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Dissertations / Theses on the topic 'Anthropology and Art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Allen, Rika. "The anthropology of art and the art of anthropology : a complex relationship." Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/2304.

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Thesis (MPhil (Sociology and Social Anthropology))--University of Stellenbosch, 2008.<br>It has been said that anthropology operates in “liminal spaces” which can be defined as “spaces between disciplines”. This study will explore the space where the fields of art and anthropology meet in order to discover the epistemological and representational challenges that arise from this encounter. The common ground on which art and anthropology engage can be defined in terms of their observational and knowledge producing practices. Both art and anthropology rely on observational skills and varying f

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2

Muranicova, Zuzana. "Personal anthropology." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399902963.

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3

Wanigasekera, Gwenda Dorothy. "Transformations: Anthropology, Art and the Quilt." The University of Waikato, 2006. http://hdl.handle.net/10289/2486.

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Drawing on both anthropological and quilt literature, this thesis shows the many different ways that made objects are thought about by different groups of people. Awareness of these differences permits a new perspective of 'Western' art and object making. This awareness allows a space in which to consider the importance of the process of making. Quiltmaking provides an interesting case study. This thesis therefore describes the field of quiltmaking activity that exists in New Zealand at the present time. This genre, as it is practised today, had its beginnings in the revival that began in

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4

Jucker, Jean-Luc. "Ambiguous artefacts : towards a cognitive anthropology of art." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:0c90f23e-7f20-45b7-b9fd-f66dbdfaa3ab.

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This thesis proposes elements for a cognitive anthropology of visual art. Most works of art are human-made objects that cannot be approached in purely functional terms, and as such they frustrate important cognitive expectations that people have about artefacts. For this reason, it is hypothesised that art triggers speculation about the artist’s intention, and that it is intuitively approached as a form of communication. By application of Bloom’s (1996) theory of artefact categorisation, and Sperber and Wilson’s (1986/1995) relevance theory of communication, a series of predictions are generat

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5

Dyck, Sandra. "These things are our totems : Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.

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6

McGuigan, Noel Damascus. "The social context of Abelam art : a comparison of art, religion and leadership in two Abelam communities." Thesis, University of Ulster, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359352.

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7

Leoussi, Athena S. "Images of Greeks in British and French art, c.1833-1880 : physical anthropology, art and society." Thesis, London School of Economics and Political Science (University of London), 1992. http://etheses.lse.ac.uk/1263/.

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The aim of this study is to measure the extent of the 'Greek revivals' in official British and French artistic practice during the second half of the nineteenth century and to explore their links with different parts of their social context. To this end I concentrate on the works of art illustrating aspects of Greek culture and life, both ancient and modern, which were exhibited at the Royal Academy and the Salon between 1833 and 1880. I study their numbers, themes and dates, and examine the role in these 'Greek revivals' of developments both inside and outside the sphere of art. I consider th

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8

Solano, Maria Schelle. "Art, Commerce, and Social Transformation: Public Art And the Marketing of Philadelphia." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/184817.

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Anthropology<br>Ph.D.<br>The field site for this US-based ethnography is the city of Philadelphia, Pennsylvania. The overwhelming presence of murals in the urban landscape calls into question how these figurative wall-sized paintings improve the lives and neighborhoods in which these paintings are found. With Philadelphia suffering the consequences of deindustrialization and neoliberal globalization, characterized by high poverty and inequality, and consistently low rankings in quality of life indicators by the national media, what role do murals play in change? Do murals mask urban problems b

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9

Wilkes, Fiona Saffron. "Guyanese Amerindian art : imagery, identity and memory." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270449.

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Dyck, Sandra. "These things are our totems Marius Barbeau and the indigenization of Canadian art and culture in the 1920s /." Ottawa : Library and Archives Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26893.pdf.

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11

Waugh, Elizabeth Rosalie Faith. "Emergent art and national identity in Jamaica, 1920s to the present." Thesis, Queen's University Belfast, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356903.

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12

Stears, Karen E. "Women and the family in the funeral ritual and art of classical Athens." Thesis, King's College London (University of London), 1993. https://kclpure.kcl.ac.uk/portal/en/theses/women-and-the-family-in-the-funeral-ritual-and-art-of-classical-athens(b28b5bdc-bf23-44a1-a0a4-e53e082e0e08).html.

