To see the other types of publications on this topic, follow the link: Arts, europe.
Dissertations / Theses on the topic 'Arts, europe'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Arts, europe.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Price, Brian R. "The Martial Arts of Medieval Europe." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103377/.
Full textAbstract:
During the late Middle Ages and into the Renaissance, fighting books—Fechtbücher—were produced in northern Italy, among the German states, in Burgundy, and on the Iberian peninsula. Long dismissed by fencing historians as “rough and untutored,” and largely unknown to military historians, these enigmatic treatises offer important insights into the cultural realities for all three orders in medieval society: those who fought, those who prayed, and those who labored. The intent of this dissertation is to demonstrate, contrary to the view of fencing historians, that the medieval works were systematic and logical approaches to personal defense rooted in optimizing available technology and regulating the appropriate use of the skills and technology through the lens of chivalric conduct. I argue further that these approaches were principle-based, that they built on Aristotelian conceptions of arte, and that by both contemporary and modern usage, they were martial arts. Finally, I argue that the existence of these martial arts lends important insights into the world-view across the spectrum of Medieval and early Renaissance society, but particularly with the tactical understanding held by professional combatants, the knights and men-at-arms. Three treatises are analyzed in detail. These include the anonymous RA I.33 Latin manuscript in the Royal Armouries at Leeds; the early German treatise attributed to Hanko Döbringer that glosses the great Johannes Liechtenauer; and the collection of surviving treatises by the Friulian master, Fiore dei Liberi. Each is compared in order to highlight common elements of usage that form the principles of the combat arts.
2
Jakobsson, Malin. "Welcome Europe." Thesis, Högskolan Dalarna, Bildproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-27096.
Full textAbstract:
Denna uppsats har som syfte att undersöka samt analysera klipptekniker och kameraarbete genom en jämförelse mellan Eurovision Song Contest år 2000 respektive år 2016. Detta för att visa på hur kamera och klippning påverkar bidrags konstnärliga uttryck samt diskutera en eventuell utveckling. Barry Salts arbete angående kopplingen mellan datainsamling och filmstil appliceras på denna uppsats och ger den dess metodologi. En djupgående analys på utvalda bidrag genomförs utifrån en multimodal infallsvinkel. Detta för att förtydliga förhållandet mellan diskurs och produktion och därigenom ge uppsatsen en beskrivning av klipptekniker och kameraarbetes vikt i bidragens individualitet. Uppsatsens undersökning samt analys visar på en förändring under åren. Speciellt i vilka tekniker som används för att uttrycka bidragens konstnärliga faktorer men det som kvarstår är viljan att anpassa det visuella arbetet efter varje bidrags specifika egenskaper.
3
Aka-Evy, Jean-Luc. "L'image des arts d'Afrique Noire dans le discours esthétique occidental moderne : de la Renaissance au temps de Picasso puis de "l'art primitif" aux "arts premiers"." Paris 1, 2006. http://www.theses.fr/2006PA010608.
Full textAbstract:
Par conséquent, l'objectif de cette recherche fondamentale est de circonscrire, aussi précisément que possible, l'image des arts d'Afrique Noire, telle qu'elle a été pensée et aménagée dans le discours esthétique occidental moderne; de procéder à l'archéologie des différentes positions de ce discours à propos de ces arts, et de déterminer les impacts de ce dernier dans le processus de la création artistique européenne contemporaine et de (re)situer sa (re)découverte et sa réappropriation dans l'imaginaire plastique africain d'aujourd’hui.
4
Bojinov, Jivco. "Democracy in Eastern Europe: society, government, and economy." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1361.
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
5
Rutily, Aline. "Tapis-jardin. Migration, mutation, transculturalité : entre Orient et Europe, arts visuels et littérature." Paris 1, 2012. http://www.theses.fr/2012PA010654.
Full textAbstract:
Notre thèse s'articule autour de trois notions : la migration, la mutation, la transculturalité. Ces notions sont analysées à partir d'un corpus d'œuvres personnelles réalisées entre 1992 à 2011, autour d'un thème commun: le Tapis-Jardin. Ces notions permettent de confronter une démarche artistique aux prises avec des déplacements et des territoires d'enfance, en relation avec un espace de références articulant les arts du tapis et du jardin, aux champs de la littérature et des arts visuels. Les problématiques sont liées à des évolutions de pratiques au sein du thème récurrent, d'installations in situ, puis des Carnets de chemins, de carnets virtuels, d'installations in process, jusqu'à la notion d' « installation virtuelle» en ligne. Les questionnements portent également sur des expériences pédagogiques réalisées sur le même sujet. Les dialectiques entre l'ancrage et le déplacement, entre le réseau et le territoire permettent de fonder une démarche de « paysage migrant», de « paysage mutant» et d'une transculturalité construite à partir du Tapis-Jardin comme pluralité de cultures au croisement des singularités
6
Lönegren, Lovisa. "The European Green Capital Award - Towards a sustainable Europe?" Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23912.
Full textAbstract:
Today a grand majority (around 80%) of the European citizens live in cities or towns. Europe is more urbanised than ever. Contemporaneously, climate change and global warming is an increasing threat worldwide. In 2006, the European Commission of the European Union (EU) therefore launched the idea of implementing the yearly European Green Capital (EGC) award. The aim was (and still is) to create role models by promoting cities that constantly take strong actions for the environment and thereby inspire other cities to make green choices too. In February 2009 the first two EGC winners were announced: Stockholm (Sweden) 2010 and Hamburg (Germany) 2011. The question is whether an award of this kind is the right method for the EU to deal with environment issues. If not, the EU should invest its resources elsewhere. This thesis aims at evaluating the EGC by looking closer at Stockholm as the EGC winner of 2010 and by analysing the impacts the EGC title has on Sweden’s EU Presidency the second half of 2009. The ecological modernisation theory reconciles economic growth and environmental protection, and provides several relevant features and aspects to this thesis regarding sustainable development, voluntary approaches and environmental policy-making. By applying the theory on the EGC many things such as the underlying visions and methods of the award can be explained and analysed. The conclusion of the thesis is that the EGC in some respects is leading to a greener and more sustainable Europe or at least has the potential to do so.
7
Lageira, Jacinto. "Miscellanées esthétiques : psychanalyse, sémiotique, phénoménologie : de quelques influences sur les théories des arts plastiques." Paris 1, 2003. http://www.theses.fr/2003PA010605.
Full textAbstract:
Trois disciplines extérieures au champ de la pensée esthétique se sont intéressées tout au long du XXè siècle à l'art et aux théories de l'art : la psychanalyse, la sémiotique et la phénoménologie. Le présent travail est une démarche à la fois historique et critique qui cherche à évaluer quelles furent leurs incidences et leurs influences sur les théories de l'art (esthétique, histoire et critique d'art). Bien que partant le plus souvent des disciplines el,les-mêmes et des auteurs qui ont produit une réflexion sur l' art, ou encore d ' auteurs qui, sans provenir aucunement de ces disciplines, ont pu recourir à la psychanalyse, à la sémiotique ou à la phénoménologie, il s ' est agit de traiter de certaines problématiques communes (compréhension, interprétation, évaluation) du point de vue de l'esthétique, et de voir quels furent les apports ou les impasses de ces disciplines comparativement à l' esthétique. Le point de vue esthétique ici adopté est celui d'une " rationalité esthétique " prise comme le cadre théorique de référence à l'aune duquel sont mesurées les questions soulevées par les trois disciplines.
8
Gallian, Nastasia. "Les collections d’estampes en Europe (v. 1450-v. 1610)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL144.
Full textAbstract:
La naissance des collections de gravures constitue un phénomène mystérieux, qui ne peut être ni daté, ni localisé avec une précision absolue. Les premières manifestations remontent au milieu du XVe siècle, à une époque où les estampes sont collectées dans le but d’être collées dans des textes manuscrits ou imprimés. À partir des années 1470-1480, ces pratiques archaïques sont relayées progressivement par une approche proprement moderne des collections de gravures, qui se diffusent alors dans toute l’Europe, jusqu’à être largement répandues dans certaines couches de la société au moment où l’on bascule dans l’âge baroque. Plusieurs types d’ensembles coexistent à cette époque. Les collections d’amateurs tels que Fernand Colomb, Willibald Imhoff ou Abraham Ortelius témoignent d’une affinité particulière pour l’art de l’estampe et mettent en place les premiers outils pour sélectionner, conserver et classer les gravures. De nombreux princes, tels que Ferdinand de Tyrol et Philippe II d’Espagne, s’intéressent également à ces œuvres, auxquelles ils consacrent une section dans leurs collections encyclopédiques ou leurs bibliothèques. D’autres collections, à but utilitaire, émergent également à cette période. On trouve ainsi des fonds d’estampes dans de nombreux ateliers d’artistes et d’artisans, où elles sont employées pour former les apprentis et servir de modèles ou de supports à la création. Les érudits s’emparent également des gravures et constituent des fonds documentaires spécialisés en histoire, géographie et sciences naturelles. Cette grande diversité dans les pratiques est une des caractéristiques essentielles des premières collections d’estampesThe origins of print collecting are ill documented and cannot be dated nor located with certainty. The early signs can be traced back to ca. 1450, when prints were collected to be pasted in manuscripts and printed books. From the 1470s-1480s onwards, these archaic practices tended to be replaced by modern collecting. It then spread throughout Europe and became a common practice at the dawn of the Baroque era. There are several types of print collectors at that time. Enthusiasts and connoisseurs such as Ferdinand Columbus, Willibald Imhoff and Abraham Ortelius created special methods for selecting, storing and classifying high quality engravings and woodcuts. Ferdinand of Tyrol, Philip II of Spain and others princes gathered prints in their encyclopedic collections and libraries. Other collectors were interested in using them as sources. Artists and craftsmen kept prints to train apprentices and use them as models and tools in the creative process. Scholars purchased them for their subject-matter and used them as historical, geographical, and scientific documents. This wide range of practices is maybe what define the most early print collecting
9
Shroukh, Sara. "Traditions iconographiques et arts de la mémoire : ethnologie et histoire." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0677.
