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Dissertations / Theses on the topic 'Arte povera'
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Ker, Dorian. "Twelve perspectives on Arte Povera." Thesis, University of Essex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242260.
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MOURA, RENATA DA SILVA. "AN EXPERIENCE OF ARTE POVERA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2002. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=3753@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORA dissertação discute a Arte Povera, tendência artística italiana do final da década de 1960 e início dos anos 1970. A partir da análise dos trabalhos de seus artistas mais significativos e dos textos críticos produzidos na época, o trabalho pretende discutir o conceito de Arte Povera, mostrando suas especificidades e os pontos de contato entre as diferentes propostas dos artistas: Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz.Através desse recorte, aborda algumas questões da arte contemporânea, como o estatuto do objeto de arte, a inserção da dimensão temporal no espaço da obra, a problematização do lugar e dos materiais tradicionais da arte, a crítica à estrutura na qual se insere.
This dissertation discusses Arte Povera, an italian artistic tendency that took place at the end of the 1960's and the beginning of 1970's. Through the analysis of the works from its most significant artists and the critical texts produced at that time, the work intends to discuss the concept of Arte Povera, showing its specific aspects and the similarities that the diferent artist's proposals have in common. The artists are Michelangelo Pistoletto, Giovanni Anselmo, Gilberto Zorio, Giuseppe Penone, Jannis Kounellis, Luciano Fabro, Alighiero Boetti, Giulio Paolini, Marisa Merz e Mario Merz. Using this point of view, the work includes some questioning about contemporary art, like the discussion about the art object status, the insertion of the temporal dimension in the work space, the questioning of place and traditional art materials, the criticism of the institutional structure in which art belongs.
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Bätzner, Nike. "Arte povera : zwischen Erinnerung und Ereignis : Giulio Paolini, Michelangelo Pistoletto, Jannis Kounellis /." Nürnberg : Verlag für moderne Kunst, 2000. http://catalogue.bnf.fr/ark:/12148/cb410281603.
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Bulk, Claudia. "Die Bedeutung der Energie in Natur und Kultur in Werken der Künstler der Arte Povera." [S.l. : s.n.], 2001. http://deposit.ddb.de/cgi-bin/dokserv?idn=971018790.
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Conger, Elizabeth C. "Alienation theory and its relationship to contemporary Arte Povera practice." AUT University, 2007. http://hdl.handle.net/10292/233.
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In this Exegesis I explore the rehabilitation of marginalized materials through a sculptural practice. The materiality of the work focuses on the commonality of the everyday through selection editing and transparency of materials. The materiality and concern for material presence in my work are used metaphorically to explore ideas of alienation in contemporary sculpture. My work has been informed by the writing Berthold Brecht specifically his alienation effect [A-Effect], a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, which consequently leads the audience to be a consciously critical observer". Through the use of situationist tactics in alienation works I seek to explore an atmosphere of fragile transience that can be recognized in ourselves even as we struggle against it.
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Goldbach, Ines. "Wege aus der Arte Povera Jannis Kounellis im Kontext internationaler Kunstentwicklung." Berlin Gebr. Mann, 2008. http://d-nb.info/998994642/04.
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García-Huidobro, Tagle María del Pilar. "EXPERIMENTAR EL MATERIAL: ELEMENTOS Y PROCEDIMIENTOS. Experiencia creativa del Arte Povera como propuesta didáctica." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90585.
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In the present research, creative experiences of the Arte Povera (literally Poor Art) are analysed as keys to experiment the material, its elements and its procedures.
Their reflection and study allow us to design a didactic proposal aimed to train artists in the higher education of Fine Arts. Different creation and production practices are carried out, based in the creative processes of Arte Povera, developing four cases of study for the elaboration of didactic material.
The didactic proposal is linked to the thinking of John Dewey, Edgar Morin, Paulo Freire and Maria Angélica Oliva, re-framing the educational gesture and its democratic space with proposals and critical devices that arise from both socio-political and cultural contexts that affect to the way of thinking and knowledge production in the contemporary education.
A methodological path has been developed with different techniques: documentary analysis, qualitative observation and creative irradiation technique; the value of the practices, reveals the development and research of knowledge through the direct observation, relevant to the purposes of the object of study.
The results are the product of the experience acquired in the practices, crystallizing in a didactic material to include in subjects in the frame of creation and production, for artists in formation.En la presente investigación se analizan las experiencias creativas del Arte Povera como claves para experimentación del material, sus elementos y procedimientos. Su reflexión y estudio permiten diseñar una propuesta didáctica dirigida a la formación de artistas en la educación superior de Bellas Artes. Se realizan diversas prácticas de creación y producción, fundadas en los procesos creativos del Arte Povera, desarrollando cuatro casos de estudio para la construcción de material didáctico. La propuesta didáctica se enlaza al pensamiento de John Dewey, Edgar Morin, Paulo Freire y María Angélica Oliva resignificando el gesto educativo y su espacio democrático con propuestas y dispositivos críticos que surgen de los contextos socio, político y culturales que afectan las formas de pensar y producir conocimiento en la educación contemporánea. Se ha desarrollado un camino metodológico con las técnicas: análisis documental, observación cualitativa y técnica de irradiación creativa, el valor de las prácticas, revela el desarrollo y búsqueda de conocimientos por medio de la experiencia y observación directa, pertinentes con los propósitos del objeto de estudio. Los resultados son producto de la experiencia adquirida en las prácticas, cristalizándose en un material didáctico para incluir en asignaturas de línea de creación y producción, para artistas en formación.
En la present recerca s'analitzen les experiències creatives de l'Art Povera com a claus per a l'experimentar el material, els seus elements i procediments. La seua reflexió i estudi permeten dissenyar una proposta didàctica dirigida a la formació d'artistes en l'educació superior de Belles Arts. Es realitzen diverses pràctiques de creació i producció, fundades en els processos creatius de l'Art Povera, desenvolupant quatre casos d'estudi per a la construcció de material didàctic. La proposta didàctica s'enllaça al pensament de John Dewey, Edgar Morin, Paulo Freire i María Angélica Oliva resignificant el gest educatiu i el seu espai democràtic amb propostes i dispositius crítics que sorgeixen dels contextos soci, polític i culturals que afecten les formes de pensar i produir coneixement en l'educació contemporània. S'ha desenvolupat un camí metodològic amb les tècniques: anàlisi documental, observació qualitativa i tècnica d'irradiació creativa, el valor de les pràctiques, revela el desenvolupament i cerca de coneixements per mitjà de l'experiència i observació directa, pertinents amb els propòsits de l'objecte d'estudi. Els resultats són producte de l'experiència adquirida en les pràctiques, cristal¿litzant-se en un material didàctic per a incloure en assignatures de línia de creació i producció, per a artistes en formació.
García-Huidobro Tagle, MDP. (2017). EXPERIMENTAR EL MATERIAL: ELEMENTOS Y PROCEDIMIENTOS. Experiencia creativa del Arte Povera como propuesta didáctica [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90585
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Vancassel, Myriam. "L'objet d'art humanitaire : vers une esthétique de la bonté." Bordeaux 3, 2006. http://www.theses.fr/2006BOR30030.
