74 research outputs found
More teaching games for understanding : moving globally/ Edit.: Joy I. Butler; Linda L. Griffin
No full textxv, 277 hal.: ill.; 23 cm
More teaching games for understanding : moving globally/ Edit.: Joy I. Butler; Linda L. Griffin
No full textxv, 277 hal.: ill.; 23 cm
Dietary polyphenols mediated regulation of oxidative stress and chromatin remodeling in inflammation
Get PDFSymbol of Love in William Butler Yeats’ Selected Poems. English and Literature Department. UIN Sunan Gunung Djati Bandung
Get PDFWhen I read some literary works; poems or novel, etc., I will find the words or phrases which symbolize something. The author of literary works used a symbol to convey a certain meaning. Symbol serves as a shorthand system for some information. In literature, symbol often used to represents a moral, religion belief, myth or value, etc. Because of this reason, the researcher decided to compose research about symbol.
This research has purposes to find out, to analyze and describe the symbols of love that found in William Butler Yeats’ selected poems. Besides, this research also composed to analyze and describe how the symbols are related to the four phases of symbol theory by Northrop Frye in William Butler Yeats’ selected poems. This research used Descriptive Method. This method enable to analyze the symbols by picturing and describing it based on the facts which already available. The data was taken from a book; ‘William Butler Yeats Poems’ which contain of all poems by W.B. Yeats.
This research used Qualitative Data Analysis which enables to analyze the data that have been collected. Based on Collaborative Group Analysis of Data by McDrury, there are three steps to analyzing the data. First is recognizing the symbol. The second is categorizing the symbol. The third is identifying the symbol. Besides, the researcher used Frye’s theory of symbol which divided symbol into four phases. They are Literal and Descriptive phase, Formal Phase, Mythical phase, and Anagogic phase.
Finally, the researcher found that there are eleven symbols in W.B. Yeats’ ten poems. They are angels, vow, soul, dove, white woman, ignorance, eye, joy, warm heart, we were so much at one and broke my heart. The researcher also found that all of symbols were fit in the first phase theory of symbol by Frye. Then, there were only six symbols which fit in the second phase. There were also six symbols which fit in the third phase. Meanwhile, in the last phase there were only two symbols which fit in it.
The researcher recommends the others who have an interest in this topic to discuss about the other thing which found in this research. It is the using of metaphor in these poems. During the processing of this research, the researcher also found the metaphor elements in those poems. It will be an interesting topic to discuss
The Other Side of Silence: Using fiction to explore the resources and limitations in writing about women's lives
Get PDFThis dissertation consists of two distinct components: a creative manuscript, titled “The Other Side of Silence,” and an accompanying exegesis. Both pieces endeavour to answer key questions: What are the different ways fiction might be used to write about the life of a woman from the past? How might we write about such women, taking into account the constraints by which their stories have been forgotten, omitted or displaced? And what are the implications of foregrounding such silences in the writing and reading of narratives?
“The Other Side of Silence” tells the story of Alba, an Italian woman who, with her young family, is leaving her hometown of Salerno for Australia in 1952. The narrative focuses on Alba’s relationship with her mother, Serafina, who fears that Alba’s journey to Australia is motivated by a desire to distance herself from her past. Within this narrative I explore how each of these characters views and consequently deals with the past.
The exegesis discusses several texts that have influenced and inspired “The Other Side of Silence.” In reading contemporary texts about the lives of women in the past, I noted two distinct approaches in the ways women’s stories were written. Some writers use recuperative strategies that allow them to tell stories previously omitted from or distorted by historical discourse and dominant cultural ideologies. By contrast, other writers use poststructuralist narrative strategies to foreground the ways in which traditional realist narratives gloss over the gaps, contradictions and omissions in women’s stories. These alternative narratives indicate how revelation and closure in traditional realism can preclude the probing of some subtle and significant questions about narrating and making sense of women’s experiences. The exegesis examines the different ways writers have challenged and subsequently enlarged conventional notions of realist fiction to imagine and speculate on the possibilities for and limitations on narrative
Art and the unconscious : a semiotic case study of the painting process
No full textThis dissertation is an attempt to design an interpretation model for the comprehension of unconscious content in artworks, as well as to find painting techniques to free the unconscious mind, allowing it to be expressed through artwork. The interpretation model, still in its infancy, is ripe for further development. The unconscious mind is a fascinating subject—in art production as well as in many scientific fields. This hidden part of the mind, being the source of creativity, constitutes an important foundation for many possible and valuable inquiries in multiple areas of knowledge. In the present study, the unconscious is approached from an art-educational perspective.
