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Monk, Craig. "Transition magazine and the development and transmission of modernism." Thesis, University of Oxford, 1996. https://ora.ox.ac.uk/objects/uuid:8cb82896-5c0f-4209-96ad-fe82fa58afae.
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Our understanding of modern art draws a distinction between the Anglo-American and continental European traditions. These two traditions overlapped in the 1920s and 1930s with the publication of transition magazine, an expatriate American journal based in Paris. Its editor Eugene Jolas was an American raised in Europe who used his little magazine to bring to readers in the United States highlights of literary and other artistic innovations on both sides of the Atlantic. The general purpose of this thesis is to explore the role of transition in the development of modernism from the middle of the 1920s, with an emphasis on the important part played by the magazine in transmitting an international vision of modern art to its English-speaking audience. Chapter One provides a chronological history of transition, framing its story in the context of that which has been written about the perils of producing little magazines. Chapter Two outlines the aesthetic program by which transition came to be edited, exploring whether or not an emphasis on writing prejudiced the presentation of other art forms. Chapter Three examines the issues surrounding translation in transition, and the role of the translator in sharing modern writing across frontiers. Chapter Four explains the importance of James Joyce and Gertrude Stein in transition, outlining the ways in which the former was more appropriate to the program undertaken in the magazine. Chapter Five explores the apolitical foundation of transition, outlining the battles it fought against politically engaged writers between the world wars. Chapter Six assesses the influence of transition in America, tracing the way in which its reception mirrored the general reception of modern art in the United States. Chapter Seven explores the role of the little magazine in the historical writing of modernism, distinguishing between its conservative and avant-gardist impulses.
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Tolley, Rebecca. "Alaskan Pipeline, Feminist Art, Hairstyles, Ms. Magazine, Sanitary Napkins with Adhesive Strips." Digital Commons @ East Tennessee State University, 2005. https://www.amzn.com/1587652293.
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Book Summary:Watergate, the Vietnam War, the environmental movement, the energy crisis, the women's movement, disco. The Seventies in America brings this controversial decade to life by examining these topics and many more. This encyclopedia appears at a time when many people are reevaluating the 1970's, realizing that it was not a superficial, throwaway era but actually a time of dynamic political, social, and cultural change. The Seventies in America is also a much-needed source of reliable information for today's students, all of whom were born after the decade ended.
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Kroeter, Chloe Melinda. "Art and activism : promoting change through British periodical illustration, 1893-1914." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648341.
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Conor, Joyce. "Carl Einstein in the magazine Documents (1929-1930) and his collaboration with Georges Bataille." Thesis, University of Essex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313063.
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Kirsten, Marnell. "Alternative to what? : the rise of Loslyf magazine." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86663.
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Thesis (MA)--Stellenbosch University, 2014.ENGLISH ABSTRACT: In this study I analyse the first year of publication of Loslyf, the first and, at the time of its launch in June 1995, only Afrikaans pornographic magazine. The analysis comprises a historical account of its inception as relayed mainly by Ryk Hattingh, the first editor of Loslyf and primary creative force behind the publication. Such an investigation offers valuable insights into an aspect of South African media history as yet undocumented. As a powerful contributor to an Afrikaans imaginary, emerging at a time of political renewal, Loslyf provides a glimpse into the desires, tensions and tastes of and for an imagined community potentially still shaped by a censorial past. The magazine is worth studying, in part, as an example of an attempt at reinvesting the prescriptive and seemingly generic genre of pornography with cultural specificity and political content, with a view to making it more interesting and relevant. The study argues that whilst Loslyf succeeded in fracturing the “simulacrum” (Baudrillard 1990: 35) of pornographic representation, it also demonstrated that this kind of „alternativity‟ is difficult to sustain. An analysis of the written and visual content of the first 12 issues of the magazine, under Hattingh‟s editorship, investigates the basis of Loslyf‟s status as „alternative‟ publication. I conclude that the first year of Loslyf contributed towards the broader project of democratic expression in an expanding South African visual economy, as a simultaneously well considered and underrated (at the time of its publication at least) cultural product.
AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die eerste jaar van publikasie van Loslyf as 'n baanbrekende en, in die tyd van sy ontstaan in Junie 1995, die enigste Afrikaanse pornografiese tydskrif. Hierdie analise behels ʼn historiese oorsig van die ontstaan van Loslyf soos hoofsaaklik verhaal deur Ryk Hattingh, die eerste redakteur van Loslyf en primêre kreatiewe mag agter die publikasie. So ʼn ondersoek bied waardevolle insig tot ʼn ongedokumenteerde aspek van Suid-Afrikaanse mediageskiedenis. As ʼn kultuurproduk wat ʼn kragtige bydrae gelewer het tot die Afrikaanse samelewing in ʼn tyd van politieke hernuwing, bied Loslyf ʼn weerkaatsing van die begeertes, spanninge en smake vir en van hierdie gemeenskap – begeertes en smake wat grootendeels gevorm is deur ʼn geskiedenis van sensuur. Dit is waardevol om die tydskrif te bestudeer as voorbeeld van 'n poging om die voorskriftelike en skynbaar generiese pornografiese genre met kulturele bepaaldheid en politiese inhoud te herbelê, ten einde hierdie genre meer interessant en relevant te maak. Hierdie studie beweer dat, terwyl Loslyf daarin slaag om die “simulakrum” (Baudrillard 1990: 35) van pornografiese voorstelling te breek, die publikasie ook demonstreer dat hierdie tipe „alternatiwiteit‟ moeilik volhoubaar is. ʼn Analise van die geskrewe en visuele inhoud van die eerste 12 uitgawes van die tydskrif, onder redakteurskap van Hattingh, ondersoek die basis van Loslyf se status as „alternatiewe‟ publikasie. Ek beslis dat Loslyf se eerste jaar bygedra het tot die breër inisiatief van demokratiese uitdrukking in ʼn ontwikkelende Suid- Afrikaanse visuele ekonomie, as gelyktydig goed deurdagte én ondergeskatte (veral ten tyde van sy ontstaan) publikasie.
