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OLIVEIRA, DANIEL CARDOSO DE. "POLITICAL ART OR ART AND POLITICS: AN ANALYSIS OF THIS DISJUNCTION IN RANCIÈRE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=21552@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO<br>Nesta dissertação é apresentada uma alternativa para pensar a eficácia política da arte que se distingue do seu uso instrumental. Para isso, postula-se que a conexão entre os campos da arte e da política se estabelece sobre uma experiência dissensual. Ambas as atividades embaralham a trama da experiência sensível na qual um mundo em comum se estabelece; é fixado, designado e repartido. A argumentação se divide em duas partes. Primeiramente, busca recompor uma estética da política – o modo pelo qual se configura um espaço de visibilidade para a ação e a argumentação políticas a partir do dissenso. Trata-se de uma experiência imprevisível e contingente que desfaz as conexões usuais entre causas e efeitos, ações e consequências. Ainda na primeira parte, se discute qual é efetivamente a perspectiva de emancipação por meio desta compreensão do fenômeno político frente à pretensão totalizante que caracterizou a tradição da filosofia política. Na segunda parte, será delimitado o escopo das preocupações da estética, contrapondo-a enquanto disciplina filosófica com a compreensão de Rancière de um regime estético da arte. Isto implica apresentar os diversos regimes com que a arte foi compreendida na tradição em analogia com os regimes de regulação do campo da política. Por fim, será discutida uma alternativa crítica para se pensar a efetividade política intrínseca ao regime estético que não recaia na simples atribuição de culpas e responsabilidades que caracteriza a instrumentalização tanto da política quanto da arte.<br>This dissertation presents an alternative to think about the political efficacy of art that is distinct from its instrumental use. For this, it is postulated that the connection between the fields of art and politics settles on the experience of the dissensus. Both activities shuffle the plot of sensory experience in which a common world is established, fixed, designed and distributed. The argument is divided into two parts. First, it seeks to recompose an aesthetics of politics – the way is established a space of visibility for the political action and argumentation from political dissent. This is an unpredictable and contingent experience that undoes the usual connections between causes and effects, actions and consequences. Even in the first part, we discuss what is effectively the prospect of emancipation through this understanding of the political phenomenon front totalizing pretensions that characterized the tradition of political philosophy. In the second part, shall be limited the escope of the concerns of aesthetic discipline set in contrast with the conception proposed by Rancière of an aesthetic regime of art. This involves presenting the various regimes that art has been understood in the tradition in analogy with the regulatory regimes of the field of politics. Finally, we discuss an alternative to think about the political effectiveness intrinsic to the aesthetic regime of art that does not lie in the simple attribution of guilt and responsibility that characterizes both the instrumentalization of politics and art.
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Rinaldi, Juan. "Art and geopolitics : politics and autonomy in Argentine contemporary art." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/26287/.
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This thesis critically analyses the implications of a now global capitalist modernity for Theodor W. Adorno's theory of art. The thesis takes as its starting point the sociological presuppositions at play in his social theory and problematises the spatial and historical dimensions in which they are embedded. The analysis of the process of homogenisation of social relations that Adorno presents as a constitutive feature of societies during monopoly capitalism brings to the fore the centrality of the state as administrator. This thesis claims that there is a spatial contradiction in Adorno's definition of society, given that the interconnectedness of capitalism as a system is negated by the restriction of that definition to industrialised societies. In other words, there is a universalisation of the particularity of industrialised societies underlying Adorno's social theory, that hides a functionalist understanding of the state and disavows its constitutive character for capitalist social relations. The introduction of an analysis of the particularity of the state in latin American societies serves as a counterpoint to the societies analysed by Adorno. latin American societies are analysed from the point of view of Dependency Theory, particularly in relation to Henrique Cardoso's and Enzo Faletto's concept of dependent development. This concept allows a further differentiation internal to latin American societies and problematises the common assumption that structural heterogeneity is a key concept for understanding these societies. Consequently, the thesis focuses its analysis on the socio-economic and political situation of the societies in the Southern Cone of South America, particularly Argentina, given their relative social homogenisation during the 1960s. The thesis claims that contrary to Adorno's assumption that capitalist social development destroys collective subjectivities while producing homogenisation, the Southern Cone societies show that development and relative social homogenisation in contexts of dependency do not necessarily produce political neutralisation but rather its opposite. The problematisation of Adorno's social theory is further complicated by the historical development of capitalism during neoliberalism. The decoupling of the spatial grounding of the relation between capital and labour constituted during monopoly capitalism is presented from the point of view of the radical transformation of Argentine society from the mid-1970s onwards. The thesis introduced the concept of the 'destruction of the social' in reference to the central role that the process of accumulation by dispossession, as theorised by David Harvey, has for the transformation of Argentina. Given this expanded global context, the thesis then discusses the effects that the transformation of the relation between capital and labour has for the conditions of production of artistic labour during neoliberalism. In particular, it claims that the 'developmentalist' dynamic that aligns technological development, industrialisation and artistic material in Adorno's concept of the new, has been problematised by the primacy of financial valorisation as a form of accumulation, and the dynamic role that accumulation by dispossession has in it. The emergence of a globally expanded labour theory of culture is analysed in relation to the contemporary art produced in Argentina between the late 1960s and the 2000s. The relation between the socially regressive tendencies developed during this period and artistic technique is analysed throguh the introduction of the notion of the 'return to craft.'
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Galikowski, Maria B. "Art and politics in China, 1949-1986." Thesis, University of Leeds, 1990. http://etheses.whiterose.ac.uk/2287/.
