Relevant bibliographies by topics / Cultural aesthetics / Dissertations / Theses
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Dissertations / Theses on the topic 'Cultural aesthetics'

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Published: 19 February 2023

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1

Lachance, Lindsay. "Cultural Renewal in Aboriginal Theatre Aesthetics." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23425.

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The goal of this research is to shed light on current developments in the field of Aboriginal Theatre Studies. This investigation encourages the reader to look again at the ways in which elements of Aboriginal culture are manifesting in contemporary theatre. Aboriginal theatre is increasingly visible in Canada and its cachet is growing with both artists and audiences. As a result, culturally specific worldviews and traditional practices are being introduced to mainstream Canadian theatre audiences. Through interviews with practicing Aboriginal artists like Floyd Favel, Yvette Nolan and Marie Clements and through an exploration of their individual theatrical processes, this research has attempted to identify how practicing Aboriginal artists consciously privilege Indigenous ways of knowing in their approaches to creating theatre for the contemporary stage.
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Harper, Nicole Renai. "Cultural aesthetic experience perceptions of learning developed through cultural immersion /." Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/summer2008/nicole_r_harper/harper_nicole_r_200808_Edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by Delores Liston. ETD. Includes bibliographical references (p. 398-423) and appendices.
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Chan, Wing-chun Julia, and 陳永晉. "Towards an aesthetics of cliché: cultural recycling and contemporary fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42182311.

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Vitali, Valentina. "The aesthetics of cultural modernisation : Hindi cinema in the 1950s." Thesis, University of Ulster, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268856.

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Chien, Jui-Jung. "Aesthetics, cultural policies and the Arts Council of Great Britain." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394439.

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Chan, Wing-chun Julia. "Towards an aesthetics of cliché cultural recycling and contemporary fiction /." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42182311.

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7

Botchkareva, Anastassiia Alexandra. "Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Mughal India and Safavid Iran, 1580-1750." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13070051.

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The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources. The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences. The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity. The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.
History of Art and Architecture
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Loten, Sarah. "The aesthetics of solo bagpipe music at the Glengarry Highland Games." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9502.

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The purpose of this study is to examine the aesthetics of solo bagpipe music at the Glengarry Highland Games in Maxville, Ontario, in order to understand how people perceive and receive their world. My ethnography of aesthetics of solo bagpipe music has involved a selected group of musicians that has participated in the piobaireachd and ceol beag contests at these games. Piobaireachd is the classical tradition of the Great Highland bagpipe, and ceol beag is the "light" music which consists of dance songs or marches. The first chapter explores the "arrangements" of power in this community. By "arrangements" of power, I refer to the informal understandings between people about the hierarchies, prestige and power in bagpipe activities of their community. The second chapter examines the various traditions in the aesthetics of solo piping. I problematize the notion of "tradition" by examining it as a human construction that is continuously reinterpreted as it is passed down from generation to generation. The third chapter explores the local knowledge of some of the pipers taking part in the competitions. By "local knowledge", I mean the body of knowledge that is formed collectively, over time, and comes to represent the main ideas and expectations the pipers have about their music. Since Maxville, with the Glengarry Highland Games, is considered, according to the pipers, to be the "spiritual center" of piping, this choice of location has been ideal for understanding sound structures, behaviours, practices, and attitudes that are inherent in this cultural activity.
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Gorski, Andrew David. "The Environmental Aesthetic Appreciation of Cultural Landscapes." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193297.

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In recent decades the canon of environmental aesthetics has expanded beyond its primary concern of understanding what is beautiful in the fine arts to the appreciation of natural and cultural landscapes. Corresponding with society's growing interest in conservation, environmental aesthetics has emerged as relevant to many conservation discussions. The preservation and interpretation of cultural landscapes is complicated by resources that are in a constant state of change. Traditional cultural landscape preservation practices have had mixed results. A focus on interpretation rather than preservation is generally considered a strategy for improving cultural landscape practices. Applying theories developed in the field of environmental aesthetics to cultural landscapes may lead to principles helpful to their preservation and interpretation. In this study, an environmental aesthetic framework is developed and applied to the Canoa Ranch, a historic property south of Tucson, Arizona, to evaluate the potential of using environmental aesthetics in appreciation of cultural landscapes.
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Ryan, John C. "Plants, people and place : cultural botany and the Southwest Australian flora." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2011. https://ro.ecu.edu.au/theses/426.

