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No description available.

This dissertation is a study of the early career of the American artist Joan Jonas that spans the years 1970-1984. At the turn of the 1970s, Jonas was one of the first artists to pick up a video camera. Exploring “live” video’s unique capacity to mediate the present moment, Jonas actively integrated the technology into her live pieces, which are some of the earliest examples of what was then first called “performance art.” Performance art has often been aligned with presence. In contrast, I argue that what at stake in the proliferation of live artworks by Jonas and others that merged performance and video was not a reserve of unmediated experience, but a presence that was newly technologized: telepresence. As Jonas investigated the novel ability to perform at a distance enabled by electronic media, her work led somewhere surprising: to telegraphy, telepathy, and the earliest telephones—“tele”-technologies that appear long obsolete (or completely fantastical). Evoking optical telegraphs, spirit mediums, speaking trumpets, and science fictional prostheses, Jonas’s early oeuvre reactivates the historical contexts and unrealized potentials surrounding these dead media. In so doing, she illuminates enduring formations of the body, subjectivity, and teletechnology underlying not only the twinned emergence of performance and video art in the 1970s, but also telepresence as a seemingly very contemporary (and increasingly pervasive) category of experience.

This study shows in Twain's Joan a mosaic work of French history and American folk humor. It points to Twain as an unacknowledged historian and scholar who, despite his biases and misgivings from his previous books and from his sources, fashioned Joan's story for an American audience while he stayed abroad in Florence and Paris with his family. The study focuses upon the historical and literary merits of Twain's Joan through a detailed analysis of Twain's notations in his French and English sources (Berkeley). It shows that Twain as Louis de Conte, chronicler and minstrel, faithfully retold Joan's story from his sources. Twain's Joan of Arc represents the literary, historical, and religious achievement of an unacknowledged American scholar who showed an outstanding youth of character, integrity, and purity.Throughout the narrative in his book, Twain reflected Joan's page and secretary Louis de Conte as his persona in the dual role of chronicler and minstrel. Twain extended another dual role to his second narrator, the Paladin as entertainer and troubadour. Early in the story, Twain as Conte brought out the events of the Hundred Years' War which led to the betrayal of the French nation and the exile of the French Dauphin by the Treaty of Troyes. Conte retold these events as chronicler and minstrel from Gower and Sepet, notations at Berkeley. Other sources such as Fabre, Sepet, Wallon among others were either used or consulted. The study points and according to his notations in these sources. It is in his dual role that Conte narrated Joan's mission from her household to Vaucouleurs, Chinon, Orleans, Rheims, and St. Denis--covering Books I and II, from Chabannes's book and occasionally from Sepet's with key episodes from Michelet's Joan, according to Twain's notations at Berkeley.Conte retold the events at Chinon, Orleans, Patay, and Paris among others as a chronicler of history, but as minstrel he interwove the narrative with humor or sorrow in a rhythmic pattern of repetitions that imitated the style of the Chansons de Geste. The pattern is noticeable in the narration of the battle scenes at Orleans, Jargeau, and Patay, including the repetition of Joan's wounds in each encounter. Moreover, Twain as the Paladin reflected the minstrel of the Chansons de Geste who entertained the townspeople of Orleans with yarns substituted for the boastful French "gabs" used by knights to boost up their morale on the eve of battles. Twain later raised the role of the Paladin to a troubadour of Joan's era who praised the heroine in a lyrical poem, or Rondeaux, in the style of Charles d'Orleans, a poet of that era.This study shows that Twain used several French and English sources for Book III in which he dealt chiefly with the trial and death of Joan. Twain used three significant sources for the trial at Rouen; namely, Gower, Msgr. Ricard, and Michelet--according to the out Michelet's biases and misgivings. Hence the study mentions the out, however, that when there seemed to be a debatable viewpoint between Msgr. Ricard and Michelet, Twain favored Michelet as the final arbitrator. The study refers the serious reader or scholar to the critic Gustave Rudler who in his works on Michelet's Joan has pointed two different versions of Michelet's Joan, one written when Michelet was sympathetic towards the Church and the other (1873) as he turned anticlerical. Twain used the 1873 edition with its biases!The study points out that at the outset of the trial at Rouen Twain did not condemn the whole Catholic Hierarchy. Twain as Conte, chronicler and minstrel, merely caricatured evil men in Church positions who sought power and wealth first even at the expense of an innocent young girl. Conte showed that Joan at Rouen was a victim in the hands of the unscrupulous Pierre Cauchon, Bishop of Beauvais, who--according to Gower--had been bribed with the office of Archbishop of Rouen by Cardinal Winchester of England with the stipulation that Cauchon obtained from the trial Joan's excommunication as a witch and her death at the stake. Twain as Conte reflected well established traditions in French history and official documents in which Pierre Cauchon has been held as the main culprit, for he alone had the power to save or condemn Joan, according to Regine Pernoud-a reputable modern French historian. Conte as minstrel could hardly miss the opportunity of inventing puns based upon the French connotation of the man's name, because Cauchon indeed had shown himself an evil man. Moreover, ever since the Trial of Rehabilitation or retrial of Joan of Arc, Bishop Cauchon has been upheld by at least two Popes in their condemnation of that man. Instead, the Popes have honored Joan as a saint!The study shows that Twain held in contempt the French King and his courtiers, the French Clergy, and the French nation for having abandoned their national heroine to the enemy without even attempting to raise a ransom for her deliverance! Twain as Conte also questioned the "real motives" for the King's endeavors towards the Retrial of Joan since he had forgotten the maid for twenty years. Despite Twain's biases in several parts of the book, the study shows Twain's Joan as a serious work of an unacknowledged scholar for a virtuous youth--St. Joan of Arc!

