subject:(visuality)

1. Haase, Timothy. Watching the World Unravel: Juvenal's Satirical Mechanics.

Degree: PhD, Classics, 2013, Brown University

URL: https://repository.library.brown.edu/studio/item/bdr:320578/

► Though there have recently been many examinations of ancient Romans' moral and aesthetic visual practices, Juvenal, the most vivid Roman verse satirist, has up to… (more)

▼ Though there have recently been many examinations of ancient Romans' moral and aesthetic visual practices, Juvenal, the most vivid Roman verse satirist, has up to now played only a minor role in these studies. The present work, moving away from the prevailing critical concepts of "voice" and persona in reading the Satires, reconsiders Juvenal's poems in light of his visualizing tendencies. Using analyses of Roman visuality as a touchstone, this study examines the referential logic of Juvenal's "externalizing" mechanics, which include Juvenal's tendency to objectify vice into material or bodily features, to stage immoral or foolish Romans before the eyes of satiric viewer, and to use exemplary names from the past as surrogates for contemporary vice. Juvenal fashions a satiric "iconography" whose meaning depends on the straightforward correspondence between satiric sign and moral failing. Yet, throughout his corpus, Juvenal creates a Roman world where concepts and values no longer correspond to their traditional meanings. Thus, the difficulties of representation that arise in the interplay between the textual and the visual likewise apply to Juvenal; Juvenal's text becomes an appropriately debased embodiment of Rome, which both discusses (at the level of content) and manifests (at the level of mechanics) the crisis of meaning in 2nd century Rome. The first three chapters of this study, focusing on Satires 2, 8, and 10, demonstrate Juvenal's sustained concern with these difficulties and fashion a model of reading the Satires which highlights how representational and referential gaps self-consciously emerge between the world Juvenal is constructing and the way that he constructs it. In each of these three Satires, Juvenal attempts to identify and rein in semiotic chaos at Rome, whether moral, social, or ethical; but it becomes clear to the reader moving through each poem that Juvenal's text reflects the same interpretative paradoxes as the world it creates. In the final chapter, the model of reading subtly authorized in Satires 2, 8, and 10 is used to unlock new significance in Satire 6, which confronts the same referential crises without addressing them as explicitly. Advisors/Committee Members: Bodel, John (Director), Reed, Jay (Reader), Freudenburg, Kirk (Reader).

Subjects/Keywords: visuality

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APA (6^th Edition):

Haase, T. (2013). Watching the World Unravel: Juvenal's Satirical Mechanics. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:320578/

Chicago Manual of Style (16^th Edition):

Haase, Timothy. “Watching the World Unravel: Juvenal's Satirical Mechanics.” 2013. Doctoral Dissertation, Brown University. Accessed January 25, 2021. https://repository.library.brown.edu/studio/item/bdr:320578/.

MLA Handbook (7^th Edition):

Haase, Timothy. “Watching the World Unravel: Juvenal's Satirical Mechanics.” 2013. Web. 25 Jan 2021.

Vancouver:

Haase T. Watching the World Unravel: Juvenal's Satirical Mechanics. [Internet] [Doctoral dissertation]. Brown University; 2013. [cited 2021 Jan 25]. Available from: https://repository.library.brown.edu/studio/item/bdr:320578/.

Council of Science Editors:

Haase T. Watching the World Unravel: Juvenal's Satirical Mechanics. [Doctoral Dissertation]. Brown University; 2013. Available from: https://repository.library.brown.edu/studio/item/bdr:320578/

Universiteit Utrecht

2. Vormeer, Joost. Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts.

Degree: 2008, Universiteit Utrecht

URL: http://dspace.library.uu.nl:8080/handle/1874/31792

► The thesis 'Aesthetic Vision on the Orient' explores three eighteenth and nineteenth century orientalist texts written by William Beckford, Heinrich von Kleist and Gustave Flaubert.… (more)

Subjects/Keywords: Letteren; Orientalism; Visuality

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APA (6^th Edition):

Vormeer, J. (2008). Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts. (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/31792

Chicago Manual of Style (16^th Edition):

Vormeer, Joost. “Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts.” 2008. Masters Thesis, Universiteit Utrecht. Accessed January 25, 2021. http://dspace.library.uu.nl:8080/handle/1874/31792.

MLA Handbook (7^th Edition):

Vormeer, Joost. “Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts.” 2008. Web. 25 Jan 2021.

Vancouver:

Vormeer J. Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts. [Internet] [Masters thesis]. Universiteit Utrecht; 2008. [cited 2021 Jan 25]. Available from: http://dspace.library.uu.nl:8080/handle/1874/31792.

Council of Science Editors:

Vormeer J. Aesthetic Vision on the Orient: The Structure of Vision in Three 'Orientalist' Texts. [Masters Thesis]. Universiteit Utrecht; 2008. Available from: http://dspace.library.uu.nl:8080/handle/1874/31792

University of Debrecen

3. Rekun, Dmitry. Painting Social Conventions .

Degree: DE – TEK – Bölcsészettudományi Kar, 2013, University of Debrecen

URL: http://hdl.handle.net/2437/156533

► The last decade of the twenty-first century became a real boom in the development of street art. A lot of articles have been published about… (more)

Subjects/Keywords: street art; visuality; gender studies

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APA (6^th Edition):

Rekun, D. (2013). Painting Social Conventions . (Thesis). University of Debrecen. Retrieved from http://hdl.handle.net/2437/156533

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Rekun, Dmitry. “Painting Social Conventions .” 2013. Thesis, University of Debrecen. Accessed January 25, 2021. http://hdl.handle.net/2437/156533.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Rekun, Dmitry. “Painting Social Conventions .” 2013. Web. 25 Jan 2021.

Vancouver:

Rekun D. Painting Social Conventions . [Internet] [Thesis]. University of Debrecen; 2013. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/2437/156533.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Rekun D. Painting Social Conventions . [Thesis]. University of Debrecen; 2013. Available from: http://hdl.handle.net/2437/156533

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Debrecen

4. Papp, Dóra. Surveillance and internalization in China Miéville’s the city & the city .

Degree: DE – Bölcsészettudományi Kar, University of Debrecen

URL: http://hdl.handle.net/2437/241123

► The novel is concerned with how internalization enables the state to create an environment in which the idea of disobedience does not even emerge in… (more)

Subjects/Keywords: internalization; visuality; surveillance

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APA (6^th Edition):

Papp, D. (n.d.). Surveillance and internalization in China Miéville’s the city & the city . (Thesis). University of Debrecen. Retrieved from http://hdl.handle.net/2437/241123

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Papp, Dóra. “Surveillance and internalization in China Miéville’s the city & the city .” Thesis, University of Debrecen. Accessed January 25, 2021. http://hdl.handle.net/2437/241123.

Note: this citation may be lacking information needed for this citation format:
No year of publication.
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Papp, Dóra. “Surveillance and internalization in China Miéville’s the city & the city .” Web. 25 Jan 2021.

Note: this citation may be lacking information needed for this citation format:
No year of publication.

Vancouver:

Papp D. Surveillance and internalization in China Miéville’s the city & the city . [Internet] [Thesis]. University of Debrecen; [cited 2021 Jan 25]. Available from: http://hdl.handle.net/2437/241123.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

Council of Science Editors:

Papp D. Surveillance and internalization in China Miéville’s the city & the city . [Thesis]. University of Debrecen; Available from: http://hdl.handle.net/2437/241123

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
No year of publication.

University of Leicester

5. Petrov, Julia. Dressing ghosts : museum exhibitions of historical fashion in Britain and North America.

Degree: PhD, 2012, University of Leicester

URL: https://figshare.com/articles/Dressing_Ghosts_Museum_Exhibitions_of_Historical_Fashion_in_Britain_and_North_America/10107020 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558008

► By critically analyzing trends in museum fashion exhibition practice over the past century, this thesis defines and describes the varied representations of historical fashion within… (more)

▼ By critically analyzing trends in museum fashion exhibition practice over the past century, this thesis defines and describes the varied representations of historical fashion within museum exhibitions in Britain and North America. Evidence collected through archival research on past exhibitions at the Victoria and Albert Museum, Bath Fashion Museum, the Metropolitan Museum of Art, Brooklyn Museum, the Royal Ontario Museum, and the McCord Museum, and supplemented by media reports, academic reviews, as well as secondary theoretical literature, suggests that the discourses of historical fashion exhibitions have been heavily influenced by the anxieties and values placed upon fashion more generally. The discipline of fashion curation is deeply rooted in and dependent upon much earlier display practices in museums, galleries, and shops. The interplay between personal and world-historical narratives in exhibitions, the celebration of consumerism and corporate brand identity, as well as claims to aesthetic universality and quality, continued to surface across historical fashion exhibitions in all the institutions studied over the period 1913 to the present. Moreover, historical fashion, as it has been displayed in the case study institutions, also reflects the function of the museum institution itself, especially its visual marking of time and social contexts. This thesis contributes to a growing literature on the history of museums and on fashion curation and provides a historical framework for exhibitions of historical fashion to both disciplines. The worksheet generated during data-gathering provides an objective vocabulary for evaluating the physical and intellectual content of a historical fashion exhibition, and is a potentially useful tool for future researchers. Furthermore, as this dissertation investigates the role of display as a means of communication about material culture, it provides new and original insights into this important aspect of museum practice and therefore, also contributes to theoretical debates within the larger field of cultural heritage.

Subjects/Keywords: 069; Exhibitions; Fashion; Museums; Mannequins; Visuality

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APA (6^th Edition):

Petrov, J. (2012). Dressing ghosts : museum exhibitions of historical fashion in Britain and North America. (Doctoral Dissertation). University of Leicester. Retrieved from https://figshare.com/articles/Dressing_Ghosts_Museum_Exhibitions_of_Historical_Fashion_in_Britain_and_North_America/10107020 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558008

Chicago Manual of Style (16^th Edition):

Petrov, Julia. “Dressing ghosts : museum exhibitions of historical fashion in Britain and North America.” 2012. Doctoral Dissertation, University of Leicester. Accessed January 25, 2021. https://figshare.com/articles/Dressing_Ghosts_Museum_Exhibitions_of_Historical_Fashion_in_Britain_and_North_America/10107020 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558008.

