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Includes bibliographical references (p. 240-271). Number of sources in the bibliography: 337 Thesis (Ph. D.) -- University of Cyprus, Faculty of Humanities, Department of English Studies, 2020. The University of Cyprus Library holds the printed form of the thesis. Αυτή η διατριβή αποτελεί μια θεωρητική προσέγγιση στη “performance art”, προκειμένου να αξιολογήσει, από την προοπτική του 21ου αιώνα, τις ηθικές και πολιτικές ανησυχίες που έχουν συμβάλει στην εμφάνιση και τη εξέλιξη αυτής της μορφής τέχνης. Προσεγγίζοντας τη «performance art», μέσα από την προοπτική της ιστορίας της τέχνης, η διατριβή αυτή επικεντρώνεται στις βασικές ανησυχίες που έχουν παρακινήσει κάποιους από τους βετεράνους αυτής της μορφής τέχνης και υποστηρίζει ότι αυτές οι ανησυχίες έχουν διαμορφώσει ένα κοινό όραμα για πολλούς καλλιτέχνες το οποίο ξεπερνά την απλή αισθητική απόλαυση του έργου τέχνης. Πιο συγκεκριμένα, κατά την ανάλυση μιας σειράς «performances» υιοθετείται ένα θεωρητικό υπόβαθρο με σκοπό να διαφανεί η σημασία αυτής της μορφής τέχνης που συνίσταται στην προσφορά μιας ενσώματης εμπειρίας που μοιράζεται ο καλλιτέχνης και ο θεατής και η οποία συμβάλλει στην ανάπτυξη της ηθικής και πολιτικής συνείδησης ​​των συμμετεχόντων. Η βασική θέση της διατριβής αυτής αποδέχεται ως βασικό και διαχρονικό αίτημα της «performance art», την ανάκτηση της λειτουργίας της τέχνης στην ανθρώπινη κοινωνία. Κάθε κεφάλαιο επικεντρώνεται στο έργο δύο έως τεσσάρων καλλιτεχνών, το οποίο αναλύεται μέσα από το φακό μιας συγκεκριμένης θεωρητικής προσέγγισης, φιλοσοφικής, ανθρωπολογικής και / ή ψυχαναλυτικής. Αυτό επιτρέπει τον ορισμό και τη διασαφήνιση των διακριτών τάσεων που χαρακτηρίζουν τη «performance art». Ως εκ τούτου, σταχυολογούνται οι διαφορετικές τάσεις που επηρέασαν καθοριστικά τον τομέα αυτό από τη δεκαετία του 1960 έως σήμερα, συζητώντας κάθε μία ξεχωριστά αλλά και συλλογικά. Στο πρώτο κεφάλαιο, αναλύονται οι συνθήκες που συνέβαλαν στην εμφάνιση αυτής της μορφής τέχνης, η οποία μπορεί να θεωρηθεί ως «επιστροφή στο σώμα». Συγκεκριμένα, γίνεται αναφορά στο έργο κριτικών που αποδίδουν την κρίση που διέρχεται η σύγχρονη τέχνη στα ελλείματα της ύστερης καπιταλιστικής κοινωνίας. Το δεύτερο κεφάλαιο επικεντρώνεται στα πρώτα στάδια της «performance art», όπου παρατηρείται μια στροφή στα «rituals». Λόγω του ότι τα «rituals» αποτελούν μέσα δόμησης της κοινωνίας και του πολιτισμού και συμβάλλουν στην αποκατάσταση της τάξης σε περιόδους κρίσης, η στροφή της «performance art» σε αυτά υποδεικνύει την προσπάθεια για την επανορθωτική λειτουργία της τέχνης στη κοινωνία, μέσω της ενσώματης εμπειρίας. Το τρίτο κεφάλαιο, πραγματεύεται το πώς ορισμένοι καλλιτέχνες επιδιώκουν να δημιουργήσουν ένα χώρο όπου οι «δυνάμεις του τρόμου (powers of horror)» που σχετίζονται με την αποκειμενοποίηση (abjection) μπορούν να μετουσιωθούν σε μια θετική εμπειρία. Στο τέταρτο κεφάλαιο δίνεται έμφαση στις ηθικές ανησυχίες που εγείρει η ανταπόκριση στη διαφορετικότητα του «άλλου». Το πέμπτο κεφάλαιο, αναλύει έργα τέχνης τα οποία αποτελούν μια πολεμική ενάντια στη βιοπολιτική συνθήκη: μια πολεμική που στοχεύει να προβάλει ως επιτακτική την ανάγκη για την υιοθέτηση ενός εναλλακτικού τρόπου ύπαρξης και τη συγκρότηση μιας κοινότητας που αντιστέκεται στις δυνάμεις αποκλεισμού της βιοπολιτικής θεώρησης. Στο τελευταίο κεφάλαιο παρατίθενται σκέψεις σχετικά με τους πιθανούς κινδύνους που μπορεί να προκύψουν από αυτό το είδος τέχνης, που σχετίζονται κυρίως με τη δυνατότητα του καλλιτέχνη να δημιουργήσει μια αίσθηση κοινότητας μεταξύ των συμμετεχόντων. This thesis adopts a cluster of theoretical approaches to performance art, in order to evaluate, from a 