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dc.contributor.authorLeach, Martin
dc.date.accessioned2012-09-26T08:19:13Z
dc.date.available2012-09-26T08:19:13Z
dc.date.issued2012
dc.identifier.urihttp://hdl.handle.net/2086/7332
dc.description.abstractThis thesis explores ways in which the reality of Kantor’s existence at a key moment in occupied Kraków may be read as directly informing the genesis and development of his artistic strategies. It argues for a particular ontological understanding of human being that resonates strongly with that implied by Kantor in his work and writings. Most approaches to Kantor have either operated from within a native perspective that assumes familiarity with Polish culture and its influences, or, from an Anglo-American theatre-history perspective that has tended to focus on his larger-scale performance work. This has meant that contextual factors informing Kantor’s work as a whole, including his happenings, paintings, and writings, as well as his theatrical works, have remained under-explored. The thesis takes a Heideggerian-hermeneutic approach that foregrounds biographical, cultural and aesthetic contexts specific to Kantor, but seemingly alien to Anglo-American experience. Kantor’s work is approached from Heideggerian and post-Heideggerian perspectives that read the work as a world-forming response to these contexts. Read in this way, key writings, art and performance works by Kantor are revealed to be explorations of existence and human being. Traditional ontological distinctions between process and product, painting and performance, are problematised through the critique of representation that these works and working practices propose. Kantor is revealed as a metaphysical artist whose work stands as a testament to a Heideggerian view of human being as a ‘positive negative’: a ‘placeholder of nothing’, but a ‘nothing’ that yet ‘is’ …en
dc.language.isoenen
dc.publisherDe Montfort Universityen
dc.subjectGiorgio Agambenen
dc.subjectalētheiaen
dc.subjectAuschwitzen
dc.subjectbeingen
dc.subjectConstructivismen
dc.subjectCricotekaen
dc.subjectemballageen
dc.subjectēthosen
dc.subjectExistentialismen
dc.subjectPavel Florenskyen
dc.subjectHans-Georg Gadameren
dc.subjectWitold Gombrowiczen
dc.subjectHappeningen
dc.subjectMartin Heideggeren
dc.subjectHolocausten
dc.subjecticonsen
dc.subjectInformeen
dc.subjectInformelen
dc.subjectJewishnessen
dc.subjectFranz Kafkaen
dc.subjectTadeusz Kantoren
dc.subjectKazimierzen
dc.subjectKrakówen
dc.subjectKazimir Malevichen
dc.subjectmetaphysicsen
dc.subjectnegativityen
dc.subjectnihilismen
dc.subjectontologyen
dc.subjectperformanceen
dc.subjectperformativityen
dc.subjectperspectiveen
dc.subjectPodgórzeen
dc.subjectpoeticsen
dc.subjectpoiēsisen
dc.subjectPoor Objecten
dc.subjectReality of the Lowest Ranken
dc.subjectreverse perspectiveen
dc.subjectRainer Maria Rilkeen
dc.subjectspectatoren
dc.subjectSuprematismen
dc.subjectVladimir Tatlinen
dc.subject‘theatre of death’en
dc.subjectStanisław Ignacy Witkiewiczen
dc.title‘Even the thing I am …’: Tadeusz Kantor and the Poetics of Beingen
dc.typeThesis or dissertationen
dc.publisher.departmentFaculty of Arts, Design and Humanitiesen
dc.publisher.departmentSchool of Artsen
dc.type.qualificationlevelDoctoralen
dc.type.qualificationnamePhDen
dc.researchinstituteInstitute of Drama, Dance and Performance Studiesen


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