MLA Handbook (7^th Edition):

Petrov, Julia. “Dressing ghosts : museum exhibitions of historical fashion in Britain and North America.” 2012. Web. 25 Jan 2021.

Vancouver:

Petrov J. Dressing ghosts : museum exhibitions of historical fashion in Britain and North America. [Internet] [Doctoral dissertation]. University of Leicester; 2012. [cited 2021 Jan 25]. Available from: https://figshare.com/articles/Dressing_Ghosts_Museum_Exhibitions_of_Historical_Fashion_in_Britain_and_North_America/10107020 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558008.

Council of Science Editors:

Petrov J. Dressing ghosts : museum exhibitions of historical fashion in Britain and North America. [Doctoral Dissertation]. University of Leicester; 2012. Available from: https://figshare.com/articles/Dressing_Ghosts_Museum_Exhibitions_of_Historical_Fashion_in_Britain_and_North_America/10107020 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558008

Victoria University of Wellington

6. Moore, Frances Claire. A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust.

Degree: 2009, Victoria University of Wellington

URL: http://hdl.handle.net/10063/1421

► In keeping with the spirit of Romanticism, Hector Berlioz has always been something of a rogue figure. Works like Lelio, Romeo et Juliette and La… (more)

▼ In keeping with the spirit of Romanticism, Hector Berlioz has always been something of a rogue figure. Works like Lelio, Romeo et Juliette and La damnation de Faust, which Daniel Albright refers to as 'semi-operas', occupy an uncomfortable place within the concert hall. The intersections between song, symphony, opera and the spoken word that form these works immediately pose questions concerning musical unity, narrative interpretation, issues of genre, and performance style. While the musical and literary aspects of the three compositions have been the subject of scholarly attention, this study turns its gaze onto the various visual dimensions that are present within Lelio, Romeo et Juliette and La damnation de Faust. By emphasising the presence of spectacle in Berlioz's compositions, questions soon arise concerning the implications of these visual elements for performance. Berlioz's relatively early work, Lelio, illustrates the extent to which the composer is already concerned with how the visual suppression of performing bodies can create and change narrative meanings. Romeo et Juliette raises the curtains that hide Lelio's musical forces. Rather than simply distilling Shakespeare's drama into music, Berlioz relies instead on a visual memory of Romeo and Juliet to replace the absence of physical characters within his 'symphonie dramatique', thus creating an aural rendition of a past theatrical event. Through an exploration of the spectacle within Lelio and Romeo et Juliette, we see how Berlioz has constructed a visually detailed imaginary theatre that resides within the score. An understanding of this imaginary theatre is integral in the subsequent analysis of Berlioz's controversial and wonderfully diabolical La damnation de Faust. This work is performed as often in the opera house as it is in the concert hall. However, an in-depth analysis of the libretto and score reveals curious and occasionally contradictory visual implications. The impact that these contradictions have on the visual dimension in the performance of La damnation de Faust will be explored through a reading of two ground-breaking productions: Raoul Gunsbourg's La damnation de Faust from 1893 - the first production to treat Berlioz's score as an opera; and Robert Lepage's mixed-media production of La damnation. The work of these two directors serves to highlight, perhaps inadvertently, the problematic effects of Berlioz's imaginary theatre on the necessarily more concrete realisations of La damnation when confined within the opera house. However, the cinematic approach of Lepage suggests another avenue of performance that has the potential to reveal new dimensions of Berlioz's unique dramatic-symphonic works. Ultimately, it may be that the supreme technicolour nature of Berlioz's music always functions to transport us beyond our own mundane experiences and forever challenges us to seek something beyond the limits of the possible, however much those limits might change. Advisors/Committee Members: Van Rij, Inge.

Subjects/Keywords: Theatrical drama; Visuality

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APA (6^th Edition):

Moore, F. C. (2009). A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/1421

Chicago Manual of Style (16^th Edition):

Moore, Frances Claire. “A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust.” 2009. Masters Thesis, Victoria University of Wellington. Accessed January 25, 2021. http://hdl.handle.net/10063/1421.

MLA Handbook (7^th Edition):

Moore, Frances Claire. “A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust.” 2009. Web. 25 Jan 2021.

Vancouver:

Moore FC. A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust. [Internet] [Masters thesis]. Victoria University of Wellington; 2009. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/10063/1421.

Council of Science Editors:

Moore FC. A Night at the (Imaginary) Opera: The Visual Dimension in Hector Berlioz's Lelio, Romeo et Juliette and La Damnation de Faust. [Masters Thesis]. Victoria University of Wellington; 2009. Available from: http://hdl.handle.net/10063/1421

7. Sharp, Laura Linda. Lively Geographies of Film .

Degree: 2019, University of Arizona

URL: http://hdl.handle.net/10150/634333

► Despite nearly 40 years of research on the topic of film and geography, geographers have had little to say about location filming or the relationship… (more)

Subjects/Keywords: cartography; embodiment; feminist; film; mobility; visuality

10 more images…

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APA (6^th Edition):

Sharp, L. L. (2019). Lively Geographies of Film . (Doctoral Dissertation). University of Arizona. Retrieved from http://hdl.handle.net/10150/634333

Chicago Manual of Style (16^th Edition):

Sharp, Laura Linda. “Lively Geographies of Film .” 2019. Doctoral Dissertation, University of Arizona. Accessed January 25, 2021. http://hdl.handle.net/10150/634333.

MLA Handbook (7^th Edition):

Sharp, Laura Linda. “Lively Geographies of Film .” 2019. Web. 25 Jan 2021.

Vancouver:

Sharp LL. Lively Geographies of Film . [Internet] [Doctoral dissertation]. University of Arizona; 2019. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/10150/634333.

Council of Science Editors:

Sharp LL. Lively Geographies of Film . [Doctoral Dissertation]. University of Arizona; 2019. Available from: http://hdl.handle.net/10150/634333

University of New South Wales

8. Gong, Jian. Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei.

Degree: Chinese & Indonesian, 2016, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/55874 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:39573/SOURCE02?view=true

► Focusing on three important art and literary forms intensely involving visual images, namely, classical Chinese poetry, traditional Chinese painting, and travel writing, this thesis examines… (more)

Subjects/Keywords: Image/imagery; Late Qing China; Visuality; Modernity

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APA (6^th Edition):

Gong, J. (2016). Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/55874 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:39573/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Gong, Jian. “Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei.” 2016. Doctoral Dissertation, University of New South Wales. Accessed January 25, 2021. http://handle.unsw.edu.au/1959.4/55874 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:39573/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Gong, Jian. “Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei.” 2016. Web. 25 Jan 2021.

Vancouver:

Gong J. Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei. [Internet] [Doctoral dissertation]. University of New South Wales; 2016. [cited 2021 Jan 25]. Available from: http://handle.unsw.edu.au/1959.4/55874 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:39573/SOURCE02?view=true.

Council of Science Editors:

Gong J. Modern transformations of visuality in late Qing China: Gong Zizhen, Ren Bonian, and Kang Youwei. [Doctoral Dissertation]. University of New South Wales; 2016. Available from: http://handle.unsw.edu.au/1959.4/55874 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:39573/SOURCE02?view=true

University of California – Berkeley

9. Cruz, Ariane Renee. Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography.

Degree: African American Studies, 2010, University of California – Berkeley

URL: http://www.escholarship.org/uc/item/2146c30v

► My dissertation, Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography interrogates how pornography, from the 1930s to the present, functions as… (more)

▼ My dissertation, Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography interrogates how pornography, from the 1930s to the present, functions as an essential site in the production of black female sexuality. Closely reading a diverse pool of primary pornographic visual materials, across print, moving image and the internet, such as photographs, magazines, trade magazines, videos, DVDs, and internet website viewings, I argue that pornography offers an ambiguous casting of black female sexuality, simultaneously constructing the black female body as craved and contemned yet ultimately not merely other, but in-human (not woman). Pornography's inscription of racial, sexual alterity on the black female body is both somatic and symbolic. After an overview of the history of pornography, its central yet liminal relationship to nation and oft ignored collisions with race, I unveil print pornography (photograph, cartoon and magazine) as a medium that ultimately speaks to the photograph's task of visualizing a "real" and authentic racialized body. I argue that men's magazines such as Playboy and Players are important texts that delineate pornographic imaginings of desire and national belonging circumscribed by race. I then explore early moving image porn and the stag genre beginning in the 1930s, arguing that the black female body within stag films challenges the rigidity of gender roles that the films subscribe to, ultimately contesting the black female's position within the bounds of American womanhood. The decade of the 1970s, pornography's golden age, an intensely ambivalent era in the history of American pornography, marks a moment of mainstream recognition for the black female body within pornography, yet her inclusion is still underscored by the premise of her racial sexual difference and her performance of primitivized and pathologized sexuality. I examine the golden age as a critical juncture where hard core pornography, blaxploitation, and these two genres' analogous pornographic gaze – a heteronormative and sexualizing sociality – cemented the black female body as intelligible in and through not just her pornographication, but her representation as pornographic body produced and consumed for a mainstream mass market audience. This ambivalence marks the black female in her transition from the stag era in the 1930s, through the golden age of pornography in the 1970s, into the video age beginning in the mid 1980s and through the present. It is most vivid in my discussion of taboo and the popular and financially prosperous phenomenon of black/white interracial pornography. I frame my discussion of Internet interracial porn against the history of American miscegenation and the coeval yet persistent national ideologies of racialized American womanhood and manhood deeply steeped in sexuality. I unveil interracial pornography, one of the most consumed and financially prosperous types of American pornography, as a domain of porn especially invested in the…

Subjects/Keywords: African American studies; Women's studies; Black Sexuality; Visuality

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APA (6^th Edition):

Cruz, A. R. (2010). Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography. (Thesis). University of California – Berkeley. Retrieved from http://www.escholarship.org/uc/item/2146c30v

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Cruz, Ariane Renee. “Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography.” 2010. Thesis, University of California – Berkeley. Accessed January 25, 2021. http://www.escholarship.org/uc/item/2146c30v.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Cruz, Ariane Renee. “Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography.” 2010. Web. 25 Jan 2021.