The nature of the unconscious is addressed through the theories of Carl Gustav Jung and Charles Sanders Peirce, as well as through the information gained from data the author produced herself during the experimental painting process she devised for this study. For psychological distinctions not addressed by Jung, the theories of Sigmund Freud are used to forward this inquiry into the unconscious mind.
A research method was created to bring Peirce’s theories into consonance with Jung’s amplification method. Since Peirce’s theories are challenging to read, to avoid misinterpretation, the author used Phyllis Chiasson’s 2001 book Peirce’s Pragmatism: The Design for Thinking as a secondary source. Peirce’s three modes of reality—firstness, secondness, and thirdness—were utilized to interpret artworks. This three-mode reality allows interpreters to reflect on their subjective feelings and then to compare them to collected data. The interpreters’ intuitive self-interpretations often correlate well with the more objective data.
In this approach to interpretation, the work of art is seen as a sign, in the Jungian as well as in the Peircean sense, and interpretation seeks to discover a sign’s objects—icon, index, and symbol. Additionally, the objects are studied in combination with Peirce’s designation of the sign’s character elements—sinsign, qualisign, and legisign. Peirce’s theory offers a logical and productive structure for approaching a variety of signs and reaching a multiplicity of interpretations.
Jungian theories inculcated a combined psychological and artistic perspective for the interpretation of artworks. Jung’s method of amplification is an effort to bring a symbol to life, and it is used as a technique to discover—through the seeking of parallels—a possible context for any unconscious content that an image might have. In amplification, a word or element—from a fantasy, dream, or, in this study, artwork—is associated, through use of what Jung called the active imagination, with another context where it also occurs. It must be remembered that unconscious images in artworks do not easily open themselves up for interpretation. One way to interpret possibly unconscious images is for the interpreter to become vulnerable by employing his or her own unconscious mind to interpret an artwork; such use of the active imagination can enable a subjective experience of the artwork on the part of the interpreter, who might thereby uncover unconscious content.
Moreover, in this study, Jung’s theory of archetypes is employed, in parallel with Peirce’s and Jung’s theories of the sign, to illuminate an artwork’s images by connecting them with collective unconscious archetypes. The author relied upon The Book of Symbols: Reflections on Archetypal Images (Ronnberg and Martin 2010) as the main source for interpreting possibly unconscious elements in the artworks. This approach is especially powerful when artists interpret their own artwork—possibly leading to a galvanizing self-discovery as they revisit past encounters, personal highlights, and other pieces of unconscious content that might reveal previously unknown meaning important to their life. By comparing archetypes to the unconscious content in their own lives, people can discover themselves.
Unconscious phenomena were approached on both the theoretical and empirical levels. Different methods and ideas were used to stimulate the author’s unconscious thinking while performing artwork analyses of three paintings: surrealist Salvador Dalí’s (1904–1989) Assumpta Corpuscularia Lapislazulina; abstract expressionist Jackson Pollock’s (1912-1956) The Deep; and one painting by the author herself, and for which the process of painting is videorecorded (www.astagallery.com/academic.html).
With regard to the third painting interpreted, the author is the study subject, and her artistic production is used as an opportunity to explore the unconscious mind. During the act of painting, an attempt is made to free unconscious thinking by fusing Dalí’s and Pollock’s methods as well as by testing multiple other methods. The author’s artistic production was conjoined with use of a technique that is called the verbal protocol method, which generates additional data not necessarily visible in the final artwork. This method unseals the artist’s tacit knowledge, which in normal circumstances remains silent.
