Thesis (Ph. D.)--University of Toronto, 2005.

Thesis (Ph. D.)--Duke University, 2007.

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 298-313). Also available on the Internet.

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 298-313). Also available on the Internet.

System requirements: Adobe Acrobat Reader. Accompanied by 2 recitals, recorded Feb. 11, 2008, and Oct. 7, 2008. Includes bibliographical references (p. 141-143).

abstract: After the opening of Japan in the mid-1800s many foreigners flocked to the nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many of her predecessors, however, she went as a single woman and was so taken with Japan she made it her home over the span of fourteen years. While a number of cursory studies have been written on Helen Hyde and her work, a wide range of questions have been left unanswered. Issues regarding her specific training, her printmaking techniques and the marketing of her art have been touched on, but never delved into. This dissertation will explore those issues. Helen Hyde's success as a printmaker stemmed from her intense artistic training, experimental techniques, artistic and social connections and diligence in self-promotion and marketing as well as a Western audience hungry for "Old Japan," and its imagined quaintness. Hyde's choice to live and work in Japan gave her access to models and firsthand subject matter which helped her audience feel like they were getting a slice of Japan, translated for them by a Western artist. This dissertation provides an in depth bibliography including hundreds of primary newspaper articles about Hyde who was lauded for her unique style. It also expands and corrects the listing of her printed works and examines the working style of an American working in a Japanese system with Japanese subjects for a primarily American audience. It also provides a listing of known exhibitions of Hyde's works and a listing of stamps and markings she used on her prints. / Dissertation/Thesis / Doctoral Dissertation Art History 2016

FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Helena, filha de Zeus, esposa de Menelau e mais bela entre as mortais, desperta atenÃÃo a partir da complexidade observada em suas representaÃÃes na Literatura Antiga: sÃmbolo de beleza e de transgressÃo, Helena à uma figura ambÃgua, ora apresentada como motivo maior da Guerra de Troia, ora revelada como vÃtima das vontades divinas. Helena, enquanto personagem, revela-se uma fonte de criaÃÃo poÃtica, permitindo muitas apresentaÃÃes de sua figura nada simples, conforme podemos observar nas muitas Helenas de EurÃpides, tragediÃgrafo grego do sÃculo V a.C., autor de peÃas como Troianas. Nessa obra, a bela mulher à rejeitada e reprovada pelas mulheres de Troia, por ter causado a guerra, a morte de vÃrios herÃis e a desgraÃa de inÃmeras pessoas. Tanto a beleza fÃsica quanto a beleza das palavras de Helena, quando ela se apresenta no drama, mostram a forÃa persuasiva da personagem que se configura uma ameaÃa ao bom julgamento da verdade e da justiÃa. Jà em Helena, outra tragÃdia de EurÃpides, a inventividade do autor e a estrutura do drama permitem que a forÃa dos argumentos apresentados pela personagem â amparados por uma versÃo do mito em que a filha de Zeus à completamente inocente, fiel e virtuosa â seja, mais uma vez, observada. Vernant (2011) e BrandÃo (1985) afirmam que a inventividade prÃpria de EurÃpides, acerca da criaÃÃo de personagens e de suas falas dentro das tragÃdias, à efeito da influÃncia sofista e retÃrica de seu tempo, e Baliff (2001) assegura a relaÃÃo existente entre seduÃÃo, feminino e retÃrica, enquanto Mastronarde (2010) e Sansone (2012) chamam atenÃÃo para o desdobramento peculiar e especÃfico do gÃnero dramÃtico, que permite Ãs personagens o desenvolvimento de habilidades linguÃsticas e a sofisticaÃÃo argumentativa que situaria o drama como gÃnero de grande inovaÃÃo na Literatura Grega. Nesta dissertaÃÃo, portanto, objetivamos analisar as apresentaÃÃes de Helena, situadas entre a inventividade do drama e a potencialidade dos discursos, de acordo com a multiplicidade que a personagem suscita e que parece ser o prÃprio desdobramento da criaÃÃo poÃtica e da multifacetada linguagem.