Full textAbstract:
La première partie de cette thèse est consacrée à une lecture novatrice des arts de la mémoire de la tradition occidentale. À partir de l’étude des dynamiques propres au champ visuel des représentations mnémoniques, nous avons pu développer un modèle de mémorisation se fondant sur des relations rythmiques entre images et mots. Ces arts nous sont alors apparus comme des techniques qui, tout en conduisant à l’établissement d’une tradition, forgent de véritables outils pour la pensée. Cette perspective focalisée sur la notion de rythme, nous a permis de saisir la projection possible des règles des arts de la mémoire sur un domaine nouveau : le geste liturgique. L’acte rituel, dans sa dynamique propre, devient un des supports de la mise en place d’un système mnémonique. C’est ainsi que nous avons pu élargir le concept d’art de la mémoire au delà de l’Occident et explorer le rôle que les arts de la mémoire jouent dans le contact culturel, notamment en Amérique dans le Yucatan colonial, comme en témoignent ces grands textes mayas que sont les livres de Chilam Balam. La dernière partie de cette thèse se veut un tout premier développement de cette piste d’étude. L’analyse que nous y avons conduite d’une interprétation de la symbologie de la Messe, à laquelle il est fait allusion dans le livre de Chilam Balam de Kaua, permet d’ouvrir des perspectives nouvelles dans les études consacrées aux processus de la traduction culturelle et, tout particulièrement, aux modalités de l’établissement d’un « nouveau » patrimoine de représentations et de croyances religieuses au sein de sociétés qui se situent à la frontière entre deux traditions, comme celle du Yucatan de l’époque colonialeThe first part of this thesis has been dedicated to a new approach in the reading the arts of memory in its western translation. From the study of those dynamics specific to the visual field of mnemonic representations, I was able to develop a memorisation model based on the rhythmic relations between images and words. Those arts thus seemingly like techniques that lead to the establishment of a tradition while forging anthentic tools for thought. This perspective focused on the notion of rhythm enabled me to reach out for the possible projection of the rules of these arts of memory in to a new domain: the lithurgical gesture. The ritual act in its own dynamic becomes one of the bases of the establishment of a mnemonic system. I was thus able to expand the concept of memory arts beyond the "western culture" and explore the role that the arts of memory play in cultural contact, expecially in America, in the colonial areaof Yucatan. In this matter, the books of Chilam Balam (one of the most important Mayan testimonials of the colonial epoca) has been crucial. The final part of this thesis is intended as a first development of this study track. The analysis I conducted on an interpretation of the symbology of Mass which can be found in the book of Chilam Balam of Kaua enabled me to open new perspectives in the field of studies dedicated to cultural translation processes and, in particular, to the modalities of establishment of a "new" heritage of representations and religious beliefs within societies - such as the yucatan one in the colonial epoca - located at the boundaries of two traditions
10
Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.
Full textAbstract:
This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
11
Cerman, Jérémie. "Le papier peint autour de 1900 : usages et diffusion de l'esthétique art nouveau en Europe dans le décor intérieur." Paris 1, 2009. http://www.theses.fr/2009PA010636.
Full textAbstract:
Des Arts and Crafts à l' Art nouveau, Ie papier peint fut Ie lieu de toutes les attentions. Les créations de grandes figures demeuraient cependant confinées à des usages restreints et les collaborations d'artistes avec l'industrie ne constituaient qu'une part minime des produits commercialisés. Parallèlement, les fabricants et dessinateurs spécialisés adoptèrent une esthétique inspirée par l' Art nouveau, et ce de façon un temps majoritaire dans les collections proposées. Si ces articles ne démontraient toujours une nette compréhension des idéaux du mouvement, ils n’en permirent pas moins une diffusion du goût moderne dans les intérieurs. Par l'intermédiaire du médium concerne, Ie style 1900 vint agrémenter Ie quotidien de toutes catégories de la population, répondant ainsi en partie aux idéaux sociaux de l' Art nouveau. Néanmoins, s'intégrant Ie plus souvent a un contexte décoratif ordinaire ou inspire du passe, ces papiers peints ne rencontraient Ie désir du mouvement d'un art total.
12
Aldrich, Jennifer L. "Artist colonies in Europe, the United States, and Florida." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002668.
Full text
13
Fernandez, Laure. "Cadre et écarts : un théâtre hors du théâtre (de la théâtralité dans les arts visuels) : 1960-2010." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030136.
Full textAbstract:
La théâtralité, idée apparue avec les avant-gardes théâtrales au début du XXe siècle puis théorisée dans les années 1960, connaît un net regain d'intérêt chez nombre d'artistes contemporains : si la notion naît chez les praticiens et théoriciens du théâtre pour distinguer celui-ci de la littérature ou du cinéma et le fonder comme un art autonome, c'est dans le champ des arts visuels que sa vitalité est aujourd'hui la plus remarquable, qu'elle soit utilisée comme une référence positive au théâtre ou dans une optique "théâtrophobique". Thématiques ou structurels, ces emprunts montrent que la théâtralité ne peut plus être pensée à l'intérieur du strict champ du théâtre comme elle l'était à ses origines. Traçant tant un historique des emplois de la notion chez les théoriciens et critiques qu'un panorama de ses manifestations dans des créations actuelles, le présent travail entend examiner la façon dont une partie de l'art contemporain, c'est-à-dire des pratiques non théâtrales au sens strict, est devenue une autre scène pour le théâtre - comme si les artistes trouvaient en ce "non-art" archaïque et tout à fait particulier un paradigme ou un anti-paradigme permettant de repenser à la fois leur propre médium, les modes de représentation et la place du spectateur. Nous souhaiterions aller ainsi à l'encontre des discours proclamant la fin des spécificités artistiques et la mort (incessante) du théâtre en montrant la pérennité manifeste de celui-ci dans d'autres champs, non pas nécessairement en tant que forme pure mais parce qu'il fournit un schème solide - cette théâtralité, aussi labile qu'essentielle, qui fonderait aujourd'hui, par un intéressant jeu de va-et-vient entre les pratiques qui l'engagent, un axe fort pour penser la contemporanéité du théâtreThe idea of theatricality appeared in the context of avant-garde theater at the beginning of the XXth century, was theorised in the 1960s, and has recently been a subject of renewed interest for numerous contemporary artists. The notion was originally created by theater practitioners and theorists to distinguish it as an autonomous art form, different from literature or film. Currently, it is in the field of visual art that theatricality is most vital, explored either as a positive reference to theater or a more negative "theatrophobic" stance. These allusions, whether thematic or structural, illustrate that theatricality can no longer be strictly confined to the field of theater. Taking into account the notion's historical applications and elaborating a panorama of its manifestations, this study examines how several non-theatrical contemporary art practices have become another stage for the theater. It is as if certain artists found in this archaic and unique "non-art" a paradigm or an anti-paradigm, stimulating new approaches vis à vis their own mediums, representational modalities and the spectator's position. This study challenges discourses that ignore each art's defining characteristics and that claim the (incessant) death of theater by illustrating the continual appearance of the later in other artistic domains. Pure theatrical form is not necessarily questioned in these works; however, theater provides a solid model. This "famous" theatricality is as mutational as it is fundamental and establishes - through an interesting play between the different practices that engage it - a key field for reflecting the contemporaneity of theater
14
Llort, Llopart Victoria. "Aux sources de l’image musicale : intersection des arts et naissance de l’esthétique comparée au XVIIIe siècle." Paris 4, 2006. http://www.theses.fr/2006PA040219.
Full textAbstract:
Afin de comprendre l’image musicale à ses origines, nous étudions ce qui entoure le concept : sa définition, sa pertinence et son évolution, ainsi que ses représentations ; d’un côté, les fondements esthétiques, et de l’autre, les créations artistiques selon leurs supports et leurs interactions. Bien qu’une esquisse du concept d’image musicale puisse paraître paradoxale, nous démontrons que le lien entre l’image et l’idée, le sensoriel et l’intellectuel s’avère fondamental pour l’analyse de ce binôme synesthésique. En outre, l’image joue un rôle « crucial dans les discours sur la musique qui se trouvent au coeur de la naissance de l’esthétique comparée des arts. L’image devient l’intersection des idées esthétiques. Le rapport de la mimèsis et de l’image est une constante qui parcourt le siècle. Mais l’idée de mimèsis évolue et les objets d’imitation se déplacent : d’abord la nature, ensuite le langage et la rhétorique, puis les passions - soigneusement répertoriées et rationalisées, pour devenir expression de la subjectivité -, et finalement, la consolidation du sentiment du sublimé, qui ouvre une voie d’analyse cruciale pour l’art des générations suivantesOur objectif is the comprehension of the musical image at its engines. We analyse the definition, the evolution and the representations of the concept. With this purpose, we undertake a detailed analysis of the role of the image in the writings on music hi the 18th century, which are placed at the heart of the birth of comparative aesthetics. The relations between music and image are constant throughout the century. However, the idea of mimesis evolves and the objects that are supposed to be imitated change : nature, language, rhetoric, passions and finally, the sublime that opens a new path of analysis for the next generations
15
Cabanillas, de la Torre Gadea. "Arts et sociétés celtiques du second âge du Fer en Europe occidentale : la céramique à décor estampé." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010619.
Full textAbstract:
L’objectif de la thèse est d’analyser les décors des foyers de création de céramique estampée en Europe occidentale à l’âge du Fer, afin de déterminer quels facteurs sont intervenus dans l’adoption simultanée de ce type de décor dans plusieurs régions éloignées entre elles. La première partie de la thèse consiste dans l’étude des décors estampés de l’âge du Fer dans la péninsule armoricaine, le Rhin moyen, le Sud-Ouest et le Nord-Ouest de la péninsule Ibérique. Pour chaque région, un inventaire et une typochronologie des décors ont été élaborés. L’étude des contextes et l’application de méthodes d’analyse statistique introduisent des nouveautés par rapport aux travaux antérieurs. Dans la deuxième partie, ces données sont exploitées pour construire des hypothèses sur la distribution, l’évolution et les fonctions sociales des décors estampés. La comparaison des répertoires décoratifs, morphologiques et des fonctions pratiques de l’estampage dans chaque région aboutit à la proposition de trois axes de convergences : atlantique, continental et ibérique. Les styles estampés sont interprétés comme des systèmes régionaux connectés par des réseaux multipolaires qui relient aussi la zone d’étude à d’autres espaces. Leur évolution est liée aux changements sociaux perceptibles à travers d’autres indices matériels (habitat, funéraire, autres supports artistiques) dans les Vème- IIème s. av. J.-C. Entre codification et variabilité, ces décors doivent leur succès à leur fonctionnement dans des réseaux où chaque objet sert de référence aux autres et de métaphore à l’emboîtement des appartenances sociales de ses utilisateursThe aim of this work is to analyse the decorative systems of the main stamped pottery production areas in western Europe in order to investigate the factors explaining its simultaneous adoption in several distant regions. The first part of the thesis consists of an analysis of Iron Age stamped decoration in the Armorican peninsula, the Middle Rhine and the south and north-western Iberian Peninsula. Regional inventories and typochronologies of the decorations are presented. The inclusion of context studies and the use of statistical analyses bring new insights to the body of work which has previously engaged with this subject. In the second part, the data are interpreted in order to put forward hypotheses on the distribution, evolution and social function of stamped decoration. The comparison of decorative elements and structures, pottery shapes and practical functions of stamped items in each region suggests three axes of coherence: Atlantic, Continental and Iberian. Stamped styles are interpreted as regional systems connected to multipolar networks reaching far beyond the study area. Their evolution is linked to social changes visible through other material evidence - settlement patterns, funerary customs, other art items – between the 5th and 2nd c. BC. Between codification and variability, stamped decorations owe their success to their inclusion in networks where each object references and stands for its users’ overlapping social identifications
El objetivo de la tesis es analizar los principales focos de creación de cerámica estampillada de Europa occidental en la Edad del Hierro. El trabajo se centra en el estudio de las cuatro zonas donde la densidad de hallazgos es más importante: el Suroeste y el Noroeste de la Península Ibérica, la península armoricana y el valle medio del Rin. El estudio incluye los recipientes cerámicos decorados mediante impresión por estampillas entre mediados del s. V y finales del s. II a. C. Este tipo de hallazgos aparecen prácticamente en toda Europa en este período, siendo los focos más importantes los estudiados en este trabajo, junto con Bohemia y Moravia y el valle medio del Danubio en la actual Baviera. La elección de las cuatro zonas de estudio, por tanto, responde a la importancia cuantitativa y la variedad cualitativa de los conjuntos de cerámica estampillada que de ellas proceden, que las convierten en representativas del fenómeno y su variabilidad geográfica y cronológica. Las cuestiones planteadas por estas observaciones sirven de hilo conductor del trabajo: - La discontinuidad geográfica de los focos de producción de cerámica estampillada sugiere la posibilidad tanto de desarrolos independientes convergentes como de contactos entre las diferentes zonas. Este problema justifica la dimensión a la vez regional y continental del análisis. - La utilización de esta técnica durante prácticamente toda la Segunda Edad del Hierro requiere una revisión de los datos que permita establecer cronologías precisas y sincronías entre las diferentes áreas. - La elección estética y técnica del estampillado como medio de expresión artística distingue a algunas regiones del Occidente europeo. ¿Qué factores técnicos, estéticos y sociales pudieron influir en esta preferencia? Esta pregunta implica plantear la cuestión de la multiplicidad del “arte celta”. El estampillado sobre cerámica se aborda, por lo tanto, como técnica artística. Su desarrollo en la Edad del Hierro europea se encuadra en el denominado “arte celta” en la medida en que todas las zonas pertenecen a dicha familia lingüística y cultural. Sin embargo, la inclusión del mundo de La Tène y de la Península Ibérica plantea preguntas sobre esta categoría. Adoptando una definición del arte como una categoría funcional, el estudio de la función social del estilo estampillado debe permitir aclarar esta y otras cuestiones
16
Vial, Éloïse. "Les représentations animales en métal du second âge du Fer en Europe moyenne tempérée." Besançon, 2005. http://www.theses.fr/2005BESA1029.