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Clarke, Meaghan Emily. "(Re)constructing the feminine in art writing, the Canadian magazine Mayfair in the 1950s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/MQ26895.pdf.
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Clarke, Meaghan Emily Carleton University Dissertation Art History. "(Re)constructing the feminine in art writing; the Canadian magazine Mayfair in the 1950s." Ottawa, 1996.
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Hetrick, Laura J. "Representations of the Changing Face of the US: A Critical Interpretation of Multiracial Advertisements in Seventeen Magazine." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392108905.
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Alves, Eduardo Silva. "Wherefore art thou, Jânio?: percepções de Time Magazine sobre o governo Jânio Quadros 1958-1961." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/12799.
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Our research aims to analyze one of the most important magazines of the twentieth century: Time Magazine. The investigations focus on the discourse of reports that emphasized the worry and discomfort of the magazine with the communist threat that hung over Brazil between the years 1958 and 1961, a moment that covers the path of the rise and output power of former President Quadros. We argue that the ideology of the magazine, known worldwide as the "American Century" - created by its owner Henry Luce - was being confronted in Latin America, particularly in Brazil, by the advance of communism and anti-American demonstrations promoted that context. Thus, Time Magazine, through their reporting on Brazil during the administration of Quadros, presented an analytical discourse about our culture, politics and economy as "risky" to U.S. interests. Such risks were related to Time Magazine troubled administration Quadros, according TIME: an eccentric. The title of this thesis "Wherefore Art Thou, Jânio?" (Why thou Jânio?), Inspired by one of his reports, research illustrates that the TIME Magazine 'organized around the personality of Quadros. Several terms, mostly pejorative, were being attributed to each offense he performed against the presence and U.S. intervention in Latin America
Esta pesquisa tem como objetivo analisar uma das mais importantes revistas do século XX: a Time Magazine. As investigações estão concentradas no discurso das reportagens que realçavam a preocupação da revista com a ameaça comunista que pairava sobre o Brasil entre os anos de 1958 e 1961, período que abrange a ascensão e a saída do poder do ex-presidente Jânio Quadros. Defendemos que o ideário da revista, mundialmente conhecido como Século Americano - criado pelo seu proprietário Henry Luce - estava sendo confrontado na América Latina, em particular no Brasil, pelo avanço do comunismo e das manifestações antiamericanas promovidas naquele contexto. Desse modo, a Time Magazine, por meio de suas reportagens sobre o Brasil durante a gestão de Jânio Quadros, apresentava um discurso analítico a respeito de nossa cultura, política e economia como arriscados aos interesses norte-americanos. Esses riscos foram relacionados pela revista Time à conturbada administração de Jânio Quadros, segundo a revista: um excêntrico. O título desta tese Wherefore Art Thou, Jânio?, (Por que tu, Jânio?), inspirado em uma de suas reportagens, ilustra a investigação que a revista Time promoveu em torno da personalidade de Jânio Quadros. Inúmeros adjetivos, em sua maioria pejorativos, foram sendo-lhe atribuídos a cada ofensiva que ele realizava contra a presença e a intervenção norteamericana na America Latina
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Kolokytha, Chara. "Formalism and ideology in 20th century art : Cahiers d'Art, magazine, gallery, and publishing house (1926-1960)." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/32310/.
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The thesis examines the activities of Cahiers d’Art as a magazine, gallery and publishing house active in Paris from 1926 to 1960 with special attention, and without particular regards to biography, to the intellectual development of its founder Christian Zervos from his early years in Alexandria at the beginning of the century to his professional establishment in the French capital. Its originality resides in the presentation of a significant corpus of unpublished archival information and the examination of the role that the network centred around Cahiers d’Art played in the institutionalisation of independent art in the first half of the century, the propagation of abstraction through the popularisation of European primitivism which was presented as a direct link to the modern era, and the passage from the Mechanist to the Atomic Age, its effects in the artistic domain and the ideological connotations it encased. The overall analysis focuses on particular transitional phenomena that marked the course of the 20th century. Particularly, the passage from analysis to synthesis which found diverse expressions in the contemporary artistic discourse since the beginning of the century giving birth to an increased interest in pragmatist approaches to art and architecture, social engagement, and a course towards formal simplification. The thesis observes the way in which the medieval and the primitive past contributed to the consecration of the international School of Paris and the conflicts of interest of their exponents. It furthermore pays close attention to Zervos’ position-taking with regards to these conflicts, his disdain for antiquity, its aftermath in western art, and the way that these positions affected his presentation of Picasso’s work in the voluminous catalogue raisonné of the artist’s work. Finally, it seeks to re-appreciate from the perspective of Cahiers d’Art, a significantly influential network of worldwide reputation, issues associated with the consecration and popularisation of international independent art in France and abroad, as well as the conflicting aspirations for decentralisation in a context dominated by Eurocentric attitudes and the formal and ideological projections of post Wold War Two liberal critique.
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Kaygan, Harun. "Evaluation Of Products Through The Concept Of National Design: A Case Study On Art Decor Magazine." Thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607552/index.pdf.