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The Southwest corner of Western Australia has a distinctive culture of flora. In particular, the region is an internationally lauded destination for wildflower tourism. Aesthetic values inform the Southwest’s contemporary culture of flora and its products: photographs of flowers, botanical illustrations, taxonomic schemata and visually based landscape writings. In dynamic combination with sight, however, multi-sensoriality enhances cultures of flora through sensation. Hence, this thesis argues that it is vital to consider how bodily experiences deepen the appreciation of floristic appearances. Through readings of cultural, literary and historical sources, I propose floraesthesis as an embodied aesthetics of plants. The ancient concept of aesthesis, the root of the modern term aesthetics, comprises sensations—induced by the many senses—as gestures of curiosity. Whereas floraesthesis theorises corporeal appreciation, a visual aesthetic tends to distance plants from human appreciators. The latter may posit plants hierarchically as objects of visual art or constructs of quantitative science. This project puts into practice a critical humanities-based model that I call cultural botany. Following a progression of readings from colonial to contemporary times, I trace a continuum from floral aesthetics to floraesthesis through the cultural botany context. Using an integrative Thoreauvian-Heideggerean theoretical framework, I describe floral aesthetics as constituted by culture and language. As Thoreau and Heidegger suggest, embodied appreciation is predicated on language. I then theorise floraesthesis through readings of written and spoken materials: historic and contemporary literatures; colonialera botanical documents; transcriptions of ethnographic interviews; and my poetic enquiries as interludes throughout the text. A qualitative methodology, which I term botanic field aesthetics, comprises poetic practice, ethnographic interviewing and field walking set within an extensive historical context and organised around three places: Lesueur National Park, Fitzgerald River National Park and Anstey-Keane Damplands.
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Kim, Tanyoung. "Coded visualization: the rhetoric and aesthetics of data-based cultural interface." Diss., Georgia Institute of Technology, 2013. http://hdl.handle.net/1853/47648.

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Visualization enables new forms of social expression beyond the support of scientific data analysis. Focusing on the expanded roles of computational visualization, I investigate the influences of computation on the aesthetics and the rhetoric of visualization through design research methods. My design research includes 1) the construction of knowledge by synthesizing literature from digital media studies, visual rhetoric, information visualization, graphic design history, and HCI and 2) research through practices and consequent critiques. Coded visualization is a new term that I coined to integrate the rhetoric and aesthetics of data visualization. I define it as a data-based interface whose visual form is an aesthetic space where messages are coded and interpreted with cultural references. I also suggest the design criteria of coded visualization, apply them to a design project, and critique how the current design of the project can be improved to fully exemplify the concept of coded visualization. This study on the rhetoric and aesthetics of visualization through design research contributes to digital media studies, design research, as well as information visualization.
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Beer, Lorena Rivero de. "Guillermo Gomez-Pena's performances : cultural politics, aesthetics, representatio n and subjectivity." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496277.

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Minetti, Alfredo. "Sensivel a study on social aesthetics, group creativity, and collective emotion /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3277984.

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Thesis (Ph.D.)--Indiana University, Dept. of Anthropology, 2007.
Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3927. Adviser: Anya P. Royce. Title from dissertation home page (viewed May 5, 2008).
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Horton, Mary Therese. "The cultural status of objects." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35867/1/35867_Horton_1996.pdf.

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This paper addresses the cultural status of objects. The discussion focuses on domestic objects. It is proposed that functional domestic objects are cultural artefacts which have significance beyond that of useful commodity. Their cultural status is explored by considering the nature and influence of the Marxist critique; examining the 'aesthetic dimension' of useful objects; and by experimenting with a range of written forms which draw upon three sources: i) concepts investigated through the first two chapters; ii) ideas being cultivated through my studio practice; and iii) issues raised through the exploration of a particular site - the Rocklea Flea Markets.
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MacPhee, Marybeth Jeanette 1965. "The aesthetics of health in the everyday life of Moroccan women." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288861.

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This study of popular health culture in southeastern Morocco examines how women produce health in the household, from the perspective of aesthetic values in a setting of medical pluralism. The study of dominant themes and core values in the Ziz Valley illuminates local forms of common sense and embodied notions of the world. It is argued that aesthetic knowledge guides interpretation of illness experiences and perceptions of well-being as women evaluate feelings of security and vulnerability in everyday life. In Morocco, the aesthetic values of rhythm, balance, facade, and purity order the emergent experience of body, household, and society. These values gain meaning in relationship to the moral and spiritual tenets of local Islam. The dissertation examines how the five daily prayers set a rhythm for the day, in which the activities of prayer, ablution, housework, eating, and socializing create a rhythm for the body in the day. From this baseline, the study examines how multiple, intersecting explanations of health and illness play out among women caregivers living in multigenerational households. In case studies describing situations that culturally mark individuals as highly vulnerable, women employ practices that protect and restore states of well-being, revealing how aesthetic values give form to experience. Finally, the dissertation shows how feelings of vulnerability guide behavior in everyday life. Examples illustrate how women communicate vulnerability through illness and participation in collective memory, and support the argument that the production of well-being in Morocco incorporates physical, social, spiritual, and emotional aspects of experience.
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Milovanovic, Dara. "The Fosse Woman : analysis of femininity, aesthetics and corporeality." Thesis, Kingston University, 2018. http://eprints.kingston.ac.uk/42587/.