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La tesi és un estudi descriptiu dels poemes que Josep Maria Junoy i Joan Salvat-Papasseit van escriure prenent com a punt de partida l'haikú japonès. L'àmbit d'investigació és el de la literatura catalana d'entreguerres; en conseqüència, no s'hi estudien els haikús que Junoy va escriure en castellà després de la Guerra Civil, però sí, en canvi, els que va escriure en francès, per tal com la seva publicació s'orientà cap al públic lector català. L'objectiu és descriure el model poemàtic subjacent al conjunt de poemes escrits per cadascun dels autors. Partint, d'una banda, d'una anàlisi minuciosa dels poemes, i, de l'altra, d'un estudi de les idees estètiques en les quals s'insereix el conreu de l'haikú, s'explica com el motlle japonès original és manipulat per adaptar-lo a un nou context i convertir-lo en vehicle d'unes idees estètiques diferents.El capítol inicial és dedicat a l'estudi dels referents amb què comptaven Junoy i Salvat-Papasseit. Així, s'analitza l'èxit que l'haikú assolí en la literatura francesa a partir de l'any 1916 i les obres amb què comptaven els escriptors i lectors francesos per documentar-se sobre aquesta forma. També s'hi consideren els experiments dels imaginistes angloamericans. En l'àmbit de la literatura catalana, s'estudien especialment les reticències que Eugeni d'Ors expressà sobre la forma de l'haikú. En el capítol dedicat a Junoy, l'anàlisi dels poemes es posa en relació amb el mediterranisme defensat per l'autor. Junoy s'acosta a l'haikú intentant trobar un punt d'equilibri entre modernitat i classicisme, i els seus haikú es caracteritzen per la tensió entre objectivitat i subjectivitat i per la importància que es dóna al tractament del temps, no solament en cadascun dels poemes, sinó en els cicles en què s'integren. En el capítol dedicat a Salvat-Papasseit, es relacionen els haikús salvatians amb les idees estètiques desenvolupades per Torres-Garcia, Barradas i el mateix Salvat-Papasseit en el context de l'art d'avantguarda europeu. Salvat hi presenta experiències breus en les quals una sensació desperta una intuïció profunda en el subjecte poètic i li permet atènyer un estat que transcendeix el temps cronològic i que es pot relacionar amb la "sensació d'immortalitat" de què parlà Diego Ruiz. Així, l'haikú esdevé una eina per enunciar els nuclis generadors de l'activitat poètica; és per això que Salvat els empra en funció de pròleg dels seus darrers poemaris. / This thesis is a descriptive study of the poems which Junoy and Salvat-Papasseit wrote using the Japanese haiku as a starting point. The field of study is the literature written in Catalan between the First World War and the Spa nish Civil War. Therefore, the haiku that Junoy wrote in Spanish after the Civil War are not considered, but those written in French are, since their publication was oriented towards the Catalan speaking readership. Its aim is to describe the poetical model underlying the poems written by each author. The accurate analysis of the poems and the survey of the poetic ideas according to which they were written makes it possible to explain how the original Japanese form was manipulated in order to adapt it to its new context and to make into a vehicle for aesthetic ideas which are quite different. The first chapter surveys the works which Junoy and Salvat-Papasseit could use as a reference. The success of haiku in French literature from 1916 on, as well as the works available to French authors and readers, are analyzed. The experiments carried out in English by the Imagists are also considered. As to Catalan literature, special attention is paid to the suspicion voiced by Eugeni d'Ors against the haiku form. In the chapter devoted to Junoy, the analysis of the poems is put into relation with the mediterranian aesthetics he promoted. Junoy saw the haiku form as an adequate tool for reaching a compromise between classicism and modernity. His haiku try to balance objectivity and subjectivity and give a great importance to the treatment of the time, not only within each single poem, but also in the poetical cycles in which they are organized. As to Salvat-Papasseit, his haiku are considered under the light of the aesthetical ideas which Torres-García, Barradas and Salvat-Papasseit himself developed in the context of the European Avantguard mouvements. These poems describe short experiences in which a mere sensation arouses a deep intuition within the poetical subject and enables him to reach a state which transcends the chronological time and can be identified with the "sensation of inmortality" described by Diego Ruiz. Thus, the haiku form becomes a medium to anounce the seeds of poetical writing. That is the reason why Salvat used it to write short prologues for his latest books.

