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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
provided by the
Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 231 to 238 of 238 (0.066 seconds)| 231 |
Takmåleri och perception – Att spåra möten mellan sinnesförnimmelser och takmåleriets konstitutionDallyn, Yana January 2023 (has links)
This study investigates the perceptual effect of ceiling painting on the viewer in relation to spatiality. Three case studies have been conducted of ceiling paintings by Johan Sylvius from 1690, Karl XI's gallery at Drottningholm Palace; Karl Axel Pehrson Transfigurata from 1978, at Thielska Gallery; and by Malin Gabriella Nordin from 2021, at the restaurant Ricordi, all in Stockholm Sweden. The objects represent ceiling paintings with different mediums, pictorial expressions, and motifs. This study presents how ceiling painting's formal and aesthetic structures and mechanisms activate the viewer's perception and performative action. Together with the room, these elements shape the viewer's overall experience of the ceiling painting and the spaciousness. The perceptual influence takes place in interaction with the individual's subjective psychological make up, which filters the mentally and physically perceived information. This means that each individual's experience is characterized by subjective perceptions: the same colour, expression or form can generate different impressions in different individuals – depending on the individual's previous experience with similar elements. The aim is not to find a common experience, but to track which elements and how they activate the viewer. These elements are the ceiling painting's internal and external factors, which activate the senses and shapes the viewer's movements in the room. Sensations together with the viewer's choreography create an overall experience within the viewer. The thesis in the essay postulates that these structures and mechanisms are conditioned in the ceiling painting's particular placement in the inner ceiling of the room, its materiality and spatial relationship. The perceptual impact is the initial awareness of the art, before the intellectual, ceiling painting is not sought to be interpreted but to be experienced. Most of the research in the visual arts and especially on ceiling painting is devoted primarily to narratology, the narrative content. The purpose of the essay is therefore to highlight ceiling painting as an art form and shed light on its perceptual impact on the viewer and the spatiality, as an introductory part to the subsequent intellectual interpretations. This pre-narratological stage conveys both the sensuous potential of the ceiling painting itself, and knowledge that can contribute with extensions of the narratological content.
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My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient AndalucíaLitwak, Jessica 01 June 2015 (has links)
No description available.
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Girth & Mirth: Ethnography of a Social Club for Big Gay Men and Their AdmirersWhitesel, Jason A. 01 October 2009 (has links)
No description available.
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Sonar Sea : The acoustic experience of the Baltic Sea dynamicsStampe, Elin January 2021 (has links)
This thesis project aims to discuss the conditions and importance of water as a dynamic body in our environment, as water is affecting life on Earth on all levels. By focusing on the Baltic Sea, a sensitive body of water, I am exploring the acoustic characters of the sea dynamics through sound recordings at three bays in the Stockholm Archipelago. How can an acoustic exploration of the Baltic Sea dynamics mediate a sensitive relationship to our marine environments? Sound defines environments and gives indications of their current state. In this project, I intertwine an artistic approach involving our senses with scientific research of measuring to further an understanding of the relationship between humans and nature. The project explores water and sound in two parts, first as a method for listening to the sea, second as a spatial composition created for a sensory experience of the sea’s endless motion. It is my hope that my installation can stir emotions and create an understanding for the environmental challenges facing the Baltic Sea and inspire action towards prosperous natural environments where we live with and not apart from nature.
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Řečové akty ve hře Milana Kundery "Majitelé klíčů" / Speech Acts in the Play Owners of the Keys by Milan KunderaSVOBODA, Marek January 2014 (has links)
This thesis deals with the theory of speech acts which is based mainly on analysis of speech and its function in communication. We use speech not only to convey something but to also do something, to change the state of things around us and to accomplish specific goals. Speech acts in a literary piece are then analyzed on theoretical basis, specifically in Milan Kundera's dramatic play Majitelé klíčů.