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Fosse style and ideas regarding gender have radicalised and politicised gender in popular dance on screen. This thesis examines the construction of femininity in Fosse‟s dance repertory for screen through choreography, filmic techniques, and performances by female dancers. Firmly situated in dance analysis, this research relies on an interdisciplinary methodology, which includes dance studies, gender studies, feminist film theory, and post-structuralism. Using theoretical discourses on masquerade, camp sensibility, and feminist film theory the analysis examines the way that female bodies are marked as feminine with choreography and screendance techniques to construct a theatrical performance of hyper-femininity as a political strategy to questions discourses surrounding representations of women in musical films. This thesis critically evaluates the aesthetic properties of spectacle, exaggeration, and artifice in Fosse‟s choreography and its effect on implications of femininity. Representations of femininity are considered in light of aesthetics, specifically excess exhibited through glamour and the grotesque, as a means to comment on gender performativity. This study concentrates on dancing performed by female dancers in Fosse‟s work for screen in order to highlight the construction of femininity as a factor to challenge the hetero-normative, patriarchal system, which surrounds film production and positions images of women as passive. Using poststructural theory, the analysis focuses on the creative labour and corporeal identity of female dancers to challenge Fosse as a sole author of the dances. The examination of historiography indicates that Fosse‟s iconographic dance style and innovation in the way that dance is filmed continues influence on popular dance choreography in the late twentieth and twenty-first century furthers the discussion on authorship and transmission of physical vocabularies through time. Looking through a feminist lens, this study seeks to examine corporeality as subjectivity in order to examine notions of agency and power of female dancers in Fosse‟s work by employing the idea that dance theorises femininity within the film format.
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Dorman, Andrew. "Cosmetic Japaneseness : cultural erasure and cultural performance in Japanese film exports (2000-2010)." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6354.

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Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan's film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness'. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure' and ‘cultural performance' in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership' to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.
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Lee, Ya-Chen. "Chen Qigang's voices, 1995-2008 : cross-cultural aesthetics, nationalism, translated modernity, gender and politics." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531172.

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Mao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.

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Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).
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Stewart, Joan Elizabeth Seifried. "Res ipsa loquitur The Material Imagination A Typology of Collectors." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3688582.

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This dissertation sets forth a typology of contemporary collectors of objects of material culture. This study characterizes four types of collectors, identified by separate and unique abilities of inner and outward perception, which resonates in their collections as praxis.

This typology also analyses the degree of both conscious and unconscious meaning in the collection, which, over time and place, becomes a self-referential composition. The meaning of objects as perceived and handled relates to the collector's level of consciousness of this epistemological function. The form or kind of the object, although significant, is not the basis for this ontological study as much as the method of each type of collector in the handling of their collections.

The latent or manifest drive towards degrees of coherence or completion lies in the collection, a visual, relational structure created by the collector. This structure may result in conscious enquiry, realization, and individuation, or may build a material bastion of self-protection, due to unconscious compensation or denial.

The handling of objects is the handling of a personal relationship, as collectors do not simply perceive objects, they perceive with objects, over time, in praxis. This dissertation allows for the great significance of home, within which a collector curates objects.

This dissertation employs a multi-disciplinary and hermeneutical approach as befits each type of collector's idiosyncratic and heterogeneous relationship to lucid materiality. Four types of collectors, the acquirer, the connoisseur, the fetishizer and the hoarder exhibit a neoteric aesthetic of material culture, analyzed individually as types through selected methodologies: the depth psychological perspective, process theory, the mythological approach, and through semiotic structuralism.

This typographical analysis results in the discovery of four unique ways in which collectors create meaning from our material world with approaches to the nature and concept of a "thing."

How a thing becomes visual image, which becomes the structure of a psychic reality fortuitously grasped by a mind and the hand, is a reflection of the importance of objects and of a collector's personal epistemology.