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This study examines the ways in which the concept of 'national design'
informs evaluation of products and their designers, through the example of the field of industrial design in Turkey and the recently influential design magazine Art+Decor. For this purpose, first of all, '
evaluation'
is analyzed as a means in which meanings are imposed on products, and as a tool in struggles for positions and status within the field of industrial design. Then, the role of '
nationality'
in such a function of evaluation is investigated. Finally, a case study is provided, in which the employment of the concept of '
Turkish design'
in evaluation of products and designers is analyzed within the texts published in Art+Decor magazine between 2003 and 2005.
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Winstead, Caitlin Leigh. "ART, LIFE, AND COMMUNITY IN RUSSIA ABROAD: AN EXAMINATION OF THE EMIGRE MAGAZINE TEATR’ I ZHIZN’." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami150163074847434.
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Dreher, Anne M. ""Proud as a peacock" an historic and semiotic analysis of illustrated "Vogue" magazine covers from 1909 and 1911 /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1798480841&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Seago, Alex. "'Burning the box of beautiful things' : Ark magazine & the development of a 'postmodern sensibility' at the Royal College of Art: 1950-1962." Thesis, Royal College of Art, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600826.
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Dieterich, Danielle May. "Andy Warhol's Utilization of inter/VIEW Magazine as a Self Promotional Marketing Tool Updated to a Social Media Strategy For Artists in Today's Technological Age." University of Akron / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=akron1452949628.
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Girieud, Ghiyati Corine. "La Revue Art d’aujourd’hui (1949-1954) : une vision sociale de l’art." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040005.
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La revue Art d’aujourd’hui paraît de juin 1949 à décembre 1954, constituant une somme de trente-six numéros. Créée pour défendre et promouvoir l’abstraction géométrique et la synthèse des arts, elle s’inscrit dans un ensemble d’actions dont l’objectif principal est de rendre l’avant-garde accessible au plus grand nombre. Pour cela, elle bénéficie notamment de la collaboration de critiques influents des années cinquante.A partir des apports propres à Art d'aujourd'hui (son contenu – textes, illustrations, mise en pages -, ses archives, ses rédacteurs, les témoins vivants), nous abordons ensuite plus largement la problématique du rôle social qui peut être donné à la création plastique des Trente Glorieuses à nos jours. Qu'en est-il en effet aujourd'hui des objectifs de cette revue : l'art dans le quotidien, l'enseignement de l'art dans le milieu scolaire et la prise en compte des publics dans les musées d'art moderne et contemporain ?The review Art d'aujourd'hui was published between June 1949 and December 1954, amounting to thirty-six issues. Created to defend and promote geometric abstraction and the synthesis of the arts, the review was one of a range of activities whose main objective was to make the avant-garde accessible to everyone. To that end, the review benefited from the collaboration of the most well-known and important art critics of the fifties.Following the analysis of the specific attributes of Art d'aujourd'hui (its content – texts, illustration, and composition; its archives, its writers and the testimony of witnesses), this thesis tackles the broader question of the social role of the plastic arts during the period from the so-called Trente Glorieuses to the present day. What today are the goals of Art d'aujourd'hui: art in daily life, the teaching of art at school, and the acknowledgement of the public for museums of contemporary and modern art?
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Flach, Katherine E. ""Eliot Elisofon: Bringing African Art to LIFE"." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427999641.
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Moreau, Louise. "Making art modern, the first decade of Vie des arts magazine and its contribution to the discourse on the visual arts in Quebec during the 1950s and 1960s." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq26024.pdf.
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Cochran, Sharayah. "An Impossible Alternative: Orientalism and Margaret Bourke-White's "A Moneylender's House" (1947)." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3760.
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Between 1946 and 1948, American photographer Margaret Bourke-White traveled to India while on assignments for Life magazine. Since the late 1940s, a photograph from these assignments that depicts three men sitting in an ornately decorated room has appeared in several publications and exhibitions under variations of the title A Moneylender’s House (1947). Though Bourke-White is traditionally categorized as a documentary photojournalist, her photograph exhibits motifs similar to those seen in European Orientalist paintings from the nineteenth century. Considering recent scholarship that has expanded the temporal and geographical parameters of the Orientalist photography genre, this thesis analyzes the “documentary” photograph, A Moneylender’s House, in its varied exhibition and publication contexts to determine whether they present the photographic subjects from a “nonrepressive and nonmanipulative perspective” (one that Edward Said suggests might provide an “alternative” to Orientalism), or reinforce the “Self/Other” binary at the core of Orientalism.
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Arterbery, Andrea. "The Invisible Woman: A Study of Black Women in Magazine Beauty Advertisements." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505270/.
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Larson, Christina F. "America Seen through the Work of Paul Sample." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1427980908.
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Lidman, Charlotte. "Litografiskt Allehanda 1859-1865 : Konsten att skapa ett album för svensk konst." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295744.