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The objective of this thesis is to examine the complex pattern of the relationship between politics and art in the People’s Republic of China between 1949 and 1986, analysing the three most important aspects of this relationship , namely organisational structures, the ideological framework and political movements. The principal issue addressed in this research is that of how the Communist Party's policies on culture and art have affected the development of art theory and the creative work of artists in China. The thesis consists of four chapters representing the major historical stages of the People's Republic of China. Each chapter focuses on the different manifestations of the relationship between politics and art in aparticular social phase. Chapter one deals with the early formation of the organisational structures , the ideological framework and political campaigns in the arena of Chinese culture and art between 1949 and 1956. Chapter two examines the further development and the vacillating nature of the relationship between the state and artists during the years 1957 to 1966. Chapter three looks at the stormy years of the Cultural Revolution during which the political discourse and artistic work were merged. The fourth Chapter discusses the new trends of Chinese art by describing the newly emerging "self" (individual subjectivity) and the search for modernity in the period of 1978 to 1986. The general methodology employed in my thesis is composed of three dimensions - social, historical and comparative. The analysis of the social conditions and the general account of the historical process are closely combined with individual case studies. A comparative perspective is also adopted in order to reveal the extent of foreign influence. The central argument submitted in the thesis is that art in the People's Republic of China should be seen as an image of social reality. The argument is pursued by a method which seeks to relate art to social-political settings, and to explore not only the aesthetic dimension of artistic work, but also the political discourse embodied in it.
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Stark, Trevor. "The supersession and realization of art: Guy Debord between art and politics." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32372.
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This study takes as its subject the body of theory and criticism developed by Guy Debord during his years as the founder and only permanent member of the Situationist International (1957-1972), an artistic and political avant-garde based in Paris. Though scholarship about Debord and the SI has steadily grown in size and quality since the late 1980s, much of it until recently has been governed by a reductive opposition between the group's putative early "artistic" phase and later "revolutionary" orientation, that does little justice to both the historical development of the group and to the complexity of Debord's cultural criticism. This study will therefore focus on the trope of the "end of art" as resuscitated in Debord's work as a means of engaging with the dialectical relationship staged between the Western Marxist tradition and that of the European historical avant-gardes, especially Dadaism.<br>Cette étude porte sur l'ensemble des théories et des critiques développées par Guy Debord comme fondateur et unique membre permanent de l'Internationale Situationniste (1957-1972), un groupe d'avant-garde artistique et politique basé à Paris. Bien que les recherches sur Debord et l'IS ont augmenté régulièrement en quantité et qualité depuis la fin des années 1980, la majorité de ces études ont été gouvernées par une opposition réductrice et putative entre la phase "artistique" originelle du groupe et son orientation "révolutionnaire" subséquente, qui ne fait justice ni au développement historique du groupe, ni à la complexité de la critique culturelle de Debord. Ce mémoire se concentre sur la problématique de la "fin de l'art" ressuscitée par l'œuvre de Debord afin d'engager une relation dialectique entre la tradition marxiste occidentale et celle des avant-gardes européennes, surtout le dadaïsme.
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Wood, Chris. "Art, psychotherapy and psychosis : the nature and the politics of art therapy." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341832.
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Graham, Helen. "Politics, feeling, art : activating moments of the Women's Liberation Movement for contemporary politics." Thesis, University of York, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.413593.
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Ellul, Hannah. "Picturing politics : drawing out the histories of collective political action in contemporary art." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/20532/.
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This project explores the appropriation of images of political upheaval in contemporary art, with a particular focus on artists who painstakingly draw from photographs. It is a project informed by contemporary debates on the convoluted temporality and performativity of the image, the aesthetic and affective dimensions of political subjectification, and forms of political agency. The drawings of artists including Andrea Bowers, Fernando Bryce and Olivia Plender, discussed here, elaborate a piecemeal, meticulously-drawn iconography of protest. Photographs and documents of emancipatory political struggle from different periods and places are reworked by hand, in acts of salvage. Something like an affective atmosphere is limned in scenes and artefacts that may not have lost their capacity to move but nonetheless seem remote today, the collective political desire and will they evoke overwhelmed by the disconcerting vicissitudes of sociopolitical circumstance. In light of the long and complex histories of art’s engagement with the political, and the many and various modes of reciprocity devised along the way, what does it mean to be preoccupied with images of political action? To ask as much is to begin to address the complex ways in which such images intersect with and shape processes of political identification and affiliation, the emergence of collective subjectivity and the desire for political agency. Moreover, it is to speculate upon how these processes take place in a negotiation with the often obscure histories of collective action, and how such histories inform renewed efforts of political imagination. What attachments or detachment are played out in these drawings? What choreographies of binding and unbinding are traced in these lines?
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Olcese, Cristiana. "Art and Politics in Protests : Cooperation and Conflict." Thesis, University of Reading, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507018.
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Ferguson, Nicholas. "Indifference : art, liberalism and the politics of place." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/19407/.
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Against a backdrop of territorial expansion, land enclosure and laissez-faire economic policy in eighteenth-century England, a mode of perception was imagined that would disrupt conventional acts of looking which, to the critical mind, were linked to an economy of selfhood. There emerged a theory of a gaze that might resist tendencies to private authority, as well as the absolutism of public power. The gaze would, with time, come to be identified with artistic vision and is here labelled indifference. This thesis seeks to characterise indifference, to use it as an optic onto liberal orthodoxies, and to evaluate its capability as a disruptor of neoliberal ideology. Selected for analysis is liberalism’s valorisation of place, to which twenty-first century cultural production has contributed. Through case studies of contemporary art, it is shown that artworks produced in order to cultivate a sense of place in the name of social welfare and a crowded public sphere may not in practice serve such ends. Rather, they threaten to reinforce hierarchies already operative in the concept of place. If they do so, their instigators are arguably complicit in the very inequalities that they propose to eliminate. The thesis examines the disruptive potential of the artist’s indifference through an analysis of artworks by Robert Smithson and Thomas Hirschhorn. Both these artists, albeit in different ways, claim indifference to site, thereby promising to negate the authority of a body politic that is sustained by place production. However, in the case of Hirschhorn, whose public commission in Holland, 2009, serves as a case study, the promise is undermined by the fact that his indifference coincided with the interests of his corporate and state backers. Consequently, his art functioned not to sublimate selfhood in the interests of the polis, but to facilitate the liberty of corporations and the Dutch state.