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13

Sharpe, Heather Fiona. "From Hieron and Oikos the religious and secular use of Hellenistic and Greek Imperial bronze statuettes /." [Bloomington, Ind.] : Indiana University, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3210047.

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Thesis (Ph.D.)--Indiana University, Dept. of Art History, 2006.<br>Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0754. Adviser: Wolf Rudolph. "Title from dissertation home page (viewed March 16, 2007)."

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Flechsig, Katrin. "Anthropology of the miniature : palm crafts in a Puebla Mixtec town /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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15

Gretarsdottir, Tinna. ""ART IS IN OUR HEART": TRANSNATIONAL COMPLEXITIES OF ART PROJECTS AND NEOLIBERAL GOVERNMENTALITY." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/67865.

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Anthropology<br>Ph.D.<br>In this dissertation I argue that art projects are sites of interconnected social spaces where the work of transnational practices, neoliberal politics and identity construction take place. At the same time, art projects are "nodal points" that provide entry and linkages between communities across the Atlantic. In this study, based on multi-sited ethnographic fieldwork in Canada and Iceland, I explore this argument by examining ethnic networking between Icelandic-Canadians and the Icelandic state, which adopted neoliberal economic policies between 1991 and 2008. The ne

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Trodd, Colin. "Formations of cultural identity : art criticism, the National Gallery and the Royal Academy, 1820-1863." Thesis, University of Sussex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.358796.

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Gibson, N. Jade. "Making art to make identity : shifting perceptions of self amongst historically disadvantaged South African artists." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/10508.

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Bibliography: p. 159-177.<br>This study examines how historically disadvantaged artists shift self-identities through artmaking beyond previously racialised, hierarchised and essentialist constructs in a transforming New South Africa. Fieldwork research involved direct observation, working with artists on art projects, and interviews with visual artists and other arts practitioners in Cape Town, 1998-2001. Artworks are examined as events incorporating social change, and thus as a focal point between unconscious praxis and the cognitive coming-to-awareness of self within-the-world. Using a non-

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Law, Jennifer Ann. "Between revolution and renaissance : an anthropological study of contemporary art in the 'New' South Africa." Thesis, SOAS, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343739.

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Hordinski, Madeleine Z. "Politics, Art and Dissent in Post-Fidel Cuba." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1588354318293387.

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20

Mullin, John Joseph. "Civil Archaeology: using the Research Processes of Anthropology as a Classroom for Critical Thinking." W&M ScholarWorks, 1998. https://scholarworks.wm.edu/etd/1539626158.

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21

Macdonald, Nancy. "The art of destruction : an ethnographic study of the urban graffiti subculture in London and New York." Thesis, Brunel University, 1997. http://bura.brunel.ac.uk/handle/2438/5223.

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This thesis examines the urban graffiti subculture within the cities of New York and London. It was undertaken in an attempt to move beyond some of the negative stereotypes that characterise this subculture, its members and their illegal activities as inherently problematic, pointless and inane. Based on two years of ethnographic fieldwork in London and New York, it argues that graffiti is not senseless and mindless vandalism, but a pursuit that grants its mainly male and adolescent practitioners important and substantial rewards. Most notably these include fame, respect, autonomy, self direct

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Crawshaw, Julie Scott. "Beyond targets : articulating the role of art in regeneration." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/beyond-targets-articulating-the-role-of-art-in-regeneration(18ce8df5-63d4-445c-938e-51269769c379).html.

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An anthropological study of urban practice, this thesis contributes a nuanced understanding of the role of visual art in regeneration. Inspired by the experiential philosophy of Dewey (1934), we have traced the effects mobilised by art as part of urban transformation. The literature of cultural policy and ‘culture-led regeneration’ (Vickery, 2007), discusses art as physical artworks, in support of development; or as socially-engaged practice, in support of social renewal. Through tracing the movements of all the actors involved, our research goes beyond explanation in support of policy targets

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Harnois, Richard D. "Gone to a Better Land: A Study of Gravestone Forms, Art and Symbolism." W&M ScholarWorks, 2000. https://scholarworks.wm.edu/etd/1539720293.