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Écritures dramatiques et romanesques des XXe et XXIe siècles à l’épreuve des arts non verbaux. Modèles et dispositifs / Dramatic and Novelistic Writings of 20th and 21st centuries in relation with non-verbal arts. Models, Patterns and DevicesRascle, Floriane 09 December 2016 (has links)
L’observation de la présence des arts non verbaux au cœur des œuvres de Marguerite Duras, Lawrence Durrell, Elfriede Jelinek et Péter Nádas nous invite à considérer la musicalité et l’iconicité des écritures dramatiques et romanesques contemporaines en termes de modèle mais aussi de dispositif. Des phénomènes de dialogue, d’hybridation, de polyphonie, de dialogisme, d’intermédialité, de ce que Jacques Rancière nomme « l’impurification » au cœur d’un « régime esthétique de l’art » révèlent les rêves, désirs et pulsions du verbal pour d’autres arts, mais aussi pour des représentations à l’artisticité discutable. La fabrique d’un corps organique, sexuel, érotique voire pornographique par les écritures contemporaines nous convie à envisager le métissage entre art et non-art en termes de dispositif performatif et à proposer une lecture queer des œuvres. À l’heure du postmodernisme, le recours des écritures au non-verbal se donne à lire à la fois comme la manifestation d’une crise du logos et de la représentation et comme l’enjeu d’une rénovation esthétique et politique de la littérature. Qu’ils modélisent le verbal ou fassent brutalement irruption et déchirure en son sein, les arts non verbaux concourent au renouvellement des formes littéraires, mais aussi à leur politicité et au renouveau de la fiction. Cette étude ambitionne donc d’explorer le carrefour esthético-politique que dessinent, entre le milieu du XXe siècle et ce début de XXIe siècle, les relations plurielles entre les arts verbaux et non verbaux dans l’art verbal par excellence, la littérature. / The observation of the presence of non verbal arts within the works of Marguerite Duras, Lawrence Durrell, Elfriede Jelinek and Péter Nádas leads us to examine the musicality and the iconicity of contemporary dramatic and novelistic writings in terms of model, pattern and devices. Dialogue, hybridization, polyphony, dialogism, intermediality, and what Jacques Rancière calls “impurification” within the “Aesthetic Regime of Art”, display the dreams, desires and longings of verbal art for other arts, but also for representations whose artistic content is arguable. The fact that contemporary writings produce an organic, sexual, erotic, even pornographic body invites us to focus on the interactions between arts and non-arts with regard to their performative devices and to propose a queer reading of the works. In Postmodernism, the fact that writings draw on non verbal forms can be understood as the expression of the failure of Logos – both language and reason – and of representation. Moreover, what is also at stake is an aesthetic and political reform of literature. Whether they tend to impose new verbal models or break into them, non verbal arts contribute not only to reshape literary forms but also to emphasize their political substance and renew their fictional content. This dissertation aims to investigate the crossroads between aesthetics and politics that the various relationships between verbal and non-verbal arts display, from mid-20th century to the beginning of the 21st century, within Literature, the verbal art par excellence.
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結構性宰制：反反色情到反分級 / Structural domination: from anti-antipornography to anti-censorship黃頌竹 Unknown Date (has links)
言論分級的辦法，特別是與性有關的言論分級，往往持著「保護未成年人」的立場落實於政策中。將這種對未成年人的言論限制手段，透過個人道德的論述，建構成一個對於未成年人之人格及人身安全的保護措施。然而在這個巧妙的論述之下，卻掩蓋不住底下騷動不已的權力角逐。
回顧二十世紀八○年代的反色情女性主義論述，麥金儂直接指出「色情」的問題從來就不只是一個道德問題，而是關於政治、關於權力、關於社會結構的問題。事實是，種種對於未成年人可以接觸的資訊、言論施加之限制，也從來都不只是道德問題，而是（如女性主義者尖銳而正確的見解指出的）一個關於政治、權力、結構的問題。言論不只是意見，言論是具有能動性（agency）的。麥金儂表示言論對於社會現實的建構有著莫大的影響力，藍騰更使用奧斯汀的行動（performativity）理論來說明言論的能力。而巴特勒儘管在結論上反對反色情女性主義推動言論管制，卻也是基於肯定言論的行動力，對於言論管制往往剝奪傷害性言論的受害者在言說場域裡能夠自我賦權的機會，更透過公權力對此類言論與歧視結構的肯認，而有強化這個受害者結構的危機。
我將從巴特勒對言論管制手段的批判，以及對於如何透過言說關係的再利用，來試圖顛覆既有的權力關係。現有的所謂「保護」未成年人之言論限制政策，其實一方面是鞏固成年人對未成年人之權力關係，另一方面也是將未成年人的教育視為成年人彼此爭奪權力的場域。我將論證言論的管制策略不僅無法達到「保護」的效果，更是對未成年人之主體性建立的直接傷害：如果言論有建構社會結構，以及建構主體在社會結構中的位置之能力，剝奪這項能力，就是在剝奪未成年人透過性言論與現實世界進行交互辯證的能力，並剝奪其建立以及發展自我主體性之重要工具。
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President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-MariaKulykivska, Mariia January 2020 (has links)
In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art. Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama.
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