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Heath, Karen Patricia. "Conservatives and the politics of art, 1950-88." Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:d62a078b-4009-40a8-8765-1a4f5e0fbcbc.
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This thesis offers a new policy history of the National Endowment for the Arts, the federal agency responsible for providing grants to artists and arts organisations in the United States. It focuses in particular on the development of conservative perspectives on federal arts funding from the 1950s to the 1980s, and hence, illuminates the broader evolution of conservative political power, especially its limits. The most familiar narrative holds that the Endowment found itself caught up in the Culture Wars of the late 1980s when Christian right groups objected to certain federal grants, particularly to Andres Serrano's Piss Christ and Robert Mapplethorpe's Self-Portrait with Whip. This thesis, however, uncovers the older origins of conservative opposition to state support for the arts, analyses conservative conceptions of art, and illuminates the limited federal role the right sought to secure in the arts in the post-war period. Numerous studies have analysed the meanings and origins of the Culture Wars, but until now, scholars had not examined conservative approaches to federal arts politics in a historical sense. Historians have generally been too interested in explaining change to the detriment of examining continuity, but this approach under-emphasises the long-term tensions that underlie seemingly sudden political eruptions. This work also offers a deep account of the conservative movement and the arts world, an area that has so far been almost completely ignored by scholars, even though a focus on marginalised players is essential to understanding the limits of conservatism. In a general sense then, this thesis evaluates the range and diversity of the conservative movement and illuminates the overall odyssey of the right in modern America. In so doing, it provides a new insight into the ways we periodise political history and also invites a broader view of how we understand politics itself.
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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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Mentan, Julia Elizabeth. "Beyond art and politics : voices of Spanish modernism /." Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/6661.
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Duffy, Owen J. JR. "The Politics of Immateriality and 'The Dematerialization of Art'." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4641.
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This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, “The Dematerialization of Art,” this term was initially used to describe an emergent “ultra-conceptual” art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians’ lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler’s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it?
By closely analyzing “The Dematerialization of Art” and Lippard and Chandler’s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse’s Laocoön (1966), James Turrell’s Skyspace I (1974), and Anish Kapoor’s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler’s prognostication, dematerialization—and immateriality—does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.
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CABALFIN, EDSON ROY GREGORIO. "ART DECO FILIPINO: POWER, POLITICS AND IDEOLOGY IN PHILIPPINE ART DECO ARCHITECTURES (1928-1941)." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1054760324.
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Cabalfin, Edson Roy Gregorio. "Art deco Filipino power, politics and ideology in Philippine art deco architectures (1928-1941) /." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=1054760324.
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Shen, Lien Fan. "The pleasure and politics of viewing Japanese anime." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196179343.
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Jamoul, Lina. "The art of politics : broad-based organising in Britain." Thesis, Queen Mary, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435088.
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Napier, William John. "Kinship and politics in the art of plaster decoration." Thesis, University of Dundee, 2012. https://discovery.dundee.ac.uk/en/studentTheses/5898b964-6fcf-40b5-9bba-b059ffa7178a.
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This thesis explores the flowering of decorative plasterwork in late renaissance Scotland, its main focus being what influenced its development, the motivation of its leading patrons, and its role in the culture of Scotland at this time. The thesis begins by assesses why plasterwork has received much less attention in Scotland compared with other building materials, primarily stone, and whether this is as a result of Scotland’s architectural history being misunderstood in its British context. Early seventeenth-century Scotland was experiencing a building boom, its patrons increasingly benefiting from government positions, better education and foreign travel, exposing them to a wide range of influences at a time when houses and estates, (the main signals of status and rank) were being much transformed and domestically improved. This period heralded a burst of decorative plasterwork patronage throughout the country. This thesis analyses the influences which existed in late renaissance interiors in Scotland and whether a native tradition of decorative plasterwork existed in Scotland, and what influence this had on later decorative plasterwork styles. This thesis also gauges the affect that an absent court had on patronage and whether significant cycles of patronage can be interpreted by a study of seventeenth century plasterwork schemes in Scotland, and the role that decoration played in the culture of Scotland at this time. Finally, this research assesses the evolution of plaster throughout the century and why it may have developed differently from English work, and considers the changing role of decorative plasterwork in the late seventeenth century.
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Lawton, Carol L. "Attic document reliefs : art and politics in ancient Athens /." Oxford : Clarendon Press, 1995. http://www.perseus.tufts.edu/cgi-bin/ptext?doc=1999.04.0005.
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Kane, Patrick M. "Politics, discontent and the everyday in Egyptian arts, 1938-1966." Diss., Online access via UMI:, 2007. http://wwwlib.umi.com/dissertations/fullcit/3289111.
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Wang, Kang Ning. "Sino‐Australian Nomads: Identity Politics And The Art Of Migrants." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/15088.
