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Situating silence, articulating abse...

Lunberry, Clark Daniel.

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Situating silence, articulating absence: Sites of time and the object (lessons) of art.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Situating silence, articulating absence: Sites of time and the object (lessons) of art./
作者:	Lunberry, Clark Daniel.
面頁冊數:	219 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4323.
Contained By:	Dissertation Abstracts International63-12A
標題:	Art History -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3075470
ISBN:	0493955909

Situating silence, articulating absence: Sites of time and the object (lessons) of art.
Lunberry, Clark Daniel.

Situating silence, articulating absence: Sites of time and the object (lessons) of art. - 219 p.

Source: Dissertation Abstracts International, Volume: 63-12, Section: A, page: 4323.

Thesis (Ph.D.)--The University of Wisconsin - Milwaukee, 2002.

In a dissertation that focuses upon silence and absence, there may be the initial impression that I am investigating, if not nothing at all, something unspeakably close to it. Though both of the terms would seem to signify a kind of emptiness, a lack of form or substance, it is the enduring resonance of what is apparently not there that makes the vacancy so central to my project. In order to elucidate more fully what almost escapes perception, while contributing to the endurance of modernism or its permutations in postmodernism, I undertake an interdisciplinary, multi-genre analysis of the productive non-presences of silence and absence.

ISBN: 0493955909Subjects--Topical Terms:

1260273
Art History

Situating silence, articulating absence: Sites of time and the object (lessons) of art.
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502 $a Thesis (Ph.D.)--The University of Wisconsin - Milwaukee, 2002.
520 $a In a dissertation that focuses upon silence and absence, there may be the initial impression that I am investigating, if not nothing at all, something unspeakably close to it. Though both of the terms would seem to signify a kind of emptiness, a lack of form or substance, it is the enduring resonance of what is apparently not there that makes the vacancy so central to my project. In order to elucidate more fully what almost escapes perception, while contributing to the endurance of modernism or its permutations in postmodernism, I undertake an interdisciplinary, multi-genre analysis of the productive non-presences of silence and absence.
520 $a In chapter one, I examine the land art of Robert Smithson and his vanished <italic> Spiral Jetty</italic> (a discussion emerging in large part from my own travels to this earthwork in 1998), the theoretical implications of its disappearance, and their specific relation to photography and memory. In chapter two, I move to the work of William Carlos Williams, looking primarily at his poem <italic> Paterson</italic>, alongside the work and writings of Smithson. Also, both Williams and Smithson are discussed in the context of Rimbaud's <italic>voyant </italic>. In chapter three, I write specifically about Bertolt Brecht's early work <italic>Baal</italic>, and two plays by Samuel Beckett, <italic>Endgame </italic> and <italic>Breath</italic>, focusing upon the ways in which both playwrights performatively <italic>used</italic> “silence” as a specific stage direction. I end this chapter with a discussion of installation art (emerging in part, I argue, out of modern theater) and the work of Ann Hamilton. And finally, in chapter four; I examine the music and writings of John Cage, but more extensively, the late work of Morton Feldman, its links to Marcel Proust and memory, Søren Kierkegaard and repetition
520 $a Moving across genres and interweaving theoretical affiliations, I believe I have situated silence as a kind of vital substance, absence as an active agent that has, from the inception of modernism, given a certain momentum to its various mediums and movements. What is palpable, then, in the felt vacancy is the rumor of possibility; it may be out of sight, but not quite out of mind
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