Vancouver:

Cruz AR. Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography. [Internet] [Thesis]. University of California – Berkeley; 2010. [cited 2021 Jan 25]. Available from: http://www.escholarship.org/uc/item/2146c30v.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Cruz AR. Berries Bittersweet: Visual Representations of Black Female Sexuality in Contemporary American Pornography. [Thesis]. University of California – Berkeley; 2010. Available from: http://www.escholarship.org/uc/item/2146c30v

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Michigan

10. de Rezende, Isabelle M. Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961.

Degree: PhD, History, 2012, University of Michigan

URL: http://hdl.handle.net/2027.42/96170

► This dissertation is a work in visual historical methodology, grounded in examples and artifacts from the colonial history of the Congo Free State (1885-1908) and… (more)

▼ This dissertation is a work in visual historical methodology, grounded in examples and artifacts from the colonial history of the Congo Free State (1885-1908) and Belgian Congo up to the time of decolonization and independence (1908-1960). The study focuses on the Tetela, once a colonial “tribe” known as the Batetela, and today a loosely configured “community” whose members think of themselves, according to the terms of modern African politics, including cultural politics, as belonging to a larger Mongo “ethnicity.” Part of my purpose in this dissertation is to show how Tetela constituted themselves as historical and collective subjects, connected to key events and spaces in Congo’s colonial history, in and through visuality. More specifically, my dissertation locates how Tetela ways knowing and seeing, and also being Tetela emerged and shifted in visual worlds from the late 1880s to 1960. The Tetela emerged visibly, immediately, and as modern subjects in relation to Zanzibari and then Belgian overlords, raiders, and patrons in the 1880s and 1890s. Seventy years later the emergence of Patrice Lumumba, who was born and raised a Tetela, in Congo’s decolonizing politics reproblematized this group as an early colonial category. Between the 1880s and the late 1950s the formation of collective Tetela subjects as well as individual Tetela self-fashioning, partly took place in visuality: through the creation, aggregation and circulation of certain images and iconic objects in and across networks and spaces, in time. This visual knowledge was also, especially after the Second World War, a way of inscribing meanings on photographs by intervening into their creation, and through ways of seeing. These By the 1950s, a certain understanding of who the Tetela were was in place. This understanding expressed itself, sometimes obliquely and at other times overtly, in the ways that Patrice Lumumba was imaged, and also imagined by supporters and detractors alike. By applying visual methodologies to artifacts, situations, moments, texts, persons, names, and “ethnic” as well as social categories, this study seeks locate Tetela subject formation, collective and individual, in images and visual worlds. Advisors/Committee Members: Hunt, Nancy Rose (committee member), Ashforth, Adam Philip (committee member), Hayes, Patricia (committee member), Eley, Geoff (committee member).

Subjects/Keywords: Africa, Congo, Colonialism, Visuality, Ethnicity, Lumumba, Tetela; History (General); Humanities

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APA (6^th Edition):

de Rezende, I. M. (2012). Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961. (Doctoral Dissertation). University of Michigan. Retrieved from http://hdl.handle.net/2027.42/96170

Chicago Manual of Style (16^th Edition):

de Rezende, Isabelle M. “Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961.” 2012. Doctoral Dissertation, University of Michigan. Accessed January 25, 2021. http://hdl.handle.net/2027.42/96170.

MLA Handbook (7^th Edition):

de Rezende, Isabelle M. “Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961.” 2012. Web. 25 Jan 2021.

Vancouver:

de Rezende IM. Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961. [Internet] [Doctoral dissertation]. University of Michigan; 2012. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/2027.42/96170.

Council of Science Editors:

de Rezende IM. Visuality and Colonialism in the Congo: From the "Arab War" to Patrice Lumumba, 1880s to 1961. [Doctoral Dissertation]. University of Michigan; 2012. Available from: http://hdl.handle.net/2027.42/96170

Vanderbilt University

11. Baumkel, Max Rose. The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing.

Degree: MA, English, 2015, Vanderbilt University

URL: http://hdl.handle.net/1803/14601

► This thesis argues that the ways in which trans-ness functions within telemediated spaces disrupts the conventions of new media studies that would assert reality is… (more)

Subjects/Keywords: trans; transgender; contemporary; digital humanities; new media; cybernetics; visual culture; visuality

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APA (6^th Edition):

Baumkel, M. R. (2015). The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing. (Thesis). Vanderbilt University. Retrieved from http://hdl.handle.net/1803/14601

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Baumkel, Max Rose. “The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing.” 2015. Thesis, Vanderbilt University. Accessed January 25, 2021. http://hdl.handle.net/1803/14601.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Baumkel, Max Rose. “The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing.” 2015. Web. 25 Jan 2021.

Vancouver:

Baumkel MR. The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing. [Internet] [Thesis]. Vanderbilt University; 2015. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/1803/14601.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Baumkel MR. The Invisible Presence of Trans- Bodies: Unpacking Regimes of Visibility and Visuality Through Tom Cho’s Look Who’s Morphing. [Thesis]. Vanderbilt University; 2015. Available from: http://hdl.handle.net/1803/14601

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universidade Federal da Bahia

12. Euriclésio Barreto Sodré. Laróyè: uma poética de Exu em Mario Cravo Neto.

Degree: 2006, Universidade Federal da Bahia

URL: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3167 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3166

►

Este estudo analisa a tradução poética do mito Exu em fotografias do livro Laróyè de Mario Cravo Neto. Exu, enquanto o mais humano dos orixás… (more)

Subjects/Keywords: visualidade; visuality; body; semiótica; semiotics; photography; corpo; fotografia; ARTES PLASTICAS

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APA (6^th Edition):

Sodré, E. B. (2006). Laróyè: uma poética de Exu em Mario Cravo Neto. (Thesis). Universidade Federal da Bahia. Retrieved from http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3167 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3166

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sodré, Euriclésio Barreto. “Laróyè: uma poética de Exu em Mario Cravo Neto.” 2006. Thesis, Universidade Federal da Bahia. Accessed January 25, 2021. http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3167 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3166.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sodré, Euriclésio Barreto. “Laróyè: uma poética de Exu em Mario Cravo Neto.” 2006. Web. 25 Jan 2021.

Vancouver:

Sodré EB. Laróyè: uma poética de Exu em Mario Cravo Neto. [Internet] [Thesis]. Universidade Federal da Bahia; 2006. [cited 2021 Jan 25]. Available from: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3167 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3166.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sodré EB. Laróyè: uma poética de Exu em Mario Cravo Neto. [Thesis]. Universidade Federal da Bahia; 2006. Available from: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3167 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3166

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Universidade Federal da Bahia

13. Euriclésio Barreto Sodré. Laróyè: uma poética de Exu em Mario Cravo Neto.

Degree: 2006, Universidade Federal da Bahia

URL: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3304 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3305

►

Este estudo analisa a tradução poética do mito Exu fotografias do livro Laróyè de Mario Cravo Neto. Exu, enquanto o mais humano dos orixás do… (more)

Subjects/Keywords: fotografia; semiótica; visualidade; corpo; photography; semiotics; visuality; body; ARTES PLASTICAS

Record Details Similar Records Cite « Share

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Sodré, E. B. (2006). Laróyè: uma poética de Exu em Mario Cravo Neto. (Thesis). Universidade Federal da Bahia. Retrieved from http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3304 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3305

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Sodré, Euriclésio Barreto. “Laróyè: uma poética de Exu em Mario Cravo Neto.” 2006. Thesis, Universidade Federal da Bahia. Accessed January 25, 2021. http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3304 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3305.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Sodré, Euriclésio Barreto. “Laróyè: uma poética de Exu em Mario Cravo Neto.” 2006. Web. 25 Jan 2021.

Vancouver:

Sodré EB. Laróyè: uma poética de Exu em Mario Cravo Neto. [Internet] [Thesis]. Universidade Federal da Bahia; 2006. [cited 2021 Jan 25]. Available from: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3304 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3305.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Sodré EB. Laróyè: uma poética de Exu em Mario Cravo Neto. [Thesis]. Universidade Federal da Bahia; 2006. Available from: http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3304 ; http://www.bibliotecadigital.ufba.br/tde_busca/arquivo.php?codArquivo=3305

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Leiden University

14. Fabi, Patricia. Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage.

Degree: 2019, Leiden University

URL: http://hdl.handle.net/1887/77997

Subjects/Keywords: visuality; aesthetics; cultural heritage

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Fabi, P. (2019). Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/77997

Chicago Manual of Style (16^th Edition):

Fabi, Patricia. “Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage.” 2019. Masters Thesis, Leiden University. Accessed January 25, 2021. http://hdl.handle.net/1887/77997.

MLA Handbook (7^th Edition):

Fabi, Patricia. “Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage.” 2019. Web. 25 Jan 2021.

Vancouver:

Fabi P. Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage. [Internet] [Masters thesis]. Leiden University; 2019. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/1887/77997.