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Description of my artwork My MFA creative work consists of a body of work of 14 pieces of various sized abstract paintings that will be exhibited at one of the galleries in the February Postgraduate Examination Exhibition at the Sydney College of the Arts. The entire project consists of works on paper using the medium of ink, gouache, acrylics, pencil and digital data. Entitled ‘Forms from the Twilight Zone ’ this body of work is largely an experimentation aimed at using mixed medium to project globalised features of identity arts such as oriental style painting meeting western styles; resulting in a combined style influenced by my personal circumstances. Abstract of research paper My research paper is designed to explore the issues of identity. Artists and their works mostly have their genesis in and are influenced by their cultural identities with global politics playing an additional crucial role affecting these arts. My research led to the discovery that Chinese cultural identity artists create art that, due to its political characteristics, has become known and popular in the West, and that these characteristics generate identity issues to both these Chinese artists and to the West. In the research process, theories involving modern arts form a trajectory to my approach of the art world of the 21st century while an ongoing investigation of the situation of visual arts, in both international and domestic dimensions, provides facts for synthesis of these theories. The conclusion of my research is based on the fact that a combination of styles is part of art history. The nature of this combination depends on the ideas and the beliefs that an artist is subjected to in the approach to his or her own art.
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Garfield, Rachel. "Identity politics and the performative : encounters with recent Jewish art." Thesis, Royal College of Art, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565963.
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My research explores the interplay between identity politics, as it has emerged in Britain since the early 1980s and Jewish identity in the visual arts. I ask why there has not been a movement to make Jewish art visible within mainstream art practice and why Jewish experiences in art have been invisible under the rubric of cultural diversity. My thesis has four main interpretive themes. The first theme is a comparative study of the strategies employed by Black and Asian artists and institutions and Jewish artists and institutions. Here I explore some of the different forces at play within the histories of the two forms of curatorial practice. The second theme examines some of the key thinkers who have framed the debates on Black identity. Stuart Hall, Kobena Mercer and Frantz Fanon inform my understanding of the development of the elision of Jewish identity within identity politics, premised upon debates grounded in geographical specificities of post-colonial diasporas and hierarchies of oppression as understood through the assumed corporeal visibility of blackness. Judith Butler offers a way of thinking about difference that is not premised upon markers of visibility. In the third theme, through Butler's reworking of Althusser's interpellation theory I question the lack of choice in how a subject forms his or her identity. Finally I study the practice of three artists, Oreet Ashery, Ruth Novaczek and Deborah Kass who, by using the cipher of an avatar, undermines any reliance on reading of self through the visual in their work. By questioning the visible and the visual in the formation and/or recognition of Jewish identity I argue that the issue has wide implications. By problematising the reliance on the visual or visibility, identity politics can reach beyond the reliance on definition and categorization which continues to exclude as much as include.
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Hanspal, Vrajesh. "Markets and mediators : politics and primary art markets in Montréal." Thesis, London School of Economics and Political Science (University of London), 2012. http://etheses.lse.ac.uk/626/.
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Markets and mediators: Politics and primary art markets in Montréal is an ethnographic study of Montrealʼs primary art market and explains how history, government policy and calculative agency operate together to frame the practice of cultural mediators in the visual arts field. Actors operate within a complex financial and symbolic economy that must respond to changing modes of governance and international trends that increasingly concern metropolitan rather than national development. These forms of agency are situated within overlapping discourses concerning cultural policy at a provincial and municipal level that organize the artistic field in the city, the ʻrule and rolesʼ and ʻweak tiesʼ that format legitimate action in the primary market and the processes that are used to incorporate new trends and innovation in the field. The thesis argues that mediators in the primary art market play a generative role in the creation of a multicultural and cosmopolitan cultural capital while addressing the conflicting demands of Quebecʼs nationalist politics. The thesis uses Bourdieuʼs field and cultural theory, Callonʼs theory of markets and contemporary work on cities and multicultures to understand this competition over scarce resources by actors in an art world dominated by state support and institutions. The function of art worlds and their mediation by urban elites reiterates the political importance of aesthetic canonization and labor market practice in a city held to bear a specific responsibility for maintaining a sense of culture and identity.
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Asbury, Michael. "Hélio Oiticica : politics and ambivalence in 20th century Brazilian art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/8953/.
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This study investigates the presence of ambivalence as a strategy of cultural politics from modern to contemporary art in Brazil. It focuses on the development of modern art leading to the work of Hélio Oiticica, whose approach to avant-garde practice in Brazil was concurrent with intense articulations between the forces of social change and re-evaluations of the legacy of Modernism. The thesis has a strong historiographical emphasis and is organised in three parts: Part one attempts to view the emergence of Modernism in Brazil beyond the prevailing interpretations that emphasise its inadequacy compared to canonical paradigms. Part two discusses the development of abstraction in Brazil, particularly that associated with the constructivist tradition and its relationship with the prevailing positivism of a nation that saw modernity as its inevitable destiny. Such a relationship, between art and ideology, implicitly questions the purported autonomous nature of modern art. Again, what emerged were definite regional distinctions, themselves based on seemingly universal theoretical propositions. The context of Hélio Oiticica's emergence as a constructivist-oriented artist is discussed in order to establish the theoretical foundation for his subsequent articulations between notions of avant-garde and Brazilian popular culture. Part three deals with Oiticica's theoretical and artistic proposals. It centres on the artist's transition from a position concerned primarily with the aesthetic questions of art, to one in which art became engaged on a social, ethical and ultimately political level. Oiticica's relationship with concurrent developments in theatre and later in music and cinema is given particular attention. The artist's questioning of the divides between such fields of specialisation, socio-cultural borders or categories of creative production is argued to have arisen out of Oiticica's lessons from Neoconcretism as well as his individual creative approach to relations of friendship. The latter integrated the wider concept of participation that eventually drove the work through the apparent equivocation between national culture and avant-garde practice. The study concludes with an analysis of the artist's posthumous dissemination and its relation with today's contemporary Brazilian art.