A Production Component, a book called Generosity of Eye: A Seasoned Appraiser Answers Clients' Questions, discusses the evaluation of objects from the perspective of a professional appraiser.

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Goff, Samuel Alec. "Physical culture and the embodied Soviet subject, 1921-1939 : surveillance, aesthetics, spectatorship." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273344.

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My thesis examines visual and written culture of the interwar Soviet Union dealing with the body as an object of public observation, appreciation, and critique. It explores how the need to construct new Soviet subjectivities was realised through the figure of the body. I explore the representation of ‘physical culture’ (fizkul’tura), with reference to newspapers, specialist fizkul’tura and medical journals, and Party debates. This textual discourse is considered alongside visual primary sources – documentary and non-fiction film and photography, painting and sculpture, and feature films. In my analysis of these visual primary sources I identify three ‘categories of looking’ – surveillance, aesthetics, and spectatorship – that I claim structure representations of the embodied Soviet subject. My introduction incorporates a brief history of early Soviet social psychological conceptualisations of the body, outlining the coercive renovative project of Soviet subjectification and introducing the notion of surveillance. My first and second chapters explore bodily aesthetics. The first focuses on non-fiction media from the mid- to late-1920s that capture the sporting body in action; this chapter introduces the notion of spectatorship and begins to unpack the ideological function of how bodies are observed. The second further explores questions of bodily aesthetics, now in relation to fizkul’tura painting and Abram Room’s 1936 film, Strogii iunosha. My third chapter looks at fizkul’tura feature films from the mid- 1930s to explore how bodies were related to social questions of gender and sexuality, including marriage and pregnancy. My final chapter focuses on cinematic representations of football from the late 1930s and the relationship between bodies on display and onlooking crowds. These two chapters together indicate how the dynamic between the body and its spectator (whether individual or in a group) was reimagined in the late interwar years; the body’s aesthetic appeal is now of little importance compared to its ability to constitute a public subjectivity through the manipulation of emotion, trauma, and pathos.
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McCaa, John Kimberly. "Fame, celebrity & mass media in the digital age| Daniel Boorstin's cultural decline, or passport to a parallel universe?" Thesis, The University of Texas at Dallas, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3706639.

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An examination of the famous and celebrities within a country can offer a view to the values of its people. The Romans had Caesar, the Egyptians Cleopatra and in the early twentieth century Americans admired Charles Lindbergh. From each of them, scholars have learned something about the age in which they lived and the people of their time. Standards of beauty, behavior, and success have been gleaned by examining women and men held in the public spotlight. The historian Daniel Boorstin worried that that was changing in the United States by the twentieth century due to the growing influence of mass media. His 1961 book The Image: A Guide to Pseudo-Events in America warned that the country was straying from values that he believed made it great. Image and appearance, he warned, were replacing experience and achievement as most important in persons gaining public recognition. A proliferation of mass media manufactured "pseudo-events" was the cause he said, impacting not only who was recognized but the country's ideals. Boorstin labeled it a "cultural decline" that had started with the Graphic Revolution. Although changes in western society did take place and that change was revolutionary, this dissertation suggests a slow but steady "evolution" of the self was also underway and may be more descriptive of what was and is still occurring today. This study links industrialization, dramatic technological advances, and the conversion of American society from rural to urban dwellers to a transformation of the "self" that started as far back as the Reformation, as causes for the changes. That transformation sparked a slowly budding struggle over control of self-identity that continues to this day. A half century after Daniel Boorstin issued his warning, this dissertation explores not just the accuracy of his predictions but why and how many business and political interests and social elites still struggle to maintain some influence over how Americans perceive themselves through images, how concepts of fame and celebrity continue to evolve and why the scholarly conversation about mass media, culture and society generated by his original hypothesis may be more important to explore today than ever.

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Higashikubo, Kevin. "Man with a Ghost: Randolph Bourne's Radical Cultural Idealism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617025465545427.

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Cooke, Patricia K. "From the sublime to duende: a cross-cultural study on the aesthetics of artistic transcendence." Thesis, Wichita State University, 2008. http://hdl.handle.net/10057/2032.