Full textAbstract:
Le corpus de référence se compose de trois cents représentations animales en métal datées du second âge du Fer et provenant de l'Europe moyenne tempérée. Cette zone s'étend de l'ouest de la France à l'ouest de l'Ukraine. Les animaux représentés sont des sangliers, des bovins, des chevaux, des cervidés, des chiens, des oiseaux et des quadrupèdes indéterminés. Les données croisées des enquêtes archéologiques et formelles aboutissent à la remise en question du lien systématique des figures de notre inventaire à l'art des oppida, remettant du même coup en cause leurs datations. La représentation animale est un art mobilier cependant, le support a pratiquement toujours disparu. Toutes les figures subissaient des transformations plus ou moins importantes et surtout similaires ; ce qui atteste de principes, de codes régissant ces actions sur les objets. Une fois détaché de son support d'origine, l'animal reprend sa liberté, ce qui laisse deviner que les images possèdent une vie propre. La représentation zoomorphe combine essentiellement des volumes simples et un traitement formel de contours délimités par des arêtes plus ou moins souples établissant de cette manière des rapports entre les contours, les volumes et les plans. La simplification radicale des formes découle d'une connaissance parfaite des animaux et nous a fait parler de la modernité des figures celtiques. Cet art devient un véritable langage qui refuse le récit narratif comme les Gaulois refusèrent l'écriture ; la parole est fluide et les représentations zoomorphes sont avant tout mobiles. La question de la signification de ces représentations reste largement ouverteThe corpus of reference is constituted of three hundred metal animals in the round. The discovery concerns temperate Europe. The Celts selected the animals to be represented: wild boars, bovines, horses, deers, dogs, birds and undetermined four-footed. These small sculptures are artefacts bearing a zoomorphic decoration or ornaments such as, for example, on vessel. The archaeological context of their discovery isn't linked to oppida. The chronological questions are reviewed and comparisons are made with other representations of animals. Animal figuration is characterized by a strong stylisation of shapes, far from the realistic representation of the roman period. The study of these small finds aims to stress the relationship that the Gaelic society used to have with the images of specific animals
17
Richard-Jamet, Céline Catherine Jeanne. "Les galeries de "femmes fortes" dans les arts en Europe au XVIe et au XVIIe siécles : une étude iconographique comparative." Bordeaux 3, 2003. http://www.theses.fr/2003BOR30061.
Full textAbstract:
Héritées du thème des Neuf Preuses, les séries de femmes fortes connaissent un essor important en Italie, puis en France, et se diffusent en Europe au XVIe et au XVIIe siècles. Ces séries ou galeries sont constituées d'héroi͏̈nes, incarnant des vertus précises, qui s'inspirent des qualités féminines, louées par Salomon, dans La femme de caractère, tirée de ses Proverbes. Ces cycles ne s'élaborent qu'après les séries d'hommes illustres, comme pendants, puis acquièrent une autonomie propre. Ils recouvrent diverses fonctions, selon les pays, les époques : en Italie, les premières séries ont une fonction mémoriale, commémorative, puis édifiante, par le biais des cassoni, qui éduquent la jeune épouse ; en France, elles permettent de légitimer l'accession au trône d'une régente et de conforter son pouvoir, procédé réutilisé par les cours hollandaise, florentine et viennoise. L'Espagne privilégie les femmes de la Bible et inonde ses églises de cycles sculptés ou peints sur miroir, destinés à édifier le fidèle ; les séries belges éduquent les moniales, les séries gravées hollandaises encensent la femme au foyer, alors que l'Angleterre semble se démarquer. Reines, femmes de la Bible et amazones apparaissent de manière récurrente dans les séries, au détriment des vestales, des saintes. On jette l'opprobre sur les héroi͏̈nes les plus irréprochables, on justifie les actes des plus barbares ; certaines ne sont pas exemptes d'un certain érotisme, d'une sensualité avérée, faussant ainsi l'image de l'héroi͏̈ne et déformant ses exploitsOriginating from the Nine Worthies theme, from them they sometimes adopt the distribution, the Strong Women series blossom as early as the 15th century in Italy, then spread to France and the rest of Europe in 16th and 17th century. These series or galleries, constituted by heroines embodying precise virtues, are inspired by feminine qualities as praised by Salomon in "La femme de Caractère", extracted from his book "Proverbes". They are created only after the "hommes illustres" series, as counterparts, and later acquire their own autonomy. These cycles cover diverse functions depending on the country, the time period : in Italy, the first series serve the function of memory, they are commemorative, then they become edifying, through the cassoni who educate young wives ; in France, they allow to legitimate a regent accession to the throne and to support her power, process who was copied by the Dutch, the Florentine and Viennese court. Spain focuses on women from the Bible and fills its churches of cycles sculpted or painted on mirrors, destined to edifying the faithful ; the Belgium series educate the monks ; the Dutch engraved cycles praise women at home, whereas England seems to be apart. Queens, women from the Bible and amazons appear recurrently in series, to the detriment of vestals and saints. The most irreproachable heroines are disgracied, the most barbaric acts are justified
18
Kovalyova, Yelena. "Protection of cultural rights of national minorities: critical analysis of the Council of Europe legal framework under the capabilities approach." Thesis, IMT Alti Studi Lucca, 2021. http://e-theses.imtlucca.it/345/1/Kovalyova_phdthesis.pdf.
Full textAbstract:
The dynamics characterizing the coexistence of numerous cultural systems within the European continent have been put under the test with increasing globalization, resulting in unprecedental scale and pace in the movement of people. Besides positive outcomes, these phenomena endangered the existence of grass-roots cultures of groups
in vulnerable positions, including the national minorities. The
challenges that minority groups face are not only triggered by counteractions from majority groups, state-driven resistence and growing fundamentalism, but also by modern mass-culture driven
unification. That all require support for sustainable development of minority cultures. As a human rights organization with jurisdiction over 47 states, characterized with diverse cultural profiles, the Council of Europe, is the agent expected to develop the effective solution for the protection mechanism. This research examines the Council of Europe legal framework as to its capacity to provide effective protection to cultural rights of national minorities. This question is approached from two perspectives. The
legal entitlements and their normative scopes are examined based on the analysis of the four leading Council of Europe conventions, two of which are specifically dedicated to cultural rights, one to human rights and one is specific to minority rights. The research deconstructs the good practices and standards, including the requirements to the domestic legal frameworks and policy instruments, posed by the Council of Europe to ensure effective protection of cultural rights of national minorities nationally. The convergencies between invoked
rights are examined under capability theory to establish the fertile functions facilitating the cultural capabilities of the rights-holders, including in cases when such fertile functionings are used by the
implementing bodies to cover the legislative lacunae. The analysis is conducted using historical, contextual, semantic and teleological interpretations of legal acts, based on the travaux preparatoires to the primary regulatory sources and the implementation practice, based on reports, country opinions, and the ECtHR case-law. The research determines strategy for the lex ferenda and future cultural policy frameworks. The thesis examines the changing approach of the
Council of Europe to safeguard the uniqueness of the cultural identities of national minorities internationally and within the States domestic systems, and examines how it correlates with the European identity concept and the value systems that constitute the corner stone of the Council of Europe statutory system.
19
Geiselmann, Katharina. "National Memory Regimes in a Transnational Europe: Re-Shaping Public Holocaust Commemoration in Austria and Germany." Thesis, Uppsala universitet, Teologiska institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-392794.
Full text
20
Cazes, Laurent. "L'Europe des arts : la participation des peintres étrangers au Salon, Paris 1852-1900." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010548.
