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Description
This dissertation is the first detailed and extensive study dedicated to the life and art of the master artist and scholar-official Chen Rong (active 13th century), and offers an expanded analysis of his most famous work, the Nine Dragons scroll (1244). It provides a reconstruction of Chen Rong's biography, character and political career, and discusses his significance and impact in the study of Chinese painting during the late Southern Song dynasty (1127-1279) and beyond, by highlighting the reception and interpretation of the Nine Dragons scroll in the past and in modern times. This is achieved by addressing writings such as eulogies, poems and commentary about Chen Rong by his contemporaries and later biographers, and also analysis of recent works by contemporary Chinese artists that reinterpret Chen Rong's Nine Dragons motif directly. In addition to offering an expanded reading and interpretation of Chen Rong's inscriptions on the Nine Dragons scroll and inscriptions by subsequent viewers of the scroll, this study sheds light on the artistic context, significance, and historical development of dragons and dragon painting in China. This dissertation also offers the first full English transcription and translation of Emperor Qianlong's inscription on the Nine Dragons scroll, and that of his eight officials. Furthermore, this dissertation includes two detailed appendices; one is a detailed appendix of all of Chen Rong's paintings documented to exist today, and the second is a list of paintings attributed to Chen Rong that have been mentioned in historical documents that no longer appear extant. This interdisciplinary study provides insight into the processes that influence how an artist's work is transformed beyond his time to that of legendary status. This clarification of Chen Rong's biography and artistic activity, particularly with respect to his most famous work the Nine Dragons scroll, contributes to modern scholarship by providing an expanded understanding of Chen Rong's life and art, which in turn, adjusts prevailing perceptions of his life and work.
ContributorsChao, Jacqueline (Author) / Brown, Claudia (Thesis advisor) / Codell, Julie (Committee member) / Baker, Janet (Committee member) / Arizona State University (Publisher)
Created2012
Description
The poems in The Only Living Boy in Omaha tell the story of Simon, who, after his mother dies giving birth to him, is raised on passenger trains by his father, a conductor. Set in the 1940s and '50s, the book follows Simon as he travels across the American West, back and forth between California and his hometown of Omaha, Nebraska. Along the way, Simon gets to know other passengers, falls in love with radio and California's past, befriends an inventor, and discovers the story of his miracle birth. Blending lyric and narrative, history and fable, these poems revisit a time when passenger trains were popular, and explore the unique childhood that took place there.
ContributorsLake, Shane (Author) / Dubie, Norman (Thesis advisor) / Hogue, Cynthia (Committee member) / Rios, Alberto (Committee member) / Arizona State University (Publisher)
Created2012
Description
Computer Science and Dance are choice driven disciplines. The output of their processes are compositions of experience. Dancers are not computers and computers are not people but there are comparable traces of humanity in the way each interpret and interact with their respective inputs, outputs, and environments. These overlaps are perhaps not obvious, but in an increasingly specialized world it is important to discuss them. Dynamic Programming and improvisational movement exist within exclusive corners of their respective fields and are characterized by their inherent adaption to change. Inspired by the work of Ivar Hagendoorn, John Cage and other interdisciplinary artists, complexMovement is motivated by the need to create space for intersections between these two powerful groups and find overlaps in the questions they ask to achieve their goals. Dance and Computer Science are just one example of hidden partnerships between their respective fields. Their respective sides allow for ample side by side comparisons but for the purpose of this work, we will focus upon two smaller sectors of their studies: improvisational movement and the design of Dynamic Programming algorithms.
