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Dissertations / Theses on the topic 'Art publishing Art Periodicals'
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Indorato, Carmen. "A marketing plan for a publication for the arts in Rochester /." Online version of thesis, 1989. http://ritdml.rit.edu/handle/1850/11303.
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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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Waite, Noel D. "Adventure and art : literature publishing in Christchurch, 1934-95." Thesis, University of Canterbury. English, 1996. http://hdl.handle.net/10092/6652.
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This thesis charts the evolution of a publishing infrastructure in Christchurch, where a resourceful, and unusually professional commitment to the development of New Zealand literature has been exhibited. Specifically; it presents histories and preliminary bibliographical checklists of Caxton, Pegasus, Nag's Head, Hawk and Hazard Presses, as well as briefly examining the future of the publishing industry in the face of the Whitcoulls takeover and revolutionising computer technology. This examination of the development of a locally based publishing infrastructure provides insight into the development of a New Zealand literary canon, and goes some way towards contextualising the work of writers such as Allen Curnow, Janet Frame, Denis Glover, and Alan Loney.
By contrasting the different dynamics that operate in the private presses of Gormack and Loney with the more commercial presses of Caxton, Pegasus and Hazard, the thesis draws attention to the complex relationships existing within institutions of literature production. The extent to which technological change is revealed to influence the development of literary movements emphasises the very public process that intervenes between author's imagination and the supposedly private act of reading. The establishment of an indigenous book culture is then located in a more international context, and is traced from its origins in the renaissance of printing in England in the late nineteenth and early twentieth centuries, through a revitalisation of small presses in the 1970s (and the accompanying re-orientation of the cultural matrix to American models), to the impact of computer technologies in the eighties and nineties. The emergence of a distinct set of bibliographic codes (as per Jerome McGann's formulation of "the textual condition") is also contrasted with contemporaneous developments in the visual arts.
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Holman, Valerie Jean. "Albert Skira and art publishing in France 1928-1948." Thesis, Courtauld Institute of Art (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319735.
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Philippi, Simone. "International art book publishing Internationalisierungskonzepte deutscher Kunstbuchverlage seit 1990 /." [Heidelberg] : Universität Heidelberg / Universitätsbibliothek, 2006.
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Bruntjen, Sven H. A. "John Boydell, 1719-1804 a study of art patronage and publishing in Georgian London /." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12049935.html.
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Liu, Yu-jen. "Publishing Chinese art : issues of cultural reproduction in China, 1905-1918." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:284f18b9-a0ce-4a4a-bdb4-6a1c1ece44ce.
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This thesis is an enquiry into the conditions in which various understandings of the newly introduced but vaguely grasped Western notion of ‘art’ emerged and sustained themselves in the name of cultural reproduction in early twentieth-century China. This Western concept of art was translated into Chinese as ‘meishu’, a neologism originally coined in Japanese kanji, and regarded as the embodiment of the ‘national essence’. Through a close examination of five art-related publishing events—the publication of the nationalistic journal Guocui xuebao; the launch of the art periodical Shenzhou guoguangji; the endeavours to compile a book collection on art, Meishu congshu; the making of the text Zhonguo yishujia zhenglüe which claimed to be a history book of Chinese ‘meishu’; and an example of image appropriation from Stephen Bushell’s Chinese Art—this thesis explores the ways in which different ‘neologistic imaginations’ of the term ‘meishu’ were constructed through publishing practices attempting to preserve and reproduce the ‘national essence’, by creating from the existent tradition a category of ‘art’ equivalent to that in the European West. Unlike previous scholarship, which deems any understanding of ‘meishu’ that deviated from the ‘authentic’ European model a ‘misconception’, this thesis sees these disparate understandings of ‘meishu’ as equally valid statements competing for dominance in the discursive field of art. This thesis thus argues that there existed at least three modes of utterances regarding the notion of ‘meishu’ in early twentieth-century China, and that the success of any such given utterance depended upon the acceptance of the authentic quality argued in its strategy of cultural reproduction. This thesis hence not only offers a detailed analysis of each publishing event, but also provides an interpretative framework within which the recognition of these utterances can be analysed by their strategic approaches to claiming cultural authenticity.
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Thomas, Shannon L. "“An Obtrusive Sense of Art”: The Poetess and American Periodicals, 1850–1900." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1280934312.
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Johnson, Gwendolyn L. "Art in motion : a poster book on CD-ROM /." Online version of thesis, 1994. http://hdl.handle.net/1850/12195.
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Lin, Su-Hsing. "Feng Zikai's Art and the Kaiming Book Company: art for the people in early twentieth century China." Columbus, Ohio : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1079634774.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains xxxiii, 445 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Julia F. Andrews, Dept. of History of Art. Includes bibliographical references (p. 317-251).
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Robledo, Arcos Maria Andrea. "Electronic design and publishing for the Mexican textiles exhibition /." Online version of thesis, 1990. http://hdl.handle.net/1850/11249.
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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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Philippi, Simone [Verfasser], and Antje von [Akademischer Betreuer] Graevenitz. "International Art Book Publishing. Internationalisierungskonzepte deutscher Kunstbuchverlage seit 1990 / Simone Philippi ; Betreuer: Antje von Graevenitz." Heidelberg : arthistoricum.net, 2005. http://d-nb.info/118793528X/34.
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Webb, Charlotte. "Noodle, Noodle, Cat : extra-subjective agency in Web-based art practice." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12068/.
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This research investigates the complexities of artistic authorship under the production conditions of the web. It is driven by a fascination with the possibilities of expanding the authorial sphere of the artwork to include the productive capacities of other subjectivities, entities and processes. I offer the neologism ‘extra-subjectivity’ to reflect on this emerging form of production, in which the ultimate manifestation of the artwork often exceeds the author’s intentions. As well as the written thesis, it comprises seven artworks that represent a distinctive approach characterized by playfulness, humour and the use of generative computational processes. Several early works explore my authorial agency in relation to algorithmically generated variations of texts, including William Blake’s poem The Fly and the song Puff the Magic Dragon. Later, algorithmic generation is combined with the appropriation of content shared on social media, as in Infinite Violets, which displays variations of a Shakespearean verse along with images from Flickr. I draw on digital sociological methods to create a hybrid approach in which the web is understood as an evolving medium made up of digital objects and devices that can be repurposed for art practice. This approach underpins 'Flickr Nude or Noodle Descending a Staircase', which uses images programmatically accessed through Flickr’s application programming interface to remake a Marcel Duchamp painting for the web. 'Selfie Portrait' displays Instagram photographs tagged with ‘Selfie’ alongside users’ biographical information, which drives the ‘Copyright Episode’, an extended account of the legal contexts surrounding web-based art practices. Here, I demonstrate how such practices are entangled socially, ethically and legally with the distinct production conditions of the web. I argue that authorship is a question of responsibility as well as ‘ownership’, which is why ethics are as important as the law.
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Leu, Philipp. "Les revues littéraires et artistiques (1880-1900). Questions de patrimonialisation et de numérisation." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV109.
