This research attempts to reframe our understanding of James Joyce’s first novel, A Portrait of the Artist as a Young Man, in the light of Joyce’s theme of the artistic process, and in relation to the evidence of Joyce’s own artistic development. The reframing work is based on three operations: firstly, examining Joyce’s development in the light of related texts: Joyce’s early critical writings and antetextes. We trace Joyce’s intellectual and imaginative growth, both prior to the original “inception” point of Portrait in 1904, and from that time up to the point where, the original draft of the novel (Stephen Hero) having been abandoned, Joyce recast Portrait, in September 1907. The growth of Joyce’s ideas about art, creativity and the social responsibility of the artist, into a rich literary chronotope is examined. Secondly we re-examine the new historical concepts of intention and a work’s inception, from a Bakhtinianian perspective: theories of intention, the prosaic imagination and chronotope. The concept of “design” is explored, to encompass the purposive principles, intentions and form of the evolving novel. Thirdly, a reading of Portrait in relation to its chronotopic framing is advanced, using Bakhtin’s concept of “dialogic creative understanding”. Portrait is read as the story of the soul of a developing artist who comes, through a series of phases, to an understanding of his vocation in respect of three key chronotopic orientations: a social sense of responsibility; the importance of creativity in the highest service of art; the harnessing of the “plastic powers” of the artist imbued with a deeply rooted but dialogical sense of history. / Doctor of Philosophy (PhD)

Lucy Snowe, the heroine of <i>Villette</i>, Charlotte Brontës final novel, is in constant conflict with the dichotomies of patriarchal culture. As she is perpetually torn between the opposing forces of patriarchy, Lucy Snowe inhabits what she calls her own <i>still shadow-world</i> (Brontë164). This thesis explains the nature of the intermediate space Lucy Snowe occupies and examines its repercussions on her mental state. Chapter One theorizes the effect of patriarchal dichotomies on Lucy Snowe to demonstrate that her mental conflict has its roots in the female experience of the opposition between nature and culture. Chapter Twos analysis of the nineteenth-century medical understanding of madness shows that Lucy Snowes melancholy is a symptom of the intermediacy created by conflicting patriarchal expectations. Chapter Three compares Lucy Snowe to the female figure in patriarchal master narratives, which draws attention to the serious consequences of patriarchal culture on women and demonstrates that Lucy is representative of women in conflict with patriarchal expectations. Ultimately, as part of Charlotte Brontës endeavor to represent truth rather than reality, Villette challenges patriarchal expectations of women and presents a different vision of womanhood.

Programs that use the arts to engage older people promote health, foster community, and give voice and legacy to participants. Creative practice in health care settings facilitates emotional, mental, and physical wellness for participants and staff, while improving the culture of care. Yet there is resistance to arts-in-medicine as a legitimate tool of health care. The predominant biomedical paradigm privileges quantitative assessment methods over qualitative studies which may accept anecdotal, arts-informed, or “common sense” evidence. Successful creative programs face challenges translating their benefits when evaluated inappropriately. This arts-informed inquiry uses creative writing to address multiple dimensions of knowing, integrating autoethnographical insights from work as a caregiver, artist, educator, and administrator of collaborative art. Serendipity and imagination in research were employed to explore how collaborating artists can facilitate creative engagement for elders, embodying preventative, community-based medicine to successfully address and transform myriad challenges and opportunities as the population continues to age.

Programs that use the arts to engage older people promote health, foster community, and give voice and legacy to participants. Creative practice in health care settings facilitates emotional, mental, and physical wellness for participants and staff, while improving the culture of care. Yet there is resistance to arts-in-medicine as a legitimate tool of health care. The predominant biomedical paradigm privileges quantitative assessment methods over qualitative studies which may accept anecdotal, arts-informed, or “common sense” evidence. Successful creative programs face challenges translating their benefits when evaluated inappropriately. This arts-informed inquiry uses creative writing to address multiple dimensions of knowing, integrating autoethnographical insights from work as a caregiver, artist, educator, and administrator of collaborative art. Serendipity and imagination in research were employed to explore how collaborating artists can facilitate creative engagement for elders, embodying preventative, community-based medicine to successfully address and transform myriad challenges and opportunities as the population continues to age.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.