Full textAbstract:
Depuis l'apparition des expositions universelles jusqu'à la création des sécessions européennes, le Salon parisien a joué un rôle plus ou moins déterminant dans la carrière de centaines de peintres étrangers. Sans partis-pris esthétique, le corpus d'œuvres, d'artistes et de textes étudiés retrace la présence et la réception de la peinture étrangère au Salon de 1852 à 1900. L'histoire politique et administrative de l'institution révèle un statut de l'exposant étranger presque inexistant au début du Second Empire, qui devint une question majeure à la fin du siècle, liée à la création de la Société nationale des beaux-arts. Hasardeuse et compétitive, l'expérience du Salon constituait pour l'ensemble des artistes un enjeu considérable, tant symbolique que commercial. Les carrières parisiennes des peintres étrangers, depuis le séjour de formation jusqu'à l'impact de l'exposition au Salon, se prêtent moins que celles de leurs homologues français à une opposition entre sphère officielle et sphère indépendante; elles décrivent un système des beaux-arts largement ouvert sur le monde et sur l'ensemble du champ artistique. La réalité internationale des expositions parisiennes eut un profond impact sur l'évolution et la définition d'un art français qui en fit rapidement un motif d'hégémonie. Contrairement au cloisonnement nationaliste des expositions universelles, le brassage du Salon décrit l'unité et la diversité des forces créatrices européennes. L'expression nationale participe d'une communauté de démarches et de formes, et l'Europe des arts ne peut se réduire ni aux catégories d'écoles nationales, ni aux catégories de style de la tradition modernisteFrom the origin of World Fairs until the creation of the European secessions, the Paris Salon played a fairly significant role in the careers of hundreds of foreign painters. Avoiding aesthetic biases, the corpus of works, artists and texts studied traces the presence and the reception of foreign painting in the Paris Salon, from 1852 to 1900. The political and administrative history of the institution reveals the evolution of foreign painter status: from almost nonexistent at the beginning of the Second Empire, to a major issue at the end of the century, linked to the creation of the Société Nationale des beaux-arts. Risky and competitive, the Salon experience was a considerable challenge for all artists, both symbolic and commercial. Parisian careers of foreign painters, from their training studio to their exposition in the Salon, are less interpretable than for their French counterparts as an opposition between official and independent sphere; Fine Art system appears as wide open to the world and to the whole artistic field. The international dimension of Paris exhibitions had a profound impact on the evolution and the definition of French art who quickly built a hegemonic pattern on it. Unlike the nationalist partitioning of world fairs, the melting of the Salon is an image of the unity and diversity of European creative forces. The national expression is part of a community of approaches and expressions, and Arts of Europe cannot be categorized into national schools nor the style categories of the modernist tradition
21
Lebarbier, Amandine. "“Cette jolie muse chrétienne” : la figure de sainte Cécile dans la littérature et les arts en Europe au XIXe siècle." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100147.
Full textAbstract:
Cette thèse s’attache à montrer le rôle important qu’a joué la figure de sainte Cécile au XIXe siècle dans l’imaginaire musical européen. La première partie de ce travail est consacrée à l’historiographie de sainte Cécile, du Ve siècle au XIXe siècle, et à l’inscription de la figure dans l’espace culturel européen. Différents media ont contribué à faire de la patricienne romaine légendaire une sainte patronne reconnue et célèbre dont, au premier chef, le tableau de Raphaël, L’Extase de sainte Cécile. Cette œuvre du patrimoine artistique européen fait l’objet d’une véritable fascination auprès des écrivains, des musiciens et des peintres de la première moitié du XIXe siècle et ce travail tente d’en comprendre les raisons. Dans un deuxième temps, cette thèse montre que la figure de sainte Cécile est une figure trope, une allégorie vive, utilisée par de nombreux écrivains pour construire un discours sur la musique, sur l’art et sur le rapport entre les arts. Il y a véritablement des moments sainte Cécile au XIXe siècle qui conduisent à recharger la figure d’un souffle vivant ; elle s’impose alors, non plus comme une figure de rémanence, mais bien comme la possibilité de penser une transcendance et de construire un discours esthétique. Le troisième axe de cette recherche s’inscrit dans une perspective d’études de genres. Héritière de plusieurs types de traditions de représentations féminines, sainte Cécile apparaît comme un outil analogique riche de présupposés idéologiques sur la représentation de la femme et en particulier de la femme musicienne. Représentantes d’un Éternel féminin fantasmé, les femmes musiciennes comparées à sainte Cécile sont les garantes d’une mémoire idéologique qui enferme la femme musicienne dans un champ très restreint de la pratique musicaleThis thesis aims to show the important role played by the figure of Saint Cecilia in the European musical psyche in the 19th century. The first part of this work is devoted to the historiography of Saint Cecilia, from the fifth century to the 19th century, and to the inclusion of the figure in the European cultural space. Various media have contributed to make this legendary Roman patrician a celebrated and famous patron saint but, first and foremost, is the picture of Raphael, The Ecstasy of St. Cecilia. During the first half of the 19th century this artistic European heritage artwork is the subject of a true fascination for the writers, musicians and painters. This thesis tries to understand the reasons why. In the second phase, this thesis shows that the figure of Saint Cecilia is a trope figure, a vivid allegory, used by many writers to construct a discourse on music, art and the relationship between the arts. During the 19th century there were several strong phases of focus on Saint Cecilia, each leading to recharge the figure with a vivid breath. She then imposes herself, no longer as a figure of persistence only, but rather as the possibility of thinking about transcendence and of constructing an aesthetic discourse. The third axis of this research focuses on gender studies. Heiress to several types of feminine representations, Saint Cecilia appears as an analogical tool, rich in ideological presuppositions on the representation of women and women musicians. Representation of an eternal feminine fantasy, the female musicians associated to Saint Cecilia are the guarantors of an ideological memory which encloses the female musician in a very restricted area of the musical practice
22
Filipova, Marta. "The construction of national identity in the historiography of Czech art." Thesis, Connect to e-thesis. Edited version, 2009. http://theses.gla.ac.uk/791/.
Full textAbstract:
Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Faculty of Arts, Department of History of Art, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
23
Harada, Ruiko. "The making of an avant-garde in Japan : an assessment of Okamoto Taro's art of 'counterpointism' and its debt to Europe with particular reference to Jean Arp and Georges Bataille." Thesis, University of Essex, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.333338.
Full text
24
Labossiere, Jessica Trant. "Chosen Champions: Medieval and Early Modern Heroes as Postcolonial Reactions to Tensions between England and Europe." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6289.
Full textAbstract:
This project explores connections between hero and history, text and context. By engaging Postcolonial theories about the roles that invasion and oppression, play in developing national identity and how colonized people respond to such encounters in literature, I examine how experiences of invasion and hostile interaction as represented in medieval and early modern English literature influenced the creation of specific heroic values.
In my first chapter, I analyze The Battle of Maldon and Beowulf as exemplars of the Anglo-Saxon culture, observing that Byrhtnoth and Beowulf work as fictional embodiments of a fantasy of power: men of super-human strength and exceptional resoluteness who, through remarkable sacrifices, inspire men to accomplish phenomenal deeds of their own. Next, I explore Arthur in The Alliterative Morte Arthure and Le Morte Darthur, who embraces his hybridity, fluidly moving between the Anglo-Saxon warrior tradition and the French romance tradition. Last, I consider Shakespeare’s Henry V, which depicts a conquering hero who possesses the prowess and nobility of his heroic predecessors and the ability to succeed where they failed, securing England’s continental dominance. In each era, I contend that the authors created heroes on whom they could project a fantasized identity which defied the realities of their time, heroes who changed based upon the type of threat faced by England.
This study samples five hundred years of literature and uses this breadth to explore cross-periodic continuity, finding that the heroes of these texts respond not only to their historical context, but also to each other. This scope allows one to see how the emblem of the hero responds to the reality of the authors and audiences of these texts.
The figure of the hero develops over centuries, demonstrating that as the needs of the authors and audiences change, so, too, does the character who represents them. These literary figures provide a unique window into the culture and concerns of the authors and audiences during the medieval and early modern eras. They represent desire for strength, inspiration, glory and triumph. They reflect the agony of anxiety, vulnerability, defeat, and hopelessness. Most importantly, they reimagine, reframe, and redress reality.
25
Tortopidou-Derieux, Kyriaki. "The politics of religious experience in Fifteenth-Century Europe through an East-West encounter : a re-interpretation." Thesis, London School of Economics and Political Science (University of London), 2016. http://etheses.lse.ac.uk/3366/.
Full textAbstract:
My thesis works as an experiment, or rather a series of experiments, in methods of thinking about historical material. These methods come from anthropology and engage with myths and ritual, with the concept of “complementary others”, and the concept of “schismogenesis" as it has been developed by Gregory Bateson and advanced further by Marshall Sahlins. My overall goal is not to re-describe a well-researched historical event, but to explore how different ways of analysis, using different analytical frameworks, could lead to valuable explanations of the same political-cum-cultural event. The phenomenon I engage with is the last Oecumenical Council, a major religious event in the history of Councils within already schismatic societies. For this reason, I treat this Council in particular, as a ritual, unprecedented in scale and ambiguous in its inception. I am examining the structure and the return of this Event in History, and the controversies and tensions in the diachrony of East and West. I do this not only through the notion of schismo-genesis and ritual, but specifically the notion of sacrifice as developed by Maurice Bloch, in which the journey from Constantinople to Italy becomes a historical metaphor of mythical realities, regarding the Emperor John VIII Palaiologos. And finally, I explore the significance of Bessarion and complementary others within the notion of transformation and alterity. What I establish through discussions of the historical material, which span eleven centuries of history, is first of all, that there is no event without a system; that means the journey can acquire the form of the ritual. I argue that the relation between the myth and the idea of unity is dialectical in nature; the Event of a Union, which could bring peace in the one Church of Christ, from this moment of realisation becomes a fabrication, a mystery to the witnesses, and all the other myths that will be developed on the way become even more imperative and melancholic, because they seek to express a negative and unavoidable truth. The Event doesn’t portray reality any more, it exists despite it and becomes an extreme position, almost like a dream, and it justifies the vision one wished to be possible, only to show that it is untenable: the “what if it could be”; the possibility of all parts being aspirations to the whole, oecumenicity as a goal rather than unity. Overall, this thesis is about the presence of the past in the present, in relevance to the future.
26
Taton, Floris. "Le féminisme dans les vies et les oeuvres d'artistes de la performance en Europe et en Amérique du Nord entre 1980 et 2010." Thesis, Angers, 2020. http://www.theses.fr/2020ANGE0022.
Full textAbstract:
Depuis les années 1970, le féminisme inspire les artistes de la performance. Cette décennie pionnière est très documentée, mais qu’en est-il pour les trois décennies suivantes ? Le féminisme dans les vies et les oeuvres d'artistes de la performance en Europe et en Amérique du Nord entre 1980 et 2010 propose, par le biais de vingt-cinq artistes dans dix-sept pays un état des lieux du féminisme de la deuxième et de la troisième vague. L’objectif de la recherche est d’éclairer les artistes de la performance et leurs productions au regard d’enjeux féministes. Trois volets sont abordés : les prémices des parcours des artistes, les sources et formes de l’influence féministe et sa place dans les oeuvres. La recherche concerne les artistes suivant.e.s : Lorraine O’Grady, Esther Ferrer, Mierle Laderman Ukeles, Kirsten Justesen, Marina Abramović, Maria Klonaris et Katerina Thomadaki, Pauline Cummins, Anne Bean, Ody Saban, Annie Abrahams, Vlasta Delimar, Verena Kyselka, Nieves Correa, Katarzyna Kozyra, Annika Ström, Iris Selke, Malin Arnell, Victoria Stanton, Carole Douillard, Eivind Reierstad, Mariuccia Pisani, Sands Murray-Wassink, Marijs Boulogne et Mara MaglioneSince the 1970s, performance artists have been inspired by feminism. This pioneering decade is well documented, but what about the three following decades? “Feminism in the lives and work of performance artists in Europe and Northern America between 1980 and 2010” will study twenty-five artists in seventeen countries to review second and third wave feminism through their work. The aim of this research is to shine some light on these performance artists and their work with regard to feminist issues. Three aspects will be discussed : the first steps in the artists’careers, the various sources and shapes of the influence of feminism and the place this influence had in their works.The research is about the following artists : Lorraine O’Grady, Esther Ferrer, Mierle Laderman Ukeles, Kirsten Justesen, Marina Abramović, Maria Klonaris et Katerina Thomadaki, Pauline Cummins, Anne Bean, Ody Saban, Annie Abrahams, Vlasta Delimar, Verena Kyselka, Nieves Correa, Katarzyna Kozyra, Annika Ström, Iris Selke, Malin Arnell, Victoria Stanton, Carole Douillard, Eivind Reierstad, Mariuccia Pisani, Sands-Murray Wassink, Marijs Boulogne and Mara Maglione
27
Situ, Shuang. "De l'influence de la Chine dans la décoration et l'iconographie en France à la fin du XVIIème siècle et au début du XVIIIème." Paris 4, 1991. http://www.theses.fr/1991PA040162.