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Travailler aujourd’hui sur un fonds numérique de revues c’est être confronté à des artefacts. Numérisées en noir et blanc, débarrassées de leurs couvertures, des pages vierges, des encarts, des publicités, des bulletins et hors-texte divers, les revues numérisées offrent souvent une physionomie très différente des documents originaux, surtout quand les fichiers numériques ont été produits à partir de reproductions antérieures (réimpressions ou microformes). Le présent travail tourne autour d’une question de méthode : quels sont les principes à retenir pour la numérisation des revues littéraires et artistiques de la fin du xixe siècle afin que l’accord subtil entre forme et contenu ne soit pas rompu lorsque les supports sont dématérialisés ?La revue littéraire et artistique s’inscrit dans la communication littéraire au croisement de traditions éditoriales hybrides. Sa matrice oscille entre le journal, le livre, l’album d’art et la revue, mobilisant et exploitant les caractéristiques de ces quatre référents. Ces référents sont ici représentés à travers un corpus de quatre périodiques : les revues françaises La Plume (1889–1914) et L’Épreuve (1894–1895), le trimestriel britannique The Yellow Book (1894–1897), et le périodique berlinois Pan (1895–1900). Ces publications déclinent l’objet revue dans trois aires culturelles, et permettent d’en explorer les spécificités ainsi que les enjeux économiques liés à son essor au sein des sociabilités littéraires et artistiques et au contact des doctrines esthétiques. Cette étude de cas débouche sur une analyse de la matérialité, de l’économie et des pratiques revuistes dans la période fin-de-siècle qui amène à s’interroger sur les implications culturelles, historiques et sociologiques de ces objets.Fragilisée par l’usage fréquent, la revue, lieu d’innovations graphiques et textuelles, est confrontée à la nécessité de la dématérialisation pour rester accessible à la recherche. L’examen de six bibliothèques numériques (Gallica, la Bibliothèque numérique de l’Université de Heidelberg, Internet Archive, The Yellow Nineties Online, le Blue Mountain Project et Jugend Wochenschrift) souligne que le numérique n’est en aucune manière une opération neutre et doit être constamment accompagné d’une approche scientifique de l’objet ouvrant à des recommandations et à de « bonnes pratiques ».Outre la question technique, toujours capitale, l’accent est mis dans cette thèse sur les procédures de numérisation en vue à la fois d’une restitution optimale de l’original et de la possibilité de disposer d’interfaces et de fonctionnalités dotant le chercheur de nouvelles approches heuristiques, permises par les nouvelles technologies, au service du patrimoineTo work on digitized reviews today means essentially to be confronted with artefacts. Digitized in black and white, stripped of their covers, of blank pages, of inserts, advertisements, bulletins and other supplements, digital reproductions of reviews often differ greatly from the originals, especially when the electronic files have been based on previous reproductions (microforms or reprints). Our work evolves around a question of method: what principles should be followed in digitizing literature and art reviews from the end of the 19th century, in order to preserve the subtle harmony between form and content when the medium is no longer hard copy?Literature and art reviews participate in literary communication at the intersection of hybrid editorial traditions. Their matrix oscillates between newspapers, books, art albums and reviews, utilising the characteristics of these four media. We have chosen four periodicals to represent them: the French reviews La Plume (1889–1914) and L’Épreuve (1894–1895), the British quarterly The Yellow Book (1894–1897), and the Berlin periodical Pan (1895–1900). These publications articulate the different characteristics of reviews in three cultural contexts, allowing us to explore their specificities as well as the financial aspects linked to their development, in close interaction with literary and artistic social life and aesthetic doctrines. As case studies, these bear on an analysis of the materiality, of the financial and editorial practices of late 19th century reviews while questioning the historical, cultural and sociological implications of these objects.Degraded and fragile through years of use, these reviews, catalysts of textual and graphic innovation, are in urgent need of dematerialisation so as to remain accessible for future research. Close examination of six digital libraries (Gallica, the digital library of Heidelberg University, Internet Archive, The Yellow Nineties Online, the Blue Mountain Project, and Jugend Wochenschrift) underlines that digitization is in no way a neutral operation and must constantly be accompanied by scientific validation with a view to developing recommendations and "good practices".Besides technical questions of primary importance, this thesis’ focus is on digitization procedures, aiming at both optimal restitution of the originals and functional interfaces that provide the researcher with new heuristic tools, through innovative technologies, in the service of our cultural heritage
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Palou, 1961. "Luís Claramunt. Cuaderno de Bitácora." Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/668217.
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La tesis trata de la extensa, valiosa y desconocida obra del singular pintor Luis Claramunt, (Barcelona 1951- Zarautz 2000). La obra se ha analizado y clasificado a través de la investigación llevada a cabo en el archivo del propio artista, archivo cedido al MACBA (Museo de Arte Contemporáneo de Barcelona) por su familia, con motivo de la exposición antológica que el Museo le dedicó en el año 2012. La tesis también incorpora los testimonios de personas de diferentes ámbitos de su entorno. Con este material se ha realizado una personal clasificación de su pintura en tres etapas y trece series temáticas. Series ordenadas cronológicamente y contextualizadas en el panorama artístico internacional, a las que se incorporan dibujos, fotografías, artículos de prensa, los textos de los críticos del momento, y los del propio artista. Las series también se acompañan de los testimonios de la familia, amigos y galeristas. Voces que sitúan la obra en el contexto en el que fue creada. El resultado es un bricolaje de documentos, muchos de ellos inéditos, de diferente origen, índole y formato, que permiten percibir el peculiar y rico mundo del artista, su visión plasmada en su obra, su mirada, su vocación de narrador. En esta recopilación adquiere un especial interés el estudio del contenido y significado de sus libros autoeditados, sus documentos más personales e intimistas que realizó en la última etapa de su vida. La clasificación de la obra, la exploración en la vida de Luis Claramunt y el análisis de la forma y contenido de sus cuadernos, son las herramientas utilizadas para presentar la obra y el artista y así tratar de aventurar una interpretación particular de las líneas que siguen sus trabajos, presentados buscando su procedencia en su particular cuaderno de bitácora.The scope of this thesis is to give insight on the extensive, valuable and relatively unknown artwork of the singular painter Luis Claramunt (Barcelona 1951-Zarautz 2000). Such artwork has been analysed and classified after carrying out an investigation into the archives of the artist, which were transferred to MACBA (Museum of Contemporary Art of Barcelona) by the family when in 2012 the museum held an anthological exhibition. In this thesis it can also be found the testimonies of relevant people from the different circles of the artist. With such material the artwork has been classified into three stages and thirteen thematical series. Such series are sorted chronologically and contextualized with the international artistic panorama, which include drawings, photographs, press articles, critical writings of the time, as well as those of the artist himself. Along with the series, testimonies of relatives, friends and gallerists can also be found. The result yields a vast number of documents, a significant amount of which had never been published, from different origins, nature and format that allows the reader to perceive the unique world of the artist. Within this recompilation, it is compellingly interesting the study of the content and meaning of the artist's self-published books, the most intimate element of his artwork, developed during the latter stage of his life. The methodology used to present the artwork and the artist includes the classification of the artwork, research into the Luis Claramunt's life and analysis of form and content, this approach allows a unique interpretation of the tendencies followed by his pieces and presents it looking far its origins in the artist's particular logbook.
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LaBarge, Maria S. "Francois Valentijn's Oud En Nieuw Oost Indien and the Dutch Frontispiece in the 17th and 18th Centuries." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_theses/120.