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The aim of my thesis is to study the release and the project of Litografiskt Allehanda, an art magazine covering contemporary Swedish art and artists, published from 1859 to 1865. My purpose is to look at the choice of the published material for Litografiskt Allehanda, the influence the contributing artists, how the work with advertisement and subscriptions was made and if it fulfilled its own purpose. Through a social and communicative perspective I am studying the relations between the different actors like the publicists, the artists, the subscribers and also the interaction between the lithographs and the texts. Litografiskt Allehanda was the first successful lithographic work produced in Sweden, and the release lasted for six years. The printer and lithographer Axel Jacob Salmson, who was the founder of the magazine, led the printing work for two years before Sigfrid Flodin, a bookseller, took over and continued the work for another four years. The idea with Litografiskt Allehanda was to reach out to people all over Sweden and give everyone an opportunity to enjoy art, something that usually was exclusively for the upper class in the big cities. The analysis shows that there were people in smaller cities that subscribed to the magazine and also that the amount increased every year. Every volume contained 48 lithographic posters with a diversity of genres, from portraits and landscapes to some with more ethnographic character and ancient Nordic motives. The content became more Swedish with every year and letters show that the participating artists had quite a big influence over the published material. Every poster was accompanied by a text, which didn’t necessary had anything to do with the image, but was meant to create some entertainment for the reader. Some of these essays were written by special authors, while some were written by the artists themselves. Even if Litografiskt Allehanda is mentioned in almost every reference as being of great importance for the development of lithography and its proliferation in Sweden, there is nothing written that is just about the magazine.
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Garcia, Cely Lorena. "Les écrits d’artistes dans les revues d’art entre 1957 et 1967 : la contribution des artistes à la configuration de l'art contemporain." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080056.
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Parmi les traits significatifs de l’art depuis la fin des années cinquante, setrouve un nombre considérable d'écrits d’artistes publiés au sein de revues d’art.Interrogeant les périodiques artistiques publiés à New York et à Paris entre 1957 et 1967, l’intérêt est de soulever l’importance de ces textes d’artistes quant à l’émergence de l’art contemporain. Certains s’inscrivent dans des formats journalistiques ; d'autres ont une manière libre de composition faisant appel à des catégories littéraires ou suivant les formes académiques de l’essai et de la dissertation académique. À ceux-ci viennent s’ajouter de nombreux travaux ayant le statut d’oeuvre d’art. Cette diversité tant formelle que conceptuelle amène à nous questionner sur la spécificité de ces écrits au sein des revues : si plusieurs textes sont à mi-chemin entre la critique et la littérature, entre la pensée philosophique et artistique, où faudrait-il placer les marges permettant de réfléchir à la valeur de leurs discours ? La réponse à cette question ne pourra être apportée, si nous détachons l’écriture de son support issu d’un contexte deproduction et de diffusion précis. Comprendre les écrits d’artistes suppose, en effet, de prendre en considération le circuit communicatif qui les organise et donne leur sens: le réseau institutionnel des revues. Celles-ci ne constituent pas un simple médium pour le discours artistique, dans la mesure où elles contraignent davantage leur contenu en commandant leur usage. Dans ce cadre, nous supposons que les écrits d’artistes dans les revues contribuent à la progression des conditions artistiques de cette époque, en même temps qu’ils rendent compte de ces transformations. Or, en s’inscrivant dans une épaisseur philosophique particulière, ces écrits renvoient aux différents débats sur la construction de la légitimité de l’art contemporainOne of the characteristics of the art in the late 1950s is the considerablenumber of artists' writings that were published in art journals. We are interested in questioning the recurrent publications that emerged in New York and Paris between 1957 and 1967, which could point to the importance of these writings in theemergence of contemporary art. Some of these are journalistic texts, others belong to literary categories or even follow the academic forms of essays and dissertations. Inaddition to these, there are works that are considered as pieces of art on their own. Such a formal and conceptual diversity leads us to question the specificity of the writings published in magazines. Being halfway between critic and literature, between philosophical and artistic thinking, where are the limits allowing to ponder the value of their speech? The answer to this question could not be given if the writings are examined separately from their medium, which is the result of a precise production and diffusion context. Hence understanding the artists' writings means accounting for the communicative circuit that organizes and gives them meaning, namely, the institutional network of journals. As a matter of fact, the latter is not a simple medium for artistic discourse, since they limit their content and regulate their use. In this way we conclude that artists' writings in journal not only contributed to the progression of the artistic conditions of this epoch but can also explain its transformations. Therefore, entering this particular dimension of the discourse of these writings is how they can send us back to the debates on the construction of the legitimacy of contemporary art
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Camargo, Hertez Wendel de. "Natureza em fotorreportagem na revista O Cruzeiro." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252983.
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Orientador: Cristina BruzzoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este é um estudo de como a fotorreportagem constrói o acontecimento e como as relações entre texto e imagem sugerem diferentes sentidos para a natureza na revista O Cruzeiro (1928-1975). A partir da análise da composição da página (diagramação), considera-se o conjunto texto-imagem como elemento que encadeia a narrativa, agrega temporalidades e direciona formas de pensar sobre a natureza que reforçam a imagem da cidade como espaço do progresso. A natureza em fotorreportagem sugere um mundo moderno com o qual a revista deseja ser vista (em sintonia) pelo leitor
Abstract: This is a study about how the photo report about Nature in the magazine O Cruzeiro (1928-1975) shows an event and how the relations between text and image suggest different meanings for it. From the analysis of the composition of the page (diagramming), the joint text-image leads the narrative, adds temporalities, induces forms of thinking about Nature, and strengthens the image of the city as a space of progress. Nature in these photo reports suggests to the reader a modern world, in which the magazine itself aims to be included.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Dubinsky, Lon. "Canadian visual art magazines as cultural formations." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39279.