Full textAbstract:
Le présent travail est construit en quatre parties:le parcours historique qui mène à la découverte de la Chine par l'Occident à travers le commerce de la soie et de la porcelaine,la vogue des chinoiseries du XVIIème au XVIIIème siècle,les imitations qui s'en sont suivies en France et pour terminer,une description analytique des motifs pris essentiellement dans des produits français pour démontrer l'influence chinoise sur la décoration et l'iconographie en France durant cette périodeThe present work consists of four parts : the historical course which led to the discovery of China by the West through the trade in silk and porcelain. .
28
Bjørnsen, Egil. "Norwegian cultural policy : a civilising mission?" Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2740/.
Full textAbstract:
This dissertation aims to explore the extent to which what has been termed „the civilising mission‟ has been a central rationale behind Norwegian cultural policy. In order to contextualise the research the German term Bildung, which refers to human growth processes, is used as a conceptual framework. Bildung can be achieved in two different, albeit related, ways: firstly, through an object approach, which takes great works of arts as its point of departure and where personal growth can be achieved through exposure to these and which endorses clear cultural hierarchies, and secondly, through a subject approach, which emphasises each individual‟s own preferences and desires and where a much greater range of cultural activities can facilitate personal growth. In addition to an historical analysis of the ideas that have informed Norwegian cultural policies dating back to 1814, this project draws upon „green papers‟ published by the Norwegian government through its Ministry of Culture. This is supplemented by a more detailed analysis of a key cultural policy initiative of the 2000s: den kulturelle skolesekken (DKS)1, which is a major programme initiated to enable children in primary school to be exposed to art-works produced by professional artists. The project concludes that although a subject and an object approach to Bildung have co-existed throughout the period charted here there has since the 90s been an increased focus on the object oriented approach. This appears evident both in the general cultural policy discourse but articularly through the disciplining aspect of DKS and its strong focus on, what is being referred to as, the „professional arts‟ as a vehicle for Bildung.
29
Mcculloch, Jenna Elaine. "Women's Political Representation in Europe: An Analysis of Structural and Attitudinal Factors." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4153.
Full textAbstract:
In this mixed methods study, I explore the reasons for the low level of women in elected office in Europe. I analyze the impact of three structural factors (number of years since women's suffrage was enacted, type of electoral system, and presence of legal gender quotas) and three attitudinal factors (level of gender equality, percentage of female professionals, and level of religiosity) on the percentage of women in national legislatures in each of the European countries. Specifically, I pose the following research question: Which structural and/or attitudinal factors are more influential for women's political representation in European countries?
In order to answer this question, I begin by performing ordinary least squares (OLS) regression analyses of the variables. My Europe-wide and Western Europe regression results indicate that there is a statistically significant positive relationship between the favorability of a country's electoral system to the election of women and the level of women's political representation in that country. Proportional representation electoral systems are particularly beneficial to female candidates. In addition, unlike previous scholars who focus on the dominant religion, I apply the concept of religiosity (the importance of religion to a country's citizens) to women's political representation. I find a statistically significant negative relationship between the level of religiosity in a country and the level of women's political representation in that country. Countries in which citizens are particularly religious tend to be conservative and less likely to encourage the election of women. However, none of the variables are statistically significant in the regression analysis of Eastern Europe, which indicates the need to take regional factors into consideration.
In the second part of the study, I examine four case studies (Sweden, Ireland, Hungary, and Macedonia). The case studies permit in-depth analyses of the individual countries, and show the manner in which structural and attitudinal factors interact in a particular country context. In the case of Macedonia, structural factors have mitigated the effects of negative attitudinal factors. In most of the case studies, however, a combination of structural (electoral system and gender quotas) and attitudinal factors (gender equality and religiosity) affect the level of women's political representation in the country. Ultimately, the case studies demonstrate how the country-specific context impacts the election of women to parliament.
30
Arrigo-Schwartz, Martine. "Images et représentations de la ville de Nice dans les Lettres et les Arts de 1860 à 1914." Nice, 2000. http://www.theses.fr/2000NICE2010.
Full textAbstract:
En 1860, avec son rattachement à la France, Nice entame un deuxième âge d'or. Entre 1860 et 1914, la floraison littéraire et artistique, s'explique politiquement et économiquement. Les oeuvres étudiées (en éloignant celles en nissart), sont totalement liées à l'histoire de cette région particulière, en marge et attentiste, au devenir fondé sur la villégiature. L'essentiel du propos tient dans les paradoxes qu'offrent les images importées, de type publicitaire ou critique. Il tient aussi dans la distorsion diachronique des regards littéraires et artistiques. Les images orientalisantes du site font de Nice, du paganisme voluptueux à l'Eden, une carte postale. Les images de la villégiature, entre cosmopolitisme et Carnaval, jouent sur la dualité décadente sociologique. Ces deux étapes thématiques laissent apparaître des constantes : d'abord, la valorisation du site est quasi-unanime. Ensuite, quelques parisiens, académiciens ou journalistes, surtout des minores, voire des anonymes aujourd'hui, ont fabriqué Nice, forgeant les images successives qu'attendaient les grands bourgeois de la capitale. Enfin, l'académisme des productions littéraires et artistiques qui en découle coi͏̈ncide avec la mentalité locale. L'année 1914 sera pour Nice l'interruption brutale d'une conjoncture de type "Belle Epoque", que lui imposent les événements.
31
Leal, Pedro Germano Moraes Cardoso. "The invention of hieroglyphs : a theory for the transmission of hieroglyphs in early-modern Europe." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5167/.
Full textAbstract:
The present dissertation investigates the process of transmission of hieroglyphs from Egypt to Early-Modern Europe. This phenomenon has been studied by Egyptologists and Art Historians, mostly from a historical and descriptive standpoint, but here an original theoretical perspective was adopted: Grammatology or the study of writing. In order to understand this process of stimuli diffusion, and its outcome, it was deemed necessary to delve into both the Egyptian writing-system and the hieroglyphic phenomenon in the Renaissance, which led the dissertation to be divided into two parts. The First Part is devoted to The Ancient Hieroglyph: Chapter One addresses the mechanics of Egyptian hieroglyphs, their grammatological functions and the outline of a theory for the text-image dynamics in this context; Chapter Two examines the terminology of “hieroglyph” in Egypt, and its conceptual difference from the Greek and Contemporary views on the matter; Chapter Three describes the historical development of the Egyptian writing and a hypothesis for the emergence of a “hieroglyphic hermeneutics”; Chapter Four is dedicated to Horapollon’s Hieroglyphica, which is regarded as the main vector of diffusion between Ancient and Modern hieroglyphic traditions. The Second Part focuses on The Early-Modern Hieroglyph: Chapter Five outlines the early process of diffusion and the first ideas of hieroglyph in the Renaissance; Chapter Six discusses the creation of new hieroglyphic codes; Chapter Seven tackles the role of hieroglyphs in the birth of the emblematic tradition and its continuous relationship on different culture levels; Chapter Eight look into the Spanish jeroglificos, regarding it as a hybrid genre of hieroglyphs and emblems; Chapter Nine explores the impact of Renaissance hieroglyphs on the cultural perception of writing; and finally, in Chapter Ten, the process of convergence between hieroglyphs, alchemical iconography and emblems is analysed in the light of the previous chapters. It was found that there is an objective relationship between Ancient and Modern hieroglyphs, not easily perceptible and often downplayed as a result of a certain logocentrism, but of great importance – especially in terms of its impact on the establishment of a European text-image tradition. Another conclusion is that, if Renaissance scholars, artists and poets thought it possible to write through images, and in fact created speaking pictures, visual compositions can be considered as a form of writing - being therefore a potential subject of Grammatology. This finding does not exclude other instruments of analysis, but creates a number of theoretical solutions in the field of text-image studies that have been employed in the present study.
32
Baillot, Elodie. "Réseaux de collectionneurs et enjeux de patrimonialisation en Europe au XIXe siècle : le baron Davillier, le comte de Valencia de Don Juan et Lady Schreiber." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H027.
Full textAbstract:
Cette thèse étudie le potentiel créateur de l’interaction entre plusieurs collectionneurs et se fonde sur la volonté d’éclairer la manière de faire collection du baron Charles Davillier (1823-1883), de Lady Charlotte Schreiber (1812-1895) et de Juan Crooke y Navarrot, comte de Valencia de Don Juan (1829-1904). Envisagée sous l’angle de la carrière, l’étude de leurs activités de collectionneurs montre qu’ils définissent des pratiques marchandes, savantes et patrimoniales. Réclamer un statut de créateur pour le collectionneur suppose de revendiquer sa qualité d’auteur, ambition à laquelle se prêtent particulièrement les trois protagonistes de cet essai. Davillier, Schreiber et Valencia de Don Juan permettent en effet d’envisager le lien étroit entre collectionnisme et expertise à l’époque de l’institutionnalisation de l’histoire de l’art en Europe. La méthode relationnelle qui a été plébiscitée à travers l’étude de réseaux d’influence restitue leurs rôles de premier plan dans l’histoire du collectionnisme européen de la seconde moitié du XIXe siècle. Elle est également effective pour rendre compte d’un certain nombre de phénomènes façonnés par leurs pratiques de la collection comme la naissance d’un contexte d’émulation et d’un marché des arts décoratifs espagnols, de leur historiographie et de leur patrimonialisation. La réunion de leurs intérêts en Espagne au début des années 1870 permet de mieux saisir la mise en œuvre d’un processus d’esthétisation de la consommation des arts décoratifs espagnols et de l’histoire de leur création culturelleThis thesis studies the creative potential of the interaction between several collectors and is based on the desire to shed light on the collecting methods of Baron Charles Davillier (1823-1883), Lady Charlotte Schreiber (1812-1895) and Juan Crooke y Navarrot, Count of Valencia de Don Juan (1829-1904). Analysed from the point of view of their careers, the study of their collecting activities shows that they defined commercial, scholarly and patrimonial practices. Claiming for the collector the status of creator implies asserting the status of author, an ambition to which the three protagonists of this essay particularly aspire. Davillier, Schreiber and Valencia de Don Juan indeed make it possible to consider the close link between collectionism and expertise at the time of the institutionalisation of art history in Europe. The relational method, which was favoured through the study of networks of influence, restores their leading roles in the history of European collecting in the second half of the 19th century. It is also effective in accounting for a number of phenomena shaped by their collecting practices, such as the birth of a context of emulation and a market for Spanish decorative arts, their historiography and their patrimonialisation. The gathering of their interests in Spain at the beginning of the 1870s allows us to better understand the implementation of a process of aestheticization
33
Lavigne, Philippe. "Représentations et significations du mythe de l'âge d'or dans les arts figurés (XV - XVIIIème siècle)." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30059/document.