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Taft, Ann. "At the Spiritual Grassroots: An Analysis of Visionary Art & Artists." TopSCHOLAR®, 1986. https://digitalcommons.wku.edu/theses/2896.

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In this thesis I focus on an art form alternately described as "naive," "visionary," "environmental," "singular," "individual," or "grassroots." Not easily placed within established academic or popular art categories, such art usually lands by default in the folk art pile and is quickly cast to the peripheries of that genre. In this thesis, I am not concerned with inventing another label for these artists and their work. Instead, I explore the possibility that visionary art may be a separate genre, but one to which folklore analysis may usefully be brought to bear. Chapter One is a historical

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McKinney, Jane Dillon. "Anguilla and the art of resistance." W&M ScholarWorks, 2002. https://scholarworks.wm.edu/etd/1539623402.

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This study begins with two premises. The first is that American Studies needs to move beyond the borders of the United States to examine the ideological, cultural and economic effects our country has had on others. The United States has historically been deeply involved in Anguilla's economy, revolution and ideology. The second is that history is a commodity that is selectively deployed in the creation of personal and national cultural values in Anguilla. I use Sherry Ortner's concept of serious games and James Scott's theory of the arts of resistance to analyze how Anguilla's contemporary cul

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26

Bonga, Lily A. "Late Neolithic pottery from mainland Greece, ca. 5,300--4,300 B.C." Thesis, Temple University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564797.

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<p> The Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a "<i> koine.</i>" The commanlities, however, are most apparent during

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Baumann, Matthew J. "An investigation into the date of the Piraeus Apollo." Thesis, The University of Arizona, 2003. http://hdl.handle.net/10150/292062.

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The purpose of this thesis is to study the bronze sculpture known as the Piraeus Apollo and to establish its date of manufacture. It may be the first known monumental bronze sculpture in Greece, dating to the late sixth or early fifth century, or it could be a second century Archaistic bronze. For this investigation several different methods are employed. First, the archaeological context is discussed by reexamining the excavation history. Then Apollo's place in the canon of Greek sculpture is established using an art historical approach with a focus on connoisseurship to find Apollo's place i

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Teague, Kenneth. "From tradition to tourism in the metalcrafts of Nepal." Thesis, University of Hull, 1995. http://hydra.hull.ac.uk/resources/hull:3710.

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Smith, Benjamin Wellard. "Rock art in south-central Africa : a study based on the pictographs of Dedza District, Malawi and Kasama District, Zambia." Thesis, University of Cambridge, 1995. https://www.repository.cam.ac.uk/handle/1810/283703.

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30

Jia, Yan. "Imperial Doors of Assyria: Monumentality, Spatiality, and Rituality of the Neo-Assyrian Architectural Doors From Balawat." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:14226073.

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The present dissertation, titled "Imperial Doors of Assyria," aims to examine the artistic form and cultural value of Neo-Assyrian architectural doors as highlighted by the three concepts of monumentality, spatiality, and rituality, using the three bronze-banded wooden doors from Balawat as a case study. Having introduced the materials and questions to be raised in this dissertation in the introductory Chapter I, Chapter II on the "monumentality" of the Balawat doors explores the commemorative value of the Balawat doors respectively through material, image and text. The scale and material was

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Narahari, Swathi Ms. "Cocktails and Compliance: An Exploration of Provider Discourse Regarding Adherence to ART Medication." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/666.

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HIV is one of the world’s most potent killers. It’s a name we have most likely heard of before, and yet there are aspects of this disease that do not get as much of the spotlight. One such aspect of HIV is adherence. Adherence is a colossal issue when dealing with anti-retroviral (ART) medications. A lack of adherence to ART dosage can lead to viral immunity and even AIDS if not treated. Despite many attempts from providers to solve the issue of adherence, studies tell us that the challenges of adherence lie within deep-seeded sociocultural and economic backgrounds. As a result, an anthropolog

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Ijagbemi, Bayo 1963. "O-okun Yoruba in Yoruba art historiography: History, problems and prospects." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/278548.