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L'esthétique de la bonté croise les analyses transversales du concept de l'objet d'art humanitaire par une hybridation du champ de l'art et de l'humanitaire, en créant l'Art Humanitaire. Notre théorie est fondée sur une interface entre deux objets d'art, l'un situé dans la Renaissance et l'autre dans une seconde Renaissance contemporaine, au sein de l'Arte Povera. Nous avons étudié formellement et symboliquement, un objet d'art novateur majeur, le Retable d'Issenheim de Matthias Grünewald, parallèlement à un objet d'art novateur humanitaire, Cittadellarte, de Michelangelo Pistoletto. L'objet d'art humanitaire a été repéré comme une évolution de l'expression de la beauté passive, contemplative, vers une expression de la beauté active, et même interactive. Nous avons discerné, l'objet d'art novateur, au mécanisme de confusion du beau et du bon d'avec l'objet d'art humanitaire, au mécanisme de co-fusion du beau et du bon. Ces mécanismes sont identifiés comme réactivations du Kalos Kagathos de Platon, proposent des modèles de référence culturelle, spirituelle, cultuelle, européenne, antique empruntés à l'histoire de la noblesse d'âme. L'Art Humanitaire pointe une possible seconde Renaissance, portant en elle un retour au sens sacré de la valeur de la vie qui serait un catalyseur contre la violence. En filigrane, l'Oeuvre de Michelangelo Pistoletto se superpose sur celle d'André Malraux, pour énoncer (dans la thèse) des recherches nouvelles en éducation, création et action avec le laboratoire nomade de l'Art Humanitaire et le dictionnaire de l'Art Humanitaire, pour un continent artistique européen, sans-frontièresThe aesthetics of goodness meets the cross-disciplinary analyses of the concept of a humanitarian work of art through the hybridization of the artistic and humanitarian fields, by creating Humanitarian Art. Our theory is based on an interface between two works of art, the first one located in the Renaissance, and the other in a second contemporary Renaissance, within the Arte Povera. We formally and symbolically studied a major innovative workrt, the Retable d'Issenheim by Matthias Grünewald, in parallel with a humanitarian work of art, Cittadellarte, by Michelangelo Pistoletto. The humanitarian work of art has been viewed as an evolution from the expression of passive and contemplative beauty to an expression of active or even interactive beauty. We distinguish between the innovative work of art, where a mechanism of confusion between beauty and goodness prevails, and the humanitarian work of art, where a mechanism of co-fusion between beauty and goodness is most prominent. These mechanisms are identified as reactivations of Plato's Kalos Kagathos and propose models of cultural, spiritual, European and ancient reference, borrowed from the history of the nobility of the soul. Umanitarian Art points towards a possible second Renaissance, bearing in itself a return to the sacred sense of the value of life, as a catalyst against violence. Implicitly, the work of Michelangelo Pistoletto superimposes itself over that of André Malraux, to set forth new research in education, creation and action with the nomadic laboratory of Humanitarian Art and the dictionary of Humanitarian Art, for a European artistic continent, without borders
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Belli, Giulia <1990>. "Il mercato dell'Arte Povera nelle principali aste di arte contemporanea internazionali e italiane." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12696.
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La tesi ha come obiettivo quello di analizzare le vendite di opere appartenute alla corrente italiana dell’Arte Povera nelle principali case d’asta italiane e internazionali, dal 2013 al 2017. Il lavoro si divide in una prima parte storico-artistica, incentrata sugli sviluppi dell’arte a partire dagli anni Sessanta del secolo scorso, in particolar modo sui rapporti che si sono venuti a creare tra il panorama artistico italiano del secondo dopoguerra, concentrandosi sull’Arte Povera e quello americano. Inoltre viene fatto un excursus del tessuto espositivo privato italiano che, rispetto alle sedi istituzionali, ha mostrato di cogliere tempestivamente e favorire gli aspetti più sperimentali dei nuovi linguaggi. La seconda parte si concentra sull’analisi dei risultati delle vendite all’asta delle opere degli artisti che hanno preso parte al movimento dell’Arte Povera, anche per un breve periodo. Una particolare attenzione è stata posta per i settori d’asta di Post-war and Contemporary Art e Italian Sale di Sotheby’s e Christie’s. Infine si sono osservati i risultati d’asta migliori per alcuni degli artisti trattati.
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Sergio, Giuliano Le Men Ségolène. "Information document œuvre les parcours de la photographie en Italie dans les années soixante et soixante-dix /." S. l. : Paris 10, 2008. http://bdr.u-paris10.fr/theses/intranet/2008PA100169.pdf.
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KU, SHIH-YUNG. "Distanciation : entre deux cultures. silence de l'espace nomade (recherches autour d'une pratique de l'installation)." Paris 1, 1996. http://www.theses.fr/1996PA010599.
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La problematique de la distanciation semble etre aujourd'hui consideree comme l'une des plus importantes qui soient dans l'analyse des arts contemporains et par les artistes eux-memes. Ainsi, l'orientation qui caracterise ma creation artistique se definit comme une attitude nomade qui se fonde sur la distanciation : representation artistique axee sur le role des mediums ironiques. Je tente de decrire une nouvelle faculte de l'art contemporain qui produit un effet de distanciation et dont se sont deja servis plusieurs artistes (comme les artistes d'arte povera, du pop'art, de la trans-avant-garde italienne, etc. ). Le but de la distanciation serait toujours de me procurer une grande capacite de recul par rapport a moi-meme ; de m'apporter un angle de recherche individuel qui me permette d'acceder a la distance liberatrice qui caracterise la pensee nomade. Si l'esprit nomade nous a tant interesse dans cette recherche, c'est parce qu'il instaure un devenir, et ne fait pas partie de l'histoire ; il en est exclu mais se metamorphose pour reapparaitre autrement, sous des formes inattendues ; il commande une attitude de mise a distance qui suit les lignes de fuite d'un champ social. La distanciation consiste a pouvoir se mettre momentanement a la place d'autrui, a "voir par les yeux d'autrui". On ne connait l'autre qu'en se reconnaissant, soi-meme, autre. Ce qui implique que, pour rencontrer un sujet errant, il faut etre soi-meme sujet errantThe problem of distancing is today considered by artists themselves to be one of the most important problems in the analysis of contemporary art. The direction that my artistic creation has taken could be defined as a nomade attitude which is based on distancing : an artistic representation based on the roles of ironic mediums. I attempt to describe a new type of contemporary art that produces an effect of distancing and that has already been used by several artists (such as the artists of arte povera, of pop art, of the italian trans-avant-garde, etc. ). The purpose of distancing is to provide myself with the ability to stand back from myself and to be able to acceed to a liberating distance from an individual point of view, this distance being characteristic of nomade thought. The reason for which the nomade spirit has interested me so much in this research is that it establishes a future and is not part of history. It is excluded from history but undergoes a metamorphosis and reappears in new and unexpected forms. The nomade spirit is characterised by the maintaining of distance and conforms to the disintegration of the social field. Distancing is characterised by the ability to put oneself in the place of the other and to see "through the other's eyes". One can only recognise the other if one recognises the other in oneself. This implies that in order to recognise a nomade subject, it is necessary to be a nomade oneself
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Criticos, Corinna. "L' arte povera dans les années 60 : origines et émergence dans le monde de l'art." Paris 1, 2002. http://www.theses.fr/2002PA010607.
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Ce travail présente les origines des artistes italiens (Anselmo, Boetti, Calzolari, Fabro, Gilardi, Merz, Paolini, Pascali, Piacentino, Pistoletto, Penone, Zorio) et grec (Kounellis) dont les oeuvres ont été réunies par Germano Celant sous la dénomination arte povera en 1967. La première partie traite de la gestation de l'arte povera (de 1960 à 1964) ; elle confronte les oeuvres de la première vague d'artistes et celles de leurs aînés comme Burri, De Chirico, Fontana, Manzoni et Pollock. La deuxième partie, consacrée à la cristallisation, traite des interactions et des problématiques communes à l'ensemble des artistes de l'arte povera. Leurs oeuvres, réalisées au cours de trois saisons artistiques de 1965 à 1968, manifestent à la fois des liens avec la tradition italienne et une rupture avec les codes et les conventions artistiques. Ces artistes renouent avec une tradition artistique qui remonte à Léonard de Vinci et même au-delà avec la conception artistique d'Aristote. Il s'agit de concevoir l'art comme branche de la connaissance et comme jonction entre l'intellect et la production, entre le savoir et le savoir-faire
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Ungan, Umut. "Langage et art contemporain. Éléments pour une analyse du discours critique : l’exemple de Germano Celant sur l’"arte povera"." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH034/document.
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À travers l’analyse du discours de Germano Celant sur l’arte povera, la présente thèse cherche à décrire et à comprendre le statut particulier du langage au sein d’un champ spécifique de l’art contemporain en prenant comme objet les stratégies argumentatives qui s’y trouvent à l’œuvre depuis l’invention du concept « pauvre » à la fin des années 1960 par le critique/historien/commissaire d’exposition italien jusqu’à aujourd’hui, tout en soulignant leur interdépendance avec l’évolution de son statut social et celle des logiques interprétatives/évaluatives qui en découlentThrough the discourse analysis of Germano Celant on arte povera, this present thesis aims to describe and comprehend the status of the language within a specific domain of contemporary art by analysing the argumentative strategies from the invention of the “poor” concept by the italian critic/historian/curator at the 1960s until today, underlining their interdependance with the evolution of his social status and that of the interpretative/evaluative logiques which results from
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McGowan, Kathleen Grace. "Free art, free love, free money: a Free @rt school communique." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/551.