ContributorsOhlsen, Lai Yi Ni (Author) / Britt, Melissa (Thesis director) / Crissman, Angel (Committee member) / Standley, Eileen (Committee member) / Computer Science and Engineering Program (Contributor) / School of Art (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The topic of my creative project centers on the question of "How can the audience's choices influence dancers' improvisation?" This dance work seeks to redefine the relationship between audience and performers through integration of audience, technology, and movement in real-time. This topic was derived from the fields of Computer Science and Dance. To answer my main question, I need to explore how I can interconnect the theory of Computer Science/fundamentals of a web application and the elements of dance improvisation. This topic interests me because it focuses on combining two studies that do not seem related. However, I find that when I am coding a web application, I can insert blocks of code. This relates to dance improvisation where I have a movement vocabulary, and I can insert different moves based on the context. The idea of gathering data from an audience in real time also interests me. I find that data is most useful when a story can be deduced from that data. To figure out how I can use dance to create and tell a story about the data that is collected, I find that to be intriguing as well. The main goals of my Creative Project are to learn the skills needed to develop a web application using the knowledge and theory that I am acquiring through Computer Science as well as learning about the skills needed to produce a performance piece. My object for the overall project is to create an audience-interactive experience that presents choices for dancers and creates a connection between two completely different studies: Computer Science and Dance. My project will consist of having the audience enter their answers to preset questions via an online voting application. The stage background screen will be utilized to show the question results in percentages in the form of a chart. The dancers will then serve as a live interpretation of these results. This Creative Project will serve as a gateway between the work that has been cultivated in my studies and the real world. The methods involve exploring movement qualities in improvisation, communicating with my cast about what worked best for the transitions between each section of the piece, and testing for the web applications. I learned the importance of having structure within improvisational movement for the purpose of choreography. The significance of structure is that it provides direction, clarity, and a sense of unification for the dancers. I also learned the basics of the programming language, Python, in order to develop the two real-time web applications. The significance of learning Python is that I will be able to add this to my skillset of programming languages as well as build upon my knowledge of Computer Science and develop more real-world applications in the future.
ContributorsNgai, Courtney Taylor (Author) / Britt, Melissa (Thesis director) / Standley, Eileen (Committee member) / Computer Science and Engineering Program (Contributor) / School of Film, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05
Description
Rural Thrill is a broken fruit, an electric fence, and, at the end, the absence of body. It comes in three sections, with the first laying the foundation for the world in which the collection takes place—a small southern town, where there is obvious economic disparity and the supernatural is easily expected, believed, and in some cases, assumed. The second section focuses more closely on the main speaker of the collection who is growing into her own sexual desires against the backdrop of a murder which has swept through her town, complicating the speaker’s relationship to her body and the way she communicates desire. In the final section of the book, the poems come even closer as they explore the internal landscape of the speaker’s body and the many versions of the speaker that inhabit that place. The internal happenings of the third section of the book, reflect back on the external world mapped out in both the first and second sections. At the end, the energy of the body is all that remains with all boundaries of physicality erased, an example of how the body and mind negotiate safety in the face of risk and desire.
ContributorsAlbin, Lauren (Author) / Rios, Alberto (Thesis advisor) / Goldberg, Beckian F (Committee member) / Ball, Sally (Committee member) / Arizona State University (Publisher)
Created2016
Description
This project explores the cultivation of artistic methodologies centered in embodied movement practices. I worked in collaboration with dancers to inform the development of a movement vocabulary that is authentic to the individual as well as to the content of the work. Through the interplay between movement and subconscious response to elements such as writing, imagery, and physical environments I created authentic kinesthetic experiences for both dancer and audience. I submerged dancers into a constructed environment by creating authentic mental and physical experiences that supported the development of embodied movement. This was the impetus to develop the evening length work, Flesh Narratives, which consisted of five vignettes, each containing its own distinctive creative process driven by the content of each section. This project was presented January 29- 31, 2016 in the Fine Arts Center room 122, an informal theatre space, that supplemented an immersive experience in an intimate environment for forty viewers. This project explored themes of transformation including cycles, concepts of life, death and reincarnation, and enlightenment. Through the art of storytelling, the crafting of embodied movers, and the theory of Hauntology, the viewer was taken on a journey of struggle, loss, and rebirth.
ContributorsGerena, Jenny (Author) / Standley, Eileen (Thesis advisor) / Rosenkrans, Angela (Committee member) / Britt, Melissa (Committee member) / Arizona State University (Publisher)
Created2016
Description
After the opening of Japan in the mid-1800s many foreigners flocked to the
nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many
of her predecessors, however, she went as a single woman and was so taken with Japan
she made it her home over the span of fourteen years. While a number of cursory studies
have been written on Helen Hyde and her work, a wide range of questions have been left
unanswered. Issues regarding her specific training, her printmaking techniques and the
marketing of her art have been touched on, but never delved into. This dissertation will
explore those issues. Helen Hyde's success as a printmaker stemmed from her intense
artistic training, experimental techniques, artistic and social connections and diligence in
self-promotion and marketing as well as a Western audience hungry for "Old Japan," and
its imagined quaintness. Hyde's choice to live and work in Japan gave her access to
models and firsthand subject matter which helped her audience feel like they were getting
a slice of Japan, translated for them by a Western artist. This dissertation provides an in
depth bibliography including hundreds of primary newspaper articles about Hyde who
was lauded for her unique style. It also expands and corrects the listing of her printed
works and examines the working style of an American working in a Japanese system with
Japanese subjects for a primarily American audience. It also provides a listing of known
exhibitions of Hyde's works and a listing of stamps and markings she used on her prints.