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One of the most obtrusive features of Yoruba studies has been its clear pattern of regional preferences and biases in its scholarship. This pattern is reflected in the present concentration of studies on the southwest, the northwest, the central subgroups of Ife, Owo, Ijesha, Egba, Ijebu, Oyo, and Ilorin on one hand, and the paucity of works on the northeast and southeast subgroups of the O-okun Yoruba, the Igbomina, the Ikale and the Ilaje on the other. There is no other subgroup where this particularistic trend in Yoruba studies and especially, art historiography can better be observed than

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Kaufmann, Laurel Jeanne 1966. "Creation of an identity: American Indian protest art." Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291933.

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This thesis addresses and critically reviews American Indian protest art as a legitimate art genre. Brief discussions of the Studio (the first formal American Indian art school), the Institute of American Indian Arts (IAIA), and the American Indian protest movements of the 1960s and 1970s, as well as irony, satire, and humor in Indian art are included. The concept of the "Indian" identity as a motivating factor of the art, and the redundant use of stereotypical imagery as it relates to cultural conflicts are addressed. Descriptive interpretations of the art of David Bradley, Alex Jacobs, and S

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Kant, Kristin Mary Agnes Helen. "PAINTING THE MOUNTAINS: AN INVESTIGATION OF TOURIST ART IN NORTH AMERICA." Lexington, Ky. : [University of Kentucky Libraries], 2009. http://hdl.handle.net/10225/1055.

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Thesis (Ph. D.)--University of Kentucky, 2009.<br>Title from document title page (viewed on September 17, 2009). Document formatted into pages; contains: xii, 327 p. : ill. (some col.). Includes abstract and vita. Includes bibliographical references (p. 299-321).

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Kawata, Hisato. ""Something" that you can't say indescribable intelligibility and "otherness" in the making of art and ethnography /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337555.

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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2008.<br>Title from PDF t.p. (viewed on Jul 24, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4386. Adviser: Philip C. Parnell.

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Chevallier, Jennifer Geneviève. "L’empreinte du chamane : le souffle de la pensée chamanique dans l’art contemporain des Premières Nations au Canada. Essai de sociologie de l’art entre 1990 et 2010." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030025.

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Le chamanisme, exprimé dans l’art contemporain des Premières Nations du Canada, opère comme un puissant marqueur ethnique. Il symbolise l’espace sacré où se joue la résistance culturelle, avec les engagements politiques qui la sous-tendent. Il représente aussi un référent identitaire. L’analyse de ce courant esthétique actuel soulève des questions essentielles : de quelle manière le chamanisme est-il abordé par les artistes, à la fois comme concept et comme pratique artistique ? Quelle est la mission de l’art d’inspiration chamanique contemporain, du point de vue de son rôle social, en tant qu

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Perrill, Elizabeth A. "Contemporary Zulu ceramics, 1960s-present." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3330798.

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Thesis (Ph.D.)--Indiana University, History of Art, 2008.<br>Title from PDF t.p. (viewed on Jul 21, 2009). Source: Dissertation Abstracts International, Volume: 69-10, Section: A, page: 3782. Adviser: Patrick R. McNaughton.

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Bernard, Mary Grace Cathryn. "Non-Western Art and the Musée du Quai Branly: The Challenge of Authenticity." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.

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This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum

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Carvalho, Fontes Larissa Yelena. "Anthropologie d'un musée silencieux : la Collection Persévérance et les enjeux de mémoire autour du "xangô alagoano" (Maceió - Brésil)." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE2071.

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La présente thèse a comme objet central la Collection Persévérance, un ensemble d’objets qui ont été volés des maisons de culte afro-brésilien à Maceió, capitale de l’État d’Alagoas, au Nord-est du Brésil. Le pillage de ces objets s’est produit dans un épisode de répression politique-religieuse survenu en 1912 et connu comme Quebra de Xangô. Cette Collection est abritée par le Musée de l’Institut Historique et Géographique d’Alagoas et depuis son pillage, elle n’a pas été objet d’études scientifiques. Ainsi, cette recherche a essayé de combler les lacunes existantes sur le sujet, en traçant so

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Broughton, Rachel E. "Cut and Paste: The Art and Sociopolitics of Fanzine Production in Lima, Peru." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587661904856729.

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Dochniak, Craig Charles 1964. "Kingship festival iconography in the Egyptian Archaic Period." Thesis, The University of Arizona, 1991. http://hdl.handle.net/10150/278001.