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Vilhena, Joana da Cunha e. Costa Consiglieri de. "A arte e a natureza nas práticas ambientais conceptuais-subsídios para o estudo de alguns artistas portugueses da segunda metade do século XX, congéneres à Land Art, Arte Povera e Arte na Natureza." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Belas Artes, 2001. http://dited.bn.pt:80/30095.
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Satre, Barbara. "L'Arte Povera et les arts de la scène : Les expériences théâtrales de Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto et Mario Ceroli." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3115.
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Certains des acteurs de ce groupe italien, déterminés à faire éclater les limites des genres pour mieux les interroger, s'emparent tout particulièrement des arts de la scène pour investir des espaces de création collectifs. Cette thèse procède à l'étude des productions théâtrales de Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto et Mario Ceroli. Quatre démarches scénographiques singulières, qui se distinguent par leur ampleur. Ainsi, cette recherche s'emploie à dévoiler les multiples croisements à l'intérieur du courant, en découvrant les échanges entre arts plastiques et arts du spectacle. Il s'agit à la fois d'éclairer l'œuvre des artistes autour de l'Arte Povera et de comparer ces expériences aux activités dites de "théâtre d'artiste", en considérant aussi le rôle essentiel de l'environnement théâtral des années soixante et soixante-dix en Italie, dans le contexte d'une création expérimentale prolifique et révolutionnaire. L'ambition est de présenter les modalités de cette pratique spécifique dans l'œuvre des membres de l'Arte Povera pour l'étendre à un questionnement plus général au regard de la création d'autres artistes dans ce même registreArte Povera's works and productions constantly challenge the traditional fundamentals of History of Art, thus leading to the exploration of new artistic fields. Some members of the Italian group, in their will to break the limits between genres in order to question these very limits, concentrate on theatre to invest collective and creative spaces. This PhD is an analysis of the theatrical works by Jannis Kounellis, Giulio Paolini, Michelangelo Pistoletto and Mario Ceroli. These four specific approaches distinguish themselves by their ambitions and their scales. This university research aims at revealing the multiple intersections within the group, by exploring the interactions between visual arts and performing arts. The issue at stake is both to shed light on artists and works from the Arte Povera and to compare their experiences to the theatre, while considering the central role of the theatrical environment in the sixties and seventies in Italy in a time of revolutionary and prolific experimental creation. The ambition is to present the details of these specific artistic practices that characterize the approaches of Arte Povera's members, and then to extend this analysis to a more global questioning of other artists' approaches sharing the same concerns
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Charissou, Céline. "Pino Pascali : catalogue raisonné (1935-1968)." Paris 1, 2008. http://www.theses.fr/2008PA010570.
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Pino Pascali fut un créateur fulgurant, inventeur infatigable d'idées nouvelles, mais. Il est à ce titre, un acteur primordial de ce qui bouleversa l' art italien et international des années soixante, une manière nouvelle de penser l'art dans son rapport a l'homme et a la nature. Artiste reconnu comme membre fondateur de l' Arte Povera, il y apporte la dimension du mythe de I' enfance et de la liberté retrouvée. L' imaginaire de Pino Pascali est peuplé de références infantiles fortes, crues, au sens ou elles sont une retranscription a peine métaphorisée des perceptions, des angoisses et interrogations de l' enfance ou simplement des émotions ressenties a la vue d'un objet, d'un paysage, ou d'un souvenir de sa relation au monde. L'oeuvre de Pino Pascali est d'une importance remarquable, elle occupe une place fondamentale dans l'histoire de l'art du siècle passe et s'impose en ce qu'elle propose des basculements révolutionnaires, esthétiques et éthiques.
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Touil, Sadok. "Le chaos et la surface dans la sculpture contemporaine." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20077.
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Il s’agit d’une thèse menée en sciences de l’art, plus particulièrement en poïétique et esthétique, d’un praticien sculpteur qui réfléchi sur la notion du chaos et la surface dans la sculpture contemporaine. J’ai commencé par mon approche poïétique et celles des autres, comme ceux qui sont à l’origine de l’Arte Povera et du Land Art. Une partie graphique, consistera à traiter ce rapport à travers mon journal d’artiste, un journal du quotidien et du banal à travers le dessin, qui n’est pas seulement un moyen de représentation mais il est un outil de connaissance et de production le réel, il est aussi une façon d’explorer la nature et une manière de comprendre le chaos et de produire la surface. Pour la partie plastique, je sollicite l’utilisation de matériaux trouvés dans ma région natale. Ces matériaux sont touffus, pleins de branches entremêlées, aucune organisation n’est visible. Cette thèse ouvre la voie sur une réflexion qui met l’accent sur les notions du chaos et de la surface. Dans la première partie se pose la question de la création - recherche. Ensuite on a posé la question du chaos et de la surface d’une façon générale en appuyant la réflexion sur des références sûres comme celles de Reynal Sorel (Mythologie et philosophie grecques) Maurice Merleau-Ponty (phénoménologie), Gilles Deleuze et Clément Rosset (philosophie), Jacqueline Lichtenstein (Histoire de l’art et esthétique). Toujours chaos et surface vont ensemble, ils sont complémentaires. On a traité ce duel dans des cas particuliers, comme Auguste Rodin, Henry Moore, de Jean (Hans) Arp et d’artistes d’Arte Povera et du Land ArtThis is a thesis conducted in the science of art, especially in poetics and aesthetic s by a practitioner sculptor who reflected on the notion of chaos and the surface in contemporary sculpture. I started with my approach about poetics and that of other artists, such as those at the origin of the Arte Povera and Land Art. Some graphics will treat this report through my journal as an artist, a daily and banal journal, and through drawing, which is not only a means of representation but it is a tool of knowledge and the production of reality, it is also a way to explore nature and a way of understanding chaos and to produce the surface .The plastic part requests the use of materials found in my home area. These materials are dense, full of tangled branches, where there is no visible order. This thesis opens a discussion that focuses on the concepts of chaos and the surface. In the first part is the issue of creation - research. Then we dealt with the issue of chaos and the surface of a general reflection on supporting references such as Reynal Sorel (Greek mythology and philosophy) Maurice Merleau-Ponty (Phenomenology), Gilles Deleuze and Clément Rosset (philosophy), Jacqueline Lichtenstein (art history and aesthetics). Surface and chaos are always together, they are complementary .We treat this duel in special cases, such as Auguste Rodin, Henry Moore, Jean (Hans) Arp and artists of Arte Povera and Land Art
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Joppolo, Giovanni. "Les arts plastiques en Italie au XXe siècle entre progrès et tradition." Paris 8, 1993. http://www.theses.fr/1993PA080788.
