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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 1 to 3 of 3 (0.039 seconds)Spelling suggestions: "subject:"schnirelmann"" "subject:"schnee""
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Fluxus - Flirt - Feminismus? : Carolee Schneemanns Körperkunst und die Avantgarde /Kubitza, Anette. Schneemann, Carolee. January 2002 (has links)
Univ., FB Kulturgeschichte, Diss.--Hamburg, 1998.
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Fluxus - Flirt - Feminismus ? : Carolee Schneemanns Körperkunst und die Avantgarde /Kubitza, Anette. January 1900 (has links)
Diss.--Fachbereich Kulturgeschichte und Kulturkunde--Hambourg--Universität. / Bibliogr. p. 237-247.
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Att kliva utanför ramen : Nakenhet, feminism och kritik av tre performanceverk från 1960- och 70-talet / To step outside the frame : Nakedness, nudity, feminism and criticism of three performances in the 1960’s and 1970sHöljö, Nikolina January 2018 (has links)
This essay examines the performance artworks Action Pants: Genital Panic (1969), Interior Scroll (1975) and S.O.S Starification Object Series (1974-82) by artists VALIE EXPORT, Carolee Schneemann and Hannah Wilke. The objective is to analyse the expressions of these artworks, from a theoretical viewpoint of feminist art-theoreticians and their critique regarding the female body in representation. Performance- and body-art have been the subject of discussion with respect to the female nude in the history of art, and the patriarchal structures that surround it. These eminent theories about the female body in art differ from one another, leaving this study to investigate given works and the explicit body-language that unites them, with the aim to identify a favourable representation of the female body in 1960sand 70s performance art with the vantage point of these artworks. The present essay has demonstrated that vaginal iconology exists in all works and can be presented in various ways. It becomes clear that the work of VALIE EXPORT provides a framework most suitable as a feminist, critical strategy to counteract the notion of the male gaze, framing, and representation of the body as commodity in capitalist-society. However, the works of Schneemann and Wilke, with more essentialist themes, can through ambiguity contribute to a positive representation of woman in representation. There is no simple answer to which way 2 of using the body is the most beneficial for feminism, however, a critical representation of the female body in performance and body art, in relation to the artists’ own intentions, creates positive ambiguity, thus these artworks do not only reinforce patriarchal conventions regarding the female body.
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