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Berühmte Griechen und Römer als Begleiter der Musen und der Artes Liberales in Bildzyklen des 2. bis 14. Jahrhunderts mit einer vorangestellten Untersuchung exemplarischer Musen-, Artes Liberales- und Philosophen-Zyklen /Kronjäger, Jochen. January 1973 (has links)
Thesis--Marburg/Lahn. / Includes bibliographical references (p. 405-425).
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Die Musen ein Beitrag zur Inspirationstheorie.Barmeyer, Eike. January 1968 (has links)
Thesis--Munich. / Bibliography: p. 216-220.
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Die Musengruppe von Milet /Schneider, Carsten. January 1900 (has links)
Texte remanié de: Diss.--Philosophische Fakultät--Mainz--Johannes Gutenberg-Universität, 1994. / Notes bibliogr. Index.
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Architecture and the Inspiration of the MuseumConstantine, Irene Elizabeth 11 February 2008 (has links)
Architecture exists through human experience. As the product of the relationship between a building and a person, architecture gains meaning when it is viewed and contemplated by an individual moving throughout a building. Architecture simultaneously engages the body and mind of one who experiences it, and its intentions become visible through a continuous weaving of motion through situations that constitute a place. My thesis examines the interplay between architecture and human action.
Manifest in the following thesis are explorations of the institution of the museum. From its earliest forms to its present day forms, the museum has undergone many changes due to a number of influences. In this thesis I will look at the cultural dynamics that shape museums. Specifically, my critique will be through the lens of its cultural history, my own culturally based observations, and through a design: the demonstration.
One objective of this thesis is to revive the idea of the museum as a place of the muses, where the muses inspire those people who experience the place. I have selected Charleston and its historic setting for the project location of a Museum. This is a place where one might participate in a journey of initiation, education, and cultivation. Through design, I demonstrate a museum, which aims to initiate and encourage self-cultivation by one's experience of the objects in the museum and the space that surrounds the objects. It is perhaps through a perusal of objects contained without authoritative concepts applied that one may acquire knowledge and become inspired. / Master of Architecture
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"To share in the roses of Pieria" relationships to the Muses' gift in the epic poets and Sappho /DiLorenzo, Kate. January 1992 (has links)
Thesis (B.A.)--Haverford College Dept. of Classics, 1992. / Includes bibliographical references.
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Algunas reflexiones sobre la noción griega temprana de inspiración poéticaNaddaf, Gerard 09 April 2018 (has links)
El origen y significado de la inspiración poética” ha sido siempre objeto de considerable controversia. Lo que los críticos no preguntan muy a menudo es: ¿cuáles son las palabras o frases que los textos poéticos tempranos, previos al Período Clásico, usaron para expresar el genio poético o mousikē que nosotros asociamos con la inspiración en la poesía griega temprana? En este ensayo examino, en primer lugar y principalmente, tanto la terminología empleada por Homero y Hesíodo para expresar la experiencia poética, como el rol del aoidoso cantor/poeta en sus descripciones respectivas. Sostengo no solo que se confunden en Homero y Hesíodo las nociones físicas y figurativas de inspiración”, es decir, que no son diferenciadas por los poetas de manera consciente, sino que la poesía misma debe haber sido vista por Homero y Hesíodo como un don divino –de acuerdo a la voluntad de los dioses–. También sostengo que diversas etimologías y contextos sugieren fuertemente que un tipo de mania o posesión extática fue una parte importante del proceso poético temprano. El trabajo aquí presentado es una versión abreviada de un proyecto de investigación más amplio que busca examinar el origen y desarrollo de las actitudes pre-platónicas, platónicas y post-platónicas hacia la inspiración y la alegoría. --- Some Reflections on the Early Greek Notion of Poetic Inspiration”. The origin and meaning of poetic inspiration” has always been the subject of considerable controversy. What critics rarely ask are: what words or phrases did the early poetic texts use to express the poetic genius or mousikē we associate with inspiration in the early Greek poetry, and thus prior to the Classical period? In this paper, I examine first and foremost both the terminology employed by Homer and Hesiod to express the poetic experience and the role of the aoidos or singer/poet in their respective accounts. I argue that not only are the physical and figurative notions of inspiration” in Homer and Hesiod confused, that is, they are not consciously distinguished for the poets, but poetry itself for Homer and Hesiod must have been seen as a divine gift –as willed by the gods. I also argue that a number of etymologies and contexts strongly suggest that a type of mania or ecstatic possession was very much a part of the early poetic process. The work presented here is an abridged part of a larger research project that seeks to examine the origin and development of pre-Platonic, Platonic and postPlatonic attitudes toward inspiration and allegory.
