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Image from the Winter 2025 Dance Concert, Lindenwood University
No full texthttps://digitalcommons.lindenwood.edu/sd_2024-2025_images/1208/thumbnail.jp
Image from the Spring 2025 Dance Concert, Lindenwood University
No full texthttps://digitalcommons.lindenwood.edu/sd_2024-2025_images/1296/thumbnail.jp
The Shipwrecked Cove
No full textThe Shipwrecked Cove is a platforming collection based game. You play the game in first person while platforming. The player collects resources to rebuild their ship
Interview with President James Evans
Get PDFFormer President James Evans and First Lady Lois Evans describe their approximate forty year association with Lindenwood.
*Note* President Evans wanted to make a correction to the narrative. Where he mentioned the number of nursing students expected to be coming in the fall of 2015, the number should be 100 instead of the stated 200.
A link to a transcription of this recording can be found below
Heroic Sacrifice and Christ-Like Bodies: Conceptions of Immortality in Jacques-Louis David\u27s Death of Marat
Get PDFThis thesis posits a reinterpretation of Jacques-Louis David’s late-eighteenth-century martyr-portrait, The Death of Marat, within its French Revolutionary political function and theological associations. The revolutionary body in Marat is rendered from a corporeal language of antique heroic figures and Renaissance depositions David observed during his study in Rome. It is especially in the iconography of the hanging arm that David illustrates Marat’s association with heroic and sacrificial deaths of antique and Christian imagery. These references convey the artist’s exploration of death within religious beliefs germane to the sociocultural contexts of the revolutionary period. Within antique and Christian theologies, David explores the notion of reward for one’s virtuous deeds and the concept of immortality or the continuation of the soul. David’s own words, as well as rhetoric from the 1793–94 National Convention, convey these very notions in the propagandistic rituals and paintings of revolutionary bodies. It is within these immortalizing designs that David and other Jacobin leaders persuaded the French sections to sympathize with their revolutionary cause and sacrifice their lives for the good of the French Republic. Through a formal examination of antique and Renaissance studies undertaken while David was in Rome, a comparative analysis of theologies relevant to the martyr-portrait of Marat, and an evaluation of the speeches and conversations of the National Convention, this thesis uncovers the manifestation of an immortalizing reward within David’s Death of Marat
Beyond Suprematism: Carpenter II and the Reimagining of the Peasant in Malevich\u27s Late Work
Get PDFEvery artistic creation is influenced by the dynamics of its origins and the specific intentions of both the artist and the audience to interact with it in a particular way. In abstract art, human elements may be less apparent than in representational art, where recognizable imagery can be more readily linked to the cultural backdrop of its time. Kazimir Malevich’s body of work can superficially be divided into representational pieces and non-objective works. However, a more nuanced interpretation of his oeuvre is warranted. This is particularly relevant to Malevich’s enduring engagement with the peasant motif and the layers of influence that informed and shaped his relationship to peasant-themed art. By examining the historical context, cultural influences, and personal experiences of the artist, this study emphasizes features of Malevich’s visual lexicon that reflect Ukrainian folk art traditions. Regarding the artist’s contested legacy, this research seeks to emphasize and clarify aspects about his Polish lineage and the significance of his upbringing in numerous villages throughout Ukraine.
Through a comparative analysis of the painting Carpenter II (fig. 3) (1929) with the subsequent peasant cycle II works and the earlier piece Woodcutter (fig. 2) (1912) from the peasant cycle I, I explore the unique characteristics that set Carpenter II apart from both series and delve into the profound meanings that may be embedded within it. Unlike scholars who interpret late peasant works as either generalized or politically subversive types, I argue that Carpenter II represents a more individualized figure. By grounding this research in the artist’s biography, his writings, historical context, and Ukrainian heritage, this study posits that Carpenter II is distinct from the faceless imagery of the second peasant series, serving as a work of personal homage rooted in reverence for the peasantry, rather than based in ideological concerns
Image from Sondheim Tribute Revue (October 2-5, 2024)
No full texthttps://digitalcommons.lindenwood.edu/st_2024-2025_sondheim/1005/thumbnail.jp
Image from Sondheim Tribute Revue (October 2-5, 2024)
No full texthttps://digitalcommons.lindenwood.edu/st_2024-2025_sondheim/1006/thumbnail.jp