure, also bind it with the most important Futurism values, especially with regard to the technical Manifesto of Futurist literature. Finally, the study also shows how this novel puts into practice throughout its narrative, the precepts of the Manifesto palazzeschiano, Il Controdolore.