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Viljens styrke : Natalie Zahle, en biografi om dannelse, køn og magtfuldkommenhed /Possing, Birgitte, January 1992 (has links)
Thèse--Copenhague, 1992.
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Natalie Chanin, Women's Review of BooksTolley, Rebecca 03 July 2012 (has links)
Book Summary: The Multimedia Encyclopedia of Women in Today's World looks at women today and delves into contexts of being female in the 21st century. Thus, the scope of the encyclopedia focuses on women's status starting approximately in the year 2000 and looks forward. From A-to-Z, this work covers the spectrum of defining women in the contemporary world. In keeping with the focus on the contemporary context, this is not a static work; rather, after initial publication (in both print and electronic versions), significant annual updates will be available for purchase that add new content and fresh, new multimedia to this electronic version.
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Things I keep around meLindblad, Marie January 2014 (has links)
No description available.
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Behind Straight Curtains : Towards a queer feminist theory of architectureBonnevier, Katarina January 2007 (has links)
This thesis presents theatrical queer feminist interpretations of architecture staged within a series of architectural scenes: architect Eileen Gray’s building E.1027 in the south of France (1926-29); author Natalie Barney’s literary salon at 20 rue Jacob, Paris (1909-1968); and author Selma Lagerlöf’s former home and memorial estate Mårbacka, situated in mid-west Sweden and transformed between 1919 and 1923. Interpreted as queer performative acts, or enactments of architecture, these cases bring into play the interconnectedness of material container, the setting, the deeds and the actors. A broad aim of the thesis is to explore the role played by architecture in the social and cultural constructions of bodies, in particular in relation to gender and sexuality. Architecture is investigated as one of the subjectivating norms that constitute gender performativity. The thesis is thus not only about but also operates through enactment. It masquerades as a series of lectures written in the form of scripted drama. The aim of this formal experiment is not only to explicate and critique from a detached perspective but also to represent architecture in the process of being enacted. Architecture is investigated not only as a theoretical metaphor but also as a concrete material practice always entangled with subject positions. With this exploration into the queerness and the theatricality of architecture, Behind Straight Curtains seeks to affect both the analysis and enactment of architecture and contribute to an architectural shift towards a built environment that does not simply repeat repressive structures but attempts to resist discrimination and dismantle hierarchies. / QC 20100630
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The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare GreenshieldsGreenshields, Mary Clare, University of Lethbridge. Faculty of Arts and Science January 2010 (has links)
This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements. / v, 110 leaves ; 29 cm
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Representations of excess in relation to the body in a selection of contemporary visual artworksEngelbrecht, Larita 03 1900 (has links)
Thesis (MA (VA))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This dissertation investigates forms of excess in representations of the body in specific
examples of contemporary visual art in South Africa and internationally. Representations of
excess are phenomena that have gained increasing prominence in recent art practice both
locally and abroad. The discussion is focused on two artworks that are examples of this
increasing phenomenon of excess in contemporary art: the Swedish video artist Nathalie
Djurberg’s video installation Experimentet (2009), and South African performance artist
Steven Cohen’s film Golgotha (2007-9).
My discussion of the two artworks revolves around the central question: what is the signifying
role of excess in representations of the human body in contemporary visual art? This central
question is asked throughout the dissertation with two aims in mind: firstly, to situate within a
theoretical framework the phenomenon of excess in relation to depictions of the body in
contemporary art; and secondly, to situate my own arts practice within this framework.
The analysis of Djurberg’s Experimentet and Cohen’s Golgotha is spread over four
discussions, each relating to a specific aspect of the representation of excess in relation to
the body. Firstly, I investigate the grotesque body with regards to Mikhail Bakhtin’s notion of
grotesque realism and Jacques Lacan’s psychological notion of the fragmented body, or
corps morcelé. Secondly, I examine the ‘body spectacle’ as a cultural critique of capitalism,
and make specific reference to Cohen’s use of real human skulls as shoes in Golgotha as a
cultural critique of capitalism. In this discussion I also investigate George Bataille’s
philosophical enquiry into the notion of expenditure as a critique of capitalism. The ‘body
spectacle’ is situated in the context of late-twentieth-century theorist Frederic Jameson’s view
of the postmodern and his exposition of the ‘waning of affect’. Thirdly, I investigate excess
and mimesis in representations of the female body, with specific reference to Djurberg’s
Experimentet. Here the discussion is situated within the context of French feminist
psychoanalytical theory with Luce Irigaray’s concept of the role of excess in mimesis. The
study then turns to investigating the experiences elicited in spectators by representations of
excess in relation to the body. I draw from George Bataille’s writings of the function of taboo
and Mikhail Bakhtin’s insistence on the ambivalence of grotesque imagery to explain my own
observations on images of excess. Here I argue, in reference to both Experimentet and
Golgotha, that excess is characterised by the paradoxical stance of being simultaneously
attracted and repulsed. Lastly I discuss my own current art practice with reference to the
theoretical framework outlined here around representations of excess in relation to the body. / AFRIKAANSE OPSOMMING: Hierdie verhandeling ondersoek die voorkoms van oordaad in die uitbeelding van die
menslike liggaam in spesifieke voorbeelde van kontemporêre Suid-Afrikaanse en
internasionale visuele kunswerke. Oordaadsuitbeelding is ‘n verskynsel wat opvallender
voorkom in huidige plaaslike en internasionale kunspraktyke. Die verhandeling fokus primêr
op twee kunswerke ter illustrasie van hierdie verskynsel: die Sweedse videokunstenaar
Natalie Djurberg se video-instellasie Experimentet (2009), en Suid-Afrikaanse ‘performance’-
kunstenaar Steven Cohen se film Golgotha (2007 -9).