In the verbal protocol method, the author, while engaged in the act of painting, speaks aloud the stream of consciousness that accompanies and guides the art-making activity; the recorded and transcribed monologue from the artistic production is supplied, in both Finnish and English, in appendices. This thinking-aloud technique allows a person to become more self-aware and to create more solutions while struggling with emergent artistic problems. Such narratives can reveal more about the painting than the completed artwork alone can convey. Along with the artist’s finished painting and the videorecorded material, narratives produced during the painting activity were interpreted. Moreover, the discoveries arising from the author’s interpretation of her own artwork are correlated with some of the latest research on the unconscious.
This study allows the reader-viewer an intimate glimpse into the author’s subjective painting experience and demonstrates the participation of the unconscious in an artwork’s creation. The interpretations methodology constitutes an interpretation model suitable for other artists and art educators to follow.
Keywords: unconscious, art, archetype, mandalaei tietoa saavutettavuudest
ALMA and Herschel observations of the prototype dusty and polluted white dwarf G29-38
Get PDFJF gratefully acknowledges the support of the STFC via an Ernest Rutherford Fellowship. AB acknowledges the support of the ANR-2010 BLAN-0505-01 (EXOZODI). MCW and OP are grateful for the support of the European Union through ERC grant number 279973.ALMA Cycle 0 and Herschel PACS observations are reported for the prototype, nearest, and brightest example of a dusty and polluted white dwarf, G29-38. These long-wavelength programmes attempted to detect an outlying, parent population of bodies at 1–100 au, from which originates the disrupted planetesimal debris that is observed within 0.01 au and which exhibits LIR/L* = 0.039. No associated emission sources were detected in any of the data down to LIR/L* ∼ 10−4, generally ruling out cold dust masses greater than 1024–1025 g for reasonable grain sizes and properties in orbital regions corresponding to evolved versions of both asteroid and Kuiper belt analogues. Overall, these null detections are consistent with models of long-term collisional evolution in planetesimal discs, and the source regions for the disrupted parent bodies at stars like G29-38 may only be salient in exceptional circumstances, such as a recent instability. A larger sample of polluted white dwarfs, targeted with the full ALMA array, has the potential to unambiguously identify the parent source(s) of their planetary debris.Peer reviewe
'One equal music’: The royal college of music, its inception and the legacy of Sir George Grove 1883-1895
Get PDFThe establishment of the Royal College of Music (RCM) in 1883 represents the denouement of an eighteenth-century movement to found a conservatoire with a national remit in Britain. Whether motivated by the desire to rival Continental conservatoires to generate and develop an environment in which a worthy successor to Purcell could be nurtured or to create an indigenous musical workforce to obtain direct control of market forces, the RCM was seen as a panacea in the light of the demise of the experimental National Training School for Music (1876-1882) and the ineffectual Royal Academy of Music founded in 1822. The NTSM's financial concerns led Sir Henry Cole to approach the Royal Commission of 1851 for aid. In return for a meagre grant, the Commission insisted the NTSM remodel its management and constitution on pain of eviction from buildings on the Kensington Estate. Cole's approach to 1851 Commissionets precipitated the involvement of the Prince of Wales and other senior members of the Court that led directly to the establishment of the RCM in 1878.Attempts to institute the RCM as a quango to regulate the music profession alongside music education both at elementary school and university level were intended to provide ideal circumstances for inducing comprehensive treasury assistance where the NTSM failed. When this proved elusive, a contingency was provided by George Grove (first RCM Director from 1882) who, at the request of the Prince of Wales, imtiated a capital fund. The introduction of fee-paying students alongside scholars provided financial security that distanced the College & insolvency. Substantial growth in numbers during the first few years forced Grove and the Council to address the issue of a new building. Grove's appointment of an unrivalled professorial staff and the development of a rigorous curriculum, whose inspiration was to be found within the Continental traditions in France and Germany, had paid dividends. By 1894, the results of RCM's pedagogical methods were respected across Europe. The