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Bonilla-Puig, Alicia I. "Printmaking, Politics, and the Art of Protest in Modern Mexico." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/310769.
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Art History<br>M.A.<br>My thesis seeks to establish a fuller, more nuanced historical account of socially and politically oriented printmaking during the long 20th century in Mexico. In order to remedy what is currently a fragmented and incomplete narrative composed of canonical artists, my project integrates recent studies that acknowledge the role of lesser-known artists from various moments of the 20th and 21st centuries. The broader approach of this thesis reveals that the history of politically oriented Mexican prints spans a longer period of time and a larger geographic area than previously thought. Mexico experienced several waves of political turmoil and social upheaval throughout the 20th century, beginning with the Mexican Revolution (1910-1920), including the 1968 student movement, and extending to present day clashes between citizens and their government leaders. In this context, art and printmaking in particular served as persistent vehicles for Mexican artists to engage in social and political activism. Integrating the critical analysis of earlier research along with newer studies that recognize the impact of Mexican printmakers often overlooked in broad survey texts and exhibitions allows for further conclusions to be drawn regarding the multifaceted relationship between the print medium and the art of protest. My thesis introduces the notion that educational institutions in Mexico played an active part in this historical narrative, highlights the significance of Mexican artists' choice to work in collaborative environments versus individually, and notes modern activist printmakers' strong preference for the woodblock print.<br>Temple University--Theses
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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.
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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Georgiou, Danielle. "The Politics Of State Public Arts Funding." Arlington, TX : University of Texas at Arlington, 2008. http://hdl.handle.net/10106/973.
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Leung, Wai-yee. "The politics of perversion the critical pedagogy of art in the age of advanced mechanical reproduction /." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B31952720.
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Molloy, Erin. "Sexual politics and the art of war, patriarchy and the military." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0004/MQ46269.pdf.
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Rutherford, Fiona H. "Medici and Magi : art, ritual and politics in fifteenth-century Florence /." Title page, contents and introduction only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arr975.pdf.
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Jahrmann, Margarete. "Ludics for a Ludic society : the art and politics of play." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/453.
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This dissertation provides an analysis of, and critical commentary on, the practice of playfulness as persistent phenomenon in the arts, technology and theory. Its aim is to introduce political reflections on agency through the study of playful technological artefacts, which were largely ignored in the recent discussions on game and play. Following the critical analysis of historic discourses and actual studies of play under differing auspices, and in order to understand play as inherently political agency, this thesis’ research question addresses the immersive effects of playful agency in symbolic exchange systems and in the material consciousness of the player. This thesis conducts an analysis of material cultures, in order to categorise play as technique of an inherent critique of technological culture. It traces the development of contemporary technological objects and their materiality in relation to the application of the concept of affordance in design theory. The author consequently proposes a new category of ‘play affordances’ in order to describe these new requirements of play found in consumer technologies. The structure of the analysis in the distinct chapters is informed by a stringent historic, theoretical and arts analysis and an alternating arts practice. The convergence of these elements leads to insights on further uses, options and perspectives of the research problems discussed, in particular in relation to the requirements of playful interaction in contemporary technologies, which increasingly radicalises the importance of play. The thesis’ hypothesis states that playful practices in arts and technologies provide models for political agency, like the strategic use of Con-Dividualities (Jahrmann 2000). This term describes the concept of shared identities in society or social media consumer technologies, as discussed in historic case studies and the author’s own arts practice, related to the modification of technologies as methodology of arts research. In this way the arts practice and theory of playfulness informs the emergence of a new methodology of research, intervention and participation in society through the arts of play, which is coined as Ludics, as an original outcome of this thesis.
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Turvey, Gerry. "A painter for the people : Stanley Spencer, art, politics and populism." Thesis, University of East London, 1997. http://roar.uel.ac.uk/1243/.
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This thesis is a study of the paintings of Stanley Spencer (1891-1959) and is designed to challenge received accounts of his work. Its theoretical perspective is that of 'cultural materialism' and its purpose is to place Spencer and his pictures within the social, cultural and political history of their time. It begins by outlining the four critical constructions of 'Stanley Spencer' that it challenges and by describing Spencer's somewhat oppositional location in the institutional complex of the artistic field. Then, rather than adopt a conventional chronological narrative, sets of paintings are studied in relation to their social context or historical moment. Here, several fresh arguments are advanced about particular aspects of Spencer's work. Thus, features of his landscape output are interpreted as at odds with a mainstream tradition sponsoring dominant notions of 'Englishness'; his original and politically charged solution to the problem of representing industrial labour is discussed; he is claimed as a Realist painter and his role, alongside others, as a sympathetic investigator of everyday life is examined; the 'stoic response' to the First World War of Spencer and his peers is identified and differentiated from the 'traditionalist response' of the powerful and the better known 'radical response' of the war poets; his libertarian sexual politics is specified and the utopian dimension of his erotic pictures clarified; his paintings of Christ and resurrection are then placed in the context of radical Protestant traditions. Thus, rather than limiting itself to the biographical reductionism of earlier accounts or the narrower art-historical approach of more recent 'revisionist' writing, this study offers a way of understanding Spencer's work which emphasises its populist, radical and, in effect, political dimensions. His art emerges as a profoundly public one - offering ordinary life and experience as worthy of representation in forms aspiring to public display and soliciting a new reading practice from viewers confronting them.