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This study explores the relationships between four exemplary Canadian art magazines and the art world they inform and in which they are situated. The principal claim is that the visual art world has become a textual community by virtue of the premium placed on the printed word and the ties that have developed among individuals, such as artists and curators, and organizations, such as the magazines, funding agencies and the academy.For theoretical direction the multidisciplinary study draws on communication theory, art history, the sociology of organizations and culture as well as management studies. Of principal importance are the media theories of Innis (1972, 1973) and the organizational formulations of DiMaggio (1985). Three types of investigation support the claims: (a) an historical account of the four magazines, which includes tracking the strategies the editors undertook, (b) a consideration of each periodical's rhetorical features and (c) a description of several networks in the art world which involve individuals and organizations.
The study then considers the deliberate and unintended consequences of the visual art world becoming a textual community, some of which are liberating while others are disabling. The study concludes by suggesting how the research undertaken contributes to current debates about the analysis of communications and culture.
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Magruder, Ralph Clark. "Examining the functions of graphics/art work in literary magazines /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487675687172496.
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Duprat, Andréia Carolina Duarte. "Clube de Gravura de Porto Alegre e revista Horizonte (1949-1956) : arte e projeto político." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/165312.
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A presente dissertação, Clube de Gravura de Porto Alegre e revista Horizonte (1949-1956): arte e projeto político, estuda a ação de um grupo de artistas vinculados ao projeto cultural do Partido Comunista do Brasil que dedicou sua produção para a popularização da arte como meio de conscientização política. Esses artistas, entre os quais se destacam Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues, tinham na gravura um meio privilegiado para essa difusão, procurando explorar temas da cultura popular e vinculá-los a uma pauta de luta contra a exploração capitalista e o imperialismo norteamericano. Enquanto o Clube de Gravura de Porto Alegre era o principal espaço de articulação para esses agentes, a revista Horizonte colocava-se como veículo para circulação de imagens e de promoção de debates vinculados a este projeto. O primeiro capítulo deste trabalho trata do contexto em que se formou o Clube de Gravura de Porto Alegre e sua inserção no campo artístico do Rio Grande do Sul. No segundo capítulo, é realizado um levantamento da atuação desses artistas no ambiente cultural da capital sulina, principalmente na Associação Francisco Lisboa, assim como são enfatizadas as ações voltadas ao grande público, como a colaboração na campanha pela paz e as exposições de gravura, que tinham como finalidade despertar a consciência crítica da classe trabalhadora por meio da arte. No terceiro e último capítulo, são abordadas as influências recebidas, como o realismo socialista, o zhdanovismo e a gravura chinesa, como também possíveis diálogos com outros movimentos, tal qual o tradicionalismo gaúcho. Essa parte se encerra com o balanço da produção do grupo ocorrida vinte anos depois, em um momento de críticas e análises contraditórias em relação à sua proposta original.The present work entitled Clube de Gravura de Porto Alegre e revista Horizonte (1949- 1956): arte e projeto político, studies the actions of a group of artists related to a cultural project of the Partido Comunista do Brasil which dedicated its artistic production to popularize art as a mean to political conscientization. Among the artists involved in this movement Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues outstanded by using engraving as a privileged mean to difuse the ideas of the movement exploring themes such as popular culture linking them as a way to draw attention to the capitalist exploration and the North-American imperialism. The Clube de Gravura de Porto Alegre was the main space for artistic production of the project and the Horizonte magazine was its most important vehicle of image circulation and promotion of debates. The first chapter of this work is about the context in which the Clube de Gravura de Porto Alegre was created and its insertion in the Rio Grande do Sul artistic field. In the second chapter, the insertion of these artists in the cultural environment of Porto Alegre is described, mainly in the Associação Francisco Lisboa, as well as their actions for the great public as the collaboration in a peace campaign and the engraving exhibitions whose purpose was to awake the critical awareness of the working class through art. In the third and last chapter, the influences which acted in these artists are addressed such as the socialist realism, zhdanovism and the Chinese engraving, as well as a possible relation with other movements such as regional culture. This part ends with an evaluation of the group production occurred twenty years later at a time of criticism and contradictory analyzes regarding to its original proposal.
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Joly, Noémi. "ZERO et le devenir immatériel de l’art à l’épreuve de la technique, 1958-1964." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040048.
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ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensibleZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience
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Edmundson, Joshua R. "THE ONE EXHIBITION THE ROOTS OF THE LGBT EQUALITY MOVEMENT ONE MAGAZINE & THE FIRST GAY SUPREME COURT CASE IN U.S. HISTORY 1943-1958." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/399.
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The ONE Exhibition explores an era in American history marked by intense government sponsored anti-gay persecution and the genesis of the LGBT equality movement. The study begins during World War II, continues through the McCarthy era and the founding of the nation’s first gay magazine, and ends in 1958 with the first gay Supreme Court case in U.S. history.
Central to the story is ONE The Homosexual Magazine, and its founders, as they embarked on a quest for LGBT equality by establishing the first ongoing nationwide forum for gay people in the U.S., and challenged the government’s right to engage in and encourage hateful and discriminatory practices against the LGBT community. Then, when the magazine was banned by the Post Office, the editors and staff took the federal government to court. As such, ONE, Incorporated v. Olesen became the first Supreme Court case in U.S. history that featured the taboo subject of homosexuality, and secured the 1st Amendment right to freedom of speech for the gay press. Thus, ONE magazine and its founders were an integral part of a small group of activists who established the foundations of the modern LGBT equality movement.