appointment of Grove's neighbour, Alexander Mackenzie, as Principal of the RAM heralded an environment for mutual co-operation between two rival institutions. The institution of local examinations under the Associated Board of the Royal Academy of Music and the Royal College of Music from 1889 marked the conclusion of further attempts to amalgamate the two institutions. The foundation of both the Associated Board was intended to provide a remedy to the shortage of suitably-qualified candidates entering for scholarships and to improve music tuition among school children as set out in the RCM's 1883 charter. The coalition created formidable opposition to Halle's proposal to establish a chartered Royal College of Music in Manchester (RMCM) in 1893 and Parliament's attempts to include music within the provision of the bill for the regulation and registration of teachers. The foundation of the Associated Board allowed Grove to begin implementing the RCM's remit to lead the music profession on both a national and imperial scale. The RCM's national and European reputation established by Grove was consolidated under the directorate of his successor, c. Hubert H. Parry, who confirmed the RCM's global reputation to which other, fledgling institutions, such as New York's Juilliard School of Music, came to aspke. Grove's initiatives, which began the process of emancipating composer and performer alike, went on to transform Britain's international musical reputation within a generation, the ramifications of which continue to affect us more than a century later
I love you to death : the voice of the woman artist : sex, violence, sentimentality
No full textIncludes abstract.Includes bibliographical references (p. 114-117).At a dinner party in Durban after the opening of Come, a 2007 exhibition of Michaelis MFA students, a woman asked me about my work. When I told her it was "the bullets", by way of description (One Hundred Bullets With Your Name On Them), she said something along the lines of "oh, that's so fascinating, I really had thought a man had made them"
Caryl Churchill: Representational negotiations and provisional truths
Get PDFJUDGE: Go away Barbara. I've had enough. Should we all be kind? You are lukewarm and will be vomited. There are two camps, Barbara, mine and theirs. Either you are with, or you are against.
Although English playwright Caryl Churchill wrote the three scripts examined in this thesis more than thirty years ago, each captures our contemporary zeitgeist in sometimes surprising ways. These works explore the shifting politics of power, revealing binary and essentialist representations that not only continue but have been strengthened on all sides in recent years, suggesting their central importance in defining and controlling culture.
This thesis examines how Churchill subverts conventional forms of representation and probes the ways in which she herself has been represented by critics and scholars at various periods of her writing career. It is my contention that these processes operate in tandem, performing an ongoing dialogue. Because of the dynamic nature of this dialogue, the aim here is not so much to provide an increasingly unified or finite understanding of the artistic milieu from which a play emerges, as it is to recognize the level of complexity underlying the mutable and political process of its interpretation.
I have undertaken a detailed exploration of three lesser-known short scripts from 1972, a 'watershed' year for Churchill, culminating in the relative success of Owners, her first major stage play. While many of her earlier works have been deserving of further exploration, a number of them have been largely overlooked in the broader environment of her subsequent contribution to contemporary theatre. The particular scripts that I explore in the course of this thesis are: The Hospital at the Time of the Revolution; Schreber's Nervous Illness and The Judge's Wife, an unperformed stage play, a radio play and a television play respectively. These works are worthy of exploration because of their experiments with the politics of subjectivity as it impacts on race, gender and social class, and notions of 'legitimacy' that shift with a person's changing circumstances. Each of these plays implicitly demonstrates the importance of subjectivity in relation to representational power as it places characters who have traditionally been silenced at the centre of the action.
I have titled my thesis Caryl Churchill: Representational Negotiations and Provisional Truths. In invoking this title I pre-empt the engagement of a subjective, strategic essentialist approach, both in critiquing this period of Churchill's work and in declaring the assumptions of the arguments contained in the pages that follow
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