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1
Bonzon, Catherine. "Enjeux sociaux, culturels et éducatifs de la pratique autonome des musiques amplifiées chez les adolescents." Thesis, Lyon 2, 2011. http://www.theses.fr/2011LYO20069.
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De nombreux jeunes « héritiers » aux pratiques culturelles diversifiées empruntent les nouveaux cursus d’apprentissage institutionnalisés des « musiques actuelles », d’autres en revanche, persistent à rester en marge, persuadés que l’esprit de contre-culture des années cinquante à soixante-quinze (du rock au punk) ou plus récemment de subculture spécifique au rap et aux musiques électroniques (house, techno…) ne sauraient suivre les chemins d’un enseignement formel et sous contrôle de l’adulte éducateur sans risquer de perdre leur âme et leur essence. C’est à ces adolescents que cette étude s’intéresse. Nous nous proposerons d’analyser les enjeux culturels, sociaux et éducatifs liés à leur pratique à travers leurs trajectoires, leurs intérêts et leurs stratégies par une approche articulant la théorie et le processus biographique. Nous appréhenderons les interactions qui se jouent en situation de pratique de la musique en groupe autonome et nous nous demanderons si cette dernière induit un « autre » mode de socialisation ou si elle participe encore à travers le refus des jeunes musiciens à entrer dans un système de scolarisation, à la désocialisation annoncée. Nous verrons que si les pratiques musicales issues du rock et de l’underground furent historiquement un moyen pour la jeunesse de s’opposer au monde adulte à travers la remise en question du modèle de la société de masse, elles participent aujourd’hui d’une esthétisation de la vie, d’une quête d’authenticité et d’identité à travers le groupe, autant que d’une appropriation du monde que l’on infiltrera plus qu’on ne le combattra en utilisant en particulier les nouveaux outils de communication. Cette étude décrit comment la pratique de groupe des musiques amplifiées pour peu qu’elle se déroule dans un cadre de jeu libre, peut influer sur le processus de formation identitaire de l’adolescent et permettre son inscription dans le monde social dans sa double dimension de verticalité (rapport à la tradition et à la socialisation primaire) et d’horizontalité (rapport à la culture générationnelle). Nous nous demanderons d’une part quelles sortes de compétences techniques et musicales, le fait de « jouer de la musique ensemble » permet d’élaborer et d’autre part quels sont les enjeux de l’expérience de cette émancipation intellectuelle et musicale. Cette recherche articule ainsi la dimension de singularité et d’universalité dans la construction de l’individu au regard de son expérience pragmatique de l’art“Modern musics”, aesthetics with moving out lines excluded until today from the national musical training centers are for a short time put in the middle of a process of institutionalization with their becoming in the music schools and beyond that, in the “schoolish form” through their assimilation of customs, rites and codes although adapted to this new styles still pledge allegiance to a normative légitimation system, source of stipulated or prohibited behaviors. More and more young “heirs” with diversified cultural practices choose these degree courses for amateur or professional musicians, others on the other hand still stay cut off from the system. In this study, we will take an interest in those who develop their practices of “modern musics” out off formal schoolish educational surroundings and we suggest to analyze the cultural, social and educative stakes of the type(s) through their trajectories, interests and strategies out from the institutionalized and didactical form. We try to find through an ethno methodological approach which will allow us to understand as the interactions between the characters as the musical practices staid until today cut off the cultural legitimity, if these practices introduce “another socialization form”
2
Bekkar, Anissa. "L'authenticité des oeuvres d'art." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAA022.
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C’est à partir du XIXème siècle, qui signe l’avènement de la conception romantique de l'artiste, que l'authenticité devient la qualité première de l’oeuvre d’art. Conditionnant la valeur de l’oeuvre sur les plans économique et artistique, l’authenticité apparaît toutefois comme difficile à définir dans la mesure où elle repose sur une réalité complexe. Elle est en outre mal aisée à prouver, l’incertitude étant le propre de l’histoire de l’art. Amené à composer avec ces contraintes, c’est principalement via l'erreur sur les qualités essentielles et le droit de la responsabilité civile que le droit des obligations appréhende la question de l’authenticité. Les solutions qu’il apporte, satisfaisantes en terme de protection des contractants, manquent toutefois de pertinence face aux nouvelles formes de création et à la réalité du travail de l’expertAs a consequence of the romantic conception of artists, the intense interest in authenticity of works of art is relatively recent. Being the key to the determination of both their economic and artistic values, authenticity is hard to define as it is based on a complex reality. It is also uneasy to prove, as art history remains uncertain in many aspects. As it is currently defined in french contract and tort law, authenticity is meant to ensure parties’ consent. However, this conception might not be relevant in the light of contemporary forms of art and art authentication
3
Saint-Cricq, Frédéric. "L'architecture en mode mineur." Thesis, Montpellier 3, 2020. http://www.theses.fr/2020MON30007.