Full textAbstract:
Des origines de l'Histoire au lieu commun qu'il est aujourd'hui devenu, le mythe de l'Âge d'Or occupe une place singulière dans l'imaginaire collectif. Sans héros ni intrigue, synonyme d'une existence idéalisée, d'un état de plénitude, tout à la fois ancré dans le passé et l'avenir, il fournit à la littérature, à la poésie, à la philosophie, la possibilité de maintes réflexions sur l'humaine condition. Pourtant, dans le domaine des arts figurés, rares en sont les expressions avant les premiers soubresauts de la pensée moderne. La Renaissance – dont la dénomination même prend alors tout son sens – s'attachera à fixer des codes iconographiques toujours en vigueur. Les représentations d'une humanité insouciante, s'égayant par la nature ou festoyant, n'en recèlent pas moins toute la richesse de leurs pendants littéraires, de Virgile et d'Ovide notamment. Ainsi, l'Âge d'Or mis en images, sous couvert d'apparente simplicité, renvoie à des significations souvent mêlées qui ont trait à la politique, à la religion et à la morale. Considérées dans la sphère européenne, entre le XVème et le XVIIIème siècle, ces interprétations révèlent cependant des approches quelque peu différentes, qui reflètent peut-être des dissensions plus profondesFrom the origins of history to the commonplaces it has become today, the myth of the Golden Age takes up a peculiar place in the collective psyche. Without a hero or a plot ; synonymous with an idealized life and a plenitude state, deep-rooted in the past and the future at the same time, it provides literature, poetry and philosophy with umpteen thoughts about the Human Condition. Yet in the field of the figurative arts, the expressions of the first starts of the modern thought are scarce. The Renaissance – whose very denomination make sense then – will pay a particular attention to set iconographic codes which are still in force. The representations of a cheering up or entertaining careless mankind show all the richness of their literary counterparts, from Virgil to Ovid in particular. Thus, under the cover of a conspicuous easiness, the pictured Golden Age send back to often mixed significations wich refer to politicics, religion and morals. However, if considered in the European sphere between 15th and the 18th century, these interpretations show some slightly different approaches which may reflect some deeper dissentions
34
Vernois, Alice. "La figure du Roi David dans les arts de la fin du Moyen Age et de la Renaissance en Europe : un miroir du Prince ?" Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3072.
Full textAbstract:
Cette thèse porte sur l'étude approfondie des représentations de l’un des plus grands rois de l’Ancien Testament : le Roi David. Ce travail doctoral s’efforcera d’étudier cette figure biblique dans les arts de la fin du Moyen Age et de la Renaissance en Europe. Les Saintes Écritures relatent la vie mouvementée de cet illustre homme et roi qui devint, au fil des siècles, un modèle de référence pour les souverains chrétiens. En effet, celui-ci correspondait parfaitement aux aspirations des princes qui souhaitaient prendre exemple sur ce royal personnage et s’approprier son prestige. Dans cette problématique, la figure de David s’est révélée être d’une incroyable richesse : successivement petit pâtre, oint du Seigneur, valeureux guerrier, musicien d’excellence et psalmiste, souverain d’Israël, amoureux transi, pécheur puis pénitent. Toutes les facettes de ce personnage si complexe ont inspiré, chacune à leur manière, la pensée spirituelle, politique et artistiqueThis thesis focuses on the in-depth study of representations of one of the greatest kings of the Old Testament: the King David. This doctoral work will try to explore the biblical figure in the arts of the late Middle Ages and the Renaissance in Europe.The Holy Bible recounts the eventful life of this famous king who became, through centuries, a model for the christian princes. In fact, it fit perfectly with the aspirations of the princes who wanted to follow the example of this royal personage and appropriate his prestige. In this issue, the figure of David appears to be incredibly wide, successively little shepherd, anointed, brave warrior, musician and psalmist, king of Israel, women lover, sinner and penitent. Every facets of this complex character inspired, each in its own way, spiritual, political and artistic thought
35
Bamforth, Nigel William. "The development of India's crafts and their implication upon Indo-european furniture." Thesis, Bucks New University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364467.
Full text
36
Stuart-Clark, Lucy Bena. "Fragments of modernity, shadows of the gothic : questions of representation and perception in William Kentridge's "I am not me, the horse is not mine" (2008)." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71622.
Full textAbstract:
Thesis (MPhil)--Stellenbosch University, 2012.ENGLISH ABSTRACT: Contemporary South African artist William Kentridge’s experimentation with the visual strategies of European modernism and nineteenth-century optical devices, particularly the fragmented figure and shadow perception, has been well documented in contemporary cultural discourse. It is, however, something for which he is often criticized. In this dissertation I will demonstrate that Kentridge’s enduring interest in European modernism and the processes of human perception are in fact inextricably linked. I will further argue that the significance of this connection resides in that they are both critical visual strategies for exploring the fragmented nature of a postmodern postcolonial subjectivity in a South African contemporary cultural context. Kentridge’s concern with the subjective nature of the construction of knowledge, of the space between seeing and knowing, memory and reality, is a central motif in his art practice and is understood to be a personal attempt to reconcile his present with the past, South Africa’s colonial history with Western history and modernism with postmodernism. Shaped by theories of altermodernity, neomodern anthropology, and the relationship between the observer and ‘the gaze’ in contemporary discourse, my dissertation will thus also argue that Kentridge’s interrogation of the fragmented nature of human subjectivity could be regarded as being ethnographic and Gothic in nature. His multi-channel video installation, I am not me, the horse is not mine (2008), will provide the key visual text for my argument, for it is in this artwork that the inseparability of these concerns are best exemplified, particularly in his experimentation with fragmentation, the Russian avant-garde and shadows. I conclude this research with a discussion of my own creative work, which is a re-imagining and critical investigation of my maternal grandfather’s archive of late eighteenth-century family silhouette portraits. As such, I interrogate notions of subjectivity, human perception and an ‘altermodern’ anthropological quest through a personal lens, in the context of the broader concerns raised by Kentridge’s work.
AFRIKAANSE OPSOMMING: Die kontemporêre Suid-Afrikaanse kunstenaar William Kentridge se eksperimentering met die visuele strategieë van die Europese modernisme en negentiende-eeuse optiese toestelle, veral die gefragmenteerde figuur en skaduwee persepsie, is goed gedokumenteer in die hedendaagse kulturele debat. Dit is egter ook waarvoor hy dikwels gekritiseer word. In hierdie verhandeling sal ek aantoon dat Kentridge se volgehoue belangstelling in die Europese modernisme en die prossese van menslike waarneming onlosmaaklik aan mekaar verbind is. Ek sal verder aanvoer dat die betekenis van hierdie verband daarin geleë is dat albei krities belangrike visuele strategieë is waardeur die gefragmenteerde aard van 'n post-moderne, post-koloniale subjektiwiteit in ‘n Suid-Afrikaanse kontemporêre kulturele konteks verken kan word. Kentridge se besorgheid oor die subjektiewe aard van die konstruksie van kennis, van die ruimte tussen ‘om te sien’ en ‘om te weet’, herinneringe en die werklikheid, is ‘n sentrale motief in sy kuns. Dit word beskou as 'n persoonlike poging tot versoening tussen sy hede en die verlede, Suid-Afrika se koloniale geskiedenis en die Westerse geskiedenis, en modernisme en post-modernisme. My verhandeling is gebaseer op die teorieë van alter-moderniteit, neo-moderne-antropologie, en die verhouding tussen die waarnemer en ‘die staar na’ in kontemporêre debat. Ek neem dus ook standpunt in dat Kentridge se ontleding van die gefragmenteerde aard van die menslike subjektiwiteit beskou kan word as etnografies en Goties van aard. Sy multi-kanaal video-installasie, I am not me, the horse is not mine (2008), sal die sleutel visuele teks in my beredenering wees, aangesien dit is in hierdie kunswerk is dat die onlosmaaklikheid van hierdie verskynsels die beste beliggaam word, en veral ook in sy eksperimentering met fragmentering, die Russiese avant-garde en skaduwees. Ek sluit die navorsing af met ‘n bespreking van my eie kreatiewe werk, wat ‘n herinterpretasie en kritiese ondersoek van my grootvader aan moederskant se argief van die laat agtiende-eeu se familie silhoeët portrette. As sodanig, sal ek, in die konteks van die breë knelpunte wat in Kentridge se werk voorkom, die begrippe van subjektiwiteit, menslike waarneming en ‘n ‘alter-moderne’ antropologiese strewe deur ‘n persoonlike lens ontleed.
37
Dumont, Agathe. "Pour une exploration du geste virtuose en danse, passage XXe-XXIe siècles. Danseurs, "breakers", acrobates au travail." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030165.
Full textAbstract:
Cette thèse de doctorat en arts du spectacle propose une approche des pratiques, des discours et des représentations autour de la notion de virtuosité en danse. Elle explore des formes en mutation sur la scène chorégraphique et interdisciplinaire contemporaine en s’intéressant à l’incorporation d’un geste virtuose chez plusieurs performers, au passage entre le vingtième et le vingt-et-unième siècle. Observant les transferts d’une discipline ou d’un art à l’autre, ce travail s’est construit à partir d’un corpus de douze interprètes danseurs, breakeurs et acrobates. La première approche choisie a été de les interroger sur leurs parcours, leurs habitudes de travail, leur perception du geste virtuose, puis d’observer les représentations auxquelles ils participent. L’analyse ainsi proposée se construit à partir un corpus d’œuvres (danse contemporaine, cirque contemporain, hip hop) et d’entretiens présentés en annexe de ce travail. La virtuosité est donc envisagée du point de vue de l’interprète, considérée dans un système complexe et présent comme une forme d’indiscipline. A partir de certains constats et grâce à des méthodologies propres à l’analyse du mouvement et à l’analyse esthétique, cette recherche propose une exploration du geste virtuose à l’aune de certaines migrations disciplinaires et s’interroge sur la présence et l’importance de nouvelles formes de virtuosité sur la scène contemporaine, tentant d’en redéfinir les termes et les pratiquesThis doctoral thesis in performing arts offers an approach to practice, discourse and representations around the notion of virtuosity in dancing. It looks into forms currently mutating on today’s choreographic and interdisciplinary stage, focusing on the way various performers incorporate virtuosic movement into their interpretation, at the juncture between the 20th and the 21st centuries. Observing the transfers taking place between disciplines, this research is built on a corpus of twelve performers: dancers, breakers and acrobats. The first stage of the approach was to make them describe the path they had followed, their working habits, their perception of a virtuosic move, and to make observations about the shows they take part in. This analysis is based on a corpus of productions (contemporary dance, contemporary circus, breakdance) and interviews presented in the appendix. Virtuosity is thus investigated from the point of view of the performer, considered inside a complex system and presented as a form of indiscipline. Based on a number of observations and methodologies specific to movement analysis and aesthetic analysis, this research proposes an exploration of the virtuosic movement with respect to certain transdisciplinary migrations and examines the questions of the presence and significance of new forms of virtuosity on the contemporary stage, in an attempt to redefine its terms and practices
38
Vuillaume, Corinne. "Réprésentations du diable dans le cinéma occidental." Toulouse 2, 2010. http://www.theses.fr/2010TOU20074.