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Ce doctorat est le fruit d'une recherche sur travaux. Dans le corpus d'articles publies par l'auteur au cours de ces quinze dernieres annees, ces pages sont celles qui peuvent composer une incursion dans l'histoire de l'art italien du vingtieme siecle (le novecento) vue sous l'angle du dilemme entre progres et tradition. Dans cet ouvrage, certains chapitres constituent un travail de recherche pure apportant des informations inedites susceptibles de rectifier des erreurs historiques (voir les pages sur fontana et le spatialisme). D'autres tentent d'introduire des modes de lecture nouveaux (voir les pages sur marinetti, de chirico, sironi, les rapports entre arts plastiques et fascisme) d'autres sont un travail de divulgation clarifiante (a usage pedagogique) sur des mouvements et des artistes dont les oeuvres ont ete balisees par les historiens et les estheticiens (voir les pages sur manzu, l'ecole romaine, corrente, l'arte povera). D'autres sont enfin le fruit de cet arpentage quotidien qu'est la critique militante et se situent plus du cote de la chronique necessaire aux historiens et chercheurs futurs (voir les pages sur rotella, dorazio, paladino, les choix matieristes"). Ces chapitres concernent des episodes determinants, mais aussi des interstices sans lesquels il serait difficile de saisir comment s'est construit l'edifice. S'agissant d'un champ d'etude soumis aux multiples contractions potentielles d'une histoire agie par le present, l'auteur etant en outre directement engage dans cette histoire en tant que critique militant, il est des lors evident qu'un certain nombre de jugements sont a lire comme etant des conjectures personnelles. Ecrire une histoire de l'art contemporain suppose une prise de risques, un manque de recul porpre a l'apprehension d'une histoire en train de se faire dans toute sa complexiteThis doctorate risultes from a research on works. Among the bulk of articles the author published over the last fifteen years, this choice may be considered as an excursion into the italian twentieth century art (novecento), dialectically seen between progress and tradition. Some chapters display pure research work and supply utmost new information that may help to rectify historical errors (see, for instance, pages concerning fontana and spatialism); others try to introduce new ways of reading works of art (see pages pages about marinetti, de chirico, sironi and the relationship between art and fascism); others constitute a clarifing pedagogic publishing on mouvements and artists whose works have been "revisited" by the author (see pages on manzoni, scuola romana, arte povera, corrente); others, the fruit of daily frequentations of a militant critic, stand rather on the side of an indispensables chronical for the use of future historians and critics (see pages on rotella, dorazio, paladino and "meteric choices") these chapters rveal relevant facts but also supply explication of "clefts" without which understanding of "how the house was built" would be difficul to catch, the field of this research being subject to number of potential contradiction owing to this "history in progress" and the author being, more over, directely committed to this history as a militant critic. It becomes than evident that number of his assesments are to be read as personal opinions. Writing the history of contemporary art implies taking risks, because of a lack of historical distance and because of the complexity of history in the making
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Conger, Elizabeth Clare. "Alienation theory and its relationship to contemporary Arte Povera practice : confrontation and contemplation : this exigesis [sic] is submited [sic] in partial fulfillment of the Master of Art and Design, Auckland University of Technology, 2007 /." Click here to access this resource online, 2007. http://aut.researchgateway.ac.nz/handle/10292/233.
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Héry-Montanes, Emilia. "Fascisme imaginaire : imaginaire du Fascisme dans l'art italien contemporain (1945-2015)." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H027.
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Pendant soixante-dix ans, de 1945 à 2015, les artistes italiens ont, à travers leurs œuvres, mené un travail de mémoire. Entre une génération née avant le Fascisme, une alors qu'il est à l'apogée de sa puissance impérialiste, une autre après la guerre et enfin une génération de jeunes artistes nés trente ans après la fin du conflit, les mémoires singulières et collectives se bousculent. L'objectif de cette recherche est de reconstruire l'histoire de ces témoignages sur un passé vécu ou pas, et de donner les outils pour comprendre les conditions de leur genèse. Parler de la mémoire à travers des œuvres d'art est une expression intime, singulière, mais également un acte éminemment politique. Les manipulations de la mémoire du Fascisme influencent-elles tout au long de la période la création sur le sujet ? Quelles postures les artistes adoptent-ils face aux problématiques soulevées par une redéfinition du danger fasciste alors que la dictature est officiellement terminée ? Quelles formes plastiques sont données à ces remémorations et réactualisations ?Over a period spanning 70 years, 1945 through 2015, ltalian artists carried out a "memory" endeavour for those generations that were bom before the fascist era, during the period of its highest imperialistic aims, during the aftermath of the war, and even for the generation of those artists bom 30 years after the end of the war. As a result, a multitude of individual and collective memories had emerged. This work aims to reconstruct and track the history of these memories (whether or not actually experienced by the artist), and to provide the tools to understand the genesis ofthese memories. Analysing "memory" through art pieces is an intimate, singular, and political act. To what extent fascist memory manipulations affect artistic creations? How do the artists react and position themselves, once confronted with the problems of re-defining "Fascism", after the dictatorship fell? Which new "plastic forms" emerge from these new adaptations of individual and collective memories?
Durante settant'anni, dal 1945 al 2015, gli artisti italiani, attraverso le loro opere, hanno svolto un lavoro di memoria. Fra una generazione nata prima del Fascismo, una nata quando questo è al culmine della sua potenza imperialista, un'altra nata dopo la guerra e infine una generazione di giovani artisti nati trent'anni dopo la fine del conflitto, le memorie individuali e collettive si affollano. L'obiettivo di questa ricerca è di ricostruire la storia di queste testimonianze su un passato, vissuto o no, e di fomire gli strumenti per capire le condizioni della loro genesi. Parlare della memoria attraverso le opere d'arte è un'espressione intima, singolare, ma allo stesso tempo un atto eminentemente politico. Nel periodo preso in esame, le manipolazioni della memoria del Fascismo influenzano la creazione su questo tema? Quai è la posizione degli artisti di fronte alle problematiche nate da una ridefinizione del pericolo fascista, sebbene la dittatura sia ufficialmente caduta? Quali forme plastiche son date a queste rimemorazioni e riattualizzazioni?
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Sergio, Giuliano. "Information document œuvre : les parcours de la photographie en Italie dans les années soixante et soixante-dix." Thesis, Paris 10, 2008. http://www.theses.fr/2008PA100169.
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Au milieu des années soixante, le panorama photographique international a été marqué par la collaboration entre artistes et photographes qui a caractérisé la naissance des mouvements d'avant-garde. Ce travail de thèse fait un bilan des résultats de cette collaboration en Italie, en évaluant ses influences sur la recherche photographique jusqu'aux années soixante-dix. L'idée de cette thèse est née du travail photographique d’Ugo Mulas, figure incontournable pour étudier le rapport entre artistes et photographes. Cette collaboration, issue de l'exigence d'enregistrer les actions éphémères de l’avant-garde, a permis de concevoir une nouvelle fonction du médium, qui dépasse la distinction classique entre document et œuvre. Dans ces travaux, documents et archives sont amenés à assumer un nouveau rôle de présentation au public, avec une dimension historique et esthétique inédite à laquelle ont participé tous les opérateurs du système de l'art – photographes et artistes, mais aussi critiques et galeristes. La thèse organise l'étude des œuvres à travers l'approfondissement du « système marchand – critique ». À partir des résultats de ces recherches, on dessine une géographie des institutions, des centres d'art et des galeries qui va permettre de lire les œuvres dans le contexte de la culture artistique et photographique italienne. Dans les années soixante-dix, les photographes issus de cette expérience se consacrent au paysage urbain. Luigi Ghirri, Mario Cresci et Mimmo Jodice sont des figures de référence de cette nouvelle période, capables de traduire l’héritage esthétique et conceptuel d’Ugo Mulas et des avant-gardes dans une photographie du paysage en phase avec la photographie internationaleIn the middle of the sixties, the international panorama of photography was marked by collaborating artists and photographs who together gave birth and character to the avant-garde’s movements. This present work assesses the results of this collaboration in Italy, discussing its influences on photographic research until the seventies. The collaboration between artists and photographs, originally responding to the necessity of registering the avant-garde’s fleeting actions, opened to a new conception of the medium’s function that outshines classical distinction between the “document” and the “work of art”. The studies show that during the seventies the art critics didn’t go into the matter of photography further than it’s use in avant-garde’s researches. This didn’t encourage the constitution of a real market and also restricted the interest artistic institutions would have taken for photography’s heritage and history. However, in despite of its outlying position, the circle of Photography in Italy succeeded in developing connections with the major centers of international research. In this context, numbers of Italian photographers dedicate themselves to urban landscape and territory’s documentation. These researches increase in the seventies thanks to local public commissions supporting them. Luigi Ghirri, with Mario Cresci and Mimmo Jodice will be the main figures within the photographers of this period. They are able to render esthetical and conceptual heritage of Ugo Mulas, photographer, as well as the sixties and seventies avant-gardes’ experience, in a Landscape photography which is on the same wavelength than the rest of international photography
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Mande, Zoleka. "Income generating projects and poverty alleviation: the Baviaans Arts and Crafts Project." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/6115.