Council of Science Editors:

Fabi P. Ways of Seeing, Ways of Securitizing: Western European Visuality and ISIS Videos of Destruction of Cultural Heritage. [Masters Thesis]. Leiden University; 2019. Available from: http://hdl.handle.net/1887/77997

15. Peters, Clorinde. Optics of Disposability: Documentary Photography and the Struggle to Appear.

Degree: PhD, 2018, McMaster University

URL: http://hdl.handle.net/11375/22885

►

Amplifications in photographic production and the increased access to images in the 21st century uniquely position photography to articulate and intervene in social structures of… (more)

▼

Amplifications in photographic production and the increased access to images in the 21st century uniquely position photography to articulate and intervene in social structures of power and provide new opportunities for civic engagement. In particular, photography has the potential to articulate and resist what can be understood as a politics of disposability, or the ways in which particular populations are rendered superfluous to the economic and social logic of neoliberalism and channeled out of society. I assert that neoliberal violence must be understood, in part, as a visual problem: the particularities of representation and visibility must be examined in light of the need to consider neoliberal social and economic policies as something other than an inevitability. This dissertation explores the ways that photography can serve to make visible not only the people and discourses that have been marginalized and suppressed, but the structures of disposability itself. Developments in artistic practices and departures from traditional documentary genres converge with precarious labor conditions for cultural workers to widen the parameters for photographic production. The resulting work engages both with the ontological questions of what documentary photography has become as well as with its ability to operate as a potential site of activism—rather than mere representation—through new modes of mediation. This dissertation examines new photographic work that addresses the multiple facets of a neoliberal politics of disposability, the effects of which are compounded by race, class, and gender: police violence and domestic militarization, the skyrocketing rate of women’s incarceration, and the institutional threats to youth and activism in the public sphere. These emergent photographic practices employ new strategies of visualization in order to complicate the viewer’s relationship to representations of violence, contributing to a discourse that broadens the possibility for a critical and productive use of photographs, and imagining alternatives to the material and ideological conditions of neoliberal disposability.

Thesis

Doctor of Philosophy (PhD)

This dissertation examines the ability of emergent modes of documentary photography to articulate and resist social and political violence that is characteristic of neoliberalism, for example the domestic militarization and increased incarceration rates, the shrinking of access to the public sphere, and the particular ways in which certain populations become especially vulnerable to such violence. Shifts in photographic production thanks to new media platforms and the reconfigurations of traditional photography genres have produced photographic strategies that are crucially poised to address such issues. The photographers and projects explored in this dissertation employ new ways of visualizing violence, speaking back to the ways that photography can be used to stultify discourse and misrepresent populations, and harnessing innovative modes of proliferating their…

Advisors/Committee Members: Giroux, Henry, Searls Giroux, Susan, Clark, David, English and Cultural Studies.

Subjects/Keywords: Photography; Neoliberalism; Disposability; Visuality

…sovereignty and its relationship to life, death, and power, but also the question of visuality and… …it is impossible to consider questions of visuality and disposability as separate from the… …approaches to visuality requires parallel investigations of the processes of production and…

10 more images…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Peters, C. (2018). Optics of Disposability: Documentary Photography and the Struggle to Appear. (Doctoral Dissertation). McMaster University. Retrieved from http://hdl.handle.net/11375/22885

Chicago Manual of Style (16^th Edition):

Peters, Clorinde. “Optics of Disposability: Documentary Photography and the Struggle to Appear.” 2018. Doctoral Dissertation, McMaster University. Accessed January 25, 2021. http://hdl.handle.net/11375/22885.

MLA Handbook (7^th Edition):

Peters, Clorinde. “Optics of Disposability: Documentary Photography and the Struggle to Appear.” 2018. Web. 25 Jan 2021.

Vancouver:

Peters C. Optics of Disposability: Documentary Photography and the Struggle to Appear. [Internet] [Doctoral dissertation]. McMaster University; 2018. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/11375/22885.

Council of Science Editors:

Peters C. Optics of Disposability: Documentary Photography and the Struggle to Appear. [Doctoral Dissertation]. McMaster University; 2018. Available from: http://hdl.handle.net/11375/22885

16. Reis, Patrícia João Barbosa Moreira. Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa.

Degree: 2016, Universidade de Évora

URL: https://www.rcaap.pt/detail.jsp?id=oai:dspace.uevora.pt:10174/19159

► A tese teórico-prática de doutoramento apresentada contempla a investigação, a criação, a produção e a conceptualização da instalação artística interativa intitulada Por baixo da pele… (more)

▼ A tese teórico-prática de doutoramento apresentada contempla a investigação, a criação, a produção e a conceptualização da instalação artística interativa intitulada Por baixo da pele outra pele. A Obra é constituída por três objetos tridimensionais concebidos à escala humana. Recorre a materiais flexíveis, como têxteis, convidando o público (interator), à envolvência física, numa relação corporal sensorial e sensual com a obra. Os objetos contêm dispositivos técnicos interativos e sensores tácteis, que, ao serem utilizados, desencadeiam estímulos multissensoriais no espectador. A instalação interativa focaliza a experiência háptica e íntima do interator considerando os seus mecanismos sensoriais e cognitivos como um potencial aparato na construção de experiências fenomenológicas, singulares e individuais. A autora considera a interatividade enquanto elemento potenciador da experiência estética visual háptica. Na argumentação conceitual da obra, reflete-se sobre o tema da visualidade háptica interativa a partirdos conceitos de ecrã, corpo e interface, assim como de endossensorialidade. Instrumentam-se metodologias de investigação em ação, experimentais e observacionais. Apresentam-se os processos investigativos, criativos e técnicos necessários ao desenvolvimento e à materialização da instalação artística. A investigação revela-se de grande interesse para o avanço da pesquisa de novas linguagens experimentais apresentando estratégias de criação artística que, ao privilegiarem o corpo físico e fenomenológico do interator, transpõe a experiência háptica interativa para um grau interno de imersão motoro-sensorial; Underneath the skin another skin: art installation. Body, screen and interface towards an interactive haptic visuality. Abstract: The theoretical-practical doctorate dissertation presents the research and conceptual framework behind, and the processes leading to, the creation and production of the interactive installation art piece Underneath the skin, another skin. The piece is presented in the shape of three human-scale tridimentional objects. It is made from flexible materials, such as textiles, inviting the (interacting) audience, to physically engage in a bodily sensorial, and sensuous, relationship with the artwork. The objects enclose interactive devices and tactile sensors that, when used, trigger in the interactor multiple sensorial stimuli. The interactive installation focuses on the interactor's intimate haptic experience taking in consideration his or hers sensorial and cognitive mechanisms as a potential apparatus in the construction of unique individual phenomenological experiences. The author understands interactivity as a triggering element into an haptic visual aesthetical experience. The supporting conceptual reasoning deals with thought and criticism on interactive haptic visuality applied to the concepts of screen, body and interface, as well as with that of endo-sensoriality. The dissertation describes the use of experimental and observation research methodologies. It also elaborates… Advisors/Committee Members: Giannetti, Claudia.

Subjects/Keywords: Interatividade; Visualidade háptica; Ecrã; Interface; Corpo; Interactivity; Haptic visuality; Interface; Body

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APA (6^th Edition):

Reis, P. J. B. M. (2016). Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa. (Thesis). Universidade de Évora. Retrieved from https://www.rcaap.pt/detail.jsp?id=oai:dspace.uevora.pt:10174/19159

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Reis, Patrícia João Barbosa Moreira. “Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa.” 2016. Thesis, Universidade de Évora. Accessed January 25, 2021. https://www.rcaap.pt/detail.jsp?id=oai:dspace.uevora.pt:10174/19159.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Reis, Patrícia João Barbosa Moreira. “Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa.” 2016. Web. 25 Jan 2021.

Vancouver:

Reis PJBM. Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa. [Internet] [Thesis]. Universidade de Évora; 2016. [cited 2021 Jan 25]. Available from: https://www.rcaap.pt/detail.jsp?id=oai:dspace.uevora.pt:10174/19159.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Reis PJBM. Por baixo da pele outra pele: conjunto de obras artísticas. Corpo, ecrã e interface para uma visualidade háptica interativa. [Thesis]. Universidade de Évora; 2016. Available from: https://www.rcaap.pt/detail.jsp?id=oai:dspace.uevora.pt:10174/19159

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

17. Berwick, Sheena. Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot.

Degree: 2015, University of California – eScholarship, University of California

URL: http://www.escholarship.org/uc/item/5gz0n19x

► ABSTRACTWriting Beauty:John Ruskin’s Vision of Neural Imagination in the Works of Nathaniel Hawthorne and George EliotBySheena Berwick This dissertation responds to a growing awareness of… (more)

▼ ABSTRACTWriting Beauty:John Ruskin’s Vision of Neural Imagination in the Works of Nathaniel Hawthorne and George EliotBySheena Berwick This dissertation responds to a growing awareness of beauty and visual sensibility in mid-to-late 19th-century British and American novels. These works demonstrate the authors’ appreciation of beauty as a condition of body, mind, soul, and culture. It also illustrates their ability to create through the text an evocative technique of visual writing that creates an imaginative and sensual connection to beauty in the reader’s neuro-visual experience of their art. In considering this development, the dissertation explores the human imagination of writer and reader: ideas, coded into neural transmissions between writer and reader through the medium of text which creates and recreates fictional worlds through mental images, and consequently produces emotional realities in the reader. I attribute this creative partnership in writing and reading to the perception, writing, and reading theories of John Ruskin, and especially to his discussions of beauty, sensuality and imagination expressed throughout the early volumes of his master works, Modern Painters. Ruskin thought of the experience of beauty in nature and art as an embodied product of the brain/mind, traveling freely through the mind and body changing one’s perceptions of the world and our relations to it. The human response to art in this view is transmitted through the individual back into society, affecting others and transforming society. If we think of beauty this way, we are thinking of it as a neuroaesthetic communications network circulating pleasure and delight and social enhancement—emotional, psychological, physical and moral —moving as a personal gift to the soul of the community. Another way to understand this happy interchange would be as a neuro-hormone pleasure highway. Ruskin, after all, proposed his own version of this when he imagined the processes of the undefinable feeling called beauty—what science has since discovered as hormonal and chemical products of the brain—distributing elixirs of pleasure from the mind through the body’s mapped highways of veins and arteries. Ruskin’s description of these sensations in reaction to beauty were based on his attention to his physio-biological processes in the 1840s. One hundred and fifty years later modern science put Ruskin’s theory to a neurological test. Semir Zeki—a founder of the field of neuroaesthetics and the first scientist to study the effect of beauty and romantic love on the brain— discovered through fMRI technology that the experience of beauty is part of a continuum [at the orbito-frontal cortex] representing a value attributed to it by the brain. The experience of the pleasure of beauty, his team discovered, increases with neural activity associated with the individual brain’s response. Zeki’s work confirms Ruskin’s deductions of the mysterious passage of beauty from the brain’s response to perception channeled through the body. This opens up Ruskin’s…

Subjects/Keywords: English literature; Neurosciences; Beauty; Imagination; Neuroaesthetics; Perception; Visuality

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APA (6^th Edition):

Berwick, S. (2015). Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot. (Thesis). University of California – eScholarship, University of California. Retrieved from http://www.escholarship.org/uc/item/5gz0n19x

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Berwick, Sheena. “Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot.” 2015. Thesis, University of California – eScholarship, University of California. Accessed January 25, 2021. http://www.escholarship.org/uc/item/5gz0n19x.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Berwick, Sheena. “Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot.” 2015. Web. 25 Jan 2021.

