Always Judge A Book By Its Cover

The goal for this honors project is to build my illustration portfolio and to explore the world of children\u27s book illustration. This project will facilitate my improvement in design layout, theming, and illustration. I would love to pursue a job involving children\u27s book illustrations at some point in the future and completing this project would help me to understand the challenges that come with designing such covers, it would improve my ability to illustrate in a purposeful manner, and it would strengthen my portfolio overall

Uma abordagem filosófica e histórica da arte cognitiva e informacional

Neste estudo, Uma abordagem filosófica e histórica da arte cognitiva e informacional, abordase a arte feita na intersecção entre a ciência e a tecnologia, habitualmente designada new media art (arte dos novos meios técnicos), e propõe-se a designação de arte cognitiva e informacional. Esta proposta é feita concomitantemente com a análise do projecto definicional para a arte computacional e para a arte digital de Dominic McIver Lopes, presente em A Philosophy of Computer Art, e recorre também a conceitos presentes na teoria ontológica da arte de David Davies, Art as Performance, e no ensaio de Sherri Irvin, The Artist's Sanction in Contemporary Art. Constrói-se de seguida uma narrativa histórica para a arte biológica, com base numa proposta filosófica de Noël Carroll, esperando contribuir-se, através deste sub-género, para que o grande género da arte cognitiva e informacional seja plenamente integrado nas histórias canónicas das artes visuais dos séculos XX e XXI.Abstract: A philosophical and historical approach to cognitive and informational art is a study about the art made in the intersection between science and technology, usually designated new media art. We propose a new designation, cognitive and informational art, during the discussion of the definitions of computer art and digital art, present in Dominic McIver Lopes' A Philosophy of Computer Art; and also by using concepts developed by David Davies in Art as Performance, and in Sherri Irvin's essay The Artist's Sanction in Contemporary Art. We proceed by developing a historical narrative specifically to bioart, hoping that, through this sub-genre, the main genre (cognitive and informational art) can become a part of the canonical historiography on the visual arts of the 20th and 21th centuries

Shakespeare’s Representation of Weather, Climate and Environment

This monograph explores the importance of weather and changing skies in early modern England while acknowledging the fact that traditional representations and religious beliefs still fashioned people’s relations to meteorological phenomena

Cross-dressing Shakespeare : contemporary Japanese performances and adaptations

Malgré le fait que beaucoup de travail ait été réalisé autour du phénomène « Shakespeare japonais », cette dissertation se positionne autrement dans cette conversation en examinant les performances et adaptations de Shakespeare au Japon par le théâtre féminin Takarazuka Revue. Ceci est accompli au moyen d’une analyse critique des traditions du théâtre Kabuki, de l’histoire prémoderne et postmoderne du Japon et de la culture populaire japonaise. Cette dissertation se concentre sur les œuvres de Shakespeare et sur la manière dont celles-ci permettent au Japon d’examiner ses propres réalités sociale, culturelle, historique et politique. Pour ce faire, j’examine donc les pratiques de théâtres prémodernes de l’Angleterre et leur emploi du « boy actor » pour jouer les rôles féminins et je compare ce phénomène à celui du théâtre Kabuki et à son utilisation d’acteurs « onnagata » pour jouer des rôles semblables. Par la suite, j’aborde le fait que le théâtre de Takarazuka approprie ses traditions et subvertit les normes en n’ayant que des actrices pour jouer les rôles masculins et féminins dans ses performances. Le Takarazuka est souvent vu comme étant un défenseur d’idées patriarchales au Japon à cause de ses politiques internes. Cependant, selon moi, ce théâtre offre également une forme d’émancipation pour les femmes et d’autant plus lorsqu’il est combiné avec les œuvres de Shakespeare. Shakespeare est donc analysé dans ce contexte par lequel le Japon peut examiner son passé ainsi que ses idées contemporaines sur le genre, la sexualité, et la féminité. J’étudie donc cinq performances de Shakespeare qui suivent le développement de la cause féminine à travers les époques, en commençant par l’époque Edo jusqu’à l’ère postmoderne. Le théâtre au Japon a évolué de son état premier initialement réservé à la noblesse pour éventuellement être accessible au peuple commun par l’intermédiaire de la religion. En alliant ces traditions et cette histoire culturelle avec Shakespeare, ainsi que son influence positive sur le théâtre japonais, je démontre que Shakespeare et le Japon sont reliés historiquement et dans les arts à travers les performances et adaptations de Takarazuka.While much work has been done on the topic of Japanese Shakespeare, particularly as it relates to the playwright’s influence over traditional theatre arts since the Meiji era, this dissertation breaks new ground by looking at the all-female Takarazuka Revue’s adaptations and performances of Shakespeare with a close examination of Kabuki traditions, Japanese early modern history, and popular culture. This dissertation highlights how Shakespeare’s works act as a critical lens through which Japan examines its own social, cultural, historical, and political realities. To achieve this, I examine England’s early modern practice of employing boy actors to play the roles of female characters and highlight the similarities with Japan’s Kabuki and its use of onnagata actors to enact the same role on stage. From this point, I draw links to Takarazuka’s appropriation of these traditions and its subversion of norms through the employment of an all-female cast in all of its performances. While Takarazuka has often been regarded as a reinforcer of patriarchal values due to its strict inner politics, I argue that it also offers a form of emancipation for women in theatre when combined with Shakespeare’s plays. Shakespeare is analysed in this context to show how his works act as vehicles through which Japan’s historical past can be examined and its contemporary ideas of gender, sexuality, and womanhood can be considered. I look at five distinct performances of Shakespeare to explore the development of female agency in Japan, spanning the centuries from the Edo era to a postwar society in which Shakespeare is re-Westernized for a modern world. Theatre in Japan has always held a special place in how it evolved from being religion-driven, to aristocratic, and then accessible to the masses. By combining this rich tradition with Shakespeare and examining his positive influence over the revival of these arts, Shakespeare and Japan become intrinsically linked throughout history and in the arts as shown through Takarazuka’s adaptations and performances