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AZEVEDO, HELENA SCHOENAU DE. "ART, POLITICS AND ENTERTAINMENT: THE INBETWEEN PLACE IN FRANÇOIS OZON S." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2018. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=36139@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO<br>PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTITUIÇÕES COMUNITÁRIAS DE ENSINO PARTICULARES<br>Tendo como marco a crise dos paradigmas estéticos da modernidade e a queda das utopias e dos ideais emancipatórios, este trabalho analisa a atual imprecisão das fronteiras entre a alta cultura e a cultura midiática de mercado em meio à globalização da economia e à interseção dos campos artísticos na atualidade. Nesse contexto, discute-se, a partir da obra de François Ozon, e mais especificamente do filme Dentro da Casa (2012), o caráter fronteiriço de obras que, sem deixar de entreter, apresentam uma dimensão intertextual metalinguística, configurando-se, portanto, como filmes que apontam para a possibilidade de novas concepções para relações entre estética e política.<br>Having as framework the modernity crisis of the aesthetics paradigms and the downfall of the utopia and the emancipatory ideals, this study analyzes the current imprecision on the borders between the high culture and the market s media culture in face of the economics globalization and the intersection of the artistic fields nowadays. In this regard this work discusses, looking at François Ozon s work and in particular to his film In the House (2012), the frontier nature of artworks that, not renouncing its entertainment aspect, bring a metalinguistic and intertextual dimension, therefore being movies that reveal possibilities of new conceptions towards the relation between aesthetics and politics.
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Kim, Byoungjae. "Sympathy and reflection in Hume's philosophy : mind, morals, art and politics." Thesis, Durham University, 2018. http://etheses.dur.ac.uk/12958/.
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Hume, as an "anatomist" of human nature, believes that "the science of man is the only solid foundation for the other sciences". The naturalistic and experimental analysis of human nature, as it informs his epistemology, is the basis for other areas. Thus, in order fully to understand his philosophy, we need to shed light on the connection between Hume's experimental analysis of human nature in epistemology, and his naturalistic account in ethics, aesthetics, and political philosophy. However, too often, writers on the latter are not always fully informed on his general philosophy and vice versa. A principal aim of this research is to bring together investigation of his naturalistic epistemology, and his ethics, aesthetics and political philosophy. This project brings close attention to bear on all of these areas, focusing on three key concepts: sympathy, general rule, and reflection. First, I examine the nature of sympathy. I argue against recent interpreters who use his concept of sympathy to construct a solution to the Problem of Other Minds. On my interpretation, Hume employs the concept of sympathy for his ethics, aesthetics and political philosophy, not for his epistemology. Second, I show that the concept of general rule plays an essential role in his philosophy. On my interpretation, Hume first establishes the general rules of human nature. He then establishes the general rules of his ethics, aesthetics and political philosophy. Third, I uncover the role of reflection in his philosophy. According to him, it is wrong to apply abstract reasoning to matters of fact; Instead, we should adopt the experimental reasoning that he terms "reflection" to observe and generalise matters of fact, thus establishing general rules in ethics, aesthetics and political philosophy. In this way, we can see the intimate connections between these diverse aspects of his philosophical writings.
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Ketcham, Christopher M. (Christopher Michael). "Minimal art and body politics in New York City, 1961-1975." Thesis, Massachusetts Institute of Technology, 2018. http://hdl.handle.net/1721.1/120870.
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Thesis: Ph. D. in Architecture: History and Theory of Art, Massachusetts Institute of Technology, Department of Architecture, 2018.<br>This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.<br>Cataloged student-submitted from PDF version of thesis.<br>Includes bibliographical references (pages 335-362).<br>In the mid-1960s, the artists who would come to occupy the center of minimal art's canon were engaged with the city as a site and source of work. These artists drew on the social, material, and spatial conditions of the surrounding environment, producing sculpture that addressed the problem of the city as a problem of the body. At the same time, minimal art was deployed by civic leaders, including New York City's mayor John V. Lindsay, as an instrument to organize a public and project a new urban image in the midst of sweeping social and economic change. The work of Carl Andre, Tony Smith, Dennis Oppenheim and many of their peers, informed by Merleau-Ponty's phenomenology, promised to heighten one's consciousness of self, others, and environment. The Lindsay administration and its allies positioned sculpture as an aesthetic rupture that could ameliorate the sensorial burden and alienation of urban life. The phenomenological and spatial claims of minimal art were adopted and mobilized by the city's power brokers as they sought to assert authority over New York. This dissertation assesses the intertwined agency of artists, political leaders, corporate stakeholders, and private developers as they made proprietary claims for urban space. In the canonical formation of minimal art, the city has been marginalized as a field of meaning. The phenomenological reading has become naturalized in historiography. Rather than perpetuate this historiographical opposition, this dissertation pursues an urban history of minimal art and a social history of its phenomenology. It focuses on artists and organizers whose work constitutes a sustained engagement with the social, material, and spatial realities of New York City in the 1960s. Merleau-Ponty's phenomenology resonated with artists in 1960s New York, in part, because it overlapped with a politics of the urban body that was developing simultaneously. The city's use of minimal art was closely related to the problematic visibility of politicized bodies. As Lindsay was confronted with issues of race, gender, and class that emerged in the wake of massive social and economic transition, his administration turned to minimal art to serve as a tangible sign of order. Sculpture was deployed as a tool to orient the body and the public within the city's new spatial realities.<br>by Christopher M. Ketcham.<br>Ph. D. in Architecture: History and Theory of Art
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Cook, Duncan. "Art, agency and eco-politics : rethinking urban subjects and environment(s)." Thesis, Royal College of Art, 2014. http://researchonline.rca.ac.uk/1645/.