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In this thesis I analyze the Dutch frontispiece to Francois Valentijn?s 1726 book Oud en Nieuw Oost Indien and demonstrate that it is a significant artistic statement, original in its rich and imaginative iconography and emblematic program. I describe and explain the image and its iconographic program and emblematic structure. I compare the frontispiece to many other Dutch frontispieces and artworks that likewise feature the four continent allegories and other iconographic elements. I demonstrate the ways in which the frontispiece superbly and comprehensively summarizes and visualizes the text, which is the primary purpose of frontispieces. I also show how the image emulates early eighteenth-century Dutch culture by reflecting the period?s nostalgia for Golden Age styles and subjects. In conclusion I clarify the way in which the image functions emblematically and explain the twofold meaning of the emblem and proving that the image is exceptional and unique within the context of the historiography of Dutch frontispieces.
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Oliveira, Carolina Sinhorelli de. "Depende da hora, da glória, de embora: a prática da crítica nas revistas Tatuí e Número nos anos 2000." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/153301.
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Tomando as revistas como a Tatuí e a Número, analisa-se aqui as relações presentes nas suas produções de crítica de arte circuladas por meio de publicações auto-organizadas. Colocam-se questões sobre a atuação na prática de escrita de crítica de arte e seu possível caráter experimental nos anos 2000. Considera-se um contexto de crescimento da profissionalização e suas implicações nas práticas teóricas em diálogo com as práticas do trabalho de arte. Procuramos investigar também, nesse processo da difusão de discussão crítica, o pensamento sobre os circuitos e as instituições como possíveis locais ambivalentes de tensão e de amplificação. As estratégias de tais publicações observam a criação de seus espaços de interlocução possíveis, considerando tal contexto muitas vezes caracterizado como o de crise da potencialidade de contribuição da crítica.Taking the Tatuí and Número magazines, we analise here the relations on the production of art criticism on circulation via selforganised publications. Posing questions on the practice of art writing and its possible experimental character on the 2000’s. Considering a rising profissionalization context and its implications on theoretical practices dialoging with art work practices. We also seek to investigate, on this process of profused critic discussion, the thinking of circuits and the institutions as ambivalent places of tension and amplification. The publication estrategies observe the creation of their possible interlocution spaces, conidering such context as one often characterized as the of crisis on the potencial critical contribution.
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Ma, Li. "Les représentations de l'art de gouverner chinois dans les périodiques de langue française de la seconde partie du XVIIIe siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30062.
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Le dix-huitième siècle ouvre une nouvelle ère dans l’histoire des échanges culturels franco-chinois. La Chine apparaît non seulement comme un pays mystérieux, qui inspire les auteurs de fiction, mais encore, aux yeux des philosophes, comme une nation qui mérite d’être étudiée. Cette étude porte sur un domaine jusqu’à présent peu exploré dans les travaux sur les échanges culturels entre la France et la Chine, à savoir la presse. Notre enquête se propose d’étudier les représentations de l’art de gouverner chinois dans les périodiques de langue française dans la seconde moitié du XVIIIe siècle et le rôle joué par ceux-ci dans la diffusion de représentations de la Chine dans la société françaiseThe eighteenth century opens a new era in the history of Franco-Chinese cultural exchanges. China appears not only as a mysterious country, which inspired the authors of fiction, but also, in the eyes of the philosophers, as a nation deserves to be studied. This study focuses on a field so far little discovered in the works on cultural exchanges between France and China, namely the press. Our investigation intends to consider the representations of the Chinese art of governing in French-language periodicals in the second half of the 18th century and the role played by them in the dissemination of representations of China in French society
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Lachenal-Taballet, Lucie. "Beaux-arts et critique dans la presse parisienne sous la Restauration (1814-1830)." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H046.
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La Restauration est une période charnière pour la critique d'art en France. La législation de la presse se libéralise et le nombre de périodiques augmente considérablement. La création artistique elle-même connaît des transformations importantes : la remise en question de la hiérarchie des genres, le questionnement de l'imitation, l'affirmation de la sensibilité romantique, l'évolution du statut de l'artiste, etc. Ce travail propose une étude des critiques, de leurs pratiques d'écriture ainsi que des grands débats esthétiques du moment. Il repose sur un corpus renouvelé d'articles publiés sur les beaux-arts dans la presse parisienne de l'époque, englobant les comptes rendus des Salons mais également toutes les autres actualités artistiques (concours académiques, inaugurations de monuments, articles généraux sur les arts, etc.). La réflexion qui s'articule en trois temps a pour but de mettre en relief les principaux enjeux de la critique de cette période. L'étude de l'intertextualité des critiques mais aussi celle des débats du moment (les sujets et les sources d'inspiration à privilégier, le romantisme, la tension entre talent individuel et école française) permettent de tracer les différentes conceptions artistiques des critiques qui coexistent. Les débats politiques intenses de cette période ne sont pas sans effet sur les textes critiques, qui possèdent parfois une forte résonance idéologique. Enfin, le critique s'affirme comme une voix nécessaire et comme un régulateur du monde artistique, exigeant un droit de regard sur la politique artistique et plus largement sur toutes les initiatives visant à promouvoir les arts et les artistesThe Restoration is a pivotal period for art criticism in France. Press Jaws are loosened and the number of periodicals raises significantly. The artistic practice itself faces profound changes: the progressive questioning of the hierarchy of pictorial genres and of imitation theory, the assertion of a romantic sensitivity and the evolution of the status of artists in society, etc. This thesis proposes a study of the critics, theirs writing practices and the most important artistic and aesthetic debates of the time. It draws upon a renewed corpus of articles on the fine arts published in the Parisian press of this period, taking into account not only Salons reviews but also other artistic events such as academic competitions, inaugurations of monuments, general articles on fine arts, etc. Following a tripartite structure, this study aims to put into perspective the major concerns of the criticism of the Restoration period. The study of the intertextuality of the critical texts as well as the main debates (prevalent subjects and sources of inspiration, romanticism, the tension between individual talent and French school) allows us to map the critics' various coexisting artistic concepts. The intense political debates of the time also have an impact on art criticism, and at times ideological motivations resonate strongly in the articles. Finally, the critics assert themselves as a necessary voice and as a regulator of the art world, claiming the right to judge not only the government's artistic policy but more generally ail the initiatives intended to promote arts and artists
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Sánchez, Txuma. "Prácticas artísticas contemporáneas y edición de artista." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/458029.
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La investigación que desarrolla esta tesis doctoral aborda el proceso de regeneración producido en la edición de artista en España –libro de artista y ediciones especiales de artista–, a partir del año dos mil. Así como la subsiguiente consolidación de este tipo de prácticas artísticas a lo largo de toda la primera década del siglo XXI, durante la llamada “Década de oro” de la edición de artista española.
En esta tesis realizamos una revisión crítica de los precedentes que impulsaron este proceso de regeneración –desde principios de los años setenta y hasta finales de los años noventa principalmente–, y nos sumergimos, asimismo, en los parámetros sobre los que se asienta su posterior afianzamiento y consolidación durante los años dos mil, en tanto que campo plenamente autónomo dentro de la creación artística contemporánea.
Es a partir de esta revisión y su análisis que rebatimos las lecturas tradicionales que han interpretado la edición de artista como un conjunto de prácticas subalternas, en relación a otras disciplinas artísticas. Lecturas que la han circunscrito y encasillado en taxonomías asociadas solo a sus procesos técnicos y disciplinarios, alejándolas, erróneamente creemos, de aquellos debates y transformaciones instituidos durante los últimos treinta años en la centralidad artística contemporánea.