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Design and development of a work-in-progress, low-cost Earth Observation multispectral satellite for use on the International Space StationAhn, Byung Joon 23 September 2020 (has links)
No description available.
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Musernas viskningar förr och nu : En studie av det musiska och inriktningen musiskt lärande. En teoretisk analys samt ett empiriskt bidrag från lärarutbildningen / Whispering of the muses - long ago and today : A study of a Muse-ical Learning program within teacher educationGrahn, Margaretha January 2005 (has links)
The purpose of the present thesis is twofold; the first part comprises a theoretical analysis of the concept muse-ical in an attempt to describe similarities and differences between the concepts muse-ical and aesthetic and furthermore, to identify the distinguishing features of a muse-ical approach and a muse-ical program. The second part of the thesis reports on an empirical study among student teachers who have chosen to study the program Muse-ical Learning. They have been interviewed about their experiences and impressions of this new program. More specifically they have been given questions pertaining to museical, aesthetic, artistic, scholarly learning, sensory experiences, talent and finally how they conceive of the role of muse-ical learning in school and in society at large and what notions they have of their future work as teachers in the field. The first part is an analysis based on selected previous writings and research regarding the concepts muse-ical and aesthetic/esthetical. The approach taken to this reading is mainly hermeneutical. The second part of the thesis aims at describing how a group of student teachers experience museical learning. Data have been gathered by in-depth, semi-structured interviews. The aim of the analysis has been to emphasise qualitative differences in the ways the informants experience the phenomena actualised in the interviews. The approach in the analysis is, mainly, phenomenographic. The group of informants comprise 20 student teachers, which is about half of all students in the pioneer cohort of the program. Every student was interviewed individually in sessions that had a typical duration of 40-45 minutes. The interviews were transcribed in extenso by the author. In a historical perspective the origins of muse-ical can be traced back to antique Greece and the nine muses that were given to mankind by the gods. The ancient Greeks realised that artistic and intellectual activities are mutually dependent on each other. A further function of the muses, to care for the collective, social memory, seems also to have been forgotten in our time. Muse-ical activities also have to be combined with rhythm and harmony to get their ultimate form. This fact reflects the Greek conviction that order is a significant aspect of beauty. (Cosmos). Greeks aimed for a balance between the vivacious and engaging of Dionysus and the more strict and ordered of Apollo. One confusing circumstance in Plato´s texts concerning the word muse-ical is the translation of mousiké to mean music which is the case in Swedish, Danish, Norwegian and English. It makes a great difference whether our children are to be fostered in mousiké i.e. the arts of the muses and gymnastics or only in music and gymnastics. My conclusion is that Plato was of the opinion that the young should be fostered in mousiké and gymnastics. The word muse-ical appears in educational contexts during the mid 1920ies in Germany, when the sociologist Hans Freyer introduced the term. Muse-ical education is, in consonance with the ideas from ancient Greece, an integration of poetry, music and rhythmic movements. My conclusion from the theoretical analyses is that the muse-ical domain should be understood as an approach to learning that is based on: • A holistic attitude aiming at a balance between “hand, heart and brain”. • Time for reflection. • Muse-ical activities that give opportunities for applying different forms of expression, e.g. activities that comprise movement, sound, colour, form and drama. • Play is an important component. • The learner is the main actor. • The muse-ical perspective is superordinate to disciplinary categories of knowledge. • The muse-ical perspective should not be translated into a rigorous method. Teachers in all subject matter areas may take a muse-ical approach. Mathematics, history and chemistry for instance are as close to the muse-ical as music or drama. I prefer to regard the aesthetic and muse-ical as two different concepts, although with some overlap in meaning. There are common parts, some aspects are borderline cases and there are also, of course, distinct differences. Already the ancient Greeks stated that literary learning and sensory experience were mutually dependent on each other. The Swedish National Curriculum for the compulsory school also emphasises the importance of