The purposes of this study were (a) to examine the major reasons for the establishment of Paul Quinn College, (b) to examine the development of academic programs, and (c) to examine the reasons and processes involved in relocation of the campus to the Dallas-Fort Worth metroplex in 1990. Chapter 1 includes a statement of the problem, purposes of the study, and background and significance of the study; Chapter 2 traces the legal steps in establishing the college in the state of Texas; the original leaders, educational philosophy and mission statement, site selection and building program, first class offerings, and funding sources; Chapter 3 includes a profile of faculty, a profile of students, program origins, additional program offerings in nontraditional education, degrees conferred, accreditation process, and contributions to education; Chapter 4 examines the reasons for relocation, results of site changes, relocation to Dallas in 1990, and Paul Quinn College today; and Chapter 5 offers a summary of findings, conclusions, and recommendations. During the research, it was realized that the early founders and those connected with Paul Quinn College did not keep concise, accurate, and detailed records. The data available in the archives were not consistent, nor had they been kept in chronological sequence. To assure the validity of this study, the information from the archives was combined with interviews for critical evaluation. Efforts were made to evaluate the interview responses in relation to primary sources in order to authenticate their accuracy. Alleviating financial problems and upgrading accreditation status are crucial for the future of Paul Quinn College.

acase@tulane.edu

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This thesis offers a theoretical investigation into concepts of beauty, the sculptured body and myths of Venus and Medusa, primarily through the works of Igor Mitoraj and Marc Quinn. These themes are transformed and inverted in the Looking-glass towards the trans-body, which is fragmented, sometimes monstrous, grotesque or ugly, but it is still complete. Resonating with Eros, it advocates a new trans-sexuality and establishes a concept of new desire , both of which question the legitimacy and limits of the concept of gender in relation to the body. This thesis proposes looking at the body beyond straightforward associations with a particular sex, incorporating approaches beyond art historical and art critical perspectives. Overall, the argument is informed by three particular concepts - paratopisms, paralogisms and parachronisms - drawn from the writings of Jean-François Lyotard. Jean Baudrillard s idea of the trans and swallowing the mirror provides another focus for the thesis. As such, this work is an attempt to go through to the other side of the mirror with respect to topos here, aesthetics and narratives; logos here, beauty and ugliness; and chronos in this research, the new desire. Through a detailed analysis of a number of case-studies I focus on the transformation of the trope of the classical into para-classical; the implosion of Venus into Medusa, beauty into ugliness, perfection into imperfection and ability into disability; and, finally, the metamorphosis of the sculptured body in the mirror. The figure of Venus is utilised in order to scrutinise the modifications and metamorphoses, both internal and external, of the body in relation to the fragment and the classical Greco-Roman ideal. The thesis aims to bring to the study of sculpture a deconstruction of the body through readings on gender, subjectivities and the gaze of the other. It focuses on the female body, represented by the figure of Venus, which is modified and appropriated according to patriarchal order, but also, as it relies on Hélène Cixous's Medusa laugh, it generates a new perspective in seeing the body as a hybrid; a metamorphosing construct, able to transform beyond and within corporeality. Viewing the body as an entity in a constant state of flux, shifting identities and gender, this study proposes this new concept - trans-body as a response to the current hyperreal simulated model of sexuality, and stimulates (and simulates) a change of focus in opticality towards illusions and trans-vesting myths.

<p>The purpose of this essay is to examine what can be considered as obscene in the work of Joel</p><p>Peter Witkin and Marc Quinn, what the similarities and differences are. The essay concerns the</p><p>human body, the norms around it and the old vision of the ideal body. To get closer to my</p><p>question I’ve been examine the meaning of anti-ideal, what it means and what kind of history it</p><p>has. The works I’ve been using to reach to my purpose are Marc Quinn’s sculpture Alison Lapper</p><p>(2005) and Joel Peter Witkin’s photography Abundance (1997). Both of the works are taking the</p><p>position that use to belong to the classical beauty. The analysis of these works focuses on the old</p><p>classical symbol interpretation, the character of the work and the doubt in the old ideal norms of</p><p>the classical beauty.</p>

The purpose of this essay is to examine what can be considered as obscene in the work of Joel Peter Witkin and Marc Quinn, what the similarities and differences are. The essay concerns the human body, the norms around it and the old vision of the ideal body. To get closer to my question I’ve been examine the meaning of anti-ideal, what it means and what kind of history it has. The works I’ve been using to reach to my purpose are Marc Quinn’s sculpture Alison Lapper (2005) and Joel Peter Witkin’s photography Abundance (1997). Both of the works are taking the position that use to belong to the classical beauty. The analysis of these works focuses on the old classical symbol interpretation, the character of the work and the doubt in the old ideal norms of the classical beauty.

La problématique de ce mémoire s'ancre dans notre contexte actuel, caractérisé par un double mouvement de sécularisation de la sphère sociale et de « réenchantement » ou de « resacralisation » dans les sphères artistique, culturelle et intellectuelle. Partant de cette dichotomie singulière, ce projet de recherche constitue une tentative d'élucider ce rapport complexe entre l'art actuel - immergé dans le nihilisme de la postmodernité - et une forme hybride et non définie de sacré. Face à l'ampleur d'une telle question et à l'éclectisme de son sujet, ce mémoire se resserre autour de la volonté de donner un sens à cet éclatement à travers le développement d'une notion originale, celle d'incarnation tautologique. Pivotant sur un renversement nihiliste du dogme de l'incarnation, cette idée – outil conceptuel plutôt que concept – restructure le sacré en dehors de la présence d'un Dieu, faisant alors de cette perte de la transcendance l'occasion de réfléchir le sacré sous un jour totalement humain. L'ensemble de ce mémoire est ainsi consacré à la précision de cet outil théorique. L'objectif n'étant ni de faire système au sein de l'hétérogénéité actuelle ni d'établir une typologie du champ artistique, ce mémoire se penche sur l'étude d'un même thème, celui du paradis terrestre, tel que repris par trois œuvres contemporaines dont les analyses ont pour but de préciser la teneur théorique de cette incarnation tautologique. Ces trois œuvres - soit Garden (Marc Quinn 2000), Garden of Earthly Delights III (Raqib Shaw 2003) et Au commencement 19380 (Sarkis 2001) - unies autour de leur appropriation de la thématique du paradis judéo-chrétien, permettent à cette recherche de se centrer autour d'une actualisation de l'Éden. Partant ainsi du prédicat selon lequel cette sacralité postmoderne serait dédivinisée, nous adoptons un regard iconologique afin de traquer ce motif édénique et d'en mesurer l'actualisation et la pertinence. Le but est de voir le fonctionnement de cette incarnation tautologique dans les œuvres et d'en préciser ainsi les répercussions sur la notion de sacré et de croyance pour notre contemporanéité. Ainsi se dévoile un sacré empreint d'humanité et de nihilisme. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain, Sacré, Éden, Réenchantement, Marc Quinn, Raqib Shaw, Sarkis.

Thesis (M. A.)--Florida State University, 2005. / Advisor: Karen Bearor, Florida State University, School of Visual Arts and Dance, Dept. of Art History. Title and description from dissertation home page (viewed Jan. 25, 2006). Document formatted into pages; contains vii, 62 pages. Includes bibliographical references.

Thesis (DLitt)--University of Stellenbosch, 2006. / On title page: Doctor of Literature in Biblical Languages. Bibliography. Also available via the Internet.