A la hora de vertebrar los argumentos para rebatir estas lecturas simplificadas abordamos diferentes casos de estudio, ordenados cronológicamente desde principios de los años setenta y hasta llegar a finales de la década de los años dos mil. Algunos de estos casos pivotan sobre la transformación vivida durante este periodo por la propia edición como espacio de experimentación, cada vez más auto-consciente y enriquecido. Otros analizan los procesos graduales de relación que la edición sostuvo, e implementó progresivamente entretanto, con diferentes ámbitos: como el institucional, el político, el formativo, o el productivo. Por último el resto de casos en los que nos detenemos investigan, y ponen de manifiesto, la re-articulación y emergencia de los nuevos roles, que se desplegaron a partir del inicio del nuevo siglo, principalmente a partir del año dos mil, entre los propios agentes implicados y sus estrategias internas de relación.
Con ello ejemplificamos la predisposición y determinación con que estos casos influyeron en el florecimiento que se dio en nuestro país en la edición de artista durante la primera década de este siglo. Y desciframos las complejidades sobre las que se asienta este despertar: no solo atendiendo a los cambios sufridos en los modelos de creación, sino también fijándonos en las interrelaciones que desde instancias culturales y políticas se manifestaron como importantes en un conjunto más amplio de interacciones.
Algunas de las cuestiones en este sentido que acaban emergiendo durante nuestro trabajo atienden así a diferentes vectores. Por ejemplo señalamos la importancia que adquieren en este proceso de renovación los legados conceptuales y sus actualizaciones neo-conceptuales: ejemplificadas en el repunte en el uso del documento y el archivo en la edición, en el fortalecimiento de las prácticas procesuales y desmaterializadas, y en un nuevo acercamiento a la cultura del proyecto. También marcamos la influencia de los modelos de creación alternativos de los años ochenta: fraguados al margen de la comercialidad y basados en la constitución de redes de auto-producción y auto-distribución, que se revitalizaron notablemente y de maneras particularmente innovadoras en los dos mil con un reencuentro con el DIY y las estrategias de colectivización. Nos percatamos de las confluencias de la edición con el retorno a lo político, producido en el arte durante los años noventa, y representado, entre otras cuestiones, por el reencuentro con las responsabilidades del arte hacia la esfera pública y de la esfera de lo real; por el reconocimiento de la globalización y sus consecuencias sobre la reformulación crítica de las identidades en lo social, cultural o histórico; por la apertura de la subjetivización en el espacio institucional del arte; por la atención al nuevo papel de los media en esta confrontación; o por la exploración en la construcción de memorias críticas, más allá de los relatos institucionalizados sobre las sexualidades, la geografía política o la economía neoliberal.
La relación que establecemos entre los casos de estudio y la vertebración de la nueva edición de artista en España, que pretendemos clarificar, se afianza sobre una circulación simultánea y sincopada a través de diversos planos documentales y reflexivos. Uno de ellos es de la formulación de diferentes posibles genealogías como una intrahistoria de la propia edición, con saltos hacia atrás y hacia adelante no necesariamente estructurados en una única línea discursiva. Otro es el de los contextos geográficos. En este sentido, nos sumergimos especialmente en el contexto catalán, sobre el que creemos demostrar que se instituye el paradigma más visible de esta regeneración especial de la edición española, ya desde su primera incubación ahora hace cerca de cuarenta años. Contexto valedor, por ejemplo, de la influencia que adquiere el desarrollo del diseño gráfico español en la creación artística, en sus vertientes experimentales y formativas principalmente; valedor también de la transformación en los consumos culturales y en la creación que provocó la cultura de clubs de los años noventa, radicada principalmente en Barcelona y en su dimensión menos elitista y superficial; o asimismo certificador de la adaptación de la creación editorial artística a las nuevas tecnologías de la producción, la distribución, la transformación de las autorías o las trasferencias disciplinarias que acaecieron.
Esta tesis formula así un prototipo abierto para la lectura de la evolución y consolidación de la edición de artista española en la década de los años dos mil, asentado en sus referentes históricos directos, sus transiciones e implicaciones intra y extra-artísticas, así como en sus propias motivaciones, pruebas, espejismos y certezas.
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Russell, Lucy. "Domesticating Winckelmann : his critical legacy in Italian art scholarship, 1755-1834." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8e2d3058-1ae8-46ab-8fab-8f2c9b473860.
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This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions â termed foreignization and domestication respectively â art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.
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Bonicoli, Louis-Gabriel. "La production du libraire-éditeur parisien Antoine Vérard (1485-1512) : nature, fonctions et circulation des images dans les premiers livres imprimés illustrés." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100148.
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Dans le cadre de cette étude, deux catalogues ont été établis : le premier dresse une liste critique et mise à jour des éditions attribuées à Antoine Vérard ; le second répertorie toutes les gravures figurant dans ces dernières, ainsi que leurs occurrences. Cette double recension a permis de mettre en évidence le travail de treize dessinateurs, dont le Maître de Robert Gaguin et, peut-être, le Maître de la Chroniques scandaleuse. Vérard, qui était vraisemblablement déjà libraire avant de se lancer dans l'édition, se serait surtout inspiré de l'œuvre des imprimeurs-libraires parisiens, lyonnais et strasbourgeois plutôt que des manuscrits. La façon dont il fit usage des gravures évolue au cours du temps. Cette évolution est probablement l'expression d'une mutation des attentes des lecteurs, toujours plus nombreux et possédant des bibliothèques de plus en plus fournies aux XVe et XVIe siècle. Le génie de notre libraire fut de s'adresser concurremment à toutes les catégories sociales de lecteurs, quelle que soit leur richesse (en particulier grâce à la personnalisation des exemplaires). Il contribua donc largement à la diffusion de l'art parisien du livre illustréFor the purpose of my study, two catalogues were put together. The first one is a critical list of the editions attributed to Vérard (updating those of John Macfarlane and Mary Beth Winn). The second one is a list of all the cuts used in those editions with their occurrences. My analysis shows that these cuts were based on drawings of at least 13 artists. The Master of Robert Gaguin and, perhaps, the Master of the Chroniques scandaleuse were among them. Vérard probably sold books some time before he started publishing. The study shows that his use of woodcuts was inspired by bookseller-publishers from Paris, Lyons and Strasburg instead of following the manuscripts. The way Vérard used the cuts changed during his career. It could indicate an evolution in the way people read illustrations. Indeed, during the XVth and XVIth centuries, the number of book owners was continuously increasing, and so was the amount of books possessed by each of them. Vérard was probably one of the very few publishers able to produce books for every kind of reader (merchants, nobility, clergy, scholars, women), regardless of their wealth (thanks to the customisation of the copies). That is why we can say that he contributed greatly to the growing popularity of the Parisian art of illustrated books
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Osborne, Carol Margot. "Pierre Didot the Elder and French book illustration, 1789-1822." New York : Garland Pub, 1985. http://catalog.hathitrust.org/api/volumes/oclc/12050279.html.
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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.
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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established.
Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed.
In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
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Nyburg, Anna. "Hardly a trace left of Danube or spree? : a contribution to the study of art book publishing and illustrated book production in Britain by German-speaking exiles from National Socialism." Thesis, Imperial College London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506044.