balancing these two modes of learning against each other. The results of the empirical study corroborate the conclusions of the theoretical analysis. The students repeatedly emphasise the importance of experience and involvement for the sake of their own learning. They do also stress the importance of connecting theory to practical components. Concerning integration of different areas of muse-ical learning there are different standpoints among the authors that I have referred to. The students’ arguments in favour of finding a common framework for all aesthetic areas are basically that they contain common creative aspects and that they all involve bodily and emotional aspects of learning. The students emphasise, in particular, two positive aspects of the aesthetic areas and muse-ical learning. Firstly, they have a general, facilitating impact on learning regardless of context and content. Secondly, they may contribute significantly to the students’ self-confidence and thereby give them the courage to enter new areas and aim for higher goals than otherwise. A majority of muse-ical activities take place in social settings, which gives rich opportunities for the students to train their social skills. Even though it has been a demanding task to express the essence of muse-ical learning, theoretically as well as empirically, one may perhaps be comforted by realising that the magic of museical learning might disappear were it possible to define it in a distinct way.
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Ingenuity's engine : an overview of the history and development of the concept of the museVon Solms, Charlayn Imogen 04 1900 (has links)
Thesis (MPhil)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: "The growth of any discipline depends on the ability to communicate and
develop ideas, and this in turn relies on a language which is sufficiently
detailed and flexible" (Singh 1997: 59).
Many metaphors relating to creativity are too misleading, confusing, and
restricted in scope for a meaningful exploration of the phenomenon and its
fluctuating social and cultural contexts. Given the Muse's long-term association
with literature, philosophy, education, and more recently, the fine arts and other
"creative" fields, an analysis of this concept may provide a unique opportunity to
gain insight into the "mechanisms" underlying the creative process. Since
affiliation with the Muse appears to have signalled attainment of critical cultural
and/or social status by cultural practitioners in various societies, from the ancient
to the present (a category which was broadened substantially), it is thus logical to
assume this concept encompasses and has accumulated characteristics particular to
the creative process as historically and currently valued in Western culture.
Given the limited scope of the thesis, I have focused on specific concerns:
1) Provide an overview of the history, origin and development of the concept
via specific examples ranging from antiquity, the medieval period, and the
modern.
2) Assess the changes which have occurred in the development of the
concept, and postulate likely causes: such as for example, the impact of an
increased focus on the visual - and by extension, the physical - due to a more
literate populace, on a concept originally conceived of as experienced through
predominantly audial means.
3) Identify closely related concepts, the characteristics of which may have
played a role in the formulation of the initial concept, along with those
integrated into it, to form the modern version of the Muse: examples include
the influence of the myth of Pygmalion on notions regarding the poet's
relationship with both material and Muse; and the consequences of an
amalgamation of characteristics of Aphrodite with those of the pastoral
Muse. 4) Explore the extent to which the Muse-poet interaction can reveal
fundamental aspects of the creative process and its main components: the
differences between the public invocation and experience of the Muse in an
oral context, as opposed to the privately experienced Muse of the literate
poet; also, the changes imposed on the concept's perceived means of
functioning due to its extension to the practice of the visual arts; and the
correlation between the Jungian notion of the anima and aspects of the
Muse.
5) Postulate the fundamental aspects of the creative process as revealed by
analysis of the concept of the Muse for further investigation.
In brief then, the main intention of this thesis is simply to examine by
analysis of particular examples, the feasibility of applying the concept of the Muse
as metaphor through which to identify for further exploration, issues and themes
relating to the production and changes in social assessment of creative enterprises. / AFRIKAANSE OPSOMMING: "The growth of any discipline depends on the ability to communicate and
develop ideas, and this in turn relies on a language which is sufficiently
detailed and flexible" (Singh 1997: 59).