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La problématique de notre recherche trouve sa source dans les qualités sensibles des édifices que nous percevons mais ces qualités ne peuvent être attribuées à des concepts et des causes factuelles. Les mots ne peuvent circonscrire le sensible sous le régime de la signification et les concepts sont trop larges pour déterminer l’unicité d’un édifice ou d’un énoncé. Dans le mode majeur de la représentation, la pensée réfléchit des objets et des sujets déjà formés depuis lesquels les attributs sensibles sont signifiés. Mais ce mode majeur de la pensée ne peut saisir l’unicité d’un édifice ou de son énoncé. Cette unicité se réalise dans une occurrence génétique, des dynamiques sensibles et sémiotiques déterminant progressivement les qualités et les énoncés. Notre recherche s’attache à construire une théorie explicitant ces individuations dynamiques Pendant l’individuation d’un édifice, ce sont les variations de puissance sensibles et sémiotiques qui agencent progressivement les énoncés et les contenus sensibles. Toute individuation sollicite un autre mode de la pensée, le mode mineur des affects, qui permet grâce à son opérateur mental, l’intensité, de sentir la variation des puissances sensibles et sémiotiques, le devenir. Une théorie des affects ne peut se construire sans interroger les corps qui s’affectent mutuellement, leurs puissances, et nous obligent à redistribuer les différentes facultés de pensée et de leurs rapports aux passions et aux émotions que la rationalité n’a jamais complètement jugulées. L’affect en tant qu’idée adéquate des devenirs permet de sentir des singularités qui rythment le procès d’une œuvre sensible ou théoriqueOur research is based on the discernible qualities of the constructions we perceive, but these qualities cannot be attributed to concepts or factual causes. Words, and the whole signifying process, cannot frame the sensorial tangibleness; and the concepts are way too vast to determine the unicity of a building or of its statement. Using a musical metaphor, we say that in a major mode of mental representation we perceive already-formed objects and subjects from which sensorial attributes gain meaning. But this major mode cannot seize how and why a building or its own statement are unique. This unicity of the Perceived is birthed in a genetic occurrence, as sensible and semiotical dynamics progressively determine qualities and statements. The aim of this research is to build a theory of these individuation dynamics. When a building is being “individualized”, it is through the variations of sensible and semiotical powers that progressively arrange the object and the statements. This process demands that we use another way of thinking, that we call the minor mode of affects. This mode has a mental operator - the Intensity - that allows the perception of how sensible and semiotical powers vary - which is the Destiny. We cannot theorize affects without being aware of how material objects are inter-affected, how powerful they are, and how they make us redistribute our thoughts and their relationships to those passions and emotions that rationality will never halt. Affect, as the adequate idea of what will be Destiny, allows the sense of singularities and of how they put rhythm in the process of an oeuvre, whether it is sensible or theoretical
4
De, Araujo Aguiar Luciana. "Les stratégies d’authenticité et les politiques de patrimoine culturel immatériel : une étude à partir de deux cas." Thesis, Montpellier 3, 2017. http://www.theses.fr/2017MON30058/document.
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Cette thèse a pour but de comprendre les stratégies de construction d’authenticité et les politiques de patrimoine culturel immatériel à partir de l’étude de deux pratiques culturelles reconnues actuellement comme patrimoine culturel immatériel : le fest-noz, présente dans les villes et campagnes de la région Bretagne, en France ; et le jongo, présente au sein des villes installées dans la vallée du fleuve Paraíba do Sul, dans la région Sudeste du Brésil. La démarche comparative présentée dans cette thèse résulte d’une double étude de cas, d’une part les rapports entre le fest-noz et l’authenticité en Bretagne, et d’autre part le jongo et l’authenticité afro-brésilienne. La thèse est structurée en trois parties. La première partie s’attache à comprendre le fest-noz et les questions de l’authenticité en Bretagne ; la deuxième partie met en lumière le jongo et la quête de l’authenticité afro-brésilienne ; la troisième partie est une analyse comparative des deux pratiques mais elle est également conclusive. Dans l’écriture ethnographique, les données de terrain ont été traitées dans une perspective bourdieusiennne. Par ailleurs, l’analyse des documents institutionnels - tels que les dossiers de patrimonialisation du fest-noz et du jongo, et les documents relatifs à la législation de l’UNESCO et du PCI en France et au Brésil – fût d’une importance cruciale. En outre, les entretiens avec les responsables des politiques de sauvegarde du fest-noz et du jongo et des politiques culturelles dans le domaine du PCI au Brésil et en France, m’ont permis d’affiner et de complexifier l’analyse des documents institutionnels. Cette thèse repose encore sur des données historiques contextuelles qui ont contribué à une meilleure compréhension des pratiques culturelles en questionThis thesis aims to understand the strategies (used in the representation of authenticity and the policies of intangible cultural heritage, based on the study of two cultural practices currently recognized as instances of intangible cultural heritage: fest-noz, present in the cities and countryside of Brittany, France; and jongo, present in the cities of the Paraíba do Sul river valley, located in the southeast region of Brazil. The comparative approach results from a double case study; on the one hand, the relations between fest-noz and authenticity in Brittany, and on the other hand, jongo and Afro-Brazilian authenticity. The thesis addresses three principle questions. First of all, an effort to understand fest-noz and how it shapes authenticity in Brittany; secondly, how jongo impacts the quest for Afro-Brazilian authenticity; and finally, a comparative analysis into both practices and the conclusions drawn from this approach. The field data collected from ethnographic writing archives were treated from a Bourdieu perspective. In addition, the analysis of institutional documents, including the heritage files of both fest-noz and jongo, and the documents relating to UNESCO and ICP legislation in France and Brazil, was of crucial importance. Furthermore, interviews with policy makers for the safeguarding of fest-noz and jongo and for cultural policies in the field of ICH in Brazil and France enabled a more nuanced elaboration of institutional documents. This thesis relies on contextual historical data that has contributed to a better understanding of the cultural practices in question
5
Vignon, Charlotte. "Londres – New York – Paris : le commerce d’objets d’art de Duveen Frères entre 1880 et 1940." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040235.