Vancouver:

Berwick S. Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot. [Internet] [Thesis]. University of California – eScholarship, University of California; 2015. [cited 2021 Jan 25]. Available from: http://www.escholarship.org/uc/item/5gz0n19x.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Berwick S. Writing Beauty: Ruskin's Vision of Neural Imagination in the Works of Hawthorne and Eliot. [Thesis]. University of California – eScholarship, University of California; 2015. Available from: http://www.escholarship.org/uc/item/5gz0n19x

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of Ghana

18. Adjei, S.K. Philosophy of Art in Ewe Vodu Religion .

Degree: 2019, University of Ghana

URL: http://ugspace.ug.edu.gh/handle/123456789/33509

► This study examines Anlo-Ewe indigenous knowledge systems and the extent to which they inform and explain the scope and significance of the visual arts as… (more)

▼ This study examines Anlo-Ewe indigenous knowledge systems and the extent to which they inform and explain the scope and significance of the visual arts as employed in Vodu religion and spirituality. The thesis further explores the particular ways in which artistic expression and local aesthetic norms are articulated in everyday modes of being-in-the world in order to sustain arguments on the significant place of the visual arts in Anlo-Ewe Vodu religion and spirituality. One of the major premises and conclusions of this thesis is that religious and ritual contexts often constitute significant sites for discoursing and exhibiting artistic-aesthetic preferences—these sites have been largely underrepresented in studies on Ewe society, history and culture. A growing number of contemporary art historians recognize and attempt to explain the integration of indigenous worldview and spirituality as part of the larger sociocultural universe in which artisticaesthetic expressions are encountered; this study builds significantly on this trend of scholarship in African art history. The thesis demonstrates and at the same time argues for a deeper understanding of not only the ways in which religious and artistic-aesthetic expressions are closely interrelated, but also the specific ways in which they are dialogically connected to and rooted in indigenous ontologies and knowledge systems. Analytical perspectives draw on several disciplinary sites, including methods of art history, oral history and debates in cultural anthropology, linguistics, religious studies, critical theory and postcolonial studies. Field methods and techniques of research emphasize qualitative approaches with visual ethnography, ethnographic interviews, oral history, direct observation, practice-based research and autoethnography as the primary modes of data collection and analysis. The theory and practice of the autoethnographic research encouraged constructive but critical engagement of personal biographical, experiential and deeply reflective moments as integral parts of the total interpretive framework. Drawing additionally on techniques of purposive, simple random sampling techniques and stratified further (e.g., along gender, age, type of shrine or religious house, etc.) the investigation identifies and underscores the relevance of indigenous philosophical outlook, knowledge systems, and everyday lived experiences in understanding the aesthetic dimensions of the visual arts in Anlo-Ewe Vodu religion and spirituality. Key findings and conclusions build on emergent perspectives and methodologies of African religious traditions and expressive art forms that privilege contextual-functional and “art-for-life’s sake” understanding, including spheres of xi religion and spirituality. Additionally, the thesis provides major correctives based on a set of indigenous perspectives and practices (in the areas of aesthetics, philosophy, visual arts and religious traditions) and which caution former and lingering usages and misguided…

Subjects/Keywords: indigenous; Anlo-Ewe; Vodu Religion; Visuality; African; Philosophical Traditions

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APA (6^th Edition):

Adjei, S. K. (2019). Philosophy of Art in Ewe Vodu Religion . (Doctoral Dissertation). University of Ghana. Retrieved from http://ugspace.ug.edu.gh/handle/123456789/33509

Chicago Manual of Style (16^th Edition):

Adjei, S K. “Philosophy of Art in Ewe Vodu Religion .” 2019. Doctoral Dissertation, University of Ghana. Accessed January 25, 2021. http://ugspace.ug.edu.gh/handle/123456789/33509.

MLA Handbook (7^th Edition):

Adjei, S K. “Philosophy of Art in Ewe Vodu Religion .” 2019. Web. 25 Jan 2021.

Vancouver:

Adjei SK. Philosophy of Art in Ewe Vodu Religion . [Internet] [Doctoral dissertation]. University of Ghana; 2019. [cited 2021 Jan 25]. Available from: http://ugspace.ug.edu.gh/handle/123456789/33509.

Council of Science Editors:

Adjei SK. Philosophy of Art in Ewe Vodu Religion . [Doctoral Dissertation]. University of Ghana; 2019. Available from: http://ugspace.ug.edu.gh/handle/123456789/33509

University of Bradford

19. Allen, Patrick Thomas. Media transformations : framing, multimodality and visual literacy in contemporary media spaces.

Degree: PhD, 2012, University of Bradford

URL: http://hdl.handle.net/10454/14285

► Multimodal theory has developed out of social semiotics and can be seen as a response to the rise in the use of new technologies for… (more)

Subjects/Keywords: 302.23; Framing; Multimodality; Visual literacy; Visuality; Proximity; Media texts; Augmeted space

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APA (6^th Edition):

Allen, P. T. (2012). Media transformations : framing, multimodality and visual literacy in contemporary media spaces. (Doctoral Dissertation). University of Bradford. Retrieved from http://hdl.handle.net/10454/14285

Chicago Manual of Style (16^th Edition):

Allen, Patrick Thomas. “Media transformations : framing, multimodality and visual literacy in contemporary media spaces.” 2012. Doctoral Dissertation, University of Bradford. Accessed January 25, 2021. http://hdl.handle.net/10454/14285.

MLA Handbook (7^th Edition):

Allen, Patrick Thomas. “Media transformations : framing, multimodality and visual literacy in contemporary media spaces.” 2012. Web. 25 Jan 2021.

Vancouver:

Allen PT. Media transformations : framing, multimodality and visual literacy in contemporary media spaces. [Internet] [Doctoral dissertation]. University of Bradford; 2012. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/10454/14285.

Council of Science Editors:

Allen PT. Media transformations : framing, multimodality and visual literacy in contemporary media spaces. [Doctoral Dissertation]. University of Bradford; 2012. Available from: http://hdl.handle.net/10454/14285

University of Exeter

20. Morning, M. Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality.

Degree: PhD, 2020, University of Exeter

URL: http://hdl.handle.net/10871/123108

► The practical work produced for this PhD study demonstrates filmmaking creativity influenced by a Surrealist world view, ideas and practices, such as utilising dreams, chance,… (more)

Subjects/Keywords: Surrealism; Film practice; Haptic visuality; Surrealism and Film practice

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APA (6^th Edition):

Morning, M. (2020). Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality. (Doctoral Dissertation). University of Exeter. Retrieved from http://hdl.handle.net/10871/123108

Chicago Manual of Style (16^th Edition):

Morning, M. “Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality.” 2020. Doctoral Dissertation, University of Exeter. Accessed January 25, 2021. http://hdl.handle.net/10871/123108.

MLA Handbook (7^th Edition):

Morning, M. “Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality.” 2020. Web. 25 Jan 2021.

Vancouver:

Morning M. Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality. [Internet] [Doctoral dissertation]. University of Exeter; 2020. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/10871/123108.

Council of Science Editors:

Morning M. Exploring Surrealism by filmmaking methods focusing on senses/haptic visuality. [Doctoral Dissertation]. University of Exeter; 2020. Available from: http://hdl.handle.net/10871/123108

University of Toronto

21. Smith, Sarah Stefana. Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present).

Degree: PhD, 2016, University of Toronto

URL: http://hdl.handle.net/1807/76840

► Towards a Poetics of Bafflement asserts that blackness baffles—confuses and frustrates—the order of knowledge that deems black subjectivities as pathological. This dissertation argues for the… (more)

▼ Towards a Poetics of Bafflement asserts that blackness baffles—confuses and frustrates—the order of knowledge that deems black subjectivities as pathological. This dissertation argues for the importance of the psychic and affective spaces that emerge in the work of contemporary black women and queer artists. A poetics of bafflement is foregrounded by racial slavery and diaspora formations that inform contemporary racial antagonisms. The visual work of Deana Lawson, Zanele Muholi, and Mickalene Thomas, if read through a poetics of bafflement, engages blackness differently and conceptualizes new possibilities for world making. Black artists have long since occupied spaces of creative and critical thinking about aesthetics, race, and the politics of vision, which inform contemporary social, historical, and cultural climates. Multiculturalism and subsequent post-race concepts are inadequate in thinking about alternative possibilities of world making as they suggest racism and anti-black sentiment are somehow no longer prevalent. Multiculturalism’s claim of diversity negates the continued logics of anti-black sentiment, whereas post-racial suggests a time and place in history where race no longer informs political, economic, and socio-cultural experiences. Black cultural production continues to be at the crossroads of these debates. The complex interplay between race anxieties and the politics of contemporary visual culture remains opaque, even as it proliferates. Deana Lawson, Zanele Muholi, and Mickalene Thomas are among a generation of artists who have gained a certain level of North American and European recognition. Common to many of these artists is a concern with the limits of form and genre, particularly in relation to the photographic image, the queer body and the undoing of gender, and ruminations on desire and the erotic. Towards a Poetics of Bafflement responds to the absence of affect studies in addressing racial slavery—and, specifically, bafflement’s imprint on the present. Advisors/Committee Members: Walcott, Rinaldo, Sociology and Equity Studies in Education.