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South Africa has witnessed series of social unrest, many of which ended in violence by very poor communities who allege poor delivery of basic goods and services. The majority of South African citizens are poor and pervasive inequality exists between men and women and between black and white peoples of the country. The poverty alleviation strategies inequalities and the consequences of poverty amongst women in rural areas (Ozoemena, 2010). Cacadu District municipality has done a study analysis on poverty alleviation in 2009-2010 together with the Baviaans municipality to verify which areas was the most poorest in Baviaans municipality. The findings came as Vondeling and Riertbron which was the poorest area. The focus was on tourism side because Baviaans is the tourist area.Rietbron and Vondeling is part of Baviaans Arts and craft program that was previously funded by DEDEAT R500, 00 but only benefited after incorporated to Baviaans municipality as they were previously managed by Cacadu District Municipality before and the municipality decided to invest in this areas. The funding for DEDEAT was utilized for trainings, starting material and equipment’s and building of the Baviaanskoof Craft Shop for two projects which is Vondeling and Steytlerville and Rietbron did not benefit at that time. This study focuses on the income generating projects in Baviaans municipality with the view to describe the experiences of individuals who participate in these income generating projects. The objective of this study was to evaluate the contribution of income generating projects in addressing poverty alleviation. Steytlerville projects is using waste materials like old newspaper, raw material, broken cups to do jewellery .Vondeling and Rietbron project is an angel factory producing beaded wire angels by using materials locally produced merino wool, wire wool, beads and local products such as ostrich feathers .This study is based on a case study which gives a description of poverty and reflects an involvement process of beneficiaries or communities in an income generating project and how it is impacting on their livelihoods. Qualitative and quantitative methodology were used. According to Neuman (2000: 30), the quantitative data methods refer to the collection of data using numbers, counts and measures of things and qualitative research basically involves the use of words, pictures description and narratives”. Data was collected for interviews. In order to collect accurate information, an interview was conducted based on the author’s research questions. Research was conducted in different areas like Steytlerville, Vondeling and Rietbron. A questionnaire was used as a form of data collection for the three projects. These interviews were conducted formally in a focus group composed of the projects members. In Steytlerville they were 5 members, Vondeling 7 members and Rietbron10 members which make a sample of 22 members. These projects have two craft shop where they sell their product which is Willomore craft shop and Baviaanskloof craft shop. The craft shop has been established to create an outlet by which locally sustainably made craft can be displayed and sold. The craft shop has been developed in such a way that is a real life example of a green building and business .The craft shop is an example of how to be environmentally friendly and utilise nature in such a way that it is sustainable and does not destroy it. The research findings suggested that in certain instances, Baviaans Craft project has been successful in generating income for members. The market for these crafters is mainly tourists. From this research it came out clear that some of the project members were able to acquire skills which help them to find employment in well-established craft business. Despite the successful of Baviaans Craft project, the project members were somewhat constrained in managing and running the business. For example with response for special markets, they had to make use of external skills i.e. someone who made contacts with the export market and there after divide the profits amongst members. The project members were not adequately empowered in management skills.
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Liu, An. "Read-In Arts." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4878.
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As interior designers, we strive to design everything for our clients, from complex environments to the joinery of a chair. We rarely consider inviting our clients or the users to join us in finishing the space.
Read-In workshop is not a school, but a kind of home, a home belonging to children, which provides the possibilities for children to play, to learn, to occupy, to personalize, and to share. An emotional space that will not limit the user, but keep inspiring them. It helps children notice, think, and grow.
Half of the interior space will be a fixed design, designed and fabricated during the first construction phase. The other Half will be designed as a flexible and changeable “framework” space, which allow the users to reorganize, repaint, and refinish, depending on their evolving educational needs and aesthetic tastes. Therefore, this “incomplete” workshop will share control with children. The contents of the framework will be continuously updated by the children who participate in the Read-In arts programs.
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Nyarkoh, Bright James. "Rights-based approach to poverty reduction: The Ghanaian experience [Thesis]." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2257.
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The 1992 Republican Constitution of Ghana obligates the state to guarantee that all citizens have access to education, good health, housing, water, sanitation, employment and food security. As a consequence, the government implemented the ongoing Livelihood Empowerment Against Poverty (LEAP) programme in 2008 to sustain development in these areas. Although Ghana has achieved pockets of progress in reducing extreme poverty and hunger, there is considerable evidence of poverty and widening inequality across the country. This study draws on the theoretical lens of the human rights-based approach (HRBA) to poverty reduction to examine how the implementation of the LEAP programme aligns with beneficiaries’ human rights entitlements. It argues that the LEAP programme has failed to align with the HRBA and leaves unattended Ghana’s constitutional obligations.
This study employed an exploratory sequential mixed design (SMD) strategy using a two-phase, chronological design to explore beneficiaries’ and key stakeholders’ experiences of the LEAP programme. The first phase was grounded on a qualitative research approach using in-depth face-to-face interviews, focus group discussions, participant observation and document analysis. The second phase employed a quantitative research approach, drawing on the themes that emerged from the first phase to develop a standardised questionnaire to conduct a household cross-sectional survey with a sample of 250 respondents.
The findings suggest that the LEAP programme has led to some positive outcomes for beneficiaries, including enhanced self-esteem and happiness, household cohesion, social interaction and increased community involvement for beneficiaries. Nevertheless, many of the beneficiaries perceived their deprivation (poverty) as a way of life, making them vulnerable and defenceless. For them, the LEAP programme was an act of charity from the government and not an escape route from poverty. The study also found that the community engagement approach used by the LEAP implementers failed to conform to the active stakeholder engagement approach of community participation, consultation and collaboration. Overall, the evidence suggests that the implementation of the LEAP programme only partially aligns with the HRBA to poverty reduction, which potentially undermines efforts to eradicate poverty and sustain development in Ghana.
The findings from this study confirm support for a community-based empowerment model that captures the emerging dynamics and complexities in advancing the social and economic status of the vulnerable and indigent in society. This new model of community based empowerment is underpinned by beneficiaries’ active engagement in economic activities and their economic empowerment. This model of economic empowerment addresses the inadequacies associated with the LEAP programme that directly threaten its sustainability. The new model has the potential to advance and strengthen the human rights of beneficiaries, widen the scope of beneficiaries and support the long-term sustainability of social intervention programmes in developing countries.
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Di, Mauro Sebastian Anthony. "Stories in Search of a Perfect Home." Thesis, Griffith University, 2015. http://hdl.handle.net/10072/380207.
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This exegesis surveys a selection of my visual arts practice, including
exhibitions and public artworks, produced over the last twenty years (1995–
2015). This reflective inquiry references two distinct themes that continue to
underpin my art practice, my Italian heritage and nature, and the
interconnections between them. I draw upon selected and related theoretical
perspectives to assist in particular readings of my creative work. Furthermore,
I consider the place and significance of my work in relation to the Art Povera
movement as well as selected contemporary visual artists practicing in
Australia and beyond. As will be shown, my collective practice, while
referencing my experience of being a second-generation Australian Italian,
also acknowledges broader notions of immigration, resettlement and
assimilation. The search for home, identity and belonging is central,
understood through my migrant family’s myths and memories, dislocation, coexistence
and the garden.Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Arts, Education and Law
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Read, Robert. "A squalid-looking place: poverty row films of the 1930s." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96833.