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The high degree of correlation existing between the subject matter visually depicted on Early Dynastic Egyptian objects and the year-names represented hieroglyphically on the Palermo Stone--an historical annal from the Fifth Dynasty--suggests that much Early Dynastic imagery was meant to serve as a dating device, a kind of pictorial year-name, based on the important event or events that occurred within the year. The selection of the historic events referred to in these year-names appears to be based on their compatibility with certain festivals associated with the king. These festivals express

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Leaman, Bethany Marie. "Visual purple: A context for cultural understanding through the visual arts." Thesis, The University of Arizona, 1994. http://hdl.handle.net/10150/278419.

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Visual Purple is based on the author's experience with the Old Pasqua Youth Artists (OPYA) which is a biweekly, after-school program for Yaqui youth ranging from five to fifteen years of age. The paper seeks to relate the primary experiences of seeing and drawing linking them to cultural concepts, socialization patterns, and community setting. The Yaqui children's perceptual understanding acquired through learning and development co-varies with their cultural environment and upbringing. Through a content analysis of the OPYA artwork with special attention paid to the children's interactions, s

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Babcock, Jennifer. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri| Their Artistic and Social Significance." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3635084.

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<p> Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that

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Lambert, Sylvie. "Le bijou contemporain : son rapport au vêtement et à l'art : Anthropologie de l'ornement en Europe depuis les années 1960." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040210.

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Par un corpus de bijoux allant des années 1960 à nos jours examiné selon la méthode de la théorie de la médiation, la thèse se fixe un triple objectif. Le premier ambitionne de construire une anthropologie de l’ornement par le détour de la sociologie et l’exploitation du modèle instituant/institué (première partie) qui permet de faire émerger la nature expérimentale de ces ouvrages, ainsi que leur prise de distance avec l’investiture de la personne. Le deuxième objectif vise à analyser ce matériel très spécifique selon le modèle fabriquant/fabriqué, afin de décomposer la nature des expérimenta

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Key, Michelle. "Betwixt and between: exploring the passage of liminal space." Thesis, Rhodes University, 2005. http://hdl.handle.net/10962/d1002202.

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The focus of this thesis is on the liminal space, limen being Latin for threshold. The liminal space is used as a means of figuring and reading artworks that appear to be in a process of becoming and disappearing. A dialectical and reciprocal reading is made of Bourgeois’ “neo-Baroque” artwork Spider (1997) and Michelle Key’s Betwixt-in-Between (2004). Liminality here is discussed within the theoretical framework of several key conceptual concerns, including abjection (as examined principally by Julia Kristeva), Baroque thought (as discussed by Mieke Bal, Gilles Deleuze, Jacques Lacan and Slav

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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters

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Maase, Jakob W. "Keeping the Magic: Fursona Identity and Performance in the Furry Fandom." TopSCHOLAR®, 2015. http://digitalcommons.wku.edu/theses/1512.

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The furry subculture (also known as the anthropomorphic fandom) creates identity through anthropomorphism and therianthropy. Anthropomorphism is the giving of human traits to the non-human. Therianthropy is the giving of animal traits to the human. Through play and creating art, these individuals of the furry subculture take on an anthropomorphic identity (what furries call a fursona) while bridging local and global groups through communication technologies. For this folklore project I conducted ethnographic field works interviews with the Bowling Green, Kentucky fur group. I also build off of

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Cirino, Gina. "American Misconceptions about Australian Aboriginal Art." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1435275397.

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Dohmen, Renate. "The raw and the cooked in common places : art, anthropology and relational aesthetics between Thailand, Euro-America, India and Peru." Thesis, University of Newcastle Upon Tyne, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.438324.

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Rofes, Octavi. "Art públic i producció de localitat." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/394089.

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L’àmbit temàtic d’aquesta tesi construeix un pont entre la teoria de l’art i l’antropologia a partir de la consideració de l’art públic com a productor de localitat. A partir de la distinció entre modes de simbolització diferenciadors i convencionalitzadors de Roy Wagner i els quatre modes d’identificació amb els quals Philippe Descola defineix les formes ontològiques dominant a cada societat, es presenta una teoria del procés creatiu que considera l’art com a creació de figures pròpies de formes ontològiques no dominants en el seu context cultural. Aquest salt creatiu a ordres paral·lels de c

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