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Pourquoi tant d’objets d’art décoratifs de collections européennes se trouvent-ils aujourd’hui dispersés aux quatre coins des Etats-Unis ? A partir de documents d’archives inédits et d’une lecture critique des sources, cette thèse appréhende l’exode du patrimoine européen vers les Etats-Unis du début du vingtième siècle à travers le parcours d’acteurs importants de ce phénomène : les marchands Joel, Henry et Joseph Duveen à la tête de la prestigieuse galerie d’objets d’art et de tableaux, Duveen Frères, établie à Londres et New York dès la fin du dix-neuvième siècle et en 1908 à Paris. Sont d’abord étudiés les stratégies commerciales qui projetèrent les Duveen à la première place du commerce d’objets d’art de l’époque (I). Vient ensuite une analyse précise du commerce d’objets d’art de la firme : celui des porcelaines de Chine, puis des meubles et objets d’art du dix-huitième siècle français et enfin des objets médiévaux et de la Renaissance (II). Finalement, est abordé, l’activité de décorateur de la firme (III)Why are so many European objets d’art found in collections across the United States today ? This PhD dissertation explores the exodus of decorative arts objects originating from the private collections of Europe’s cultural elite at the beginning of the twentieth century by providing a new interpretation of unpublished archival materials and an in-depth study of the three key figures who contributed to this phenomenon : Joel, Henry, and Joseph Duveen of Duveen Brothers, the prestigious international art firm established in London and New York at the close of the nineteenth century, and in Paris in 1908. Beginning with an examination of the strategies employed by Duveen Brothers to monopolize the American art market and become the preeminent dealers of their time (I), this thesis is followed by a meticulously researched exploration of their dealings in Chinese porcelains, eighteenth-century French decorative arts, and medieval and Renaissance art (II), and concludes with a thorough analysis of the firm’s activities in the area of interior decoration (III)
6
Miyoshi, Akihiko. "Art and authenticity /." Link to online version, 2005. https://ritdml.rit.edu/dspace/handle/1850/1106.
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Nakhli, Alia. "Le discours identitaire dans l’art contemporain en Tunisie : de la tunisianité à l’arabité (1956-1987)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100032.
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Cette thèse porte sur la fabrique visuelle identitaire dans l’art contemporain, en Tunisie postcoloniale, de 1956 à 1987. Période coïncidant avec la construction d’un État-nation moderne, sur le modèle occidental. Dans une première partie, la recherche focalise sur la mise en place d’une iconographie académique figurative célébrant les us et coutumes ainsi que les scènes populaires. Ce qui a généré une esthétique officielle, véhiculant une image de la nouvelle nation tunisienne, conforme au discours politique exaltant le sentiment national de la tunisianité. Avec le constat d’échec de l’expérience socialiste, en 1969, le changement d’orientation idéologique imposait une recomposition identitaire qui visait la réhabilitation de la dimension arabe de l’identité nationale, et ce, afin de ressusciter l’enthousiasme populaire né avec l’Indépendance. La deuxième partie met en évidence la corrélation entre la crise politique et l’apparition d’une nouvelle esthétique de « l’authenticité » qui célèbre un nouveau principe fédérateur : celui de l’arabité. La thèse retrace la chronologie des manifestations artistiques panarabes, organisées sous la tutelle de l’Union nationale des artistes plasticiens arabes et auxquelles la Tunisie a pris part de façon active. La volonté d’« arabiser » l’art, s’est alors incarnée, outre dans les recherches picturales sur les signes et symboles populaires, dans un courant artistique panarabe baptisé hurûfiyya (lettrisme)This thesis focuses on identity visual factory of contemporary art, in post-colonial Tunisia, from 1956 to 1987. This period coincides with the building of modern nation-State, in compliance with western pattern. In the first part, the research focuses on the setting of a representational academic iconography, celebrating the traditions as well as the popular scenes. This has generated an official aesthetic, conveying a new image of the Tunisian nation, in accordance with the political discourse exalting the national feeling of tunisianity. With the admission of failure of the socialist experience in 1969, the ideological shift imposed a rethinking of identity the aim of which was to rehabilitate the Arabic dimension of the national identity, in order to resuscitate the popular enthusiasm of the early years of the independence. The second part shows the correlation between the political crisis and the appearance of a new aesthetic of “authenticity”, celebrating a new federative principle: the arabity. The thesis traces the chronology of the pan-arab artistic manifestations, organized under the supervision of the national union of plastic arab artists and to which Tunisia took an active part. The willingness to “arabize” the art was then embodied in a pan-arab artistic current, baptized hurûfiyya (lettrism) in addition to researchs on pictorial popular signs and symbols
8
Grady, C. Jill. "Huichol authenticity /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6445.
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Brower, Matthew Francis. "Signature style, art, authenticity and authorship." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0021/MQ48566.pdf.
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Gordon, Rebecca Alison. "Rethinking material significance and authenticity in contemporary art." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3041/.
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The traditional notion of material authenticity as being the physical and aesthetic evidence of the artist’s hand in the ‘original’ materials is outmoded. With the changed nature of art must come a rethinking of the concept of authenticity. Authenticity was and is often discussed in relation to attribution, and is traditionally linked with the artwork’s material presence. This thesis questions that assumption, drawing on the literature of philosophy that describes authenticity as someone’s ‘true essence’ in order to propose the significance of the interrelation of the artwork’s multiple attributes to the work’s identity. The artist’s voice has been a crucial source in this re-evaluation, with the voices of Scottish artists, or artists represented by a Scottish gallery or collection, building a picture of the way practitioners think about the significance of materials to their work. These contemporary primary sources have been contextualised with artists’ voices from published compendiums and international case studies. They have revealed the general pragmatism of artists’ approaches, particularly in relation to their creative processes. Therefore, this thesis has based its discussion around seemingly incongruous approaches: a conceptual framework and artists’ practices. However, these poles are reconciled by rooting the investigation at the point of the artwork’s creation. This has meant placing weight on the artist’s intentions for the work and his or her decision-making process, rather than the subsequent interpretations of curators and conservators that inevitably inform the artwork’s institutional afterlife. Doing so has led to a greater understanding of artists’ conceptions of material significance and their thoughts on the identity of their works. This inevitably bears implications for the preservation and display of contemporary art.
11
Lequette-, de Kervenoaël Stéphanie. "L' authenticité des œuvres d'art /." Paris : L.G.D.J, 2006. http://www.gbv.de/dms/spk/sbb/recht/toc/51291883X.pdf.
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Schumacher, Allison N. "Crafting Authenticity." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1900.
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Authenticity is what we want from the world around us, from others, and crucially from ourselves and what we make. As it relates to graphic design, I define authenticity as a perceived match between form and purpose. For the designer, its quality is found in the process of simultaneously developing a concept and crafting the design/object.