Thesis (doctoral)--Rijksuniversiteit te Utrecht, 1979. / Includes bibliographical references (p. 240-253).

No description available.

My dissertation provides the first full-length study of representations of domestic material culture in contemporary Canadian women's fiction. The first chapter presents two metaphors, the elephant in the living room, and the open secret, and indicates their usefulness in explaining the cultural and critical tendency to overlook the meanings communicated by contemporary domestic material objects and spaces. Drawing on cultural anthropologist Grant McCracken's research into the role of consumption in the preservation of hopes and ideals, the second chapter examines gendered patterns of consumption in Joan Barfoot's first two novels. I suggest that Barfoot's female protagonists reject their suburban homes out of an awareness of the ways these spaces function as repositories of values with which they can no longer live. In the third chapter, I situate my discussion of the Hardoy, or "butterfly chair," in Marion Quednau's novel of the same name, against the backdrop of twentieth-century design debates between modernists and traditionalists. The chair is the object in which the novel's main tensions, which relate to notions of comfort, history, and authority, are embedded. In the fourth chapter I maintain that the central concerns of Diane Schoemperlen's fiction are couched in her representations of domestic material culture. Interpersonal relationships are consistently represented in her fiction as mediated through domestic objects and spaces. Her characters' struggles over issues of control, and the ambivalence characteristically associated with these struggles, often materialize in their manipulations of their domestic environments. Such manipulations make explicit the process of self-fashioning via material culture which every individual engages in on a daily basis, albeit at the level of the tacit.

Thesis (B. Ec.(Hons))--University of Adelaide, 1980. / Cover title. Includes bibliographical references (leaves 81-86).