21st century perspective, the ethical and political factors that determined the emergence and sustainment of this art form. This thesis’ overarching argument accepts that the diachronic purpose of performance art reclaims the function of art in human society. Approaching performance art from an art historical perspective, the thesis examines the main concerns that have motivated some key practitioners of this art form, to show how ethical and/or political deliberations have shaped a common vision among diverse artistic practices, a vision that goes beyond the mere enjoyment of the artwork. More specifically, by analysing a number of performances against theoretical frameworks borrowed from anthropologic, psychoanalytic and political theory, and ethics, it seeks to highlight the importance of this art form, first; in its capacity to redefine the embodied experience that is shared between the artist and the spectator, and, second; its contribution to the development of an ethical and political conscience of the participants involved. Individual chapters are structured thematically. Each chapter focuses on two, three or four performance artists whose work is examined through the lens of a particular theoretical philosophical, anthropological, and/or psychoanalytic perspective. Each set of chosen theories allows for the developments informing the dynamic traits of the field of performance art to come to the fore and relate to a period spanning from the 1960s to the present. Chapter One discusses the societal circumstances within which this art form emerged. Specifically, the work of post-modern and contemporary critics shedding light on the discontents of the late capitalist society and the resulting crisis in the modern art world is utilised with a view to explain the primacy of the to return to the body. In Chapter Two, attention is cast to the early stages of performance art, where a turn to ritual is noted in artistic practices. Bearing in mind that rituals are means of structuring the sociocultural world and restoring order in times of crisis, what is argued is that performance artists’ turn to ritual points to a conviction in the restorative function of body-oriented experience. Chapter Three, discusses how certain performance artists seek to produce a site where the “powers of horror” associated with abjection assume a transformative outlook. Therefore, chapter three analyses performances that exemplify the Kristevan abject, ultimately to illustrate the sublimatory function of art. Chapter Four, deploys a Levinasian lens, to emphasise the ethical concerns raised by the response to the alterity of the Other. Furthermore, the analysis is enhanced with Judith Butler’s political appropriation of Levinasian ethics, particularly his notion of vulnerability, with a view to providing a more insightful understanding of the current issues that many of these artists deal with. Chapter Five, draws on performances which launch a polemic against the biopolitical state as discussed by Giorgio Agamben: a polemic which aims to demonstrate the need to move towards an alternative mode of being and a community that actively resists the exertion of exclusionary biopolitical power. In the second part of this chapter, a positive reading of Agamben’s concept of play is introduced as a counter-strategy to neutralise the friction between the sacred and the biopolitical. Finally, the concluding chapter of the thesis identifies potential risks and dangers that may arise from this kind of artistic practices, which are found to relate primarily to the capacity of the artist to instill an innovative sense of community among the participants involved.