nation. San Franciscan Helen Hyde (1868-1919) joined the throng in 1899. Unlike many
of her predecessors, however, she went as a single woman and was so taken with Japan
she made it her home over the span of fourteen years. While a number of cursory studies
have been written on Helen Hyde and her work, a wide range of questions have been left
unanswered. Issues regarding her specific training, her printmaking techniques and the
marketing of her art have been touched on, but never delved into. This dissertation will
explore those issues. Helen Hyde's success as a printmaker stemmed from her intense
artistic training, experimental techniques, artistic and social connections and diligence in
self-promotion and marketing as well as a Western audience hungry for "Old Japan," and
its imagined quaintness. Hyde's choice to live and work in Japan gave her access to
models and firsthand subject matter which helped her audience feel like they were getting
a slice of Japan, translated for them by a Western artist. This dissertation provides an in
depth bibliography including hundreds of primary newspaper articles about Hyde who
was lauded for her unique style. It also expands and corrects the listing of her printed
works and examines the working style of an American working in a Japanese system with
Japanese subjects for a primarily American audience. It also provides a listing of known
exhibitions of Hyde's works and a listing of stamps and markings she used on her prints.
ContributorsMcMurtrey, Shiloh (Author) / Brown, Claudia (Thesis advisor) / Baker, Janet (Committee member) / Codell, Julie (Committee member) / Arizona State University (Publisher)
Created2016
Description
The ASU School of Dance presents School of Dance LIVE!, September 7-9, with works by dance faculty, performed at Galvin Playhouse.
ContributorsPinholster, Jacob (Director) / Koch, Carolyn (Artistic director, Production manager, Lighting designer) / Swayze, William (Musician, Performer, Composer) / Jones, Ben (Performer) / Mack, Austen (Performer) / Ortego, Garrett (Performer) / Benard, Jacqueline (Costume designer, Creator) / Burk, Ashley (Collaborator deprecated, use Contributor, Performer) / Arredondo, Julia (Performer) / Groom, Léla (Performer) / Giordano, Erin (Performer) / Bouey, Billie-Joe "J." (Performer) / Bartholomew, Jessica (Performer) / Chapman, Eric (Collaborator deprecated, use Contributor)) / Peterson, Haley (Collaborator deprecated, use Contributor)) / Vissicaro, Pegge (Collaborator deprecated, use Contributor)) / Mitchell, John D. (Designer, Musician) / Standley, Eileen (Designer, Choreographer, Performer) / Kyriakides, Yannis (Composer) / Tomooka, Kayla (Performer) / Waitz, Jessica (Performer) / McNutt, Eden (Costume designer, Performer) / DeWitt, Inertia (Musician, Performer) / Murphey, Claudia (Director, Interviewer) / Mumford, Jessica (Videographer, Editor) / Britt, Melissa (Choreographer, Costume designer, Performer) / Alvarez, Emily (Musician) / Salcido, Alejandro (Lighting designer) / Calleros, Vince (Performer) / Dimmick, Saza (Performer) / Granado, Michaela (Performer) / Kusch, Liz (Performer) / Lopez, Cassidy (Performer) / Kaplan, Rob (Composer, Performer) / Rex, Melissa S. (Choreographer, Lighting designer, Technical director) / Bocchino, Corinne (Performer, Performer) / Mihaleva, Galina (Costume designer, Creator) / Cooper, Carol (Performer) / Crissman, Angel (Performer) / Bouey, J (Performer) / Bouey, Majee (Performer) / Bouey, Najee (Performer) / Matthews, Emily (Performer) / Vago, Haley (Performer) / Witzke, Nikki (Performer) / Goodson, Naomi (Performer) / Levin, Felicia (Performer) / Gonzales, Anthony (Performer) / Hughs, Haylee (Performer) / Ling, Amanda (Performer) / Pourzal, Kristopher K. Q. (Performer) / Munoz, Jessica (Performer) / Peterson, Britta (Performer) / Poto, Ana Maria (Performer) / Rickert, Austin (Performer) / Schupp, Karen (Director, Costume designer, Performer) / McMahon Ward, Frances (Editor) / Khoilian, Jarek (Cinematographer) / Heath, Jason (Musician) / Page, Martin (Composer) / Fairweather, Brian (Composer) / Thornton, Trevor (Composer) / Richardson, Chris (Composer) / Fitzgerald, Mary (Choreographer, Performer) / Ford, Lindsey (Performer) / Garibay, Elissa (Performer) / Barrett, Kristen (Performer) / Herberger Institute School of Dance (Musician)
Created2012
Description
The ASU School of Dance presents The Dance Annual, April 15-17, with works by dance faculty, alumni, graduate, undergraduate, and visiting artists, performed at Margaret Gisolo Dance Studio.