13
Hall, Stephanie Ann. "A Reexamination of Authenticity in Objects and Experiences." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338931103.
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Grassy, Elsa. "Le lieu musical : du texte à l’espace, un itinéraire sémantique. Poétique des catégories géographiques dans les musiques populaires américaines (1920-2007)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040118.
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Il existe dans le discours de la presse musicale américaine de nombreux de termes géographiques, dont la fonction n’est pas uniquement de localiser l’origine des courants musicaux ou d’opérer leur catégorisation par genre ou sous-genre : ces mots sont l’indice d’une véritable esthétique géomusicale, par laquelle lieux et musique se donnent sens et valeur. L’ancrage dans un lieu confère à la musique la valeur de vérité et de réalité que recouvre la notion d’authenticité, et donne lieu à des jugements esthétiques imprégnés de déterminisme géographique. Cependant, le lien avec un lieu étant considéré comme un gage de qualité, celui-ci a pu être renforcé ou fabriqué de toutes pièces par l’industrie musicale : paradoxalement, la géomusicalité serait le signe d’une manipulation, du factice, de l’inauthentique. Malgré tout, la musique ayant le pouvoir de rendre le lieu magnétique, en ce qu’il devient l’objet du désir des fans, la fiction musicale peut générer sa propre réalité. Ceci est d’autant plus le cas lorsqu’elle retient l’attention des responsables locaux, et est exploitée dans le cadre d’initiatives de développement économique, notamment sous l’angle touristique – ce qui correspond à une géomusicalité appliquée. Cette étude se donne pour objectif d’explorer les mécanismes de l’esthétique géomusicale, du discours journalistique à ses applications sur le territoire américains. Elle se conclut par une analyse des représentations de la Nouvelle-Orléans en tant que ville musicale au lendemain de l’ouragan Katrina. Les discours qui ont entouré la reconstruction du « berceau du jazz » permettent de mesurer les enjeux de l’association entre musique et lieu aux Etats-Unis, et leurs répercussions sur les identités localesThe discourse on American popular music is fraught with geographical terms whose function is not merely to situate or to categorize music. This lexical field points to the existence of a geomusical imagination around American popular music, which attributes value and meaning to genres and styles that can be traced back to specific locales. Such rootedness is interpreted as a sign of authenticity in the musical discourse. For that reason, geographic authenticity has been fabricated by the music industry in order to increase the value of cultural products. In the same way, local authorities and the tourism industry have promoted the musical image of specifc places in order to make them more attractive to residents and visitors alike. Such initiatives can be considered as applied geomusicality, and decrease the gap between geomusical fiction and geographic reality. This study explores the many facets of geomusicality, from the American journalistic discourse to local initiatives that aim at promoting the musical image of places. It closes on a case study devoted to New Orleans after hurricane Katrina. The way the “cradle of jazz” was represented in the news and in official discourses as well as the musical reactions to the hurricane allow one to assess the many implications of geomusicality and its hold on popular imaginations
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webb, sarah. "THE EXCHANGE: Curating Authenticity + Interaction." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4247.
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For a physical space to have an emotional impact on those who experience it, we must consider the connection and relationship between objects and experience, and how people make individual connections to insentient places. It is this symbiotic relationship that allows a building or space to attain a “soul”.
Through the adaptive re-use of a Richmond, Virginia building, this thesis project explores strategies of staging physical interaction and organic experiences through art and culture in the context of a mixed-use niche hotel.
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Morin, Edwige. "Tchekhov : la parole au féminin." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28072.
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1ère partie : Réflexion autour de la déclinaison des motifs [1] dans le théâtre de Tchekhov. Analyse d'une méthode de création [2]. 2nde partie : La solitude des mots [3] : Recherche-création autour de la problématique de l'authenticité dans le jeu de l'acteur. A partir de la composition d'un monologue, prenant sa source dans les paroles des personnages féminins des pièces de Tchekhov, et de sa mise en espace, nous avons amorcé une réflexion sur l'authenticité du jeu de l'acteur. Nous avons décomposé cette notion pour découvrir les outils nécessaires à la création d'une partition actorale : les actions physiques, la parole-action et l'organicité. A l'aide d'une matrice de production intitulée la méthode de création en dix étapes, processus actif de la révélation consciente d'une perception intuitive, proposé par Luis Thenon, nous avons travaillé sur la mise à jour des quatre lignes d'action et de leurs composantes, permettant de constituer la vie scénique du personnage. L'objet de notre recherche-création s'établit autour d'une jeune femme. Elle attend l'homme qu'elle aime pour lui déclarer son amour. Cette attente va lui permettre de faire le point sur son existence présente mais surtout passée et future. Au travers de tout cela, c'est un monologue avec et contre elle-même qu'elle engage d'où il ne ressortira qu'une profonde solitude. A partir des thèmes de l'amour, du travail et du temps, nous avons installé une exploration de l'écriture tchekhovienne et de sa logique si précise pour faire émerger un trajet cohérent de la vie scénique du personnage. [1]Notion utilisée par André Markowicz et Françoise Morvan, traducteurs de Tchekhov en français. [2]Méthode de création en dix étapes proposée par Luis Thenon. [3]Adaptation d'Edwige Morin à partir de l'œuvre de Tchekhov.
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Sedaghat, Soroush. "Web authenticity /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031216.135109/index.html.
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Thesis (M.Sc.) (Honours) in Computing-- University of Western Sydney, 2002."A dissertation presented to the University of Western Sydney, School of Computing and Information Technology, in partial fulfillment of the requirements for the degree of Master of Science (Honours) in Computing. Bibliography: p. 438-471.
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Senyurt, Yasemin Emine. "Importance Of Art In Authenticating Dasein." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/2/12607002/index.pdf.