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Johnson, Sandra. "En STARK specialtidskrift : Arbetet med att ta fram en grafisk mall till en specialtidskrift från STARK Magasin, samt en diskussion om hur båda tidskrifterna kan göras om till e-format." Thesis, Södertörns högskola, Institutionen för naturvetenskap, miljö och teknik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-19183.
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The goal with this project was to develop a graphic template for a new magazine about running, STARK Löpning. Besides the looks of the graphic elements, sections in the magazine would be developed. Finally, a discussion is made about how the magazine can be remade into an electronic format. Content analyses has been made regarding magazines with both a main and a specific orientation, to review the graphic relationship between them. A content analysis regarding a competing magazine about running was also made. An unstructured interview was done with Art Director Petrus Iggström, to find out his way of working when he creates new graphic templates for magazines. The discussion concerning the electronic format was done based on previous research in the subject. The graphic relationship between main and specific magazines turned out to not be significant, they had few similarities. It was often showed that elements regarding the magazine s’identity had been changed, for example text fonts. This could be because the specific magazines are sighted towards a different target audience than the main magazine, and therefor wants an identity of its own. It’s an easy process to remake the magazines STARK Magasin and STARK Löpning into an electronic format, but none of the services that were looked closely upon in this essay were fitting for both passive and active readers. Nor did the services have a good enough browsing feature. For example, if the reader wants to read an article that was advertised on the cover page, it was not possible to go directly to the article from the cover.
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Drozdek, Justyna. "Life and Chimera framing modernism in Poland /." online version, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=case1212425287.
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Sparks, Elise Eskew. "Toward an Integrated Theory of Musical Worth and Pedagogical Value: An Analysis of Commissioned Choral Works and Personal Perspectives of Emma Lou Diemer and Alice Parker." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/msit_diss/54.
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Repertoire comprises the curriculum of school music ensembles, yet its selection by music educators is unsystematic, commonly influenced by publishers, and lacking in thoughtful critique (Budiansky, 2005; Forbes, 2001). Research reports that musical worth and pedagogical value are foremost criteria in repertoire selection (Devore, 1989; Ostling, 1978). This ethnographic research explored relationships between musical worth and pedagogical value in works and perspectives of Emma Lou Diemer and Alice Parker, two prominent female composers whose extensive catalogs include music written for educational settings. Data were collected via methods consistent with qualitative inquiry. Smith’s (2003) Interpretative Phenomenological Analysis was employed to facilitate co-construction of the composers’ lived experience through personal interviews. Data analysis also incorporated previous texts written about and by the composers, and three choral works of each composer. In this study, Panofsky’s (1972) method of visual art analysis was applied to musical analysis. Findings were presented within single-case and cross-case narratives. Although the composers’ work and perspectives are distinctive, their perceptions of musical worth and pedagogical value transcend their individual qualities. Criteria for creating art for educational settings include: using text as a basis for creating musical meaning, recognizing and emulating the work of composers that they find exceptional; and engaging in an artful, synergistic treatment of musical elements. Diemer and Parker share the belief that longevity, originality, expressivity, and sustained interest are characteristics of music of worth. They offered authentic engagement, holistic learning, and matching skill with challenge as integral aspects of pedagogical value. The motivation that compels Diemer and Parker to compose is both external and internal, and is more oriented toward process than product. In creating works for educational settings, they internalize parameters applicable to specific learners and settings. A “spark” they experience in the creative process indicates the origin of musical worth. Pedagogy derived from and integral to the musical worth of a work allows musically engaged students to recreate the “spark” and thus realize pedagogical value. Within the works and perspectives of Diemer and Parker, musical worth and pedagogical value become unified as a composite whole, though the “spark” is realized in a cyclic process.
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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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Hunter, Catherine Wood. "Flesh for fantasy : exposing the sexualised and manipulated female persona in contemporary women's media." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/21213.
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Thesis (MA)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: This thesis focuses on the representation of women in media aimed at women. A critical examination of visual communication (magazines, advertising and visual story-telling1) will demonstrate that the media may be regarded as highly influential in the way women perceive their bodies, reproduction and sexuality. I begin by examining the presentation of the ‘ideal’ woman as an instance of the Pygmalion complex. This reading of the media’s formulation of the female ideal aims to demonstrate the psychological effects of the Pygmalion complex on women, and illustrates how the resultant striving for perfection drives production and consumption. I shall demonstrate how the image of the ‘ideal’ woman is increasingly more sophisticated and convincingly portrayed through the use of digital manipulation, plastic surgery, excessive dieting and exercise regimes. I propose that the average woman is left feeling inadequate and is undermined by the voice of her own cultural representation. This thesis also investigates the persistence of the virgin / whore binary in the media’s depiction of female sexuality. I propose that this is an essentialist and dualistic presentation of female sexuality as either ‘good’ (surrendered, submissive and conforming – i.e. the virgin); or ‘bad’ (transgressive, explicit, dangerous and destructive – i.e. the whore). I further suggest that this polarised appropriation of women’s sexuality deprives women of ownership of their own sexuality. I also propose that the media’s treatment of female sexuality presents women as being in competition within one another for male attention and approval and that this representation damages female solidarity. Finally I demonstrate that pornography has infiltrated all aspects of popular culture, from magazines to music videos. My hypothesis is that this use of pornographic conventions depicts the rape and abuse of women as normative, commonplace and even entertaining, and that this has a detrimental effect on both women’s and men’s sexual and social wellbeing.
AFRIKAANSE OPSOMMING: Hierdie tesis is gerig op hoe vroue in die media wat op vroue gerig is, verbeeld word. 'n Kritiese ondersoek van visuele kommunikasie (in tydskrifte, reklame en visuele verhaling2) sal toon hoe die media as uiters invloedryk beskou kan word ten opsigte van hoe vroue hul eie liggame, voortplanting en seksualiteit beskou. Ek begin deur die voorstelling van die 'ideale' vrou as 'n voorbeeld van die Pygmalionkompleks te ondersoek. Hierdie beskouing van die media se formulering van die ideaal van vrouwees is daarop gerig om die sielkundige effek van die Pygmalion-kompleks op vroue te demonstreer en illustreer hoe produksie en verbruik deur die strewe na perfeksie wat as gevolg van hierdie formulering ontstaan, aangedryf word. Ek sal toon hoe die beeld van die 'ideale' vrou, as meer en meer gesofistikeerd, oortuigend weergegee word deur middel van digitale manipulasie, plastiese snykunde, oormatige volg van diëte en oefenprogramme. Ek voer aan dat die gemiddelde vrou hierdeur met die gevoel gelaat word dat sy tekortskiet en ondermyn word deur die boodskap van die publikasies wat haar eie kulturele beeld verwoord. Hierdie tesis ondersoek ook die volhardendheid van die tweeledige voorstelling van vroulike seksualiteit in die beelding van maagd en hoer wat in die media aangebied word. Ek voer aan dat dit 'n wesenlike en dualistiese voorstelling van vroulike seksualiteit as óf 'goed' (uitgelewer, gedwee en konformerend – d.w.s. die maagd), óf 'sleg' (oortredend/sondig, eksplisiet, gevaarlik en vernietigend – d.w.s. die hoer) is. Ek stel verder voor dat hierdie gepolariseerde toe-eiening van die vrou se seksualiteit vrouens van eienaarskap van hul eie seksualiteit ontneem. Ek stel ook voor dat die voorstelling van die vrou se seksualiteit soos dit in die media aangebied word, suggereer dat vrouens ter wille van die aandag van 'n man en om goedkeuring te wen met mekaar kompeteer en dat hierdie voorstelling skade doen aan die gevoel van solidariteit tussen vroue. Ten slotte demonstreer ek hoe pornografie reeds alle aspekte van die populêre kultuur vanaf tydskrifte tot musiekvideos binnegedring het. My hipotese is dat hierdie gebruik van pornografiese konvensies die verkragting en mishandeling van vroue as normatief, alledaags en selfs vermaaklik uitbeeld en dat dit 'n nadelige effek het op die seksuele en die sosiale welsyn van mans sowel as vroue.
