Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 3 of 3
Full-Text Articles in Entire DC Network
Deep Ecology And Heideggerian Phenomenology, Matthew Antolick
Deep Ecology And Heideggerian Phenomenology, Matthew Antolick
USF Tampa Graduate Theses and Dissertations
This thesis examines the connections between Arne Naess's Deep Ecology and Martin Heidegger's Phenomenology. The latter provides a philosophical basis for the former. Martin Heidegger's critique of traditional metaphysics and his call for an "event" ontology that is deeper than the traditional substance ontology opens a philosophical space in which a different conception of what it is to be emerges. Heidegger's view of humans also provides a basis for the wider and deeper conception of self Arne Naess seeks: one that gets rid of the presupposition that human beings are isolated subjects embedded in a framework of objects distinct from …
Getting At The Rapture Of Seeing: Ellsworth Kelly And Visual Experience, Leo J. O'Donovan Sj
Getting At The Rapture Of Seeing: Ellsworth Kelly And Visual Experience, Leo J. O'Donovan Sj
Research Resources
Leo J. O'Donovan offers an art-critical account of the American artist Ellsworth Kelly including a comprehensive overview of his career and his attention to color and to vision. O'Donovan explores context and situation to raise questions of painterly color and atmosphere:
Citation:
Leo J. Donovan, "Getting at the Rapture of Seeing: Ellsworth Kelly and Visual Experience." In: Babette Babich, ed., Philosophy of Science, Van Gogh’s Eyes, and God: Hermeneutic Essays in Honor of Patrick A. Heelan, S.J., (Dordrecht: Kluwer, 2002), pp. 295—300.
Alban Berg's Filmic Music: Intentions And Extensions Of The Film Music Interlude In The Opera Lula, Melissa Ursula Dawn Goldsmith
Alban Berg's Filmic Music: Intentions And Extensions Of The Film Music Interlude In The Opera Lula, Melissa Ursula Dawn Goldsmith
LSU Doctoral Dissertations
The music composed to accompany the film in Berg’s Opera Lulu--the “Film Music Interlude” (FMI)--is the subject of this study. Although this is film music, and Berg wrote his own Film Music Scenario, scholars have ignored writings about film theory and film music in their historical and analytical treatments of the FMI. How do writings about film theory and film music apply to the analysis and exploration of historical and social contexts of the FMI, and what musical and extramusical intentions and extensions can be drawn from the FMI? Some answers come to light while exploring sources containing Berg’s correspondence …