Subjects/Keywords: aesthetics; black diaspora; humanism; queer theory; racial slavery; visuality; 0325

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APA (6^th Edition):

Smith, S. S. (2016). Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present). (Doctoral Dissertation). University of Toronto. Retrieved from http://hdl.handle.net/1807/76840

Chicago Manual of Style (16^th Edition):

Smith, Sarah Stefana. “Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present).” 2016. Doctoral Dissertation, University of Toronto. Accessed January 25, 2021. http://hdl.handle.net/1807/76840.

MLA Handbook (7^th Edition):

Smith, Sarah Stefana. “Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present).” 2016. Web. 25 Jan 2021.

Vancouver:

Smith SS. Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present). [Internet] [Doctoral dissertation]. University of Toronto; 2016. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/1807/76840.

Council of Science Editors:

Smith SS. Towards a Poetics of Bafflement: the Politics of Elsewhere in Contemporary Black Diaspora Visual Practice (1990-Present). [Doctoral Dissertation]. University of Toronto; 2016. Available from: http://hdl.handle.net/1807/76840

University of Southern California

22. Park, Jecheol. The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films.

Degree: PhD, Cinema-Television (Critical Studies), 2012, University of Southern California

URL: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/124286/rec/7400

► One of the salient changes East Asian films have undergone during the past decade of globalization is their increasing tendency to foreground affective intensities that… (more)

▼ One of the salient changes East Asian films have undergone during the past decade of globalization is their increasing tendency to foreground affective intensities that are excessive in relation to their thematic or signifying aspects. My dissertation, The Vicissitudes of Postnational Affects: Visuality, Temporality, and Corporeality in Global East Asian Films, explores political implications of these affective features as expressed in some of the recent East Asian films, focusing on their relationships with the postnational condition that has increasingly swept over East Asia during the past two decades. By the term postnational condition, I mean the recent remarkable change in the mode of socio-political power, which is characterized by the gradual simultaneous processes of the decline of sovereign and disciplinary powers and the rise of global neoliberal governmentality. As such, the postnational condition needs to be understood as a double-edge sword in the sense that it makes it possible for hitherto unrepresentable affective others to emerge at the same time that it prepares for a new condition that makes it possible to manage and rationalize them in such a calculative manner that it may preempt subversive forms of affective otherness from appearing. My dissertation calls attention to how recent East Asian films have responded to this postnational condition in different ways by developing various kinds of narrative and stylistic strategies that can cinematically express, as well as cope with, this affective otherness. ❧ My dissertation focuses on three aspects of film experience—its visual, temporal, and corporeal ones—in which affective otherness is expressed in films. Part I focuses on the phenomenon of global exoticism and discusses and compares different ways East Asian films deploy the aesthetics of the exotic vis-à-vis the dominant neoliberal tactics of valorizing visual alterity or excess. If Kim Ki-duk’s recent films such as Spring, Summer, Fall, Winter, and Spring (2003) and 3-Iron (2004) show how the exotic can undergo generification, thereby losing its singularity in accordance with the neoliberal governmental management of visual excess, Hou Hsiao-hsien’s recent films, such as Flowers of Shanghai (1998) and Flight of the Red Balloon (2007) illustrate the possibility that the residual, unvalorizable exotic can appear in the cinema of the era of neoliberal governmentality. ❧ Part II addresses how affective otherness can be expressed through contingency and temporal heterogeneity. The compulsive repetition characteristic of Hong Sang-soo’s Tale of Cinema (2005) serves to turn otherwise singular contingencies into probabilistic, and thus valorizable chances. This examination of Hong’s film shows how neoliberal governmentality regularizes these temporal disturbances through the process of the real subsumption of time. Yet, alternative thoughts on time such as Deleuze’s notion of the empty form of time and Benjamin-Agamben’s notion of the dialectical image indicate the possibility that unvalorizable… Advisors/Committee Members: Lippit, Akira Mizuta (Committee Chair), James, David E. (Committee Member), Lloyd, David C. (Committee Member).

Subjects/Keywords: east Asian cinema; postnational condition; affect; visuality; temporality; corporeality

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APA (6^th Edition):

Park, J. (2012). The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films. (Doctoral Dissertation). University of Southern California. Retrieved from http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/124286/rec/7400

Chicago Manual of Style (16^th Edition):

Park, Jecheol. “The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films.” 2012. Doctoral Dissertation, University of Southern California. Accessed January 25, 2021. http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/124286/rec/7400.

MLA Handbook (7^th Edition):

Park, Jecheol. “The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films.” 2012. Web. 25 Jan 2021.

Vancouver:

Park J. The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films. [Internet] [Doctoral dissertation]. University of Southern California; 2012. [cited 2021 Jan 25]. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/124286/rec/7400.

Council of Science Editors:

Park J. The vicissitudes of postnational affects: visuality, temporality, and corporeality in global east Asian films. [Doctoral Dissertation]. University of Southern California; 2012. Available from: http://digitallibrary.usc.edu/cdm/compoundobject/collection/p15799coll3/id/124286/rec/7400

University of Melbourne

23. Deejay, Aleksandar. The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle.

Degree: 2016, University of Melbourne

URL: http://hdl.handle.net/11343/121802

► Protest movements have traditionally strategized tactics for “appeal” through the use of performative, symbolically-laden actions in the offline sphere. This thesis examines the process of… (more)

Subjects/Keywords: protest; dissent; spectacle; social media; twitter; images; visual; visuality

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APA (6^th Edition):

Deejay, A. (2016). The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/121802

Chicago Manual of Style (16^th Edition):

Deejay, Aleksandar. “The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle.” 2016. Doctoral Dissertation, University of Melbourne. Accessed January 25, 2021. http://hdl.handle.net/11343/121802.

MLA Handbook (7^th Edition):

Deejay, Aleksandar. “The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle.” 2016. Web. 25 Jan 2021.

Vancouver:

Deejay A. The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle. [Internet] [Doctoral dissertation]. University of Melbourne; 2016. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/11343/121802.

Council of Science Editors:

Deejay A. The techno-visual appeal strategies of protesters: images of contentious politicking as a participatory spectacle. [Doctoral Dissertation]. University of Melbourne; 2016. Available from: http://hdl.handle.net/11343/121802

24. Zagoruyko, Iryna. The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations.

Degree: MA, Russian, East European, and Eurasian Studies Program, 2016, University of Oregon

URL: http://hdl.handle.net/1794/20485

► This thesis views Lermontov’s novel "A Hero of Our Time" as centered on images, glances and vision. In his text Lermontov conveys a persistent fascination… (more)

Subjects/Keywords: Gender relations; Perception; Visuality

…views A Hero of Our Time as a controversial discussion of visuality and its relation to… …GAZE IN A HERO OF OUR TIME: GENDER AND VISUALITY Woman as Image, Man as Bearer of the Look… …reference for any work that deals with gender and visuality. She draws our attention to the fact…

1 more image…

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APA (6^th Edition):

Zagoruyko, I. (2016). The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations. (Masters Thesis). University of Oregon. Retrieved from http://hdl.handle.net/1794/20485

Chicago Manual of Style (16^th Edition):

Zagoruyko, Iryna. “The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations.” 2016. Masters Thesis, University of Oregon. Accessed January 25, 2021. http://hdl.handle.net/1794/20485.

MLA Handbook (7^th Edition):

Zagoruyko, Iryna. “The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations.” 2016. Web. 25 Jan 2021.

Vancouver:

Zagoruyko I. The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations. [Internet] [Masters thesis]. University of Oregon; 2016. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/1794/20485.

Council of Science Editors:

Zagoruyko I. The Eye in Lermontov’s "A Hero of Our Time": Perception, Visuality, and Gender Relations. [Masters Thesis]. University of Oregon; 2016. Available from: http://hdl.handle.net/1794/20485

University of Manchester

25. Munoz Moran, Placido. The graffiti texture in Barcelona: An ethnography of public space and its surfaces.

Degree: 2015, University of Manchester

URL: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:280594

►

Jaques Ranciére (2009b) argues that if there is a political question in contemporary art, ‘…it will be grasped through the analysis of the metamorphoses of… (more)

▼

Jaques Ranciére (2009b) argues that if there is a political question in contemporary art, ‘…it will be grasped through the analysis of the metamorphoses of the political ‘third’, the politics founded on the play of exchanges and displacements between the art world and that of non art’ (2009b:51). Looking at graffiti and street art in Barcelona as ‘textures’, which stimulate the mind, body and senses. I have investigated what public space means for its inhabitants through the material nature of the surfaces by which it is contained and by applying media devices. This has led me to develop an ethnography of encounters, perceptions and sensibilities linked to political practices and different modes of participation in the everyday life of the city. Following Jacques Ranciére’s (2004) conception of ‘political aesthetics’, I argue that the aesthetic of graffiti and street art can be embodied according to different sensible orders in the city. The public space is key in this process and I see it as an interface between graffiti artists, the general public and the institutions of the city. Graffiti activate the urban landscape through visual and tactile transformations of space through surfaces. These interactions, as De Certeau (1985) claims about everyday practices, may articulate narratives, which became the main source of information for this thesis. Thinking about the graffiti works in Barcelona in terms of Bakhtin’s (1981) idea of ‘the chronotope’, I have recounted the stories, which make the transformation of public space indicative of the everyday life of the city applying practices of collaboration, dialogue and intervention. These practices connected me to different surfaces of the city so as to explore how their material qualities are permeated with social relations and artistically inscribed with historical and political meanings. Here, graffiti and the city formed a compound of images in which I have studied the ‘visuality’ of graffiti in Barcelona. This, as Hal Foster (1988) argues, encloses at the same time social facts and physical operations (body and psyche) and moves, as I will show throughout this thesis, between dominant and resistance cultures. In short, I have materialized these ideas and images in the graffiti texture of Barcelona, seeing it as a mutable surface, which mediates between different ways of seeing and living in this city.