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Film scholarship has generally assumed that the low-budget independent film studios, commonly known as Poverty Row, originated in the early sound-era to take advantage of the growing popularity of double feature exhibition programs. However, the emergence of the independent Poverty Row studios of the 1930s was actually the result of a complex interplay between the emerging Hollywood studios and independent film production during the late 1910s and 1920s. As the Hollywood studios expanded their production, as well as their distribution networks and exhibition circuits, the independent producers that remained outside of the studio system became increasingly marginalized and cut-off from the most profitable aspects of film exhibition. By the late 1920s, non-Hollywood independent film production became reduced to the making of low-budget action films (westerns, adventure films and serials) for the small profit, suburban neighbourhood and small town markets. With the economic hardships of the Depression, the dominant Hollywood studios were forced to cut-back on their lower budgeted films, thus inadvertently allowing the independent production companies now referred to in the trade press as Poverty Row to expand their film practice.This dissertation examines the history of the 1930s independent Poverty Row studios from the introduction of sound film production to the end of the independent companies in 1940. Through archival research and textual analysis, this project documents the declining fortunes of independent film production and contrasts this decline to the rise of the Hollywood studios, and the gradual transformation of silent era independent film production into the Poverty Row studios. Moreover, this dissertation examines how the residual positioning of Poverty Row within the field of 1930s American cinema determines its relationship with the larger, dominant Hollywood studios, as well as its distinct film practice. Although independent Poverty Row film production took place at the same time as that of the classical Hollywood cinema, it did not directly participate in the artistic and technological innovations of the classical Hollywood model of film practice. Instead, these low-budget producers perpetuated the established film aesthetics of the silent period into the sound cinema. As a result, the films produced by the independent Poverty Row studios of the 1930s take on lingering elements of the silent cinema, including genres, film styles, film stars, and outmoded representations of modernity. This perpetuation of a past cinema into the sound era not only defines Poverty Row film practice, but it also defines its relationship with the larger Hollywood studios and its position within the 1930s film industry.La littérature en études cinématographiques présume que les studios indépendants de films à petit budget, plus connus sous le vocable Poverty Row, prennent leur origine aux débuts du cinéma sonore, afin de bénéficier de la popularité croissante des projections à programme double. Cependant, l'émergence des studios indépendants de Poverty Row est en fait le résultat d'interactions complexes entre les studios naissants d'Hollywood et la production cinématographique indépendante durant la fin des années 1910 et durant les années 1920. À mesure que les studios hollywoodiens augmentent leur production, tout comme leurs réseaux de distribution et leurs circuits de projection, les producteurs indépendants restés en dehors du système de studios, deviennent de plus en plus marginalisés et coupés des secteurs les plus profitables de la projection de films. À la fin des années 1920, la production indépendante non-hollywoodienne en est réduite à des films d'action de série B (des westerns, des films d'aventure ou des séries) comptant de maigres profits réalisés dans des marchés de petites villes et villages. Avec les difficultés économiques causées par la Dépression, les studios hollywoodiens dominants sont forcés de couper la production de leurs films à petit budget, permettant ainsi involontairement aux compagnies de production indépendante, aujourd'hui connues sous le nom de Poverty Row, d'augmenter leur création.Cette thèse porte sur l'histoire des studios indépendants de Poverty Row des années 1930, depuis l'introduction du son dans les films, jusqu'à la fin de ces compagnies indépendantes en 1940. À travers une recherche d'archives et des analyses textuelles, ce projet documente le sort déclinant de la production indépendante de films et contraste ce déclin avec la montée des studios d'Hollywood, et la transformation graduelle de la production cinématographique indépendante de l'époque muette vers les studios de Poverty Row. De plus, cette thèse analyse comment le positionnement résiduel de Poverty Row à l'intérieur du champ du cinéma américain des années 1930 détermine sa relation avec les importants studios hollywoodiens dominants, tout comme sa production cinématographique distinctive. Même si la production indépendante de Poverty Row a lieu en même temps que le cinéma hollywoodien classique, elle n'a pas participé directement aux innovations artistiques et technologiques du modèle classique de production de films hollywoodiens. À la place, ces productions à petit budget ont perpétué l'esthétique établie durant la période muette au sein du cinéma sonore. En conséquence, les films produits par les studios indépendants de Poverty Row durant les années 1930 démontrent des éléments persistants du cinéma muet, incluant les genres, les styles de film et des représentations démodées de la modernité. Cette perpétuation d'un cinéma du passé au sein du cinéma sonore définit non seulement la production des films de Poverty Row, elle détermine également sa relation avec les importants studios d'Hollywood et sa position à l'intérieur de l'industrie du film des années 1930.
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McGee, Matthew. "Market Economics vs. Christian Economics: Poverty in Jonathan Edwards's Writings." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/975.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Sciences
History
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Uelk, Katie Owens. "Arts-Based Pedagogies and the Literacy of Adolescent Students in High-Risk and High-Poverty Communities." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555430793261226.
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Lau, Ashley. "Micro-Credit: A Sustainable Means of Poverty Alleviation for the Developing World." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1038.
Full textAbstract:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Sciences
Political Science
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Lee, Adam Norman, and adam@adamlee com au. "Social and cultural realities." RMIT University. Art, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070109.144637.
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This project involves the visual exploration of different social, cultural and spiritual experiences in both the Third World and the West, as a metaphor for the human condition. It draws upon the experiences of people living in various situations of poverty and hardship in both Western and Thirld World communities. Through this research program I have created a series of visual works, which explore and questions many of the different social, cultural and spiritual characteristics of groups of people experiencing situations of extreme poverty, neglect and hardship within both Western and Thrid World societies. The main research for this roject has involved creating crucial links between my art practice and my ongoing involvement in humanitarian/aid programs in Andhra Pradesh, India, working with people in impoverished Third World conditions, and social welfare work in the Northern Suburbs of Melbourne, Australia. By drawing on these two specific areas, this resear ch project explores the theme of poverty as a valid subject for the visual artist in establishing a broader metaphor for the human condition in the 21st century. This has involved testing new insights in this area in relation to contemporary fine art, the relationship between poverty and contemporary visual art and the investigation of the artist as a documenter of real life experiences in situations both inside and outside of the typical Western experience of living.
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Stephens, David K. "Against all odds leadership in a high-poverty high-performing school /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4665.
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Thesis (Ed. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 9, 2007) Vita. Includes bibliographical references.
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Grant, Stuart. "Communicating online microfinance as an effective poverty alleviation tool: a case study of Kiva." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21940.
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Microfinance is a significant component of financial inclusion, which has come to the fore in contemporary developmental literature and practice. It has been used as a poster child of millennial development. The various conceptual offshoots that are either symbiotic or causal to online microfinance are laid out here to demonstrate that as a poverty alleviation strategy, the efficacy of microfinance is at best debatable. There is also a positive reflection of online microfinance both cultivating cosmopolitanism and as being representative of a democratization of development. The research here looks at the communication practice of online microfinance –using the largest online peer-to-peer lending site kiva.org as a case study – to see what representations exist. Drawing on Ricoeur's discourse and a textual application of Laclau's chains of equivalence, a content analysis is used to identify what immediate and latent narratives are present. This considers the presence and absence of word chains to convey, construct and conflate meanings through the text. To achieve this, a quantitative and qualitative approach is used to look at the data gathered, and also to contextualise the data through the related concepts set out in the first section.The analysis shows two representations of online microfinance: firstly, a homogenization of meaning that fits a neoliberal discourse, minimizing the problems with microfinance as a development intervention; and secondly, a decontextualization of borrowers, rendering them placeless and apolitical, with the loan itself being of more weight than the life of the borrower.
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Sloane, Heather M. "Poverty and the Art of Medicine: Barriers to Empathy in Medical Education." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1435186180.
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Pillay, Tania. "The role of craft in poverty alleviation in semi-rural communities." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/2981.
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This treatise explores the role of craft and craft training as a tool within poverty it looks to question the sustainability of this approach. The research was conducted amongst three community school sites. These were structured to better the relationships between schools and community members, in particular school parents. As the data had been collected through open questionnaires, after the first phase of implementation, it found that each site was trained in entrepreneurship and a craft skill. These were exercised through a selling opportunity within the Sundays River Valley. Assessments of the project looked to question and consider not only the implementation and framework of the project, but the expectations of both the participants and the facilitators. The data collected was reviewed in regards to the SRV Project’s goals and successes, as well as the universal measurements of success viewed within craft based projects and programmes with a poverty reduction focus. Findings showed that the project, though successful in meeting the basic goals, faced challenges in regards to funding, time constraints, participation consistency and challenges in market and product understanding. Recommendations were made in accordance with indicators highlighted in successful and sustainable models of craft based poverty alleviation projects.
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Stine, Alison. "Rust Belt Blues." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365151197.
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Giroud, Véronique. "Formes de politisation. Arts et cultures de la distraction après 1925." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH163.
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Dans une situation historique très conflictuelle marquée d’un doute décisif envers les valeurs portées par les avant-gardes, la force de la pauvreté des formes de l’art et des formes du « non-art » est perçue comme pouvant impliquer, engager ou indiquer une issue. Considérant cette situation comme un « moment humain », on l’aborde par le prisme des « réponses constructives » qu'énonce la nécessité « d'organiser le pessimisme », de « construire quelque chose après Dada » puis de « survivre à la culture ». Il s’agit de montrer que ces trois orientations formalisent la recherche d'un commun et qu’elles instaurent un agencement de temporalités inédit qui peut être identifié dans l’ intrication complexe et jamais fixée des éléments du passé, des éléments révolutionnaires et des éléments des cultures de la distractionThis thesis examines the historical moment when the beliefs sustaining European artistic avantgardes collapsed around 1925. It presents an in-depth study of the “constructive responses” that formally shaped artistic convictions and the search for collective action. These “constructive responses”— the organization of pessimism, how to act after Dada, how to outlive culture — indicate that the situation created a new configuration of temporalities. This thesis identifies their complex, shifting interactions between elements of the past, “revolutionary elements”, and elements of the cultures of distraction
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Stucchi, Mariana Peres. "Artes de viver em mulheres de camadas populares: o cotidiano de mães da comunidade São Remo." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/47/47131/tde-15122009-121045/.