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Boasso, Lauren. "Viewing Victorian Prisoners: Representations in the Illustrated Press, Painting, and Photography." VCU Scholars Compass, 2016. https://scholarscompass.vcu.edu/etd/4087.
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Victorian prisoners were increasingly out of sight due to the ending of public displays of punishment. Although punishment was hidden in the prison, prison life was a frequent subject for representation. In this dissertation, I examine the ways Victorian illustrated newspapers, paintings, and photographs mediated an encounter with prisoners during a time when the prison was closed to outsiders. Reports and images became a significant means by which many people learned about, and defined themselves in relation to, prisoners. Previous scholarship has focused on stereotypes of prisoners that defined them as the “criminal type,” but I argue prisoners were also depicted in more ambiguous ways that aligned them with “respectable” members of society. I focus on images that compare the worlds inside and outside the prison, which reveal instabilities in representations of “the prisoner” and the ways this figure was defined against a societal norm. Such images draw attention to the act of looking at prisoners and often challenge a notion of the prison as a space of one-sided surveillance.
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Turpijn, Saskia C. "William Bernard Cooke, George Cooke, and J.M.W. Turner: Business of the Topographical Print Series." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/6073.
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The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver’s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time.
This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner.
A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions.
An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner’s demand for higher design fees, puts the validity of the arguments of both parties in a new light.
The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers’ opportunities and challenges at the onset of the modern art market.
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Буга, М. А., and M. A. Buga. "Создание набора стрит-арт-открыток : магистерская диссертация." Master's thesis, б. и, 2020. http://hdl.handle.net/10995/94026.
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Магистерская диссертация посвящена исследованию стрит-арт-открыток и уличному искусству в целом: рассмотрению американской и французской традиций, рассмотрению особенностей российского стрит-арта и его правового регулирования. Также работа включает в себя анализ современного состояния уличного искусства г. Екатеринбурга и классификацию стрит-арт-объектов города. Для разработки концепции издательского проекта стрит-арт-открыток был осуществлен анализ рос¬сийского книжного рынка в специфике публикаций об уличном искусстве и анализ открыток, посвященных стрит-арту, проведена оценка востре¬бованности продукта посредством сегментирования целевой аудитории и выведения «персонажей», а также рассмотрены структурно-содержательные и визуально-полиграфические особенности издания. Издательский продукт представляет собой набор открыток в количестве 12 штук формата А6, посвященный уличному искусству Екатеринбурга.The master's thesis is devoted to the study of street art postcards and street art in general: consideration of the American and French traditions, consideration of the features of Russian street art and its legal regulation. The work also includes an analysis of the current state of street art in Yekaterinburg and classification of street art objects in the city. To develop the concept of a publishing project street art-cards performed analysis of the Russian book market in the specific publications about street art and analysis of postcards dedicated to street art, evaluated demand for the product by segmenting the target audience and removing "characters", and discusses the structural and visual features of the edition. The publishing product is a set of postcards in the amount of 12 pieces of A6 format, dedicated to the street art of Yekaterinburg.
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Madeira, Max Oliveira. "A produção do conhecimento em educação física escolar no Brasil (2001-2010)." Universidade Federal de Juiz de Fora, 2012. https://repositorio.ufjf.br/jspui/handle/ufjf/1981.
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O objetivo deste estudo foi verificar o estado da arte na área de Educação Física, nesta última década (2001/2010), sob a ótica de quatro periódicos: revista Motriz, revista Movimento, Revista Brasileira de Ciência e Movimento e Revista Brasileira de Ciências do Esporte. Partimos de uma etapa preliminar da investigação, de caráter exploratório, que procurou selecionar os estudos, nos periódicos mencionados, que tivessem interface com a Educação Física escolar. Realizamos uma leitura inicial do material coletado. Tratou-se de uma fase prévia de contato e assimilação das primeiras impressões dos textos, no intuito de se desprender de (pré)conceitos e riscos de armadilhas do senso comum, que nos impedisse de ter uma visão mais ampliada da área. Desse modo, deixamos emergir de forma natural seus núcleos de sentidos, permitindo que os próprios resumos nos “falassem” e apresentassem as seguintes categorias: categoria 1 – Proposta de intervenção pedagógica e ou curricular; categoria 2 – Verificação/percepção/diagnóstico da situação pedagógica; categoria 3 – Experiências de ensino-aprendizagem; categoria 4 – Estudos históricos; categoria 5 – Estudos biológicos; e categoria 6 – Demais estudos. Após esse passo, os artigos foram distribuídos entre elas. Após esse passo, foi proposta a análise de conteúdo da categoria 3, por acreditar que ela é a que mais se aproxima dos objetivos do estudo, pois é possível identificar pesquisas empíricas com modelos e ou propostas já aplicadas ao cotidiano escolar. A pesquisa é de natureza descritiva e qualitativa, utilizando a análise de conteúdo para entender os núcleos de sentidos dos artigos selecionados. Concluímos que a análise retrospectiva aponta um avanço no que tange a propostas de pesquisas empíricas propositivasintervencionistas, que, a nosso ver, dão pistas sobre as lacunas do fazer pedagógico do professor e privilegiam os atores que estão em cena no cotidiano escolar. No entanto, como demonstrado no seção 3.5, a maior parte dos estudos confirma a hipótese inicial, em que o conhecimento produzido na Educação Física escolar orienta-se fundamentalmente para os estudos de revisão e ensaios. Como necessidade, podemos dizer que, como em qualquer área científica, se faz necessário empreender novas pesquisas, e aqui ressaltamos as da categoria 3, pois tais pesquisas possibilitam novas descobertas para que o campo da Educação Física escolar continue evoluindo. Baseado também nos 16 estudos da categoria analisada, podemos perceber que não existe um consenso teórico acerca do real objeto da Educação Física, pois, na verdade, numa área tão abrangente, não se deve realmente se prender a um só objeto, mas sim a “objetos de estudos”.