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Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
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En 1955, Edward Steichen organise l'exposition monumentale «The Family of Man» au Museum of Modem Art (MoMA) à New York, qui a été ensuite exposée dans le monde entier sous les auspices de l’United States Information Agency. L'objectif principal de cette thèse est de retracer les arcanes de cette exposition afin de créer un document de référence dévoilant sa nature concrète. Cette démystification de l'exposition a été conçue à partir de témoignages directs de photographes participants recueillis par l'auteur, complétée par un travail d'analyse de documents d'archives inédits. La première partie s'interroge sur les programmes du Musée lors de la Seconde Guerre mondiale qui ont préparé le terrain pour «The Family of Man», sur le personnage de Steichen et sur son rôle de directeur du département de la photographie du MoMA. La deuxième partie remonte aux prémices du projet, afin d'éclaircir les diverses collaborations de Steichen, comme de nombreuses correspondances, des réunions collectives, et un voyage déterminant en Europe. La troisième partie met en lumière les méthodes et les résultats du travail de Steichen, à la fois comme photographe et comme éditeur. A l'appui d'une discussion des sources, notamment journalistiques, les contours du monde de la photographie de presse à l'époque sont esquissés, suivis d'une synthèse de l'exposition et de sa diffusion à l'étranger en plusieurs versions. Ce travail révèle que «The Family of Man», à la fois véritable prouesse de la photographie et arme de propagande, témoigne de toute une chaîne de contacts et de connaissances au sein du monde de la photographie et de la politique, et des croisements entre ces deux mondesIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
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Denholm, Michael. "Art magazines in Australia, 1963-1990 : a study of values, influence and patronage." Thesis, Canberra, ACT : The Australian National University, 1994. http://hdl.handle.net/1885/139448.
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Negre, Claude. "L'Audience des magazines." Lille : A.N.R.T, 1985. http://catalogue.bnf.fr/ark:/12148/cb36105652g.
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DAVIES, Kathryn, and khdavies@ecu edu au. "Women's magazine editors : Story tellers and their cultural role." Edith Cowan University. Education And Arts: School Of School Of Communications And Arts, 2009. http://adt.ecu.edu.au/adt-public/adt-ECU2009.0002.html.
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This is an ethnographic study of contemporary Australian women's magazine editors and their perceptions about their role and function within their workplaces, and, as creators of media products, within culture itself.
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Davies, Kayt. "Women's magazine editors story tellers and their cultural role /." Connect to thesis, 2009. http://adt.ecu.edu.au/adt-public/adt-ECU2009.0002.html.
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Azeharie, Suzy. "Representations of women in Femina : an Indonesian women's magazine." Murdoch University, 1997. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071212.113330.
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Since the advent of the women's movement, the mass media and literary classics
have become targets for intensive scrutiny by some feminists who are concerned
with the role and influence the media and literature play in promoting a gendered
society. This thesis, focuses mainly on representations of Indonesian women as
presented by the Jakarta-based women's magazine, femina. By analysing six articles
that appeared in the magazine from the 1970s to the 1990s, representations of gender
relationships have been highlighted.
Shaped dominantly by Islamic beliefs, and the Javanese values, which consist
of a syncretic blend of Animist, Hindu, Buddhist and Islamic beliefs, contemporary
Indonesian society is dominated by a strong political state and patriarchal value
system which downgrades women. Resulting from the political changes introduced
by the New Order, there has been a pivotal transformation of Indonesian women's
organisations. The regime strongly encourages wives' organisations, despite the full
equality guaranteed to men and women by the 1945 Constitution. It is demanded of
Indonesian women that their foremost duties are their motherly and wifely roles.
The influence of the priyayi, the Javanese elite, who believe that woman's destiny is
primarily centred on her role as wife and mother, is partially responsible for the
continuing influence of this ideal and the way it subordinates women to men. The
religious traditions are also not without considerable influence in this area. These
values can be found in the articles examined. Further, the thesis investigates
attitudes to women who work outside the home, the double burden that they carry,
and any changes in the representations of women and gender relations over the
twenty years as revealed infemina.
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Kingham, Victoria. "Commerce, little magazines and modernity : New York, 1915-1922." Thesis, De Montfort University, 2010. http://hdl.handle.net/2086/3899.
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This thesis examines the theme of commerce in four magazines of literature and the arts, all published in New York between 1915 and 1922. The magazines are The Seven Arts (1916-1917), 291 (1915-1916), The Soil (1916-1917), and The Pagan (1916-1922). The division between art and commerce is addressed in the text of all four, in a variety of different ways, and the results of that supposed division are explored for each magazine. In addition ‘commerce’ is also used in this thesis in the sense of conversation or communication, and is used as a way to describe them in the body of their immediate cultural environment. In the case of The Seven Arts, as discussed in Chapter 1, the theme of commerce with the past, present, and future is examined: the way that the magazine incorporates the European classical past and rejects the more recent intellectual past; the way it examines the industrial present, and the projected future of American arts and letters. In the case of The Soil and 291 (the subjects of Chapters 2 and 3) there is extensive commerce between them in the sense of intercommunication, a rival dialogic demonstrating both ideological and economic rivalry. These two chapters comprise an extensive examination of the relationship between the magazines, and shows how much of this involves commerce in the financial sense. The fourth magazine, The Pagan, is concerned with a different sense of commerce, in the form of its rejection of the American capitalist system, and is critically examined here for the first time. The introduction is a survey of examples from the whole field of American periodicals of the time, particularly those immediately relevant to the magazines described here, and acts to delineate the field of scholarship and also to justify the particular approach used. The conclusion provides a summary of the foregoing chapters, and also suggests ways in which each magazine approaches the dissemination, or ‘sale’ of the idea of the new.
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Higgins, Claire Corinne. "Analysis of Regional Magazine Content and Engagement on Twitter." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609081/.