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This research aims to examine the extent to which cultural agency can be seen to ‘act’ in an ecopolitical context and how its operations urge a rethinking of the processes that govern the production of urban subjects and environment(s). Responding to the fact that in recent decades, art and architectural cultures have converged around a shared concern for ‘ecological matters’ and that discourses in visual/spatial culture have become increasingly ‘ecologized’, this research broadens the points of reference for the term ‘ecology’ beyond that which simply reinforces an essentialist perspective on ‘nature’. The thesis re-directs the focus of current theoretical discourse on ‘ecological art’ towards a more rigorous engagement with its frames of reference and how it uses them to evaluate the role of cultural production in enacting ways of thinking and acting eco-logically. In doing so it develops an eco-logical mode of analysis for mapping and probing the attribution of cultural agency, how it intervenes in the production of the commons and how it discloses the participants and mechanisms of a nascent political ecology. Setting cultural agency within a more expansive and multivalent field of action, means that the nexus of agency (and intentionality) is dislocated and translated between ‘things’. Reconfigured in this way, ‘an ecology of agencing’ demonstrates the profound implications this has for any ‘bodies’ of action, cultural or otherwise. Locating this exploration within the socio-natural environment(s) found in urban spatialities this thesis attends to the relatively under-theorised, but highly significant area (in eco-logical terms) of aesthetic praxis operating at the interstices of art and architecture. Pressing at the boundaries of the formal and conceptual enterprises of both disciplines, critical spatial practices represent a distinctive form of eco-praxis being cultivated ‘on the ground’. Through a series of encounters with its operations this research looks to the ways in which practice and theory, in relation to the question of ecology, are becoming increasingly co-constituted.
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Jones, Huw D. "Exhibiting Welshness : art, politics and national identity in Wales, 1940-1994." Thesis, Swansea University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.741596.
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The study aims to analyse the culture of the visual arts in Wales between 1940 and 1994 – a period when the British state took formal responsibility for arts patronage through the Arts Council of Great Britain. Special attention focuses on how exhibitions organised by Welsh representatives of the Arts Council helped define and assert a Welsh sense of national identity, whose interests this served, and what were its wider implications. Following Peter Lord’s idea of an “Aesthetics of Relevance,” the study therefore examines Welsh art in relation to the broader social, political and economic development of the Welsh nation. Using discourse analysis of exhibition files held in the Welsh Arts Council Archive, together with other primary and secondary sources, the study finds that the Welsh Arts Council promoted a British sense of Welshness – conceived first in communal, later in more progressive terms – that served to legitimise and reproduce the British social democratic consensus negotiated between government, capital and labour during the Second World War. At the same time, it marginalised nationalist ideas of Wales. This was achieved not only through the kinds of images shown by the Welsh Arts Council, but also how they were presented to Welsh audiences. In conceptual terms, the Welsh Arts Council can therefore be thought of as a “disciplinary mechanism” which made use of curatorial practices of display to regulate images into discursive formations that permitted, and so naturalised, certain ways of thinking about national identity, while silencing others. In turn, this codification of national culture helped define the social-space of the Welsh nation. On the other hand, audiences often challenged the authorised version of Welsh art through the different knowledges and experiences they brought to a display site. Art is therefore a key discursive space in which consensus on national identity is negotiated and contested.
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Mashigoane, Mncedisi Siseko. "Art as craft and politics : the literature of Mongane Wally Serote." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7875.
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Ho, Louis Kin Chung. "Musing new museology : politics of the Hong Kong Museum of Art." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_ra/1502.
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Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Smith, Briana Jennifer. "Creative alternatives: experimental art and cultural politics in Berlin, 1971-1999." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5854.
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Creative Alternatives examines the intersections between cultural politics, experimental art, and the public sphere in late twentieth century Berlin. The work identifies how artists used interactive visual displays to engage with West Berlin publics, develop democratic subjectivities under state socialism in East Berlin, and reject the city’s neoliberal turn after German unification. The work also traces the role of the arts as an economic motor in late twentieth century Berlin, as city leaders responded to the pressures of globalization and interurban competition. This study of divided and unified Berlin transcends the political ruptures and geographical divisions that structure our understanding of modern Germany and hinder integrated histories of the two German states, even as it addresses issues common to major cities worldwide.
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Crist, Tessa J. "Vladimir Makovsky| The politics of nineteenth-century Russian realism." Thesis, Northern Illinois University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1590999.
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<p> This thesis examines the political work produced by a little-known Russian Realist, Vladimir Makovsky (1846-1920), while he was a member of the nineteenth-century art collective <i>Peredvizhniki.</i> Increasingly recognized for subtle yet insistent opposition to the tsarist regime and the depiction of class distinctions, the work of the <i>Peredvizhniki</i> was for decades ignored by modernist art history as the result of an influential article, "Avant-Garde and Kitsch," written by American art critic Clement Greenberg in 1939. In this article, Greenberg suggests the work of Ilya Repin, the most renowned member of the <i>Peredvizhniki</i>, should be regarded not as art, but as "kitsch"--the industrialized mass culture of an urban working class. Even now, scholars who study the <i>Peredvizhniki</i> concern themselves with the social history of the group as a whole, rather than with the merits of specific artworks. Taking a different approach to analyzing the significance of the <i>Peredvizhniki</i> and of Makovsky specifically this thesis harnesses the powerful methodologies devised in the 1970s by art historians T.J. Clark and Michael Fried, two scholars who are largely responsible for reopening the dialogue on the meaning and significance of Realism in the history of modern art.</p>
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Matheson, Clare. "Abstract reality the alienating gaze : this exegesis is submitted to Auckland University of Technology for the degree of Masters in Art and Design, December 2005." Full Exegesis. Abstract, 2005.
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Wise, Ian Gianni Frederick. "Paranoid Fixations: Art and Political Discourses Since 9/11." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16679.