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The aim of this thesis is to try to establish a relationship between Heidegger&rsquos thought on authenticity and art, and to show the role of art in authentic being of Dasein. Dasein&rsquo
s being authentic depends on Dasein&rsquo
s revealing of itself as itself. In this respect art plays an important role in revealing Dasein as itself. Thus, the relation between art and authenticity can be based on alethia which is the revealing of being as itself. At the same time art plays an important role in authenticating Dasein by its world-disclosing feature as it allows Dasein&rsquo
s own world to reveal itself in its own way.
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Bernard, Mary Grace Cathryn. "Non-Western Art and the Musée du Quai Branly: The Challenge of Authenticity." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/honors_theses/53.
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This thesis discusses the recent construction and anthropological collaboration of the Paris museum: Musée du quai Branly (MQB), an art museum dedicated to showcasing art collections specific to aboriginal and indigenous cultures in the Americas, Africa, Asia and Oceania. The opening of MQB in June 2006 raised a plethora of controversial questions concerning the museum’s methods of curatorial display of the art it has made its primary focus. One of the major issues discussed examines the Quai Branly’s authentic, or inauthentic, representation of certain artworks displayed throughout the museum. Thus, the essay raises the questions: does a non-Western object remain authentic once it is exhibited in a Western society’s art museum? To answer this question, the essay explores the various explanations of art and authenticity in order to reach an understandable conclusion of what constitutes an authentic display of non-Western objects in a Western art museum.
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Marchaza, Lauren M. "Selling authenticity the role of Zuni Knifewings and Rainbow gods in tourism of the American Southwest /." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1180626964.
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Chiu, Chih-Yung. "Blurred boundaries and return to authenticity : image politics of arts in cyberspace /." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1125027077.
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Wehn, James R. III. "Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case155428951539756.
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House, Theresa L. "Making authentic connections between art and life an evolution of student engagement in the process of learning art in an elementary classroom /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1213021116.
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Hoben, Kelly Anne. "AUTHORSHIP, AGENCY, AND AUTHENTICITY IN THE STUDENT-CENTERED ART EXHIBITION: A PARTICIPATORY ACTION-RESEARCH CASE STUDY." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211980552.
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Beck, Emily Shea. "Place Removed: A Study of Authenticity in Remote Locations." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2408.
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Richmond, Virginia has, through recent design proposals and projects, sought reconciliation with the countries in West Africa that were once the source for slave trade in which the city was such an active participant. These admirable works address the nations’ shared history, perhaps at the expense of understanding modern cultures. This thesis seeks to create this understanding through the development of an educational facility that would interact with Richmond’s current landscape. In pursuit of respectful relationship, I address the ways in which design can authentically teach about place. The study begins with the creation of a personal understanding of site through diagrammatic analysis. The research continues with case studies that relate to either the context, program or process of this project. The concepts this research generated led to a proposed design solution for the Southern Railway Freight building in Richmond’s Shockhoe Slip. Both design processes and the proposed solution are documented herein.
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Sariot, Eray. "The Relevancy Of Art And Time In Heidegger'." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610065/index.pdf.
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This thesis aims at propounding possible relations between the concepts of time and art in Martin Heidegger&rsquos thinking. Time and art which hold a central place in different periods of Heidegger&rsquo
s thinking in line with his fundamental question of Being are considered together mainly through the analysis of artwork&rsquo
s temporal characteristics. The temporality of the artwork in question is investigated specifically in terms of its basic elements of earth and world and with its relation to authenticity. In this respect, this thesis argues that the work of art bears a temporality of its own and attempts to show how this is realized with the experience of art
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Makela, Daniel. "Art and Culture: The Transformation of Louisville's East Market District." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1277497985.
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St-Onge, Colette G. "Symbols of Authenticity: Challenging the Static Imposition of Minority Identities through the Case Study of Contemporary Inuit Art." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20491.
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This thesis examines the use and promotion of shamanic themes in contemporary Canadian Inuit art, being the principle venue in which Inuit identity is presented to non-Inuit in Canada and internationally. The image of Inuit identity promoted through the arts since the mid-twentieth century is arguably the product of non-Inuit state authorities, but Inuit artists themselves are increasingly asserting their voice in their arts and crafts, thereby challenging the image of Inuit identity to non-Inuit. This project first problematizes the history of contemporary Inuit art, where the construction of Inuit identity was heavily prescribed, and then turns to the shifts occurring in Inuit art to highlight the process of identity construction and the agency of Inuit within it. In the process, this project challenges the static conceptualization of minority identities in diverse societies by both state authorities and majority populations. This dissertation contends that Inuit art and identity are fluid concepts and there must be an emphasis made to permit for their fluidity, to avoid affirming a static minority identity in a diverse society, whether in the public or state forums. Consequently, the effort to assert the authenticity of these intangible concepts is contrary to the ideals of diversity and equality promoted in Canada.
29
Avis, Tami. "Authenticity : how do counselling psychologists know who their clients really are?" Thesis, City University London, 2010. http://openaccess.city.ac.uk/12067/.
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Counselling psychology trainees are obliged to undertake a minimum of 40 hours of personal therapy as part of the course requirements. This qualitative study explores how trainee counselling psychologists experience mandatory personal therapy and how chartered counselling psychologists experience having trainee counselling psychologists as clients. Phenomenological methodology - specifically, Interpretative Phenomenological Analysis (lPA) - was employed to access the lived experience of both trainees and qualified psychologists. Analysis of the results suggests that as the therapeutic relationship develops, trainee counselling psychologists move from an 'inauthentic' to an 'authentic' self. They use mandatory personal therapy to learn and grow both professionally and personally. Whilst many trainees feel that therapy should remain a compulsory course requirement, they also highlight that it costs them both emotionally and financially. The qualified therapists notice a difference when working with trainee counselling psychologists, as opposed to their other clients. The therapists are aware of the mandatory nature of the therapy and their own worries about being judged by the trainees. They find it difficult to maintain the 'role' of therapist. The therapists both empathise and sympathise with the trainees, which often results in concessions being made. There are four overarching categories common to the two groups: i. impact of mandatory therapy on therapeutic process, ii. the therapeutic performance, iii. the value of therapy and iv. boundaries. Despite both groups stating that the obligatory nature of the therapy initially impedes the process, neither trainees nor therapists communicate this belief within the relationship; often resulting in 'an elephant in the room .' Recommendations are discussed including the value of providing preparation for both trainees and qualified therapists before entering the unique trainee therapeutic relationship, extra funding, and other personal development ideas.