My bespreking van die twee kunswerke wentel rondom die sentrale vraag: watter
aanduidende rol speel oordadigheid in uitbeeldings van die menslike liggaam in
kontemporêre visuele kuns? Ter beantwoording van hierdie vraag het hierdie ondersoek ten
doel om, eerstens, die verskynsel van oordaadsuitbeelding van die menslike liggaam in
kontemporêre kuns binne ‘n teoretiese raamwerk te plaas. Ten tweede gaan ek my eie
kunspraktyk binne hierdie raamwerk plaas.
Die oorsig van Djurberg se Experimentet en Cohen se Golgotha word oor vier hoofstukke
versprei. Elke hoofstuk bespreek ‘n spesifieke aspek van oordaadsuitbeelding rakende die
menslike liggaam. Ten eerste bespreek ek die groteske liggaam aan die hand van Mikhail
Bakhtin se idée van groteske realisme en ek verwys ook na Jacques Lacan se
psigoanalitiese idée van die gefragmenteerde liggaam, of corpse morcelé. Die tweede
ondersoek in die verband van oordaadsuitbeelding verwys na die ‘liggaamspektakel’ as
kulturele kritiek op kapitalisme, met spesifieke verwysing na Cohen se gebruik van egte
menslike skedels as skoene in Golgotha. Ek bespreek ook George Bataille se filosofiese
ondersoek na die idée van ‘uitgawe’ as kritiek op kapitalisme. Die ‘liggaamspektakel’ word
geplaas binne die konteks van die laat-twintigste-eeuse teoretikus Frederic Jameson se
opvatting van postmodernisme en sy verduideliking van die afname in gevoelsinhoud. Ten
derde ondersoek ek oordaad en nabootsing in uitbeeldings van die vroulike liggaam, met
spesiefieke verwysing na Djurberg se Experimentet. Hier is die bespreking geplaas in die
konteks van die Franse feministiese psigoanalitiese teorie van Luce Irigaray se konsep van
die rol van oordaad in nabootsing. Die studie verander dan na die ondersoek na die ervarings
wat by die gehoor ontlok word deur die uitbeeldings van oordaad rakende die menslike
liggaam. Ek verduidelik my eie observasies oor oordaadsuitbeelding deur gebruik te maak
van George Bataille se skrywes oor die funksie van taboe, sowel as Mikail Bakhtin se
aandrang op die ambivalensie van groteske beelde. Hier argumenteer ek, met verwysing na
Experimentet en Golgotha, dat oordaad gekenmerk word deur die paradoks van gelyktydige
aantrekking en walging. Ten einde bespreek ek my eie kunspraktyk met verwysing na die
teoretiese raamwerk uiteengesit rondom uitbeeldings van oordaad rakende die liggaam.
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Behind straight curtains : towards a queer feminist theory of architecture /Bonnevier, Katarina. January 2007 (has links)
Diss. Stockholm : Kungliga tekniska högskolan, 2007.
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Bridging the Commercialization GapVice President Research, Office of the 11 1900 (has links)
Biotechnology in BC is getting a boost through the Centre for Drug Research and Development, a non-profit organization aimed at driving drug development.
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The Catalina TriangleStenzel, Nick 01 January 2015 (has links)
The Catalina Triangle is a work of historical fiction focusing on the final weekend in the life of the actress Natalie Wood with flashbacks highlighting her rise to fame and references to Reagan-era America as well as the history of Catalina Island.
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We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music IndustryStokes, Justine Frances 08 December 2008 (has links)
No description available.
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