DVD 'Walking in Barcelona'

Advisors/Committee Members: IRVING, ANDREW A, Cox, Rupert, Irving, Andrew.

Subjects/Keywords: Graffiti and Sreet art; Barcelona; Public space; Visuality; Texture; Visual media

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APA (6^th Edition):

Munoz Moran, P. (2015). The graffiti texture in Barcelona: An ethnography of public space and its surfaces. (Doctoral Dissertation). University of Manchester. Retrieved from http://www.manchester.ac.uk/escholar/uk-ac-man-scw:280594

Chicago Manual of Style (16^th Edition):

Munoz Moran, Placido. “The graffiti texture in Barcelona: An ethnography of public space and its surfaces.” 2015. Doctoral Dissertation, University of Manchester. Accessed January 25, 2021. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:280594.

MLA Handbook (7^th Edition):

Munoz Moran, Placido. “The graffiti texture in Barcelona: An ethnography of public space and its surfaces.” 2015. Web. 25 Jan 2021.

Vancouver:

Munoz Moran P. The graffiti texture in Barcelona: An ethnography of public space and its surfaces. [Internet] [Doctoral dissertation]. University of Manchester; 2015. [cited 2021 Jan 25]. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:280594.

Council of Science Editors:

Munoz Moran P. The graffiti texture in Barcelona: An ethnography of public space and its surfaces. [Doctoral Dissertation]. University of Manchester; 2015. Available from: http://www.manchester.ac.uk/escholar/uk-ac-man-scw:280594

University of New South Wales

26. Kriss, Karen. Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery.

Degree: Art, 2016, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/56329 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40567/SOURCE02?view=true

► Rapid and ongoing developments in the field of computer-generated imagery (CGI) have reached a point where the synthetic image strives to become almost indistinguishable from… (more)

▼ Rapid and ongoing developments in the field of computer-generated imagery (CGI) have reached a point where the synthetic image strives to become almost indistinguishable from the real. This desire for realism in the filmic image has seen CGI thrive in mainstream popular culture: from Hollywood cinema through to advertising. Large visual effects (VFX) and CGI animation companies are often at the vanguard of research and development in this area, driving CGI development toward the production of realism. This over-investment in ‘realistic’ imaging has all but erased the potential for broad experimentation in CGI techniques and aesthetics, and has seen the emergence of an aesthetic realism manifested by the eradication of error and materiality, wherein all traces of the process of production are excised from the image. This research project explores the technical and aesthetic effects of the erasure of error in contemporary CGI and how this affects the capacity of CGI to approach the abject as defined by Julia Kristeva. Focusing on the ‘trace’ in motion capture and its relationship to the power of the close-up image in film and photographic contexts, I look at how digital artefacts can exist as a critical part of a process of experimentation in CGI. These ‘errors’ take the form of unprocessed motion capture data, unfiltered, compression image artefacts and low-sample rate renders, as well as reduced polygonal modelling techniques. Exploring the production of images that embrace these ‘errors’ affords the possibility to introduce ‘fallibility’ and embodied artefacts into the system of image production, and reveal both a material trace of the technology as well as the artist.This research identifies technical and aesthetic processes that introduce a greater degree of haptic visuality into CGI images, as a means of approaching abjection. These experiments in motion capture techniques, code transformations, and close-up lenticular imagery, introduce error and materiality into CGI in order to interrogate the material field and affective (or abjective) power of the CGI close-up. Through these practical experiments, I argue that the viewer is afforded greater access to haptic visuality: a tactile experience of images which is crucial to experiencing the abject, and which moves beyond mainstream CGI's use of grotesque imagery. Further, these experiments reveal the possibilities for the creation of new and engaging CGI aesthetic forms that embrace the digital artefact, and which re-insert the abject body and trace into the digital realm. Advisors/Committee Members: Barker, Michele, Media Arts, Faculty of Art & Design, UNSW.

Subjects/Keywords: Abjection; CGI; Haptic Visuality; Close-up; Motion capture; Digital; Tactility

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APA (6^th Edition):

Kriss, K. (2016). Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery. (Masters Thesis). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/56329 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40567/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Kriss, Karen. “Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery.” 2016. Masters Thesis, University of New South Wales. Accessed January 25, 2021. http://handle.unsw.edu.au/1959.4/56329 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40567/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Kriss, Karen. “Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery.” 2016. Web. 25 Jan 2021.

Vancouver:

Kriss K. Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery. [Internet] [Masters thesis]. University of New South Wales; 2016. [cited 2021 Jan 25]. Available from: http://handle.unsw.edu.au/1959.4/56329 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40567/SOURCE02?view=true.

Council of Science Editors:

Kriss K. Dirty data: the impact of diminishing materiality and the close-up on abject and corporeal representation in computer generated imagery. [Masters Thesis]. University of New South Wales; 2016. Available from: http://handle.unsw.edu.au/1959.4/56329 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:40567/SOURCE02?view=true

Tampere University

27. Rättilä, Tiina. In your face! Analysing public political performance as communication .

Degree: 2012, Tampere University

URL: https://trepo.tuni.fi/handle/10024/67917

► Väitöstutkimus analysoi julkisia poliittisia performansseja poliittisena viestintänä. Poliittiset performanssit voidaan ymmärtää julkisissa tiloissa toimeen pantuina ’näytöksinä’, joiden tavoitteena on luoda arkisiin rutiineihin yllättäviä katkoksia ja… (more)

▼ Väitöstutkimus analysoi julkisia poliittisia performansseja poliittisena viestintänä. Poliittiset performanssit voidaan ymmärtää julkisissa tiloissa toimeen pantuina ’näytöksinä’, joiden tavoitteena on luoda arkisiin rutiineihin yllättäviä katkoksia ja synnyttää uutta toimintatilaa jonkin yhteiskunnallisen ongelman esiin nostamiseksi. Performanssit synnyttävät katkoksia monin tavoin, mutta erityisen leimallista niille on näkyvän, vallalla olevan visuaalisen järjestyksen murtaminen tuomalla siihen erilaisia ’häiritseviä’ (disruptive) elementtejä: resistoivia kehoja, valtaa parodioivia kuvia, karnevalistista protestointia, katuteatteria jne. Poliittisten performanssien viestintä perustuu puheen sijaan tai ohella toimijoiden oman kehon ja sen kantamien erilaisten visuaalisten merkkien julkiseen esittämiseen, joskus hyvin äärimmäisellä tavalla, kuten esimerkiksi nälkälakoissa ja polttoitsemurhissa. Väitöskirjassa tällaista viestintätyyliä kutsutaan visuaaliseksi ja esteettiseksi politikoinniksi. Tutkimuksessa analysoidaan useita esimerkkejä performatiivisesta poliittisesta viestinnästä ja kehitetään teoreettisia ideoita sen ominaispiirteiden tulkitsemiseksi.; In this doctoral thesis I study a phenomenon which I have titled as public political performance. By public political performance I refer to a public event (a ’show’, display, demonstration) the purpose of which is to expose in public and challenge those social-political norms, practices, and relations of power which usually remain invisible in the sway of routine political life. I am interested especially in how performance works as a form of non-linguistic, or wider than linguistic, political communication. I theorize and analyze, through several illustrative examples, performances from three perspectives: as corporeal (bodily), visual, and aesthetic communication. In construction of theory I use and partly rework ideas from thinkers such as Jürgen Habermas, Michel Foucault, Hannah Arendt, Maurice Merleau-Ponty, and Jacques Ranciere. The study shows that public political performance is a sensitive, even volatile phenomenon because it often manifestly exposes the fundamentally violent power structure of society – as when, for example, street demonstrations induce strong counter reactions from the police and political authorities – and puts this order under critical public scrutiny. Political authorities do not take such challenges lightly, which is why public performances sometimes instigate serious political controversies. The key theoretical ideas of the study relate to performance as something done and en/acted. On the one hand, performance discloses the nature of politics as a ‘doing.’ This means in simple terms that, in order to subsist, the political world needs to be done, performed, and ‘iterated,’ every time anew. The term performative describes this social-constructivist side of politics. That the constitution of the social and political power is based not on any ‘natural’ ground but on continuous re/iteration of certain ways and routines is often…

Subjects/Keywords: Performanssi ; Performatiivi ; Kehollisuus ; Visuaalisuus ; Esteettisyys ; Performance ; Performative ; Corporeality ; Visuality ; Aaestheticity

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Rättilä, T. (2012). In your face! Analysing public political performance as communication . (Doctoral Dissertation). Tampere University. Retrieved from https://trepo.tuni.fi/handle/10024/67917

Chicago Manual of Style (16^th Edition):

Rättilä, Tiina. “In your face! Analysing public political performance as communication .” 2012. Doctoral Dissertation, Tampere University. Accessed January 25, 2021. https://trepo.tuni.fi/handle/10024/67917.

MLA Handbook (7^th Edition):

Rättilä, Tiina. “In your face! Analysing public political performance as communication .” 2012. Web. 25 Jan 2021.

Vancouver:

Rättilä T. In your face! Analysing public political performance as communication . [Internet] [Doctoral dissertation]. Tampere University; 2012. [cited 2021 Jan 25]. Available from: https://trepo.tuni.fi/handle/10024/67917.