Full textAbstract:
En quoi la figure du diable évolue-t-elle dans la production cinématographique, de 1895 à nos jours ? Ne peut-on pas identifier et étudier, à travers ces évolutions, un certain nombre de récurrences thématiques ? Pour y répondre, cette thèse comporte trois parties principales. La première partie suggère un panorama des représentations littéraires et iconographiques du diable des origines à la fin du XIXe siècle. La seconde partie propose une synthèse sur l’histoire du diable au cinéma et s'articule autour de la description du film, le contexte et les réceptions critiques et publiques, et à travers trois périodes : du cinéma muet aux années 1940 ; des années 1950 aux années 1970 et des années 1980 à nos jours. En troisième partie, il s'agit d'étudier, à partir d'un corpus plus restreint, les récurrences thématiques (et audiovisuelles) de la figure du diable, à travers quatre chapitres intitulés : « l'espace du diable », « le corps du diable », « le langage du diable » et « le temps du diable »To what extent the representation of the Devil has evoluated in cinema, since 1895 until today ? Can one identify and study some thematic recurrences, through these evolutions ? This PhD dissertation is organized into three main parts. The first one is an overview of litterary and visual representations of the Devil from the origins to the end of the 19th Century. The second part offers a synthesis of the history of the Devil in film history, through the description of films, the context and the critical and audience reception, as well as three periods : from the silent film to the 1940's ; from the 1950's to the 1970's, and from the 1980's until today. The third part is a study, through a smaller corpus, of four thematic (and audiovisual) recurrences of the Devil on film, intitled: « The Devil's Space », « The Devil's Body », « The Devil's Language » and « The Devil's Time »
39
Chanis, Suet Yee Shery. "A Cross-Cultural Transformation that Drew Boundaries: Matteo Ricci and His Mapmaking in Ming China." [Tampa, Fla] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002555.
Full text
40
Farguson, Julie Anne. "Art, ceremony and the British monarchy, 1689-1714." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:e63509b1-425c-4308-bfc7-d991d46aa693.
Full textAbstract:
This thesis investigates the ceremonial and artistic strategies of the British monarchy in the years following the Glorious Revolution. By adopting a range of methodologies used in the study of visual culture, the thesis considers royal ceremonies as channels for conveying political messages non-verbally. These could affect attitudes to the monarchy, and inform artistic output. By paying particular attention to the way royal participants performed ceremonially in relation to the various formal and informal architectural settings for the court, the thesis highlights the process of seeing as a communicative act. Being alert to the impact of royal ceremonial and artistic activities on contemporary audiences, the thesis also considers the dissemination of royal imagery in England by commercial means. The thesis surveys paintings, prints and medals produced in England, and places the intended audiences at the centre of the analysis. It also pays keen attention to the impact of war on royal image making, and highlights the political context of continental Europe, especially in relation to William’s role as Stadholder-King but also the exiled Stuart court at St Germain near Paris. The evidence presented here supports a number of conclusions. Firstly, war had a profound impact on all aspects of royal image making. Secondly, royal behaviour and involvement in ceremony were vital elements in the visual presentation of monarchy. Kings and queens were of paramount importance, but their consorts were highly significant. Art was also taken seriously by the monarchy and the Crown tightened controls on royal image making during the period in question. The thesis also concludes that the nationalities of the incumbent monarchs and their consorts, along with their previous experiences and personalities, influenced their individual approach to visual representation. These approaches could shift depending on political circumstances and the personal inclinations of the person concerned.
41
Kennerley, David Thomas. "'Flippant dolls' and 'serious artists' : professional female singers in Britain, c.1760-1850." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:abea8ab2-2c48-46bb-b983-626a7b8d12b8.
Full textAbstract:
Existing accounts of the music profession argue that between 1750 and 1850 musicians acquired a new identity as professional ‘artists’ and experienced a concomitant rise in their social and cultural status. In the absence of sustained investigation, it has often been implied that these changes affected male and female musicians in similar ways. As this thesis contends, this was by no means the case. Arguments in support of female musical professionalism, artistry, and their function in public life were made in this period. Based on the gender-specific nature of the female voice, they were an important defence of women’s public engagement that has been overlooked by gender historians, something which this thesis sets out to correct. However, the public role and professionalism of female musicians were in opposition to the prevailing valorisation of female domesticity and privacy. Furthermore, the notion of women as creative artists was highly unstable in an era which tended to label artistry, ‘genius’ and creativity as male attributes. For these reasons, the idea of female musicians as professional artists was always in tension with contemporary conceptions of gender, making women’s experience of the ‘rise of the artist’ much more contested and uncertain compared to that of men. Those advocating the female singer as professional artist were a minority in the British musical world. Their views co-existed alongside very different and much more prevalent approaches to the female singer which had little to do with the idea of the professional artist. Through examining debates about female singers in printed sources, particularly newspapers and periodicals, alongside case studies based on the surviving documents of specific singers, this thesis builds a picture of increasing diversity in the experiences and representations of female musicians in this period and underlines the controlling influence of gender in shaping responses to them.
42
Blake, Stacey A. "Competition or admiration? : Byzantine visual culture in Western Imperial Courts, 497-1002." Thesis, University of Birmingham, 2015. http://etheses.bham.ac.uk//id/eprint/5958/.
Full textAbstract:
The following dissertation reassess previous explanations for the transmission of Byzantine iconography to western material culture that have been classified by the classical canon as being manifestations of a ‘barbarian’ ruler attempting to legitimize their fledgling culture. The tumultuous relationship between the east and the west during the Late Antique period to the middle Byzantine period and the subsequent visual culture that demonstrates cross-cultural exchange comprises the majority of my analysis. I approach the topic in a case study fashion focusing on five rulers: Theodoric, Charlemagne, and the three Ottos. The source material chosen for this dissertation varies as it has been selected based on claims by previous scholarship of demonstrating some level of Byzantine influence. My re-examination of these works includes the application of an interdisciplinary theoretical framework first postulated by Robert Hayden: Competitive Sharing. This theory suggests that material culture displaying syncretism was not a reflection of admiration, but of competition. An implication of this study is that art was an active participant in the relationship between the east and the west, serving as a communicative device, rather than as the more frequently cited passive role of a conduit for iconographical transmission or cultural legitimization.
43
Cambron, Maxence. "De la remembrance théâtrale : poétique et politique de la mémoire dans la création scénique contemporaine en Europe (François Tanguy, Christoph Marthaler, Maguy Marin)." Thesis, Artois, 2016. http://www.theses.fr/2016ARTO0011.
Full textAbstract:
Sous l’intitulé « remembrance théâtrale », la thèse se propose d’examiner la présence du passé ainsi que les usages de l’Histoire et de la mémoire dans la création scénique contemporaine en Europe. Quel regard les artistes de la scène contemporaine portent-ils sur le passé ? Quelle lecture nous donnent-ils de l’Histoire et dans quelle perspective ? Comment, et à quelles fins, intègrent-ils ce passé dans leur processus d’écriture scénique ? En quoi la scène et ses possibilités artistiques sont-elles propices à l’exploration de la mémoire ? Quel rôle ces artistes délèguent-ils au spectateur dans l’établissement du sens de cette exploration ? L’analyse s’appuiera sur trois créations récentes de Maguy Marin (Description d’un combat), Christoph Marthaler (Papperlapapp) et François Tanguy (Onzième). A travers l’exemple de ces formes scéniques apparentées au « spectre postdramatique » (Christian Biet, Christophe Triau) ainsi qu’à la constellation des « écritures du plateau » (Bruno Tackels), dans lesquelles se manifestent les pratiques de la fragmentation, de la citation, de la trace et de l’archive, de la déconstruction et de l’assemblage, il s’agira de saisir les spécificités esthétiques qui découlent de ces explorations du temps depuis la scène en interrogeant à la fois les modalités de leur mise en œuvre, les conditions de leur réception et les visées de leur présentation. Selon une approche esthétique s’appuyant notamment sur la philosophie de l’Histoire de Walter Benjamin, la thèse envisage donc de déployer tout à la fois une poïétique, une poétique ainsi qu’une politique de la remémoration dans les arts du spectacle de ces quinze dernières annéesUnder the heading "theatrical remembrance," this thesis sets out to examine the relation of modern theatre to the past and the uses of history and memory in contemporary stage creation in Europe. It examines how artists of the contemporary scene relate to the past asking the questions : What conception do they give us of history and from what perspective? How and for what purpose, do they integrate the past in their scenic writing process? In what way is the scene and its artistic possibilities conducive to the exploration of memory? What roles do artists delegate to their audience in determining the meaning of their artistic expression? The analysis is based on three recent creations by Maguy Marin (Description d'un combat), Christoph Marthaler (Papperlapapp) and François Tanguy (Onzième). Through these examples of scenic forms, affiliated to the "post-dramatic spectrum" (Christian Biet, Christophe Triau), as well as the contribution of Les écritures de plateau by Bruno Tackels, in which the practices of fragmentation, the quote, the trace, the archive; of dismantling and of assembly, appear. Through the use of the aesthetic characteristics resulting from these explorations of the past on the stage, and the questioning of the modalities of their implementation, the conditions of their reception and the purposes of their presentation and in accordance with an aesthetic approach based in particular on the philosophy of History by Walter Benjamin, the thesis plans to develop a poetics and politics of remembrance in the performing arts of the last fifteen years
44
Turnbull, Lindsey L. "The evolution of the swastika : from symbol of peace to tool of hate." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1513.
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
Arts and Humanities
History
45
Gonzales, Oscar Guillermo Osorio. "Tranferts techniques et artistiques entre le Perou et l' Europe. Les architectes péruviens élèves de l' Ecole des Beaux-arts et les architectes européenes actifs à Lima (1888-1930)." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27326.