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Global terrorism has presaged the emergence of new security states accompanied by heightened levels of irrational fear. This thesis investigates how contemporary screen and digital cultures have fuelled a collective sensibility of paranoia since the September 11 2001 attack on the World Trade Centre—a catalyst from which spectacles of irrational fear have emerged through global media networks. I contend that a culture of paranoia, animated by of post 9/11 screen and digital media, has resulted in a fixation with the repetitious potential of disaster as media events, which in turn becomes part of public consciousness. The thesis considers recent work by artists alert to this dynamic such as Gregor Schneider, Harun Farocki, and Hito Steyerl, all of whom are conscious of the power of screen and visual cultures in escalating societal fears. Paranoia is a central theme for this thesis, which is explored through Jean Baudrillard’s conception of paranoia as a fixation on the media’s endless repetition of image events; Nikos Papastergiadis’ notion of ‘ambient fear’; and Franco Berardi’s positioning of paranoia as an indefinable threat. I consider these key precedents in relation to more contemporaneous theorists including Jacques Rancière; Patricia Pisters’ position on the multi-screen aesthetic of new media and cinema; and Hito Steyerl, who locates irrational fear within networks of global surveillance. The overall aim of the thesis is to examine the ability of artists to work with the complexities and contradictions of the frequently anxious and confused worldview portrayed in much of screen culture and media. In these discussions, I contend that certain artistic strategies may point the way to a politically effective mode of practice. I posit that strategies of irony, dissensus and estrangement are effective models for a politically attentive art practice, which does more than simply reflect our social anxieties.
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Kosmaoglou, Sophia. "The self-conscious artist and the politics of art : from institutional critique to underground cinema." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/8000/.
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The current debates about political art or aesthetic politics do not take the politics of art into account. How can artists address social politics when the politics of art remain opaque? Artists situated critically within the museum self-consciously acknowledge the institutional frame and their own complicity with it. Artists’ compromised role within the institution of art obscures their radically opposed values. Institutions are conservative hierarchies that aim to augment and consolidate their authority. How can works of art be liberating when the institutional conditions within which they are exhibited are exclusive, compromised and exploitive? Despite their purported neutrality, art institutions instrumentalise art politically and ideologically. Institutional mediation defines the work of art in the terms of its own ideology, controlling the legitimate discourse on value and meaning in art. In a society where everything is instrumentalised and heteronomously defined, autonomous art performs a social critique. Yet how is it possible to make autonomous works of art when they are instantly recuperated by commercial and ideological interests? At a certain point, my own art practice could no longer sustain these contradictions. This thesis researches the possibilities for a sustainable and uncompromised art practice. If art is the critical alternative to society then it must function critically and alternatively. Artistic ambition is not just a matter of aesthetic objectives or professional anxiety; it is particularly a matter of the values that artists affirm through their practice. Art can define its own terms of production and the burden of responsibility falls on artists. The Exploding Cinema Collective has survived independently for twenty years, testifying to this principle. Autonomy is a valuable tool in the critique of heteronomy, but artists must assert it. The concept of the autonomy of art must be replaced with the concept of the autonomy of the artist.
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Wengier, Sabrina Emilie. "The Politics and Poetics of Ekphrasis in Nineteenth-Century French Art Novels." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/383.
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This dissertation explores how literary descriptions of visual artworks affect the narrative and descriptive fabric of a text. The novels I examine operate on three textual levels: the painter's creative struggles, his amorous entanglements with his model and/or the painted women of his canvas, and his aesthetic claims to revolutionize painting. My project argues that ekphrasis is a translational mode that takes two forms: the traditional, "contained" description of a visual artwork; and a mode of writing that pervades the entire text and emulates the characteristics of painting. For example, Balzac's "Le Chef d'oeuvre inconnu" and the Goncourts' Manette Salomon successfully adopt the ekphrastic mode of writing, transforming the narrative into a canvas where the boundaries between the media are blurred. On the other hand, Zola's L'oeuvre exploits ekphrasis in order to advance the superiority of literature over painting. At the heart of these Realist and Naturalist texts, the fundamental adherence to the mimetic principle of art is confronted with the nonfigurative experiments of their fictional painters. The female body, as the embodiment of Art and the manifestation of the artist's desire, becomes the symptom of his incursion into abstract painting and the site of the resistance to ekphrasis.
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Rasmussen, Goloubeva Irina. "Between colonialism and nationalism : art, history, and politics in James Joyce's Ulysses /." Uppsala : Department of English, Uppsala University, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-8273.
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Schmidt, Theron. "The politics of theatricality, community and representation in contemporary art and performance." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538671.
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Wilson, Sarah Georgina. "Art and the politics of the Left in France, c 1935-1955." Thesis, Courtauld Institute of Art (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284230.
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Allan, Judith Rachel. "Simonetta Cattaneo Vespucci : beauty, politics, literature and art in early Renaissance Florence." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5616/.
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My thesis offers the first full exploration of the literature and art associated with the Genoese noblewoman Simonetta Cattaneo Vespucci (1453-1476). Simonetta has gone down in legend as a model of Sandro Botticelli, and most scholarly discussions of her significance are principally concerned with either proving or disproving this theory. My point of departure, rather, is the series of vernacular poems that were written about Simonetta just before and shortly after her early death. I use them to tell a new story, that of the transformation of the historical manna Simonetta into a cultural icon, a literary and visual construct who served the political, aesthetic and pecuniary agendas of her poets and artists. It is an account of the Florentine circles that used women to forge a collective sense of identity, of the emergence of Simonetta and her equally idealised peers as touchstones in contemporary debates regarding beauty and love, and of their corresponding lack of importance as 'real' women in the conservative republic in which they lived. In doing this, my thesis makes an important contribution to our understanding of how and why female beauty was commodified in the poetry and art of fifteenth- and sixteenth-century Florence.