Council of Science Editors:

Rättilä T. In your face! Analysing public political performance as communication . [Doctoral Dissertation]. Tampere University; 2012. Available from: https://trepo.tuni.fi/handle/10024/67917

28. Perez Morales Junior, Wagner. Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise".

Degree: Docteur es, Études cinématographiques et audiovisuelles, 2018, Sorbonne Paris Cité

URL: http://www.theses.fr/2018USPCA101

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En partant de l’idée que la guerre et les images sont deux notions interdépendantes, la thèse reprend deux concepts clés : visualité et contre-visualité. La… (more)

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En partant de l’idée que la guerre et les images sont deux notions interdépendantes, la thèse reprend deux concepts clés : visualité et contre-visualité. La visualité, étant une façon de perpétuer la guerre, représente les discours dominants. L’art contemporain serait donc une possibilité de construction de contre-visualités. La « guerre globale » contemporaine - totale et dispersée - aurait une production visuelle qui lui correspondrait : des images d’amateurs, elles aussi dispersées et de grande circulation. Comment ces images, généralement liées à la sphère privée, se sont converties en enregistrements de la guerre contemporaine ? Comment l’art fait face à la guerre et à la visualité dominante par le biais du remploi de ces images ? La recherche essaie de définir cette production d’images « amateur » et de l’encadrer dans le temps conflictuel du présent. Une telle production serait-elle une résistance à la visualité actuelle ou au contraire quelque chose qui la renforce ? Ensuite, à travers un corpus circonscrit de quatre artistes visuels contemporains (Clarisse Hahn, Rabih Mroué, Coco Fusco et Thomas Hirschhorn), nous travaillons l’hypothèse que la réutilisation de ces images peut contribuer à la construction d’une contre-visualité : par le geste artistique, l'enlèvement de ce matériau d'un certain flux provoquerait un arrêt, une déviation vers une reconfiguration du sensible où le facteur conflictuel serait mis en évidence. Dans un troisième moment, la thèse se penche sur l'œuvre des années 1970 de Jean-Luc Godard et Anne-Marie Miéville, quand ils interrogent les forces et les faiblesses du cinéma militant et mettent en question les images et leurs potentialités. Certaines de leurs procédures créatives sont examinées rétrospectivement, car à notre avis, elles sont toujours présentes directement ou indirectement dans la pratique artistique des artistes de notre corpus.

Considering the idea that war and images are two interdependent concepts, the thesis deals with two key concepts: visuality and counter-visuality. Visuality as a way of perpetuating the war represents dominant discourses. Contemporary art would therefore be a possibility of constructing counter-visuality. The contemporary “global war” - total and dispersed - would have a visual production that would correspond to it: the amateur images, also scattered and widely circulated. How are these images - usually related to the private sphere - converted into records of contemporary war? How does art face war and the dominant visuality by utilizing these images?The research attempts to characterize this amateur production of images and to frame it in the conflicting time of the present. Would such a production be a resistance to the current visuality or, on the contrary, something that strengthens it? From then on, by analyzing a circumscribed corpus of four contemporary visual artists (Clarisse Hahn, Rabih Mroué, Coco Fusco and Thomas Hirschhorn), we work on the hypothesis that the reuse of these images can contribute to the construction of a…

Advisors/Committee Members: Dubois, Philippe (thesis director).

Subjects/Keywords: Visualité; Contre-Visualité; Images d’amateur; Guerre; Conflit; Remploi; Politque; Art contemporain; Visuality; Counter-Visuality; Amateur images; War; Conflict; Re-Employment; Politics; Contemporary war

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Perez Morales Junior, W. (2018). Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise". (Doctoral Dissertation). Sorbonne Paris Cité. Retrieved from http://www.theses.fr/2018USPCA101

Chicago Manual of Style (16^th Edition):

Perez Morales Junior, Wagner. “Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise".” 2018. Doctoral Dissertation, Sorbonne Paris Cité. Accessed January 25, 2021. http://www.theses.fr/2018USPCA101.

MLA Handbook (7^th Edition):

Perez Morales Junior, Wagner. “Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise".” 2018. Web. 25 Jan 2021.

Vancouver:

Perez Morales Junior W. Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise". [Internet] [Doctoral dissertation]. Sorbonne Paris Cité; 2018. [cited 2021 Jan 25]. Available from: http://www.theses.fr/2018USPCA101.

Council of Science Editors:

Perez Morales Junior W. Visualité et contre-visualité. Les images de guerres et de conflits tournées par des amateurs, et leur utilisation dans l’art contemporain. Une politique des images sur un « bruit de fond » godardien : Visuality and counter-visuality. War and conflict amateur images and their use in contemporary art. A politics of images based on Godard's "background noise". [Doctoral Dissertation]. Sorbonne Paris Cité; 2018. Available from: http://www.theses.fr/2018USPCA101

Université Paris-Sorbonne – Paris IV

29. De Min, Silvia. L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances.

Degree: Docteur es, Études romanes italiennes, 2016, Université Paris-Sorbonne – Paris IV

URL: http://www.theses.fr/2016PA040021

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Cette thèse se propose de définir l'ékphrasis performée, de la théoriser et de montrer son applicabilité concrète aux études théâtrales. Il s'agit d'un syntagme par… (more)

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Cette thèse se propose de définir l'ékphrasis performée, de la théoriser et de montrer son applicabilité concrète aux études théâtrales. Il s'agit d'un syntagme par lequel nous désignons le point de rencontre entre les possibilités rhétoriques de l'ékphrasis et les moyens du performatif. Cependant, l'ékphrasis ne se réduit guère à une intention purement mimétique, mais elle est toujours l'expression d'un regard aussi distancié que partiel sur le monde. À partir de la théorisation qu'on a réalisée de l'ékphrasis performée, on a élaboré quelques instruments d'analyse dont l'objectif est de comprendre certains aspects de la construction de l'image sur scène, de son utilisation dans le théâtre en général et dans le théâtre contemporain en particulier. La deuxième et la troisième parties de la thèse présentent ensuite deux parcours de recherchedifférentes. Ainsi la deuxième partie est dédiée à l'oeuvre de Samuel Beckett, tandis que la troisième est dédiée au théâtre de Anagoor. Ces deux parties se présentent comme une forme d'application des principes de l'ékphrasis performée.

The aim of this thesis is to develop a theory of performed ékphrasis. This rhetoric figure, generally studied in comparatives studies between literature and visual arts, holds a performative potential. From theory, I have extracted relevant rhetoric tools for an understanding of some aspects of image building on (also contemporary) theatre action. Ékphrasis doesn’t just reply to a mimetic intention but it always returns a partial sight on reality. Following this performed ékphrasis perspective I havefocused on Samuel Beckett’s work and Anagoor’s contemporary performances.

La presente tesi di dottorato si propone di elaborare una teoria dell'ékphrasis performata. L'ékphrasis, categoria retorica normalmente trattata in studi comparativi tra letteratura e arti visuali, ha in sé un potenziale performativo che viene qui dimostrato. In seguito, dalla teoria, sono stati estratti degli strumenti di analisi per la comprensione di alcuni aspetti della costruzione dell'immagine in scena, del suo utilizzo nel teatro in generale e nel teatro contemporaneo in particolare. Poiché si tratta di una tecnica di slittamento tra generi e oggetti di natura diversa, che agisce con operazioni di montaggio e rimontaggio delle immagini (per via discorsiva o visiva), l'ékphrasis non risponde mai a un'intenzione puramente mimetica, ma restituisce sempre uno sguardo parziale sul mondo. In quest'orizzonte si presenta l'approfondimento di due casi emblematici per una concreta dimostrazione dei meccanismi di funzionamento dell'ékphrasis performata: l'opera Samuel Beckett e i lavori della compagnia italiana contemporanea Anagoor.

Advisors/Committee Members: Fabiano, Andrea (thesis director), Puppa, Paolo (thesis director).

Subjects/Keywords: Ékphrasis; Beckett; Culture visuelle; Art de la mémoire; Performance; Anagoor; Visuality; Image; Ekphrasis; Beckett; Visual culture; Art of memory; Performance; Anagoor; Visuality; Image

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

De Min, S. (2016). L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances. (Doctoral Dissertation). Université Paris-Sorbonne – Paris IV. Retrieved from http://www.theses.fr/2016PA040021

Chicago Manual of Style (16^th Edition):

De Min, Silvia. “L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances.” 2016. Doctoral Dissertation, Université Paris-Sorbonne – Paris IV. Accessed January 25, 2021. http://www.theses.fr/2016PA040021.

MLA Handbook (7^th Edition):

De Min, Silvia. “L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances.” 2016. Web. 25 Jan 2021.

Vancouver:

De Min S. L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances. [Internet] [Doctoral dissertation]. Université Paris-Sorbonne – Paris IV; 2016. [cited 2021 Jan 25]. Available from: http://www.theses.fr/2016PA040021.

Council of Science Editors:

De Min S. L'ekphrasis performata : L'ekphrasis d'immagine e di parola nell'opera di Samuel Beckett e nel teatro di Anagoor : The performed ekphrasis : The ekphrasis of images and of word in Beckett's work and in Anagoor's performances. [Doctoral Dissertation]. Université Paris-Sorbonne – Paris IV; 2016. Available from: http://www.theses.fr/2016PA040021

Dalhousie University

30. Hoffbauer, Andreas. Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?.

Degree: MA, Department of Sociology & Social Anthropology, 2011, Dalhousie University

URL: http://hdl.handle.net/10222/14203

► Drawing on social movement literature, my thesis examines if news media, NGO, business and government engagement of the BP Oil Spill in the Gulf of… (more)

Subjects/Keywords: BP Oil Spill; Issue Complexity; Visuality; Media; Oil Companies; Environmental Organizations; White House

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Hoffbauer, A. (2011). Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?. (Masters Thesis). Dalhousie University. Retrieved from http://hdl.handle.net/10222/14203

Chicago Manual of Style (16^th Edition):

Hoffbauer, Andreas. “Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?.” 2011. Masters Thesis, Dalhousie University. Accessed January 25, 2021. http://hdl.handle.net/10222/14203.

MLA Handbook (7^th Edition):

Hoffbauer, Andreas. “Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?.” 2011. Web. 25 Jan 2021.

Vancouver:

Hoffbauer A. Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?. [Internet] [Masters thesis]. Dalhousie University; 2011. [cited 2021 Jan 25]. Available from: http://hdl.handle.net/10222/14203.

Council of Science Editors:

Hoffbauer A. Beyond The Deepwater Horizon Explosion: What Shaped the Social and Political Engagement of the BP Oil Spill?. [Masters Thesis]. Dalhousie University; 2011. Available from: http://hdl.handle.net/10222/14203

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Open Access Theses and Dissertations