Today’s world has undergone through a variety of changes shifting from metaphysical way of thinking into postmodernism which has left its footprint in the aspects of literature, art and theatre. But architecture doesn’t reflect those changes in the theatrical world because buildings are not adjusted to the postmodern performances. In this research I made a journey through postmodern philosophy, literature, art, architecture, and theatre and tried to analyze the main tools of postmodernism, such as deconstruction of narrative, displacement etc. Then I applied them into my project which makes an attempt to translate the postmodern mind into a physical space and create a theatrical area. It tries to answer the question whether architecture is able to accommodate postmodern conceptions and performances where the audiences are the creators and active participants of their own narratives. The case study of the performance Sleep No More has become the concept for my design proposal where I also used displacement to combine several objects in a new context. The analysis and the design method have shown that architecture can accommodate all the cultural developments and can transform from postmodern conceptions into a physical space with the help of the same tools that are used in postmodern literature, art and philosophy. A building can become the embodiment of a post modernistic idea.

Parody — a particular case of intertextuality — is an important term for scientists interested in modern and postmodern art. Linda Hutcheon stated that 20 th century parody, to be found in every kind of art, is a repetition with critical difference. It is composed of two structural levels, of which the first one is an authority, the second — a transgression of the authority. Its entire act of enunciation includes also a pragmatic frame, i.e. the intent of parody, which spreads from comedy through neutrality to seriousness. From th e author’s point of view, the compositions of Pawel Szymanski (born in 1954) are interesting examples of musical parodies from the last decades. Among them are the second study from Two Stud- ies for piano (1986) and Through the Looking Glass...I for chamber orchestra (1987). Both these pieces are two-level and algorithmic music. The parodied texts consist of basic deter- minants of the baroque style, such as regular semiquaver rhythm and tonal configurations, expressed either by melody or by harmony. The parodying texts, which we hear, are certain mixtures of baroque and contemporary elements. Besides motoric rhythm and tonal melody or harmony, there are post-tonal fragments, a new timbre, spaciousness, fragmentation, new kinds of articulation and schematic dynamics. Taking the issue of ethos into consideration, Szymanski’ s parodies are serious, since baroque texts are treated as authorities.

Bu çalışma, Peter Ackroyd'un Hawksmoor adlı çağdaş eserinin bir `tarihsel üstkurmaca` (historiographic metafiction) olarak nasıl anlatıldığını ve bu yönüyle postmodern edebiyat türü içerisinde ne şekilde değerlendirildiğini incelemektedir.Bir postmodern yazım türü olan tarihsel üstkurmaca, genel edebi yazım özellikleri ile birlikte sunulmaktadır. Bu tez, `tarihsel üstkurmaca` teriminin mucidi olarak kabul edilen Linda Hutcheon ve tarih yazımı ile edebiyat arasındaki ilişki üzerine kapsamlı yazılar yazmış olan Hayden White gibi alanda ileri gelen eleştirmenlerin fikirleri ışığında romanın yakın incelemesine dayanmaktadır. Postmodern edebiyatın metinlerarasıcılık (intertextuality), üstkurmaca (metafiction), özdüşünümsellik (self-reflexivity), parodi, öykünme (pastiche) ve öz-bilinç (self-consciousness) gibi genel yazım özellikleri ile ilişkili olarak, Hawksmoor'un hangi bakımlardan postmodern tarihsel üstkurmaca olarak ele alındığı, kitaba yapılan detaylı ve yakın inceleme ile açıklanmaktadır. Literatür değerlendirmesinin ardından, bu çağdaş eserin edebi özellikleri, hikâyenin dayandırıldığı tarihi olay ile birlikye açıklanmaktadır.Yazılı kaynaklara göre gerçek olduğuna inanılan tarihi olay alt-üst edilerek ona paralel bir hikâyeyaratılmış olup birbirine paralel bu iki hikâye tek bir hikâye formatına dönüştürülerek okuyucuya sunulmaktadır. Postmodern edebiyata dair pek çok yazım tekniği ile postmodern temayı barındıran Hawksmoor, içerisinde belirli bir tarihi olaya atıflarda bulunularak söz konusu tarihi olayın yıkıcı bir teknikle yeniden yazılmasıyla iyi bir postmodern roman örneği teşkil etmektedir. This thesis aims to analyze Peter Ackroyd's contemporary work Hawksmoor as a postmodern representation of historiographic metafiction, and to explain to what extent it can be considered as a postmodern novel written in the form of a historiographic metafiction. The postmodern literary genre of historiographic metafiction is presented along with its general literary characteristics. This thesis is based on the close reading of the novel in the light of the ideas of outstanding critics such as Linda Hutcheon who is accepted as the inventor of the term `historiographic metafiction` and Hayden White who extensively wrote on the relationship of historiography and literature. The aspects why Hawksmoor is taken as a postmodern historiographic metafiction are revealed based on a close reading of the book in relation with the general principles of postmodern literature, such as intertextuality, metafiction, self-reflexiveness, parody, pastiche and self-consciousness. Following the review of literature, the literary characteristics of this contemporary novel Hawksmoor are explained along with its historical background. The historical story, which is thought to be real depending on the written sources, is duplicated with a subversion of the original one, and the novel is presented to the readers as two mirror-like plots blended into one single story in terms of structure. Comprising many of the techniques and themes of postmodern literature, Peter Ackroyd's Hawksmoor serves as a good example of postmodern historiographic metafiction designed with close references to a historical past re-written in a subversive way. 80

The secular challenges coming from postmodern art and postmodern technology constitute a serious challenge to be addressed by the mission and life of the Church. The distortion of the Christian Orthodox teaching and the blasphemous trends coming from the contemporary art scene is adding to the distortion of man as God’s special creation from the point of view of genetic engineering, biotechnology, and artificial intelligence, as the core elements of God’s empowerment of man through technology.