30
Shipe, Rebekah C. "Authenticity, Originality and the Copy: Questions of Truth and Authorship in the Work of Mark Landis, Elizabeth Durack, and Richard Prince." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337265281.
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Freestone, Mellor Paula. "Sir George Scharf and the problem of authenticity at the National Portrait Gallery." Thesis, University of Oxford, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728997.
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Kalkat, Saloni Kaur. "Daughter, Wife, Mother: Women as Emblems of Indian Authenticity Throughout the Diaspora." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/925.
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It has been over a century since the maternal side of my family has resided in the natal land of our cultural heritage and religious proclivities – Punjab, India, where Sikhism was established. As an American I continue this extension of our roots from their source. Through the process of shifting location, cultural confluence, and passing time the experiences of the women in each successive generation of my family have altered significantly through our diasporic existence. However, even in the aftermath of colonization and immigration, the enduring responsibility of women is reliant upon their relation to family.
This ideology is imbued through the words of the Sikh holy text, the Guru Granth Sahib, as well as broader Indian cultural norms regarding gender roles. Implicit in the religious tradition of locating family in female members lies the practice of making women emblematic of cultural survival. Thus, within their role of sustaining physical life women also sustain culture. This becomes increasingly important when culture is extracted from its source. Despite dispersion across the world, the women in my family have continued to fulfill the responsibility of the safekeeping of culture and traditions.
My series of three portraits, Daughter, Wife, Mother, illustrates the primary familial ties that determine an Indian woman’s identity throughout her life, and evokes the duty of cultural preservation that is associated with each of them. These oil paintings are based off of photos of me, my mother, and my grandmother from our family archive. Daughter, Wife, Mother lacks any indications of time period or specific location, thus asserting that this gendered life journey has persisted throughout my family’s diaspora.
33
House, Theresa L. "Making Authentic Connections Between Art And Life: An Evolution Of Student Engagement In The Process Of Learning Art In An Elementary Classroom." Ohio University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1213021116.
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Menton, Sara. "Authenticity and the Copy: Analyzing Western Connoisseurship of Chinese Painting through the Works of Zhang Daqian." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17918.
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This thesis examines conflicting attitudes regarding artistic authenticity and differing approaches to connoisseurship vis-à-vis the field of Chinese art and its reception in Europe and North America. Although this thesis examines both Chinese and Western approaches to the copy and highlights different cultural methods, this is not a Chinese versus the West argument. This thesis displays how concepts are combined in the Western art field to reach differing conclusions about a painting's authenticity. Specifically, this thesis analyzes the art of Chinese painter Zhang Daqian (1899-1983) and the debate surrounding Along the Riverbank, a painting in the Metropolitan Museum of Art's collection attributed to 10th century Chinese painter Dong Yuan (c. 934-c. 962). Many believe this painting is one of Zhang's forgeries. The controversies surrounding Zhang's art and forgeries reveal diverging conceptions of art education and methods of determining authenticity and the complexities of evaluating Chinese art in non-Chinese academic contexts.
35
Marchaza, Lauren Marie. "Selling Authenticity: The Role of Zuni Knifewings and Rainbow Gods in Tourism of the American Southwest." Ohio University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1180626964.
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Court, Clémence, and Rooij Mariska de. "Balancing the self and the relationship : Coping strategies of leaders when core values on which their authenticity is based are challenged." Thesis, Linnéuniversitetet, Institutionen för organisation och entreprenörskap (OE), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-53177.
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This thesis aimed to explore the coping strategies of leaders in situations in which their authenticity is put out of balance. Specifically, this means that this thesis describes the different actions shown by the leaders in order to deal with these particular situations. The literature suggests that leaders either stay with their own values and try to persuade them to the followers (Eagly 2005) or adapt to the group values and avoid showing damaging emotions (Gardner et al. 2005). As expected, this thesis shows that the leaders’ behavior does not simply fit into one group or the other. Instead, this research found that there are more nuances in how leaders respond to situations in which their values are challenged. The first action taken by leaders consists of learning, during which leaders discover and try to make sense of the new environment. Subsequently, roughly five categories of actions could be distinguished from the data. Leaders tend to adapt to small differences, adapt to large differences, avoid relationships, try to change followers or break relationships. Although these are five clearly defined categories, this does not imply that one leader only adopts one kind of strategy. This research found that the kind of strategy chosen by the leader highly depends on the conditions surrounding the leader. The coping strategy chosen has an effect on the relationship between the leader and the followers, and the leader’s emotions. Furthermore, it should be noted that in this research it is stated that leaders choose or decide upon certain actions leading from conditions; this does mean that the decision for actions can be taken both intentionally or unconsciously.
37
Berensmeyer, Ingo. "John Banville : fictions of order : authority, authorship, authenticity /." Heidelberg : C. Winter, 2000. http://catalogue.bnf.fr/ark:/12148/cb388875984.
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Aiken, Emma, and n/a. "Interpersonal needs and values authenticity, belonging, independence and narcissism." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20070730.134810.
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The nature of human well-being has been debated in psychological research since
the beginning of the study of human behaviour. Mechanistic perspectives regard humans
to be independent objects motivated by external contingencies, with needs to be both self sufficient
and self-enhancing. Organismic perspectives describe humans as having innate
self-organisational tendencies, which partly depend on qualities of relationships with
others. Basic needs for well-being include being self-determined and socially integrated.