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Este trabalho nasceu do contato com mães de comunidade pobre, que precisam dar conta de jornadas triplas de trabalho: casa, filhos, trabalho; quando não quíntuplas pensando que precisam cuidar de ser esposa e mulher também. A questão é como essas mulheres conseguem renovar suas energias para a luta diária pela vida? Será que há condições de só viver de trabalho, de exigências externas, de responsabilidades? Assim encaminhouse a discussão sobre o lazer e o trabalho, pensandoos como instâncias importantes para a condição humana, para a expressão e manutenção de si. A proposta é apresentar uma visão crítica sobre o papel do lazer e do trabalho no cotidiano das pessoas no início do século XXI, a partir da linha de Frederic Munné, de que a sociedade desta época está sob uma intensa influência da propaganda e do lucro e de que o tempo não deve ser dividido entre trabalho e lazer. Cristophe Dejours traz uma possibilidade nova de interpretação sobre o conceito de saúde: por mais controlados que os desejos estejam pela mídia e propaganda, as pessoas têm necessidades básicas de buscar seus interesses. E esta busca é fundamental para manutenção do desejo pela vida. O que se faz na diversificação de atividades. Este ponto se aproxima do pensamento de Donald Winnicott, que vê a possibilidade de se colocar no mundo, ou seja, a capacidade de viver de forma saudável, a partir do brincar e da relação mãebebê. Esta pesquisa tem o objetivo de conhecer as formas de vida de mulheres, mães, de comunidade pobre de São Paulo a São Remo, vizinha à USP. Por conta desta vizinhança, a São Remo apresenta uma relação peculiar com as pesquisas que ali são propostas. Não há uma grande valorização desta atividade, já que eles encontram tantos pesquisadores de diversos cursos diferentes na comunidade e sentem pouco retorno disso. Esta distância aparece na presente pesquisa, que trabalhou a partir do interesse das moradoras, e também por ter se deparado com mulheres se propondo a participar por conta da especialidade da interlocutora: psicologia. A partir de encontros mensais organizados pela Pastoral da Criança na região, sete mulheres deram seus nomes para conversar sobre suas rotinas. Rotinas cheias de sentimentos e que mostram uma variedade de sentidos a cada atividade que fazem. Estes momentos dos encontros são marcados pela presença de muitas mães com seus filhos, aguardando pesagem, sorteio de cesta básica, lanche, sol, espaço para os meninos brincarem, outras mães para conversar. Um espaço tão rico, já começa a mostrar o quanto a maioria das atividades destas mulheres está marcada pela maternidade e também pela união da responsabilidade e do relaxamento. Mesmo quando falam em trabalho fora de casa, valorizam o sair, a diversidade de coisas para ver, o dinheiro para suas coisas, entre outros. Inclusive a viabilização do grande sonho de todas elas: ter uma casa sua e arrumada. Elas nos ensinam diferentes maneiras de viver, de enfrentar as dificuldades, de sonhar e manter o desejo pela vida.The idea for this work started from contact with poor mothers who must take care of a lot of things during their days: housework, children, work, and also being a wife and a woman. How can they have enough energy for all of that? Is it possible to live only working and dealing with obligations? This lead to the discussion of work and leisure. They are both very important activities for ability of human beings to express and to keep life going on. This dissertation presents a critical view of the role of work and leisure for people who live in the twentyfirst century. Frederic Munné says that this is a time when our lives are very influenced by marketing and money and that we normally think in a double way: or work or leisure. Cristophe Dejours thinks that being healthy today is to keep engaged and to have a desire for living. This, we can do if we have different activities each day. This is similar to Donald Winnicott´s idea that our interest for living and for life is something people develop from creativity and from the mother/child relationship. This research studies the way of life of poor mothers from a poor community in São Paulo called São Remo, USP neighborhood. Because of this neighborhood São Remo doesn´t give much value for researches in the area. They are studied often, but little feed back is given. This is shown in this work, that is based on São Remo women´s interest, and also they are interested on psychologist consultation. Starting with my presence in a monthly meeting organized by Pastoral da Criança, I met seven women who would like to talk about their daily routines. Those are full of emotion and shows lots of different meanings in each activity. The Pastoral meetings have a lot of mothers with their children, waiting to check each child weight, to see who will be the lucky three winners of donated food, for snacks. These mothers and children enjoy the outside atmosphere with space for children play and an opportunity to speak with other mothers. A very rich moment that demonstrate the big part that motherhood plays in their routines. They can unite responsibility and relaxing. Even when they talk about work, they can give value to the way they do things, the diversity of things to see and the money they can have to pay bills and sometimes buy women things, among other points. As well as their dream to have their own beautiful house. They teach us many ways of living, to fight for life, to dream and to keep desire to live.
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Manternach, Brad Andrew. "Content within the community: a look at content driven community-based art practices and the results of an after school art program." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3344.
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The purpose of this research was to study the ways in which a content driven after-school art program focused on community-based art projects inspires high school students to create work that are personal and purposeful. This study involved members of the Hempstead High School Art Club. I collected data in various ways including focus groups video recording, journal reflections, and observations with Art club members who meet monthly to discuss the project and biweekly to work on the project. My plan was to gather information on the effectiveness of a content driven after school art club in the teaching and learning of visual art. Through my research I hoped to discover the benefits and drawbacks of an after school art program as compared to a regular art classroom setting and the implementation of content driven art projects. Finally, I hoped to study and analyze the effects such a program would have on a student's understanding of the purpose of creating community-based art.
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Seedee, Roosevelt. "The Impact of Foreign Aid on Extreme Poverty: A Case Study of Liberia’s Development Complexities (1980-2018)." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etd/3487.
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Many countries in West Africa, including Liberia, remain trapped in extreme poverty and dysfunctional social services amid continued increase in foreign aid. This study examines complexities influencing decisions of government donors in determining the kind of development assistance needed in Liberia and nation states in West Africa. This research explains the ways in which aid perpetuates poverty instead of alleviating it using interdisciplinary research approaches. Although aid is critical to Liberia’s development agenda, aid implementation faces numerous challenges because of extant poverty and rampant corruption.
Part of the problem in Liberia is not solely the failure of aid to meet its goals. I conclude that poverty persists despite billions of dollars in aid because of corruption, human rights abuses, and inequalities, not the concept of aid. Democracy is effective when economic development allows citizens to have power within their own nation and government is accountable to its citizens.
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Cogsdale, Carrie. "Building a Brighter Future Through Education: Student Housing for Single Parent Families." Scholar Commons, 2009. http://scholarcommons.usf.edu/etd/3692.
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On the possibilities of a child the Center for Disease Control says, “Every Child
should have the opportunity to reach their full potential”. (CDC) Children who grow up
in low-income families are at risk of falling behind in education before they even enter
kindergarten. Single parents that struggle to provide food and shelter often lack the time
and the resources to provide the early education that their children need. A college
education could provide these parents and their children with a better quality of life.
University student housing could include built in childcare services, educational
assistance and peer support, for single parents working toward their degree. The
development of a child is as important as the education of the parent. The home should
provide its inhabitants with safety and promote learning and growth.
A focus will be place on the shared common spaces. Emphasis will be given to
the shared living rooms in order to promote an interaction between the individual
families. These shared spaces would be a medium for children from the different
families to play together along side spaces for their parents to study. The private family
spaces can be minimized to sleeping quarters, a kitchen and a small living space,
providing a place for intimate family interaction. The project will also include an inhouse
childcare center, for the children living in the facility. The childcare center
provides a safe learning environment for the children, while their parents are at school.
Garden’s and play spaces throughout the building should stimulate a child’s imagination
and encourage their curiosity.
Combining a safe learning and living environment, with access to nature will
provide both a sense of security of home and school, and the freedom of exploration.
“For healthy development, undistorted by fears and worries children need to feel valued
and protected. They need both challenge and an ambience of security”(Day, 34).
Investing in a child by showing them what they are capable of achieving with education
is not a gamble. A child’s potential is a thing that cannot be left to fall, unachieved. A
healthy society benefits from the education of all.