Postmodern anlatım, 21. yüz yıl sanat üretiminde halen en baskın unsurdur. Diğer bir yandan, bu eğilimlerin etkilerinin azaldığını, günümüz gerçeklerini karşılayamaz hale geldiğini veya topyekün değişime uğradığını öne süren alternatif kavramlar da ortaya çıkmaya başlamıştır. Bu yeni kavramların temel ortak noktası postmodernizmin yapıbozum, açık uçluluk veya etkileşim gibi kazanımlarını yadsımadan, yaratıcılık, özgünlük ve/veya biriciklik gibi modernist eğilimlere kısmi bir geri dönüş yaşandığını, dolayısıyla modernizm ve postmodernizm arasında bir salınımın oluştuğunu iddia etmeleridir. Bu tez, kavramsal geçmişlerini ve/veya yeni medyanın evrimi ile ilgili estetik yaklaşımı temel alarak, bu yeni eğilimlerle bir şekilde bağlantılı, yakın zamanda üretilmiş yeni medya çalışmalarından bir seçkiyi incelemeyi amaçlamaktadır. Sözü geçen eserleri, vaka analizi yaklaşımı ile incelerken, bu sanat eserlerinin sanatta yeni bir anlayışın göstergeleri olarak ele alınabileceğini iddia etmektedir.Anahtar kelimeler: Metamodernizm, Modernizm, Postmodernizm, Sanat, Yeni Medya Postmodern discourse is still the dominant factor in the 21st century art production. On the other hand, there have appeared a number of alternative concepts which suggest that the influence of postmodern tendencies on art is diminishing, becoming unable to meet today's realities, or transforming altogether. The common ground among these new concepts is that they postulate a partial return to modernist tendencies such as creativity, originality, and/or uniqueness, without denying the achievements of postmodernism such as deconstruction, open-endedness or interaction, thus creating an oscillation. The thesis aims to examine a selection of recent new media works which are all connected with these new tendencies in one way or another, based on their conceptual backgrounds and/or their aesthetic approach in relation to the evolution of new media. While investigating these artworks by case study approach, the thesis claims that these artworks can be taken as indicators of a new understanding in arts.Keywords: Art, Metamodernism, Modernism, New Media, Postmodernism 96

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link. Ernest Edmonds has pioneered the field of computational art and contributed to the broader field of contemporary art from the late 1960s to the present. Francesca Franco is a Venetian-born art historian based in the UK whose research focuses on the history of art and technology. The central theme of her research is the history of art and technology and the pioneers of computer art. This interview with Edmonds, conducted by Franco in 2016, explores how Systems art, Systems Theory, and his personal relationships with artists such as Malcolm Hughes, Kenneth Martin and Edward Ihnatowicz influenced his art practice

El teléfono en la literatura contemporánea “occidental” ha adquirido una cierta relevancia metafictional tras los períodos tarde-modernista y postmodernista. Como ejemplo de esta interpretación cabe mencionar las obras de Vladimir Nabokov, donde se pueden encontrar modelos recurrentes a través del simbolismo metafictional del teléfono. El objetivo de este ensayo es el análisis del teléfono en el mundo literario nabokoviano considerándolo dentro de ese estado simbólico de aparato metafictional y metafísico. El simbolismo telefónico se puede leer en términos del miedo existencialista – Angst – hacia una comunicación imposible en un espacio literario donde se confunden los límites entre realidad y ficción.Abstract:The telephone in contemporary “Western” literature may be said to have acquired a certain metafictional relevance after the late-modern and postmodern art forms. One example of this interpretative approach can be found in the works of Vladimir Nabokov’s, where recurrent patterns can be perceived through the metafictional symbolism of the telephone. The aim of this essay is the analysis of the telephone in the Nabokovian literary world inside that symbolic status of a metafictional and metaphysical device. The symbolical telephone can be read in terms of the existentialist Angst for a disabled communication in a literary space where the boundaries between reality and fiction are blurred.