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DESTABILIZING IDENTITY: THE WORKS OF DOROTHY CROSS
Title
DESTABILIZING IDENTITY: THE WORKS OF DOROTHY CROSS.
Creator
Dowling, Aileen, Mendoza, Ilenia Col�n, University of Central Florida
Abstract / Description
This thesis aims to analyze Dorothy Cross's sculptural, installation, and video works in relation to Ireland's Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland's identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by "hybridity, multiplicity, and mobility."[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily...
Show moreThis thesis aims to analyze Dorothy Cross's sculptural, installation, and video works in relation to Ireland's Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland's identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by "hybridity, multiplicity, and mobility."[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily challenged by Dorothy Cross during this period of rapid sociopolitical change.[2] Cross consistently deconstructs pre-Christian Mother Ireland and patriarchal Catholic Ireland in her early sculptural works, and ultimately transitions towards communicating a collective identity rooted in loss and desire. [3] The constructions of gendered, cultural, and collective identity are dismantled across multiple media throughout Cross's oeuvre, which can be analyzed through a synthesis of poststructuralist, postmodern, and French feminist theory. In evaluating Dorothy Cross's destabilization of identity, I will expand the literature on contemporary Irish art during the nation's turbulent time of globalization, which has been underemphasized in the study of contemporary European art.
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Date Issued
2016
Identifier
CFH2000126, ucf:46012
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH2000126
THE EARLY MODERN SPACE: (CARTOGRAPHIC) LITERATURE AND THE AUTHOR IN PLACE
Title
THE EARLY MODERN SPACE: (CARTOGRAPHIC) LITERATURE AND THE AUTHOR IN PLACE.
Creator
Myers, Michael, Gleyzon, Francois-Xavier, University of Central Florida
Abstract / Description
In geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of...
Show moreIn geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer's territory depended on his vision�both the nature and placement of his gaze�and the product reflected that author's judgment. This is not a study of maps as such but of Early Modern literature, cartographic by nature�the observations of the author were the motif of its design. However, rather than concretize observational judgment through art, the Early Modern literature discussed asserts a reverse relation�the generation of the material which may be observed, the reality, by the views of authors. Spatiality is now an emerging philosophical field of study, taking root in the philosophy of Deleuze & Guattari. Using the notion prevalent in both Postmodern and Early Modern spatiality, which makes of perception a collective delusion with its roots in the critique of Kant, this thesis draws a through-line across time, as texts such as Robert Burton's An Anatomy of Melancholy, Thomas More's Utopia, and selections from William Shakespeare display a tendency to remove value from the standard of representation, to replace meaning with cognition and prioritize a view of views over an observable world. Only John Milton approaches perception as possibly referential to objective reality, by re-inserting his ability to observe and exist in that reality, in a corpus which becomes less generative simulations of material than concrete signposts to his judgment in the world.
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Date Issued
2015
Identifier
CFH0004899, ucf:53148
Format
Document (PDF)
PURL
http://purl.flvc.org/ucf/fd/CFH0004899