The objective of this study was to verify the state of the art in the area of Physical Education, in the last decade (2001/2010), from the perspective of four journals: journal Motriz, journal Movimento, Revista Brasileira de Ciência e Movimento e Revista Brasileira de Ciências do Esporte. We start with a preliminary stage of research, exploratory study that sought to select the studies mentioned in the journals, which have interface with the physical education. We conducted an initial reading of the material collected. This was a phase of contact and assimilation of the first impressions of the texts in order to let go of prejudices and risks of the pitfalls common sense, that keep us from having a broader view of the area. Thus, we emerge in a natural sense of their cores, allowing the summaries themselves "speak" and submit the following categories: Category 1 - Proposed or curricular and pedagogical intervention; Category 2 - Verification / awareness / educational diagnosis of the situation ; category 3 - Experiences of teaching and learning; category 4 - Historical studies; category 5 - biological studies, and category 6 - other studies. After this step, the items were distributed among them. After this step, was proposed content analysis of category 3, believing that it is the closest to the study objectives, it is possible to identify models and empirical research with already implemented or proposed to the school routine. The research is descriptive and qualitative nature, using content analysis to understand the core meaning of the selected articles. We conclude that the retrospective analysis shows an improvement with respect to proposals for empirical research propositional-interventionist, which, in our view, give clues about the shortcomings of the pedagogical focus of the teacher and the actors are on stage in school life. However, as demonstrated in section 3.5, most studies confirm the initial hypothesis, in which the knowledge produced in physical education is geared primarily to review the studies and tests. As needed, we can say that, as in any scientific field, it is necessary to undertake new research, and here we emphasize the third category, because such research enable new discoveries to the field of physical education continues to evolve. Based on 16 studies also analyzed the category, we can see that there is no theoretical consensus on the real object of physical education, because in truth, an area so comprehensive, it should not really hold a single object, but "objects of study. "
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Guéhenneux, Lise. "Une scène des années 1990 autour de la revue Blocnotes : une plate-forme d'échanges : entretiens entre artistes et critiques d'art." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0522.
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Notre étude veut apporter des précisions historiques sur la scène artistique des années 1990 à partir d’un travail de critique d’art. Nous interrogeant sur la place de ce type d’écriture dans un contexte qui médiatise largement une crise de l’art contemporain dans l’espace public, nous examinons comment la remise en question de la modernité est propice à la création de trois nouvelles revues Documents sur l’art contemporain, Blocnotes et Purple Prose. La recherche nous porte à examiner les structures existantes dans lesquelles évoluent les différents acteurs du monde de l’art qui vont accueillir une nouvelle génération de critiques et d’artistes, - des centres d’art mais aussi de nouvelles galeries d’art symptomatiques d’un héritage culturel de décentralisation. Nous dégageons la spécificité de Blocnotes : le rejet des années 1980 et les repères historiques conceptuels des années 1960-1970, les rapports de l’art et du féminisme, la collaboration centrale des artistes, la réflexion sur l’exposition, l’objet fini, l’in situ et l’installation, le cinéma comme modèle. Loin d’une vision univoque de la décennie, nous redéployons des pratiques artistiques et leurs enjeux en nous plongeant dans les textes des nombreux contributeurs de Blocnotes tout en prolongeant par des entretiens des échanges entre critiques et artistesThe study we are developing here wants to provide historical precisions about 90's artistic scene from an art critic's point of view. By questioning ourselves about the place of this type of writing in a context which widely mediates a contemporary art crisis in the public space, we would like to analyze how the questioning of modernity will be propitious for the creation of three new periodicals : Documents sur l'art contemporain, Blocnotes and Purple Prose. Our research leads us to study the existing structures that will welcome a new generation of critics and artists in which evolve various protagonists working in the field of art – art centers but also new art galleries symptomatic of a decentralized cultural heritage. We particularly enhance the specificities of Blocnotes : the rejection of the 80's and historico-conceptual markers of 60's and 70's, the relationships between art and feminism, the central collaboration of artists, the reflection about exhibition, finished object, the in situ and the installation, the cinema as a model.Remaining far off an unequivocal vision of the decade, we redeploy artistic practices and their issues by plunging ourselves in the texts of Blocnotes' numerous contributors while extending by interviews and exchanges between critics and artists
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Buckwalter, Anne H. "Gendercomic." Oberlin College Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1453810773.
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Newman, Sarah Louise. "The celebrity gossip column and newspaper journalism in Britain, 1918-1939." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:30cc8c66-d243-4134-b891-2eb84ce7de2b.
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This thesis analyses the content, tone, form and authorship of the national newspaper gossip column 1918-1939, as a new means through which the qualities of the popular press in this period can be more closely defined. Often dismissed as an example of the sensational, Americanization of early twentieth-century popular culture, the celebrity gossip column has been loosely grouped with the friendly, informal language and bolder formatting of the ‘New Journalism’ of the late nineteenth century and the development of the dramatic ‘human-interest’ stories of ‘everyday life’ in the interwar period (LeMahieu, 1988; Wiener, 1988). Through a comparative study of six newspapers including the Daily Express, Daily Mail and News of the World, I analyse the changing representation of the celebrity subject, and, originally, the shifting character and persona of the gossip columnist. Whereas some historians have analysed the content of newspapers without considering the questions of the newspaper’s production, I analyse newspaper employment records, gossip columnists’ memoirs and their unpublished letters and diaries to define the specific economic, social and cultural circumstances which, I argue, influenced their public portrayal. Also, in examining the unpublished correspondence between editors, proprietors and columnists and the burgeoning print culture of journalistic training manuals and professional memoirs, I provide a history of the press’s professionalization in this period. The national popular press has often been used as a historical source to define national character and national identity in the interwar period (Bland, 2008; Kohn, 1992). By scrutinizing the content and production of the gossip column and particularly the class, behaviour, interactions and subject matter of the columnist, I argue that the gossip column presented a version of ‘Britishness’ that was not so inward-looking and domesticated as so many accounts of interwar Britain suggest.
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Parks, Stephen R. "Consuming Digital Debris in the Plasticene." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5438.
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Claims of customization and control by socio-technical industries are altering the role of consumer and producer. These narratives are often misleading attempts to engage consumers with new forms of technology. By addressing capitalist intent, material, and the reproduction limits of 3-D printed objects’, I observe the aspirational promise of becoming a producer of my own belongings through new networks of production. I am interested in gaining a better understanding of the data consumed that perpetuates hyper-consumptive tendencies for new technological apparatuses. My role as a designer focuses on the resolution of not only the surface of the object through 3-D printing, but the social implications to acknowledge consequential conditions of new forms of consumer technology.
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Delamaire, Marie-Stéphanie. "An Art of Translation: French Prints and American Art (1848-1876)." Thesis, 2013. https://doi.org/10.7916/D80R9WN9.
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This dissertation calls attention to the significance of translation for two related trends in American art and visual culture of the antebellum and Civil War eras: the transatlantic expansion of the nineteenth-century French art publishing industry, and the conceptual shift in the period's literature on reproductive prints from the notion of imitation to that of translation. The production, circulation, and consumption of reproductive prints were tied to the period's innovations in printing, and to broader patterns of transatlantic economic integration and exchange. These developments placed Americans in increased contact with European art and visual culture. Focusing on the decades following the Parisian firm Goupil & Company's establishment in New York, this dissertation investigates the impact of the proliferation and widespread dissemination of what Americans saw as translated images--that is, French-made reproductions of European and American works of art. The first part of this dissertation explores how Goupil's establishment in New York in 1848 and the firm's subsequent investments in lavish publications of American paintings destabilized the American approach to the translation of the image and influenced the manner in which both critics and artists conceived of the visual arts as a repository of American national identity. Engravers' lines were more than a place for the adaptation and representation of the European artistic legacy. They were also a locus for critical cultural, social, and political transformations. The second part of this dissertation examines how American artists working either in the United States or in Europe engaged with the period's transatlantic visual culture of reproduction, and with a notion of translation conceived both in literary and visual terms. George Caleb Bingham and Richard Caton Woodville, two of the leading antebellum American genre painters, and Thomas Nast, the most influential cartoonist of the Civil War and Reconstruction era, deployed the visual possibilities of translation in relation to the transatlantic production and circulation of reproductive engravings not only to address various local, national, and transnational audiences but also to articulate their own creative practices and mode of artistic expression in an expanding art world. Unlike earlier studies, which focused on American artists' expatriation to Europe in the later part of the nineteenth century, this dissertation shifts attention to the early impact of French prints on the visual imagination of American artists and illustrators during the antebellum and Civil War eras. Focusing on the circulation and displacement of images rather than artists' migration, this thesis demonstrates that continuous processes of integration, representation, and transformation were as significant to the artistic relationship between France and America as were the later experiences of rupture and estrangement highlighted by the studies of artists' expatriation. By foregrounding American artists' approach to the metaphorical understanding of reproduction as translation, this dissertation extends our understanding of the nineteenth-century practices and processes of Euro-American exchanges beyond the tensions between the recognition of an artistic affiliation and the search for artistic independence. Positioning American art in a world frame, this dissertation enriches the broad investigation of cultural exchanges that have been at the core of the recent scholarship on American art.