ContributorsPellegrino, Laura (Choreographer, Editor, Costume designer, Performer, Dancer) / Ullom, Kathryn (Costume designer, Performer) / Rodriguez, Juan (Choreographer, Lighting designer, Performer, Costume designer) / Bouey, BJ (Lighting designer) / Benard, Jacqueline (Costume designer) / Mihaleva, Galina (Costume designer) / Burke, Ashley (Performer) / Laney, Echo (Performer) / Levin, Felicia (Performer, Dancer) / Groom, Léla (Performer) / Sykes, Cleo (Performer) / Kelly, Anthony James (Choreographer, Lighting designer, Performer) / Angkham, Veng David (Performer) / Codina, Tessa (Performer) / Cooper, Hannah (Performer) / Konzal, Michaela (Performer) / Schneider, Samantha (Performer) / Hillerby, Rebecca Blair, Penelope Salt (Choreographer, Performer, Dancer) / Bedford, Crystal (Performer, Choreographer, Costume designer, Dancer) / Kosowski, Jenna (Choreographer) / Wrobel, Tara, Georgina Bliss (Lighting designer, Choreographer, Costume designer, Performer, Dancer) / Zuccola, Renee (Performer) / Wall-MacLane, Laurel (Choreographer, Performer) / Chapman, Eric (Performer, Costume designer) / Gonzales, Anthony (Performer, Dancer) / Brown, Alyssa (Performer, Dancer) / Karr, Mandi (Performer, Dancer) / McHale, Samantha (Performer) / Mayes, Paige (Performer, Costume designer) / Myers, III, J. Ivory (Performer) / Tamez, Laura (Performer, Costume designer) / Wilcox, Madeline (Performer) / Mitchell, John (Performer) / Standley, Eileen (Performer) / Page, Monica (Performer) / Yuen, Priscilla (Performer) / Duarte, Cristian (Choreographer) / Koch, Carolyn (Lighting designer) / Ford, Mary (Performer, Costume designer, Dancer) / Gersony, Alyssa (Performer, Costume designer, Dancer) / Millizer, Emily (Performer, Costume designer, Dancer) / Waugh, Whitney, Foxy McGillicutty (Performer, Costume designer, Dancer) / Zakrewski, Emily, Pennelopi Lawson (Performer, Costume designer, Dancer) / Britt, Melissa (Choreographer) / Castro, Angel (Lighting designer) / Lerma, Miguel (Choreographer, Costume designer, Performer) / Spranger, Emily (Choreographer, Costume designer) / Vining, Robin (Composer) / Trujillo, Davey (Lighting designer) / Ammerman, Mark C. (Set designer, Lighting designer) / Fletcher, Kasey (Dancer) / Ferrell, Rebecca A. (Choreographer, Costume designer, Dancer) / Hull, Scott (Sound designer) / Raviotta, Todd A. (Sound designer) / Ling, Amanda, Blair Ellis (Performer, Dancer) / Barnard, Ashley (Dancer) / Bocchino, Corinne (Dancer) / Bouey, J (Dancer) / Montoya, Reyna (Dancer)
Created2011
Description
The ASU School of Dance presents Elina's LINEage, September 19-21, with works by Elina Mooney and Cliff Keuter, performed at Galvin Playhouse.
ContributorsAmmerman, Mark C. (Set designer) / Basting, Samantha (Dancer) / Benard, Jacqueline (Set designer, Costume designer) / Britt, Melissa (Dancer) / Canto, Melissa (Dancer) / Davis, Paul (Set designer, Costume designer) / Gonzales, Casey (Dancer) / Keuter, Cliff (Choreographer, Costume designer, Artist) / Lundell, Eva (Musician) / Martinez, Brandt (Dancer) / McDowell, John Herbert (Composer) / McGloin, Aaron (Dancer) / Mihaleva, Galina (Set designer, Costume designer) / Mooney, Elina (Choreographer, Dancer) / Naimark, Steven (Musician) / Nuber, Gregory (Dancer) / Radcliffe, Elisa (Dancer) / Rockmaker, Jody (Composer) / Teachout, Kim (Musician) / Herberger Institute School of Dance (Publisher)
Created2008