Full textAbstract:
Introduction: Ce mémoire porte sur les transferts artistiques et techniques entre la France et le Pérou, au tournant des XIXᵉ et XXᵉ siècles. Il s‟intéresse plus particulièrement à la trajectoire de sept architectes, anciens élèves de l‟École des Beaux-Arts en France, qui ont travaillé à Lima entre 1888 et 1930. Les dates des études de ces praticiens se répartissent sur quatre décennies. D‟autres architectes ayant fait des études en Italie, en Espagne, aux États-Unis et en Allemagne, ont travaillé à Lima à cette période, mais l‟étude de ces derniers n‟a pas été possible dans le cadre limité de ce mémoire.
Le parcours académique de ces architectes élèves de l‟Ecole des Beaux-arts a joué un rôle décisif dans leur production architecturale ; pourtant, il n‟existe pas de travaux académiques approfondis sur cette question au Pérou. Les raisons de ce manque sont multiples : les documents sur les parcours professionnels et universitaires de ces architectes ne se trouvent pas au Pérou, mais en France ; ils ne sont pour la plupart pas accessibles sur Internet, même si la mise en ligne de base de données et la numérisation des archives progressent. La professionnalisation de ces élèves péruviens et européens s‟est consolidée en Europe et elle est essentielle pour comprendre les choix techniques et stylistiques appliqués à leurs édifices construits à Lima, commandés par des clients ou des entreprises privées, ainsi que par l‟État.
L‟une des raisons de ce travail est de mieux comprendre le patrimoine architectural de Lima, formé par un ensemble de bâtiments hétérogènes. Ce mélange architectural, propre aux villes de l‟Amérique Latine, ne reflète pas seulement l‟histoire indépendante du pays, mais aussi l‟incapacité des gouvernements à homogénéiser la ville et à mener à bien des projets de « modernisation »...
46
Dobson, Elizabeth. "An investigation of the processes of interdisciplinary creative collaboration : the case of music technology students working within the performing arts." Thesis, Open University, 2012. http://eprints.hud.ac.uk/14689/.
Full textAbstract:
This thesis addresses a gap in research on collaborative creativity. Prior research has investigated how groups of professionals, young people and children work together to co-create work, but the distinctive contribution of this thesis is a socioculturally framed understanding of undergraduates’ interdisciplinary practices over an extended period. Guided by a socioculturally framed theory of creativity, this thesis observed 4 students creating a 10 minute performance piece, and presents a longitudinal analysis of the co-creation process which occurred through a total of 28 meetings recorded over the course of a twelve-week term (24 hours of recordings in total). Specific episodes were selected from the full set of recordings, constituting 2 hours of recordings for in-depth analysis. Sociocultural discourse analysis was used to examine how social and cultural contexts constituted an ecology of undergraduate practice in interdisciplinary creative collaboration. Offering a new methodology, this discursive approach for studying context (Arvaja, 2008) was combined with interaction analysis (Kumpulainen & Wray, 2002; Scott, Mortimer & Aguiar, 2006) to analyse how moment-by-moment creative developments and contexts were resourced and constituted through dialogue, artifacts and physical settings. With implications for theory and practice, the analysis showed how the students’ collaborative contexts were constituted through dialogue, and how their emerging co- creative practice was mediated through multiple social and physical settings. It further evidenced how common knowledge was constructed through the process of collaboration, the value of peer feedback for fostering confidence, and students’ need for ‘silent witnessing’; for space to reflect and contribute to a long-term cumulative conversation. The thesis also discusses how resourceful the students were, in terms of negotiating unfamiliar and unpredictable co-creating activities. Evidence is provided for the collaborative value of creating and appropriating new tools to develop common knowledge, and for the significance of imagination as a psychological resource for building common knowledge about hypothetical future activities, showing how technology-mediated co-creating can be seen as a complex interactional accomplishment.
47
Siou, Aurelie-Laure. "Challenges of Western democracies in the post-Cold War era." Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/806.
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.ucfBachelors
Arts and Sciences
Political Science
48
Bosch, i. Darné Roser. ""Puzzled by all dots" La presencia de los acrílicos sobre tela de los desiertos Central y Occidental australianos en el espacio museísitico europeo: 1982-2012." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/378041.
Full textAbstract:
El presente estudio tiene por objetivo analizar la presencia del movimiento artístico de acrílicos sobre tela de los desiertos Central y Occidental australianos en el espacio museístico europeo. El marco temporal abarcado es de 1982-2012. En particular, se investiga dicha presencia, por un lado, a través de compilar las iniciativas de exposición temporal de dicho movimiento; y, por el otro, del análisis del proceso curatorial y de la materialización en el espacio físico del macro encargo de obras Aborígenes contemporáneas que se insertan hoy en el complejo arquitectónico del Musée du Quai Branly. El estudio pone el foco de atención en comprender la circulación de las obras en Europa (sus actores e instituciones de acogida), en subrayar la interculturalidad del fenómeno y en analizar las poéticas y políticas de construcción de la Aboriginalidad, presentes y pasadas, a través de dicho movimiento.The following dissertation analyzes the presence of the Australian Central and Western Deserts acrylic movement in European museums from 1982 till 2012. Such presence is investigated by compiling European temporary exhibitions initiatives around the acrylic movement, and by analyzing Musée du Quai Branly’s double commission of contemporary Aboriginal artworks which are integrated today in the museum architectural complex as permanent displays. The main goals of this study are: to understand how Australian acrylic paintings from the desert have been circulating in Europe (by which actors and museums), to highlight the intercultural nature of this artistic movement and its circulation, as well as, to explore past and present representations of Aboriginality through the movement.
49
Persoiu, Tiritu Aurel. "Palaeoclimatic Significance of Perennial Ice Accumulations in Caves: an Example from Scarisoara Ice Cave, Romania." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3291.
Full textAbstract:
Stable isotopes in ice cores drilled in the polar and high-mountain region have been used intensively to reconstruct past climatic changes and atmospheric dynamics. However, no similar studies have been conducted on perennial ice accumulations in caves due to a limited understanding of the links between the external and cave environments, and the way in which the climatic signal can be recorded by the cave ice.
In this thesis, we successfully designed and build a research methodology for the reconstruction of past climatic changes based on perennial ice accumulation in caves, using as example the Scarisoara Ice Cave, Romania. The ice block in this cave preserves a large variety of candidate proxies for both past climate and environmental changes, the most significant ones being the stable isotopic composition of the ice (a proxy for air temperature) and pollen remains. The ice block has formed by the successive accumulation of layers formed by the freezing of water accumulated from late summer through mid-autumn precipitation. An original method has been developed for the reconstruction of the stable isotopic composition of water before freezing, and further, of the late summer air temperature. Pollen in the ice has been found to reflect changes in surface vegetation at both local and regional scale.
A 22 m long ice core has been extracted from the ice block, and stable isotope analyses were performed at high resolution on its entire length. Twenty-sex radiocarbon ages have been used to derive a precise depth-age model for this core. The stable isotope data covers almost the entire Holocene, between 0.09 and 9.75 ka BP. The first order fluctuation broadly follows the orbitally induced Northern Hemisphere September insolation, with a minimum in the early Holocene, a slow climb towards a maximum at ~5.0 ka, followed by a very slow cooling towards the present, accentuated after ~0.5 ka. Superimposed on the long-term variations a series of rapid cooling events (RCE) are recorde, the most notable ones being at 9.5 ka, 8.2 ka, 7.9 ka, 6 ka, 4.2 ka, 3.2 ka and 0.9 ka. The timing of these RCEs agrees remarkably well with the Holocene rapid climatic changes and the ice rafted debris (IRD) events in the North Atlantic (NA). Our data suggests that the general trends of temperature changes in mainland Europe during the Holocene were governed by changes in solar output. RCEs were synchronous with NA IRD events, the NA climatic signal originating from sea surface temperature changes and being amplified by atmospheric dynamics.
The stable isotope data spanning the past 2000 years clearly shows four climatic events over this interval, attributed to the Roman Warm period (RWP), the Dark Ages Cold Period (DACP), Medieval Warm Period (MWP) and the Little Ice Age (LIA). Our data suggests that air temperature was highly variable during the LIA and more stable during the warm MWP and RWP.
As ice caves were described in many parts of the world otherwise poorly represented in ice-based paleoclimatology, the results of this study could open a new direction in paleoclimatic research, so that an array of significant paleoclimate data can be developed based on their study.
50
Miller, Jennie Edith. "Soviet and Eastern European Reactions to American Exhibitions: Cultural Exchange and the Cold War, 1961-1976." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5339.
Full textAbstract:
After the signing of the Cultural Exchange Agreement in 1958, exhibitions of culture and technology were exchanged between the Soviet Union and the United States. These exhibitions continued to be exchanged well into the 1980s. This paper focuses on comment books from seven of these cultural exchange exhibitions, five in the Soviet Union and two in Eastern Europe, in the years between 1961 and 1976. The public nature of the comment books and the way they were treated by visitors made them a space for expressions of popular opinions over the issues of public policy and ideology. As such, they provide contemporary historians with a unique glimpse into the mindset of ordinary Soviet and Eastern European citizens during the Cold War. Based on the evidence from the comment books, and using methods elaborated by cultural anthropologists, this study shows that challenged by the display of apparent American superiority, most Soviet visitors preferred to fall back on the official ideology which claimed the moral superiority of their system. In the 1960s and early 1970s, the Soviet citizens experienced an upswing in communist morale, expressed a desire to compete with America and a conviction that their system will ultimately prevail over capitalism. However, to what extent such declarations should be accepted at their face value as sincere expressions of Soviet citizens' deep-seated convictions and to what extent they should be seen as situational responses to the perceived humiliation at the hands of foreigners remains unclear. While most Soviet visitors were defensive, invested in their ideology, and competitive with America, their reactions were not monolithic. Some of them were clearly fascinated by American consumer products and expressed an envious yearning to get possession of them; others stressed their openness to cultural exchange. There were apparently sincere expressions of support to the policy of d&"233;tente, and of outrage over the Vietnam War. The Soviet visitors were aware of the unrest in American society caused by the civil rights movement, but were uninformed of the profound changes effected by this movement. Members of non-Russian minorities were interested in American ethnic diversity and sometimes implied their dislike of Moscow treatment of non-Russian nationalities. Eastern Europeans were less defensive and more open to American society and culture than the Soviets. Still, some of them also expressed pro-communist sentiments and national pride. There was one issue, however, on which the Soviets and Eastern were clearly more in tune with American popular culture than with their own governments: consumerism and the sentiment of entitlement to the high quality goods that Americans had access to while they did not. It was on this issue that the eastern bloc regimes were facing the greatest threat.ID: 031001511; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Adviser: Vladimir Solonari.; Title from PDF title page (viewed August 8, 2013).; Thesis (M.A.)--University of Central Florida, 2012.; Includes bibliographical references (p. 77-79).
M.A.
Masters
History
Arts and Humanities
History