Made available in DSpace on 2014-07-29T16:17:42Z (GMT). No. of bitstreams: 1 Dissertacao Tatielly F Silva - Historia.pdf: 1616551 bytes, checksum: 0641bcf31840928437d46526f1ae2630 (MD5) Previous issue date: 2012-04-27 / The present Dissertation aims to understand the many representations of the mythic character Helen, as they have been elaborated by the tragedian Euripides. Selected as sources for this research, three tragedies shall be analysed in our work: The Trojan Women (415 AD), Orestes (408 AD) , and Helen (412 AD). Whenever it may come necessary, we will use the other tragedies as supporting documents to the subject we are attending to endorse, for which we may appeal also to the works of Homer, Hesiod and the sophist Gorgias of Leontini, as well as the plays of other great tragedians from the Classical Athens, Aeschylus and Sophocles. By the utilization of the concept representation , which have been largely discussed by most historians in the last decades of 20th century, we will be intending to make an association between representation and other common concepts used by the New Social History, such as memory and mythology. This is due to the multiple understanding we can achieve over the character Helen as a mytheme as it is presented both in narrative and interpretations in the Greek mythological system as it was known in the Classical Athens. The image of Helen was reinterpreted by Euripides tragedy, mainly because Helen s Pan-Hellenic characteristics, which were determinant for the tragedian s work as a ideal condition guaranteed by its eminent poetic/narrative style. By reinventing his Helens, Euripides has increased through the tragic mimesis a particular representation which was intertwined with the mythic traditions and the poetical and philosophical view of his contemporaries. / Esta Dissertação tem como objetivo compreender as representações da personagem mítica Helena elaboradas pelo tragediógrafo Eurípides. Selecionamos como fontes principais para análise as tragédias, As Troianas (415), Orestes (408) e Helena (412) e como aportes necessários à elaboração de nosso argumento recorremos às demais tragédias do poeta, bem como a Homero, Hesíodo, ao filósofo sofista Górgias de Leontinos e aos outros grandes tragediógrafos, Ésquilo e Sófocles. Utilizamos o conceito de representação, que tem sido amplamente discutido pela historiografia desde as últimas décadas do século XX, buscando aplicá-lo associado aos conceitos de memória e mitologia, principalmente, pois, entendemos as variantes narrativas e interpretativas do mitema de Helena, conhecidas no período clássico de Atenas e reelaboradas por Eurípides, como condições necessárias e determinantes do conjunto mitológico pan-helênico por seu caráter eminentemente poético narrativo. Eurípides ao reescrever suas Helenas através da mimese trágica desenvolve uma representação particular, mas entrelaçada com a tradição mítica e com as reelaborações poéticas e filosóficas desenvolvidas por seus contemporâneos.

Esta disertación examina diversas expresiones artísticas y literarias de finales del siglo XX y principios del XXI desde una perspectiva ecocrítica. La tesis sostiene que la literatura contemporánea y el arte en general ofrecen experiencias por medio de las cuales se puede reconceptualizar lo que hoy se conoce como crisis medioambiental, para dar a conocer su dimensión ética y entenderla como una crisis moderna del conocimiento. Como una intersección de teoría crítica y estudios ambientales la ecocrítica ha abordado la dicotomía cultura-naturaleza como un dualismo cartesiano convencional. Este trabajo complejiza la dialéctica de sujeto y objeto, integrando perspectivas de la teoría poscolonial y los estudios de performance, y examina cómo la representación se apropia de espacios retóricos y epistémicos para intervenir en la percepción que el individuo tiene de la realidad. Del estudio surge un marco analítico que se identifica con la sustentabilidad y responde a tensiones sociales y culturales contemporáneas que se tejen entre el conocimiento local y las fuerzas globales. Mediante la inclusión de perspectivas acotadas de investigación, el estudio mantiene la referencialidad de las obras y permite plantear interrogantes sobre la naturaleza ontológica y epistémica de los estudios culturales. La tarea se aborda a lo largo de tres ejes: un análisis de las instalaciones de la escultora mexicana Helen Escobedo y de los artistas argentinos Nicolás García Uriburu y Marta Minujín, un examen de obras literarias -principalmente La loca de Gandoca de Anacristina Rossi (Costa Rica) y Un viejo que leía novelas de amor de Luis Sepúlveda (Chile)- y un trabajo de campo llevado a cabo con la comunidad Rapa Nui de Isla de Pascua (territorio chileno). Este último eje revela aspectos de una cosmovisión diferente, perteneciente a una identidad colectiva en búsqueda de reconocimiento dentro del mundo multicultural latinoamericano. La tesis concluye con un epílogo que analiza brevemente El libro del silencio de Ricardo Chávez Castañeda (México). A modo de síntesis, mediante juegos del lenguaje, esta novela expone la modernidad contemporánea como una crisis mucho mayor que se reproduce en múltiples dimensiones, donde el desequilibrio medioambiental se reconstituye en síntoma de una crisis de la civilización.

This psychobiographical study of Helen Keller’s life is exploratory-descriptive in nature. The subject was chosen through purposive sampling. The choice was based on the researcher’s personal interest and the remarkable impact this profoundly handicapped woman had within her society. Helen Keller also meets the psychobiographical requirements. These include that she is historically well known, inspirational, and her life has been completed. The study uses a qualitative, single case, interpretive research design. The design is employed to study Helen Keller’s entire life span within a formal psychological theory. The theory used in this study is Daniel Levinson’s (1996) Life Structure theory of adult development. Data for this study were collected from a variety of primary and secondary sources which provided alternative perspectives on her life. In addition, the data have been corroborated by historical texts, and newspaper and journal articles. Levinson’s (1996) theory divides the lifespan into four developmental eras, each with its own biopsychosocial character. Each era in turn is divided into shorter periods of development, each with particular developmental tasks. Cross-era transitions separate the eras. By describing and exploring the data according to this theory, Helen Keller as a profoundly handicapped person is shown to display universal patterns of development as suggested by Levinson. At the same time, the Life Structure she developed, her life components, and Satisfactoriness illuminated her uniqueness. Through the application of the theory to Helen Keller’s life, this psychobiographical study facilitated an examination of the theory. This led to suggestions for potential development of the theory.