This paper describes the philosophical and functional framework of the MFA thesis exhibition Samsara Unlimited: towards an ecology of compassion. Samsara Unlimited was designed as a conceptual social artwork that would engage a network of art students and interested participants in developing a collaborative network. Using established high art aesthetics and familiar consumer based signifiers; the gallery was transformed over a week into a production, design and retail facility. In this torqued capitalist micro-system, financial profit was considered critical for the functioning of the system but secondary to the generation of a field of compassion. <p>The project sought to create a process through which the general public could become familiar with the perceptive processes engaged by artists in reconstructing everyday reality. It was posited that the ability to engage these perceptive processes would potentially lead to an ontological shift in the spectator. Participants who entered the gallery space could alter between the functional reality of a concept store and the altered reality of an art gallery. The public was encouraged to visit over the week of the installation to ask questions, get involved in art making process or simply socialize with the artists and artisans involved in the project.

Lucy Snowe, the heroine of <i>Villette</i>, Charlotte Brontës final novel, is in constant conflict with the dichotomies of patriarchal culture. As she is perpetually torn between the opposing forces of patriarchy, Lucy Snowe inhabits what she calls her own <i>still shadow-world</i> (Brontë164). This thesis explains the nature of the intermediate space Lucy Snowe occupies and examines its repercussions on her mental state. Chapter One theorizes the effect of patriarchal dichotomies on Lucy Snowe to demonstrate that her mental conflict has its roots in the female experience of the opposition between nature and culture. Chapter Twos analysis of the nineteenth-century medical understanding of madness shows that Lucy Snowes melancholy is a symptom of the intermediacy created by conflicting patriarchal expectations. Chapter Three compares Lucy Snowe to the female figure in patriarchal master narratives, which draws attention to the serious consequences of patriarchal culture on women and demonstrates that Lucy is representative of women in conflict with patriarchal expectations. Ultimately, as part of Charlotte Brontës endeavor to represent truth rather than reality, Villette challenges patriarchal expectations of women and presents a different vision of womanhood.

This essay investigates the colonized self in Kazuo Ishiguro’s An Artist of the Floating World and The Remains of the Day, by analyzing the novels from a postcolonial perspective. Furthermore, it discusses how and why Masuji Ono and Mr. Stevens are affected by Japanese imperialism and British colonialism. Through a close reading of the novels, this essay argues that the protagonists are ‘colonized’ by their own countries, and eventually also ‘imperialized,’ or influenced, by America following the Second World War. Ono is ‘colonized’ by his colleague Matsuda, while Mr. Stevens is ‘colonized’ by his employer, Mr. Darlington. Later on, they are both ‘imperialized’ through the American occupation and influence.

This research which taking the "Artists Community"(Arts Village) of Taiwan as a case study refers to the management in pattern of American Artists Communities and visits each place of Arts Villages in Taiwan for understanding the present situation and also having a profound talk with artists, administrators, scholars and so on. It precisely knows that the expectation for Arts Village in the heart of people in order to take pulse for Taiwan's Artists Communities and to find out the position of blind views, and also to provide suggestion for the reference of external management. First of all, in order to understand the variety and multi-function of the artists community this research try to find out the origin and definition of the artist-in-residence and the evolution of the cases established in US, England, France and Japan and so forth, and presents the classifying types of artists community and its developing approach. According to the elements of (1) region, (2) urban and country, (3)festival, (4) management, (5) ecology, and furthermore, this research presents the problems of administration and management in Artists' Communities and also analyzes some typical cases of Taiwan's Artists Communities. For example, these mainly problems included with the strategy of management, the planning programs, the artist-in-residence procedure, revival of ruinous space and historical buildings etc. Finally, this research examines and analyzes the present situation of Arts Villages in Taiwan Area and methods of artists-residence, and which are worth of being conferred in conclusion. The presentation of this research paper expects to offer a few ordinary introductory remarks so that others may offer their valuable ideas and stimulate a great number of people who have much interest for investigation and discussion on the subjects of Artists Communities, and make the management of Taiwan's Artists Communities more perfect, developmental and lively.