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This two-part mixed-methods study analyzed the Twitter activity of two regional magazines – D Magazine and Texas Monthly – and how social media editors implement strategies to maintain journalistic integrity (news values, topics, and ethical standards) while increasing engagement.
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Oostdijk, Diederik Michiel. "Karl Shapiro and "Poetry : a magazine of verse" (1950-1955) /." [Pays-Bas] : [s.n.], 2000. http://catalogue.bnf.fr/ark:/12148/cb399692918.
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Mannala, Thaís. "Melindrosas e garotas: representações de feminilidades nos traços de J. Carlos (1922-1930) e Alceu Penna (1938-1946)." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/1187.
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CAPESNo presente trabalho serão analisadas representações de feminilidades em dois periódicos distintos: as Melindrosas na revista Para Todos... e a coluna Garotas na revista O Cruzeiro. Os recortes compreendem os anos de 1922 a 1930 para as Melindrosas e de 1938 a 1946 para as Garotas, privilegiando uma sequência entre décadas subsequentes, de modo a entender como as representações de feminilidades se modificaram ou se mantiveram. Interessa também investigar de que maneira o humor e a visualidade contribuíram para normatizar papéis e relações entre gênero, em conjunto com políticas públicas. As revistas visavam trazer a identificação com discursos hierarquizantes, atuando como pedagogia de gênero. Contudo, percebe-se que o humor buscou, nas fissuras das representações, a dupla moral, na qual as mulheres negociavam espaços de atuação e liberdade. Tanto Melindrosas quanto Garotas possuíam táticas de convencimento e de sedução que as levaram a realizar desejos e a conquistar alguns de seus objetivos. Elas questionaram e enfatizaram as contradições e tensões das respectivas décadas. Por vezes, indicavam pretextos para pensar nas mudanças sociais, de comportamentos e no modo como os homens se colocavam neste quadro.
In the present work femininity representations will be analyzed in two separate journals: the Flappers in the magazine Para Todos... and the Garotas column in the magazine O Cruzeiro. The cuts include the period from 1922 to 1930 for the Flappers and 1938-1946 for Garotas, favoring to a sequence of subsequent decades, in order to understand how representations of femininity have changed or remained. We also want to investigate how the mood and visuality contributed to standardize roles and relationships between gender, together with public policy. Magazines aimed to bring identification with hierarchized speeches, acting as gender pedagogy. However, we notice that humor sought in the fissures of the representations, the double standard, in which women were negotiated spaces of action and freedom. Both the Flappers and the Garotas used tactics to convince and seduction that led them to grant wishes and achieve some of their goals. They questioned and emphasized the contradictions and tensions of their respective decades. Sometimes indicated pretexts to think about the social changes of behavior and how men were placed in this board.
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Rada, Holger. "Von der Druckerpresse zum Web-Server : Zeitungen und Magazine im Internet /." Berlin : Wissenschaftlicher Verlag, 1999. http://catalogue.bnf.fr/ark:/12148/cb37563275m.
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Durruty, Suzanne. "Time Magazine et le dilemme de la conscience libérale (1968-1972)." Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb37594176j.
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Soduk, Stephanie. "You Are What You Read: Gender-Typed Lifestyle Magazine Exposure In Relation To Gender Conformity and Attitude Accessibility." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243547921.
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Steinebach, Mario, Hubert J. Gieß, and Christine Häckel-Riffler. "TU-Spektrum 3/1996, Magazin der Technischen Universität Chemnitz." Universitätsbibliothek Chemnitz, 2002. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200201513.
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Caroline, Jansson, and Sahlin Li. "Fair-skinned and Happy housewives : How women are portrayed in advertisements in Mexican fashion magazines." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-29494.
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Advertising has a powerful role in today’s society, especially since we are constantly surrounded by it. Advertisement does not only encourage people to make decisions about their purchases but has a big impact on the culture (Lin & Yeh, 2009; Lindner, 2004). Hence, it is a big factor of creating norms and ideas of what is feminine and masculine; thus affecting the perception on gender within societies. Unfortunate is however that to be able to cut through the enormous advertising clutter that people are exposed to daily, advertisers tend to use sexual content and portrayals as tactic, leading to an obscure ideal (Dahl, Segupta & Vohs, 2009; Cortese, 2008; Connell & Pearse, 2015; Butler & Almqvist, 2007). This quantitative and qualitative study examines from a Gender and Feminist theory perspective how women are portrayed sexually and stereotypically in advertisements within Mexican fashion magazines. The advertisements found within the seven biggest fashion magazines in Mexico are being studied both through a quantitative content analyse and qualitative text analyse using a semiotic approach. The result of the study shows that the content of advertisements in Mexican magazines frequently portray females in a sexualised and stereotypical way. Within our qualitative result six different stereotypes could be found. Furthermore, our quantitative result shows that the most commonly portrayed female within the advertisements are White. Henceforth, our result shows that a female ideal where the most crucial attributes are: to be sexy, beautiful, obtain an attractive appearance and to be White.
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Mahony, Linda MacDonald. "A History of DALLAS Magazine and Its Changing Roles in the Dallas Chamber." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500308/.
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This study explains the development of DALLAS magazine from its beginnings and changes in sixty-three years in content and format, departments, staff, and editorial policy. The study shows how DALLAS developed, reflecting the history of the City of Dallas' economic and business growth, and the Chamber of Commerce viewpoints since 1922. Concluding, the study reveals that the magazine projected the Dallas Chamber's viewpoints, that the magazine reported only positive images of the City of Dallas and its economy, that the magazine chronicled the changes in journalistic writing and graphic arts technology, that the magazine's audience remained the business leaders of the community, and that staff members progressively became better qualified for their positions.