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Elliott, David B., and N. Handley. "A historical review of optometry research and its publication: are optometry journals finally catching up?" Master's thesis, 2015. http://hdl.handle.net/10454/9341.
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Hung, Shu-hui, and 洪淑惠. "A STUDY ON PROFESSIONAL COMPENTCY OF ART EDITORS ON PUBLISHING INDUSTRY IN TAIWAN." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/dp7vx8.
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碩士南華大學
出版事業管理研究所
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The arrival of the aesthetic economy era makes the publishing industry unable to place themselves as outsiders since they often pose themselves as the cultural industry. For the past few years, Taiwan is increasingly paying attention to the book designs and “art editor” is the creator and responsible for design the aesthetic feelings of a book. However, what kinds of professional competency and basic qualifications do art editors need? There was no research to support this in the past. And, there is no similar research on art editors’ selections for the publishing circles or even through training to train up some suitable art editors. The goals for this research are: 1.To understand what kinds of professional competency the publishing industry’ owners and superiors need from their art editors. 2.To understand what professional competency the art editors believe for themselves. 3.To analyze the differences between publisher owners/supervisors and art editors what they think of professional abilities and skills. 4.To develop the priorities for reference materials and professional competency for the art editors of professional publishers. This research focuses on both qualitative and quantitative research methods on article analysis, depth interviews and questionnaire. Firstly, to organize all related documents and to review relevant researches, and then to adopt the concepts of the job functions to discover professional competency for the art editors. There are four professional skill components that are developed for the publishers: professional ability, interpersonal relationship ability, management ability and the personal characters. And then, to consult with professionals’ ideas and suggestions to develop sixty-nine important items for the art editors’ professional. competency. This research has combined both theories and practical experiences, to explore the needs for the publishing art editors’ professional competency. And, it is expected to become the recruit’s and educational training’s references for the publishing industry’ owners, superiors and art editors, and also as research references for the publishing circles. Keywords：Publishing Industry, Art editor , Professional Competency
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Shea, Tusa. "Representing the Eternal Network : Vancouver artists' publications, 1969-73." 2004. http://hdl.handle.net/1828/737.
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Haskins, Katherine Wheldon. ""Good impressions of good things" : the Art journal print and the craft of connecting in mid-Victorian England, 1850-1880 /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3029492.
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Arnold, Konstantin. "The Lisbon review: Business plan for a lifestyle & art magazine." Master's thesis, 2019. http://hdl.handle.net/10071/21375.
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This business plan evaluates the possibility of establishing a special interest publication in the
market of print magazines with a combination of themes in lifestyle, art and literature. It
attempts to combine modern tendencies and timeless values, collectively implemented through
a foreseen market opportunity, approved by the outcomes of this business plan analyses.
Therefore, communicational theories have been applied and tools, acquired throughout the
master studies, have been utilized in order to do so. Furthermore, this paper draws a cross
section through the market, by giving insights on market dynamics, risks and chances.
Conclusively it states, what it takes to create an economic successful publication in the world
of crumbling magazine and newspaper circulations. Right here this Business Plan is aiming to
create a correlation between credibility and prestige in order to guarantee economic efficiency.
Knowing what that takes, targets can be defined, strategies can be developed and integrated
into a financial plan, which, last but not least, is giving a confident outlook for the defined
product and its selected market.Este plano de negócios avalia a possibilidade de estabelecer uma publicação de interesse especial no mercado de revistas impressas com uma combinação de temas em estilo de vida, arte e literatura. Ele tenta combinar tendências modernas e valores atemporais, implementados coletivamente por meio de uma oportunidade de mercado prevista, aprovada pelos resultados desta análise do plano de negócios. Portanto, teorias comunicacionais foram aplicadas e ferramentas adquiridas ao longo dos estudos de mestrado foram utilizadas para isso. Além disso, este artigo apresenta uma seção transversal do mercado, fornecendo informações sobre a dinâmica, riscos e chances do mercado. Em conclusão, ele afirma o que é preciso para criar uma publicação de sucesso econômico no mundo das circulações de revistas e jornais em ruínas. Aqui, este plano de negócios tem como objetivo criar uma correlação entre credibilidade e prestígio, a fim de garantir eficiência econômica. Sabendo o que é necessário, as metas podem ser definidas, as estratégias podem ser desenvolvidas e integradas a um plano financeiro que, por último, mas não menos importante, oferece uma visão confiante do produto definido e do mercado selecionado.
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Šplíchalová, Lucie. "Výtvarné časopisy v ČR v letech 1990-1999." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298731.
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Research paper entitled 'Artistic journals in the Czech Republic in the period 1990-1999' analyzes artistic journals 'Ateliér', 'Detail', 'Umělec', 'Umění' and 'Výtvarné umění', which were published between 1990 and 1999. The overarching aim of the paper is to provide readers with an overview of the formal and content-thematic characteristics of the given period as represented in the addressed journals. Quantitative content analysis of selected issues of the journals was applied as a research tool. The journals were also researched from the chronological perspective that examined the development of formal signs of each of the journals. The paper compares the basic characteristics and specifics of the journals, as well as the similarities and differences between them. Historical context of the journals with an emphasis on their beginnings, culture and art is provided for the readers. It provides the readers with an insight into the authorship of articles, thematic and content structure, structure of their journalistic departments, structure of publicized contributions and the formal outlook of the journals.
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Stasko, Carly. "A Pedagogy of Holistic Media Literacy: Reflections on Culture Jamming as Transformative Learning and Healing." Thesis, 2009. http://hdl.handle.net/1807/18109.
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This qualitative study uses narrative inquiry (Connelly & Clandinin, 1988, 1990, 2001) and self-study to investigate ways to further understand and facilitate the integration of holistic philosophies of education with media literacy pedagogies. As founder and director of the Youth Media Literacy Project and a self-titled Imagitator (one who agitates imagination), I have spent over 10 years teaching media literacy in various high schools, universities, and community centres across North America. This study will focus on my own personal practical knowledge (Connelly & Clandinin, 1982) as a culture jammer, educator and cancer survivor to illustrate my original vision of a ‘holistic media literacy pedagogy’. This research reflects on the emergence and impact of holistic media literacy in my personal and professional life and also draws from relevant interdisciplinary literature to challenge and synthesize current insights and theories of media literacy, holistic education and culture jamming.