Both perspectives claim empirical support. Drawing on Self-Determination Theory
(SDT), the present study proposed that basic needs for well-being include autonomy and
relatedness, and ego-defensive needs that undermine health include independence,
control and narcissism. To compare the effects of different needs on well-being, the
present study measured people's perceived needs and the satisfaction of those needs,
within the context of interpersonal interactions. Participants were sourced from the
student population at a Melbourne university (N = 82), and various internet website
forums (N= 171). Included were 82 participants who had received a diagnosis of social
anxiety in the past two years. A new measure, the Interpersonal Needs Scale (INS) was
developed to tap the strength of values for the five needs of interest, and the degree to
which needs are satisfied. Factor analysis on the INS produced four value subscales:
these were named Authenticity and Belonging, comprising autonomy and relatedness
items, and Independence and Narcissism, both including Control items. The fmal version
of the INS showed satisfactory reliability and validity. Results for Study 1 indicated that
for the present sample, Authenticity and Belonging values were associated with overall
interpersonal need satisfaction and with well-being. Conversely, Independence and
Narcissistic values were associated with dissatisfaction of interpersonal needs and
compromised well-being. For Study 2, cluster analysis was used to group participants
according to their INS profiles: that is, similarities in their perceived needs and their
degree of satisfaction of needs. In line with predictions, the groups included: the Selfother
Balanced (N = 42), who reported significantly greater values for authenticity and
belonging over independence and narcissism, and overall need satisfaction; the Slightly
Lonely (N = 53), who reported similar value ranking but some dissatisfaction of needs;
the Satisfied Narcissists (N = 45), who reported high values for ego-defensive needs and
satisfaction of narcissistic needs only; the Needy Narcissists (N= 81), who also reported
high values for ego-defensive needs but high overall need dissatisfaction; and the
Individualists (N = 27), who reported low values for belonging and unsatisfied
independence needs. The characteristics of each group were analysed and compared with
each other according to a range of self-concept measures (autonomous-self, relational self,
independent-self, and narcissistic personality), indicators of psychological wellbeing
(depression, anxiety, stress, and self-esteem), and social well-being (alienation).
The Self-other Balanced group reported the highest well-being scores and a
predominantly autonomous self-concept, while those who reported low values for
belonging needs (Individualists), and those who reported the least satisfaction of
interpersonal needs (Needy Narcissists), reported the most compromised well-being. A
large proportion of respondents with social anxiety belonged to the latter group. The
implications of these results for understanding the impact of values and the satisfaction of
interpersonal needs on well-being were discussed.
39
Aiken, Emma. "Interpersonal needs and values authenticity, belonging, independence and narcissism /." Australasian Digital Thesis Program, 2006. http://adt.lib.swin.edu.au/public/adt-VSWT20070730.134810/index.html.
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Thesis (DPsych) -- School of Life and Social Sciences, Swinburne University of Technology, 2006.Submitted in fulfilment of requirements for the degree of the Doctorate in Counselling Psychology, School of Life and Social Sciences, Swinburne University of Technology, 2006. Includes bibliographical references (p. 233-244).
40
Jurevičienė, Jūratė. "Vilniaus istoriniai priemiesčiai: autentiškumo aspektas." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060209_171545-12385.
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Autentiškumo išsaugojimo problema stiprėja augant visuomenės siekiams dalyvauti kultūros paveldo apsaugoje. Spartėjanti istorinės aplinkos pertvarka skatina daugiau dėmesio skirti urbanistikos paveldui ir plėsti leistinos jos pokyčių ribos paieškas. Lietuvos urbanistikos paveldo vertingųjų savybių išsaugojimo būtinybė ir poreikis keisti jo pavidalo bruožus ir susiklosčiusias paskirtis yra vienas svarbiausių iššūkių dabartiniame mūsų didmiesčių teritorinės plėtros laikmetyje.This scientific research introduces the method of evaluation of authenticity of Vilnius historic suburbs. Proposed model of the investigation could be applied for research of other urban heritage sites of similar origin. Established criteria could be adjusted for evaluation of other urban areas and should result particular indications of authenticity.
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Wilson, Christopher E. "Autonomy-Dependency Paradox in Organization-Public Relationships: A Case Study Analysis of a University Art Museum." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3074.pdf.
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Schönle, Andreas. "Authenticity and fiction in the Russian literary journey, 1790-1840 /." Cambridge (Mass.) ; London : Harvard university press, 2000. http://catalogue.bnf.fr/ark:/12148/cb37194878g.
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Kuchmaner, Christina A. "ARE YOU FOR REAL? THE CONSUMPTION-DRIVEN SELF-AUTHENTICATION PROCESS AND ITS EFFECTS ON PERCEIVED BRAND AUTHENTICITY." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1584978108171991.
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Kersey, Melvin Eugene. ""Where are the originals?" : Britishness and problems of authenticity in post-union literature from Addison to Macpherson." Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/6768/.
Full textAbstract:
This thesis examines the relationship between the formation of British national identity and textual authenticity in the eighteenth century, focusing on literary practices of myth-making and nation-building by a range of authors from Joseph Addison to James Macpherson. Exploring a variety of 'authentic' as well as 'fabricated' sources, the thesis traces the origins of Britishness to authors as diverse as King Alfred, Tacitus and Julius Caesar. The question 'Where are the originals?', which Samuel Johnson levelled at the problematic Ossianic poetry of James Macpherson, serves as an organising principle throughout the thesis. Chapter One outlines an illustrative set of perspectives on the sources of post-Union identity in Great Britain, addressing the tensions between mythical originals and the premise of authenticity by authors including Geoffrey of Monmouth, Samuel Johnson, Joseph Addison, Martin Martin and Daniel Defoe. Chapter Two examines Addison's association of the ballad Chevy-Chase with the epic tradition, forming a critical context for reading the problematic ballad Hardyknute as a product of British nation-building. Chapter Three concentrates on Thomas Warton's miscellany entitled The Union, mapping the intermixture of poetry, oratory and the political tension between old and new British identities during the 1750s. In Chapter Four, William Blackstone's The Great Charter and Charter of the Forest provides a post-Union context for revisiting both the originals of the Magna Carta and Gilbert Burnet's 'authentication' of the ancient constitution. In Chapter Five, the effects of the Penal Laws and the subsequent demise of professional bards in Ireland set the stage for a transformation of Irish bardic tradition in Micheal Coimin's Lay of Oisin in the Land of Youth. Finally, Chapter Six brings these various problems of authentic originals, fabrication and identity to bear on the work of James Macpherson. Concentrating primarily on his pre-Ossianic poetry, this final chapter examines the development of Macpherson's literary and political affiliations, aiming to shed some light on the 'originals' which preceded his Ossianic poetry. Tracing the language of British nationhood from the fragmentary to the epic, my argument concludes with Macpherson, situating him within an Addisonian tradition of myth-making and a Bolingbrokean tradition of nation-building. Whether in his Dictionary of the English Language or in the Ossian controversy, Johnson's insistence upon pure originals signifies his English resistance to the mixed identity of Britishness. But it remains to be seen whether Johnson's own work, or indeed culture itself, can sustain the weight of his question, 'Where are the originals?'
