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Articles 1 - 3 of 3
Full-Text Articles in Asian Art and Architecture
Historical Trauma: Literary And Testimonial Responses To Hiroshima, Mariam Ghonim
Historical Trauma: Literary And Testimonial Responses To Hiroshima, Mariam Ghonim
Theses and Dissertations
The concept of trauma is controversial in literature. While one may be able to come up with ways to describe trauma in fiction, representing historical trauma is a hard task for writers. Some argue that trauma can not be described through those who did not experience it, while others claim that, provided some elements are added, one can represent trauma to the reader. This thesis focuses on twentieth-century historical traumas related to a nuclear catastrophe and explores the different literary and testimonial responses to the catastrophic man-made event of Hiroshima (1945). In this thesis, Kathleen Burkinshaw’s historical fiction The Last …
Ambiguity Of Vision: Reimagining The Hypervisible Void, Kiwha Lee Blocman
Ambiguity Of Vision: Reimagining The Hypervisible Void, Kiwha Lee Blocman
Theses and Dissertations
Asking questions about what Painting is in the 21st century and the dominant narratives it can challenge, my paintings complicate the viewer’s reading of pictorial hierarchy and the projection of human relations in the world. I de-hierarchize and decentralize the compositional components that make up a painting by using patterns to create spatial depth, not European perspectival conventions. In dialogue with modernists such as Matisse who drew from the visual vocabulary of “The Orient”, my central forms derived from architecture and ornamental fragments possess a body-like presence. Further, I reinvent ancient Asian printmaking processes with oil paint. Observing the tenets …
Invisible Invisibility, Eugina Song
Invisible Invisibility, Eugina Song
Theses and Dissertations
White America assumes its culture is the default, and Asian culture as foreign and irrelevant. I address Asian invisibility by using canvas structure as a Western framing device of painting, and make this cultural barrier visible by breaking out of the frame. Deriving from Dansaekhwa, I challenge the Western painting structure with materiality.