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Yamamoto-Naji, Aki. "Musica des Éditions Pierre Lafitte & Cie : un magazine musical pour un public familial ? /." [Paris] : [École des Hautes études en sciences sociales], 2007. http://catalogue.bnf.fr/ark:/12148/cb41457230h.
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Annexes au: Mémoire de Master 2--Sciences sociales, Mention théories et pratiques du langage et des arts, Spécialité Musique--Paris--École des hautes études en sciences sociales, 2007.Notes bibliogr.
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Handajani, Suzie. "Globalizing local girls : the representation of adolescents in Indonesian female teen magazines." University of Western Australia. School of Social and Cultural Studies, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0121.
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[Truncated abstract] The aim of this thesis is to describe and analyze how Indonesian female teen magazines represent Indonesian adolescents. Female teen magazines are an important source of information on how gender is constructed in Indonesia. The thesis will contribute modestly not only to knowledge in the immediate fields of gender relations and adolescence in Indonesia but also to the wider body of literature on the relationships among gender, capitalism and patriarchy and the role of print media in shaping these relationships. Consequently, I place my discussion of how adolescents are presented in Indonesian female teen magazines within a larger context of global-local interaction at the national level. This research places Indonesian female teen magazines within the wider genre of women’s magazines. Most of the research on female magazines is focused on women rather than female adolescents, but because gender relations in society cut across the generations, this research is relevant to the study of magazines for female adolescents. Theories about women’s magazines provide insight into women’s magazines as a forum of expression that reflects gender and power relations in society. Teen magazines exist due to the rising significance of Indonesian adolescents. Indonesian adolescents emerged as a significant social group because of the course of national history and the state’s national development. Adolescence in this thesis is not treated as a biological stage of human physical development, but as the result of changes in the perception and treatment of young people by the society in which they appear. In the analysis I use Merry White’s argument with regards to marketing strategies to adolescents. I claim that Indonesian female teen magazines often have a conflicting double agenda in representing adolescents.¹Teen magazines have to make money for publishers and advertisers in order to achieve their own financial security and, at the same time, these magazines have to acknowledge local values in order to be accepted by the society. For marketing purpose, adolescents in teen magazines are represented as a modern social group. Modernity in the magazines is associated with a globalized western popular culture. My particular interest is to explore to what extent and in what ways western influences (as the standard of modernity) are employed to construct representations of female adolescents. I argue that the ways the magazines construct their own ideals of the “west” are related to the ways they construct images of Indonesian female adolescents. The magazines portray local adolescents emulating western performance and appearance
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Tzima, Sofia. "ZYGOS : une revue d'art en Grèce (1955-1966)." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAG030.
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Cette thèse se propose d’étudier le discours de la revue grecque d’art Zygos (« Balance ») et son rôle dans la réception et la promotion de mouvements artistiques et dans la diffusion de courants idéologiques en Grèce. L’étude des textes de Zygos révèle l’opposition « grécité – modernisme » comme thème central du discours de la revue. Notre conclusion principale est que Zygos a manifesté un engagement mesuré dans la modernité, en réconciliant le modernisme avec le désir de particularité grecque. Nous constatons la présence d’un discours sur l’art moderne conçu comme une évolution de Cézanne à l’art abstrait, à travers le cubisme. Cependant, cette revue est aussi le lieu d’un discours dont les points saillants sont la mesure, l’humanisme et les affinités entre l’« esprit français » et l’« esprit grec ». Plusieurs auteurs de Zygos défendent la nécessité d’un chemin intermédiaire pour l’art entre imitation fidèle et rupture complète avec la natureThe object of this thesis is to study the discourse of the Greek art journal Zygos (“Balance”) and its role in the reception and promotion of art mouvements and ideological currents in Greece. The study of Zygos texts reveals the opposition “greekness – modernism” as the main theme of this journal’s discourse. Our main conclusion is that Zygos showed a moderate promotion of modernity, reconciliating modernism with a desire of a Greek particularity. We note the presence of a discourse on modern art conceived as an evolution from Cézanne to abstract art, through cubism. However, this review also expresses a discourse whose main points are measure, humanism and the affinities between the “French spirit” and the “Greek spirit”. Several authors of Zygos defend the necessity of an intermediate way for art between faithful imitation of nature and complete rupture with it
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Ravimandalam, Seethalakshmi. "Newspaper and News Magazine Coverage of the USA PATRIOT Act Before It Was Passed Into Law, September 11, 2001—October 26, 2001." Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1108391742.
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Tanglay, Ozgun. "The Presentation Of Industrial Design In The Popular Media: A Research Study On Popular Home Style Magazines In The Post-1980 Period In Turkey." Master's thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608527/index.pdf.
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This study aims to analyze how industrial design as a profession and discipline has been presented to the public in Turkey. The object of the study is constituted by the popular home style magazines which increased rapidly in number through the dynamics of the post-1980 period. These publications have been inspected in the scope of the research and their in constructing and shaping public awareness about design culture has been the focus of the study. The main theme of the thesis is focused on the analysis of Turkish social values which changed after the 1980s and on how the magazines handled the subject of design, and the qualities which they highlighted in the presentation of the products. In addition, the roles which were ascribed to design and to the designers in terms of the newly calibrated consumption values, have also been discussed. The socio-political and economic transformations of the post-1980 period constitute the contextual framework of the thesis.