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Kline, Nolan. "The Aggregated Influences of Poverty Impacting Dental Care Access and Oral Health among Migrant Farmworkers in Tampa, Florida." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3650.
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Oral health is an important aspect of overall health, but many vulnerable
populations such as migrant farmworkers are without access to oral healthcare. Although
some non-government organizations such as faith-based organizations have attempted to
fill gaps left by government and private sectors, a lack of a dental safety net creates
limited access to oral health services for migrant farmworkers. Access to care is further
constrained by structural factors including low wages, migration route, and high costs of
care. Building off a critical medical anthropology approach in understanding oral
healthcare access, I argue that limited oral health access for migrant workers in the
Tampa Bay area is the result of economic constraints and not cultural beliefs or
educational shortcomings. This research therefore demonstrates the social determinants
of oral health, and how social disparities can become embodied in marginalized groups
such as migrant farmworkers.
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Dupree, Kevin M. "Ethics in a shrinking world exploring the ethical implications of the proliferation of technology on world hunger." Honors in the Major Thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/374.
Full textAbstract:
Even if they do not realize it, readers are perpetually in a condition that is strikingly similar to that of the Good Samaritan. Right now they have access to a vast network of communication that both enhances their senses and increases their sphere of influence. They can, for example, sit down at a computer and click on a certain combination of "sites" and the result will be that, in two weeks (or sooner), a DVD will arrive on their doorstep. Or, they can choose another combination, and the result will be that, in about two weeks (or less), a child will be saved from starvation and dehydration in some distant and destitute nation. Like the Good Samaritan, a reader of this thesis can see the desperate need of others and they have the ability to affect their condition. This perpetual Good Samaritan condition is directly a result of the recent changes the world has undergone as a result of technological advancement. This thesis is an exploration of the ethical implications of the potential perpetual good Samaritan. I will argue that (1) affluent individuals are able to affect positively the global poor and that they have a moral obligation to do so, (2) that this moral obligation is limited insofar as fulfilling the obligation requires a moral agent to sacrifice something of substantial significance (i.e., something that would cause a long term decrease in happiness), and (3) fulfilling this obligation requires specific actions on political, social, and individual levels.B.A.
Bachelors
Arts and Humanities
Humanities
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Evans, Teresa Craig. "School Choice at the Crossroads of Race, Class, and Accountability: An Analysis of the Effects of Voluntary School Choice on Elementary Schools in a Large District in the Southeastern United States." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3552.
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In recent years, the responsibility for the desegregation of American public schools has transitioned from federal court mandates to school board programs and policies. There is widespread belief that this has resulted in the resegregation of schools across the country. One popular policy that is purported to provide the opportunity for voluntary integration, along with accountability for academic quality, is school choice. The purpose of this study was to consider the implications of such a policy in one large school district. There is an extensive body of research exploring who participates in school choice, how they make their choices, and why they choose the schools their children attend. In contrast, this study was designed to investigate the actual choices made by parents and the impact of those choices on the elementary schools in the district.
This quantitative descriptive study examined the racial and socioeconomic composition of students in one district’s elementary schools during the 2009-2010 school year, and explored the extent to which the student populations in these schools would differ if all students had attended their attendance area schools, rather than participating in the district’s voluntary choice plan. The actual 2009-2010 demographics were compared to “counterfactual” demographics for each school. The researcher generated the counterfactual data by removing the students who chose to attend the school and adding back the students who chose to exit the school. These actual and counterfactual demographics for each school were used to compare dissimilarity indices calculated for the district’s elementary schools as they actually were, and as they theoretically would have been without the school choice program. Additionally, the quality of the schools parents chose was investigated.
The results showed that, in this district, the school choice plan did not impact the level of integration in the elementary schools. The schools were moderately segregated with the school choice plan in place, but were also moderately segregated based on the counterfactual demographics that represented the district without school choice. Most parents (60%) chose high quality schools, as identified by the state’s accountability plan. However, parents who chose low achieving schools were disproportionately black and poor. Further research is warranted to determine if the mechanics of the school choice plan could be manipulated to improve the level of integration in the district, and to better understand the decisions made by some parents to send their children to low performing schools.
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Zupo, Emily. "An assessment of the impacts of relocation on public housing youth." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003081.
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Pfeil, Nicklaus Charles. "Poor Traits: Pottery City." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1493148806091519.
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Brill, Anna. "Wilde and Wonderful: The Ultimate Aesthete's Redefinition of Individualism, as an Idealist, and then as an Outcast." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/506.
Full textAbstract:
Oscar Wilde redefined the relationship between Life and Art, and attempted to live in the style of the characters in his works: pursuing Beauty. His view of Life as imitating Art played a crucial role in his definition of Individualism. In his works, he explored how one develops one's personality and Individuality, and society's role in suppressing the Individual. He firmly believed that Life and ugliness were inextricably intertwined, and that society's moral structure was to blame. Popular in his time as an artist, he made it a point in his writing and in his work to stand apart from society. Ultimately, society cast him out; while in prison, he experienced an aspect of Life that he had been avoiding his entire life as an aesthete, and thus altered and expanded his ideal of the Individual. In falling from grace and in being forced to live in the ugliest of realities, he developed a fuller idea of what it means to live beautifully.
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Johnson, Melissa H. "Contextualizing Obesity among Latino Farmworkers: A Critical Analysis of Structural and Cultural Processes Affecting Farmworker Health and Nutrition in Central Florida." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3655.
Full textAbstract:
Migrant and seasonal farmworkers play a critical role in the U.S. economy,
producing food for the American public, while their suffering is often rendered invisible
by their existence on the margins of society. The low wages associated with farm labor
combined with the largely undocumented status of this population severely limits access
to food, housing, and health care, resulting in poor health outcomes. Through the use of a
critical anthropological approach, this research examines the social, cultural, political,
and economic context of obesity among Latino migrant and seasonal farmworkers in
Central Florida. Ethnographic research methods were used to explore perceptions about
the relationships between the body, food, and health among Latino farmworkers,
contextualizing these cultural beliefs within the broader, macro-level factors affecting
health, including immigration, agricultural, and economic policies. Furthermore, this
study compares the perceptions of farmworkers with those of healthcare workers that
serve this community, examining the implications that conceptions of culture and
“cultural competency” have for developing health interventions.
The findings of this research reveal that, in contrast to the beliefs of health
providers, farmworkers do understand the relationship between health and body size, and
do not show preferences for overweight or obese figures. Conceptions of food, on the
farmworker interviews indicate an interest for more nutritional information. This suggests
a need to develop nutritional information that is culturally relevant for Latino
farmworkers. Additionally, however, economic constraints significantly limit
farmworkers’ abilities to purchase sufficient and nutritious foods. The combination of
economic constraints and varying nutritional knowledge has significant health
implications for farmworkers, most notably in terms of the connection to diet-related
health problems such as obesity. The implications of these findings indicate that
nutritional interventions focused solely on education without addressing the economic
and political processes that constrain farmworkers’ agency will have little overall effect
on the health of this population. This research, therefore, emphasizes the importance of
using a holistic approach to understand the complexity of health and nutritional issues
among farmworkers.
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Bowers, Robert D. "Evaluation Assessment of Metropolitan Ministries “Uplift U™” Program and Preliminary Analysis of Collected Data." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1577.
Full textAbstract:
Using the methodology and criteria put forth by the Juvenile Justice Evaluation Center (part of the Justice Research and Statistics Association, Washington D.C.), an assessment for evaluation of the Metropolitan Ministries "Uplift UTM" Program was conducted using review of data previously collected by Metropolitan Ministries, examination of documents provided by the organization, participant observation, and interviews with Metropolitan Ministry staff. This assessment reveals that there are significant problems in several areas that must be addressed before their program can be formally evaluated; including data collection and organization, outcomes measures, client selection standards, and how the program is portrayed as opposed to how it is actually run. Preliminary analysis of the collected data suggests that there are no relationships between demographic information such as education, employability, or other factors, and successfully completing their program. Further analysis suggests that other factors related to rules, guidelines, and unpopular restrictions are related to the low success rate they have experienced. Based upon a literature review of successful programs, suggestions for improving the outcomes of Uplift UTM are provided.
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Nodarse, Jaime. "Access to Health Care Services: A Case Study in Hillsborough County, Florida." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002657.
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