Menige metafore verbonde aan kreatiwiteit is te misleidend, verwarrend, of
beperk in omvang vir 'n betekenisvolle ondersoek van díe verskynsel en die
fluktueerende sosiale en kulturele kontekste daarvan. Gesien in die lig van die
Muse se langtermyn assosiasie met letterkunde, filosofie, opvoedkunde en meer
onlangs, the skone kunste en ander "kreatiewe" velde, mag 'n analise van die
konsep moontlik 'n unieke geleentheid bied om insig te verkry in die onderliggende
"meganismes" van die kreatiewe proses. Aangesien affiliasie met die Muse
blyk om die bereiking van kritiese kulturele en/of sosiale status, deur kulturele
praktisyne in verskeie samelewings, van die antieke tot die huidige ('n kategorie
wat aansienlik uitgebou is) aan te dui, is dit dus logies om te aanvaar dat die konsep
alomvattend is van eienskappe kenmerkend van die kreatiewe proses, soos
geskiedkundig en huidig op prys gestel in die Westerse kultuur.
Gegewe die beperkte bestek van die tesis, is gefokus op spesifieke kwessies:
1) Verskaf 'n oorsig van die geskiedenis, oorsprong, en ontwikkeling van die
konsep deur spesifieke voorbeelde, in omvang vanaf die antieke, die
middeleuse periode, en die moderne.
2) Evalueer die veranderinge wat voorgekom het in die ontwikkeling van die
konsep, en veronderstel moontlike redes daarvoor: soos byvoorbeeld, die
impak van vermeerderde fokus op die visuele - en daarby die fisiese - as gevolg
van 'n meer geletterde bevolking, op 'n konsep wat aanvanklik hoofsaaklik
ouditief ondervind is.
3) Identifiseer verwante konsepte, die eienskappe waarvan moontlik 'n rol
kon gespeel het in die formulasie van die aanvanklike konsep, asook die wat
daarby geintegreer is, om die moderne weergawe van die Muse te vorm:
voorbeelde sluit in, die invloed van die mite van Pigmalion op begrippe
aangaande die digter se verhouding met beide die materiaal en Muse; en die
gevolge van 'n samesmelting van Aphrodite se karaktertrekke met die van die pastorale Muse.
4) Ondersoek die mate waartoe die Muse-digter verhouding fundamentele
aspekte van die kreatiewe proses en sy hoof komponente kan ontbloot: soos
die verskille tussen die publieke invokasie en ervaring van die Muse in 'n
verbale konteks, in teenstelling met die geletterde digter wat die Muse privaat
ondevind; asook die veranderinge temeegebring op die persepsies aangaande
die konsep se funksionering as gevolg van die uitbreiding daarvan tot die
visuele kunste; en die korrelasie tussen die Jungiaanse idee van die anima, en
aspekte van die Muse.
5) Veronderstel die fundamentele aspekte van die kreatiewe proses, soos
ontbloot deur analise van die konsep van die Muse vir verdere ondersoek.
Kortliks dan, die hoof voorneme van hierdie tesis is om deur analise van
spesifieke voorbeelde, die uitvoerbaarheid te ondersoek om die konsep van die
Muse toe te pas as metafoor vir verdere navorsing waardeur kwessies en temas,
aangaande die produksie en veranderinge in sosiale waardering van kreatiewe
ondernemings, ge-identifiseer kan word.
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"Throw Me Something, Mister": The History of Carnival Throws in New OrleansCapo, Lissa 20 May 2011 (has links)
Mardi Gras draws millions of tourists to New Orleans yearly, contributing to the economy of the city. Visitors soon discover the thrill of catching "throws" tossed to paradegoers by members of parade organizations' riding floats. For tourists and locals alike, throws become the cultural currency of New Orleans during Carnival. Beads, doubloons, coconuts, cups and other throws develop an inherent value, enticing crowds. People esteem throws enough to compete for them, with varying levels of intensity, along parade routes and on the streets of the French Quarter. The purchase of throws by Carnival krewes also brings revenue into New Orleans. Scholars have written many studies on Mardi Gras, including studies on individual organizations, tourism and economy. However, no study examines the history of Mardi Gras throws. This thesis seeks to fill that void, and establishes an earlier date for the first time beads were thrown from floats.
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