Shakespeare’s Representation of Weather, Climate and Environment

This monograph explores the importance of weather and changing skies in early modern England while acknowledging the fact that traditional representations and religious beliefs still fashioned people’s relations to meteorological phenomena

'Strange and Absurd Words:' Translation as Ethics and Poetics in the Transcultural U.S. 1830-1915

ABSTRACT Title of Document: "STRANGE AND ABSURD WORDS:" TRANSLATION AS ETHICS AND POETICS IN THE TRANSCULTURAL U.S. 1830-1915 Laura E. Lauth, PhD, 2011 Directed By: Professor Martha Nell Smith Department of English This dissertation documents the emergence of "foreignizing" translation and its influence on poetic practice in the transcultural United States between 1830 and 1915--a period critical to the development of free verse in English. The study also explores the extent to which poetry translation constitutes a genre with special relevance to the multilingual U.S. In Lawrence Venuti's formulation, foreignizing signals the difference of the source text by disrupting cultural codes and literary norms in the target language (Translator's Invisibility 15). The innovative and ethically-charged translations recuperated here played a vital role in the development of "American poetry" by introducing heterodox authors, genres, and discourses into print. Despite nationalist and English-only tendencies in U.S. scholarship, the literature of the United States has always exceeded the bounds of a single language or nation. More than a mere byproduct of foreign dependency, the nineteenth-century proliferation of literary translations and non-English literatures reflected a profoundly multilingual "nation of nations." As such, this study emphasizes both the transnational and multicultural character of U.S. poetry. In tracing this often invisible tradition of foreign-bent translation, I offer five case studies spanning eighty years, two centuries, three continents, and numerous languages. From the influential debut of Bettina Brentano-von Arnim's self-translated Goethe's Correspondence with a Child (1838) to Henry Wadsworth Longfellow's comparativist translation anthology, Poets and Poetry of Europe (1845); from Judith Gautier's pioneering vers libre variations on the Classical Chinese (1867) to binational poet Stuart Merrill's free verse Englishing of Gautier (1890); from Pound's heteroclite Medievalism (1905-1910) to the inaugural volume of Harriet Monroe's transnational magazine, Poetry (1912-1913), the translations considered here challenged "literary canons, professional standards, and ethical norms in the target language" (Venuti, "Strategies of Translation" 242). Taken together, these chapters offer a new transcultural perspective on modern literary translation and the development of free verse in English

KA MANA UNUHI: AN EXAMINATION OF HAWAIIAN TRANSLATION

Ph.D. Thesis. University of Hawaiʻi at Mānoa 2018