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Foster, Tara E. "The Streets are Talking: The Aesthetics of Gentrification in Two Downriver New Orleans Neighborhoods." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1736.
Full textAbstract:
Since the 1970s, when neoliberal policies and changing consumer patterns began remaking cities, scholars have conducted research about gentrification. In New Orleans, these studies have helped explain the demographic and economic shifts in some neighborhoods. However, there has been limited focus on the built environment aspects of gentrification in New Orleans, specifically the interpretation of the external aesthetic shifts in streetscapes as part of the gentrification process. This thesis examines the relationship between these aesthetics, primarily graffiti and street art, and the gentrification process, as perceived by various stakeholders in two New Orleans neighborhoods: St. Roch and Bywater. Using empirical, qualitative evidence, this thesis argues that graffiti and street art signify a culture and aestheticization of gentrification. Research methods for this thesis include participant observation, semi-structured interviews and discourse analysis.
Keywords: Gentrification, New Orleans, Bywater, St. Roch, graffiti, street art, neighborhood change, blight, disinvestment, revitalization, creative class, neoliberalism, race, authenticity
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Gill, Deviraj. "The framing of CSR messages and how they are interlinked with brand heritage and authenticity for selected UK grocery retailers." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/11555.
Full textAbstract:
A review of past literature has highlighted that the incorporation of corporate social responsibility (CSR) values in brand communications is difficult to get right. In particular, limited prior research has examined the evolving nature of CSR and how it is enacted within brand heritage and authenticity. In addressing this gap, this research examines the CSR reporting of two organisations and seeks to interpret how CSR initiatives are enacted within their individual brand heritage and authenticity. A programme of qualitative enquiry was adopted; initially 26 semi-structured interviews were designed to gain insight into the actual experience of a range of respondents of social responsibility ideas, messages and associations as they pertain to UK retailers. In phase two, a critical discourse analysis (CDA) proved an effective means to deconstruct the CSR reporting strategies that link to brand representations over an extensive time period for both UK brands. The findings from the study highlight how symbolic brand heritage references were significant in explaining brand-specific distinctions between CSR messages. High levels of brand-specific trust were linked to recollected memories for some consumers, but this contrasted with distrust by younger respondents. Notable findings from the CDA of Marks and Spencer reports were threefold, demonstrating: a) evidence of evolution in the nature and structure of CSR brand narratives; b) patterns showing strong interlinking of CSR reporting with components of brand heritage, (track record and core values); and c) attempts to create relational and experiential values that conjured forms of brand authenticity directed at stakeholders i.e. customers and employees. Conversely, for the Co-operative CDA offered a) less evidence of evolution in CSR brand narrative; b) limited patterns of interlinking of CSR reporting with elements of brand heritage in the early years, with stronger emergent patterns from the 2000s; and c) a formal reporting structure that offered a progressive evolution in CSR reporting but low evidence of brand authenticity. The study contributes to an increase in theoretical knowledge in the CSR and branding literature, and offers some original perspectives on the evolution of the producer narrative (central to CDA) of CSR messages over a lengthy time period (over 100 years). Methodologically, this study argues for the use of a CDA as an effective modus operandi to deconstruct the framing of CSR reporting strategies for organisations. From a marketer perspective, this study suggests that brand heritage and authenticity should be viewed more holistically– that it is perceived brand authenticity as it relates to CSR that may or may not be acknowledged by customers; and that the interpretation of brand authenticity may impact the degree of engagement with CSR messages.
47
Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.
Full textAbstract:
The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.
48
Sari-Mostefa, Kara Fewzia. "Pouvoirs de l'écriture et authenticité essai sur l'oeuvre de Mohammed Dib." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb375998818.
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Barth, Amy K. "Into the Valley: Voices I Heard Along the Way." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc4006/.
Full textAbstract:
Into the Valley: Voices I Heard Along the Way contains a preface and a collection of five short stories. The preface discusses the use of voice as a technique to develop characters and create authenticity through elements such as sentence structure, diction, dialogue, and regional, cultural, and/or gender-specific affectations to make the words on the page become audible language in the mind of the reader. Each story is written with a unique voice that presents characters who struggle to come to terms with the truth and its various shades of reality.
50
Persson, Julia. "Att marknadsföra kultur – utvecklingen av en ny visuell identitet för Malmö konsthall." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21475.
Full textAbstract:
In recent years the arts institutions’ role in society have changed. With increased demands on attracting greater number of visitors they use concepts from corporate marketing to communicate with greater success. Theories from museum studies show that the importance of rendering authenticity now has become the new imperative in order to retain the status of a reputable institution. This thesis aims to discuss the development of a new visual identity for the public and non-profit institution Malmö konsthall. Through a collaborative working process, the project’s practice part resulted in a visual identity designed to reflect authenticity. The conclusion indicates that it is difficult without extensive studies of the produced design to find out if authenticity is really something that can be rendered intentionally.