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For centuries, artists have used their works as a means of communication. Such communication can, at times, connect artist and audience in a unique experience which defies barriers of both language and culture. Although artists have written about this experience--referred to here as “artistic transcendence” or “artistic transport”--since classical times, no word seemed able to encompass its meaning until Longinus used the word “sublime” to describe it. The concept has since undergone several reinterpretations, beginning with the additions by Joseph Addison in the eighteenth century, and continuing to the present day in which the word remains subjective and its uses diverse. Consequently, the notion of artistic transport now requires a new definition--one which embraces both the classical and eighteenth-century notions, yet also incorporates a contemporary understanding of the concept. This thesis submits that the Spanish word duende not only fulfills, but exceeds these requirements. Both the sublime and duende contain elements of a struggle between artist and art, an ability to elevate both artist and audience to a higher realm, and shared roots in the classical notion of artistic transport. Using primary texts from Gorgias’ “Encomium of Helen” to Lorca’s “Play and Theory of the Duende,” this thesis establishes a connection between the classical notion of artistic transport, the eighteenth-century understanding of the sublime, and the twentieth-century concept of duende. Furthermore, the analysis demonstrates how duende, which contains both historical and contemporary connotations, represents the modern sublime both in works of art as well as in the artistic process itself.
Thesis [M.A.] - Wichita State University, College of Liberal Arts and Science, Dept. of English
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Cooke, Patricia K. Waters Mary. "From the sublime to duende : a cross-cultural study on the aesthetics of artistic transcendence." A link to full text of this thesis in SOAR, 2008. http://hdl.handle.net/10057/2032.

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Mishrell, Kirk W. "Rockin' The Tritone: Gender, Race & The Aesthetics of Aggressive Heavy Metal Subcultures." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/history_theses/52.

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This paper explores the dynamics of two regional heavy metal styles. It focuses on the aesthetics of Florida death metal and Norwegian black metal. This paper seeks to contribute but also deviate from the great studies linking music with cultural studies. Heavy metal has gained international attention from many social leaders concerned with the direction of its listeners. Heavy metal, from its early foundation, has been used to rebel against social order. As the music evolves, it becomes dangerous to the social establishment; challenging ideologies such as religion, globalization, feminism and common decency. This paper seeks to tell the story of the battle between hegemony and the subversive subculture of intense metal, giving voice to some truly disturbed individuals dissatisfied with the existing social institution. In doing so, I hope this study serves as model for future studies of radical youth culture.
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Covington, David Allen. "Capturing cultural counsel Biblical change and the power of popular music /." Theological Research Exchange Network (TREN), 2000. http://www.tren.com.

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Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 2000.
Includes vita. There are 2 computer optical disks (4 3/4 in.) included with the paper copy. Includes bibliographical references (leaves 133-134).
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Gingerich, Carol Joy. "The French piano style of Fauré and Debussy : cultural aesthetics, performance style characteristics, and pedagogical implications /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974679.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.
Typescript; issued also on microfilm. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 256-262).
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Allais, Lucia. "Will to war, will to art : cultural internationalism and the modernist aesthetics of monuments, 1932-1964." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/45941.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.
"September 2008."
Includes bibliographical references (p. [511]-535).
This dissertation examines a period around World War II when the prospect of widespread destruction provoked a profound re-evaluation of Europe's landmarks, their material value, and their ethical significance. Between 1932 and 1964, works once known as artistic and historic monuments-from buildings to bridges, paintings to shrines, ruins to colossi-acquired a "cultural" value as belonging to the "universal heritage of mankind." Promoted as didactic objects of international understanding, they became subjects of a new brand of international law. I trace the origins of this international valuation to a political movement, identified as Cultural Internationalism, whose main tenet was that the transnational circulation of knowledge constitutes an antidote to war. This ideal fueled the birth of organizations that brandished the autonomy of intellectual work as a weapon against nationalisms: most visibly, the League of Nations' Institut International de Coop&ation Intellectuelle (IICI, 1924-1941), its successor the United Nations Educational, Cultural, and Scientific Organization (UNESCO, 1946-), and the American Commission for the Protection and Salvage of Artistic Monuments in War Area (Roberts Commission, 1943-46). Despite the continued role of this institutional lineage in cultural production worldwide, there has not been a study of its contribution to 20th-Century aesthetics.
(cont.) The dissertation explores the modernist aesthetics of monuments that arose from this milieu and unfolded in three related fields: the bombed cities of the Allies' war, the architecture of the European reconstruction, and the heritage missions of the decolonization. A broad network of intellectuals, art historians, architects, and archaeologists was enlisted to show that monuments gave iconic weight to cultural autonomy in a new world order. I follow these experts' attempts to effect this autonomy: working in conferences and as field experts, spawning an intricate network of civilian and military committees, caring for a growing collection of monuments, and encountering the shifting winds of a massive geo-political realignment.
by Lucia Allais.
Ph.D.
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Ng, Pei-San. "Strength From Within| the Chinese Internal Martial Arts as Discourse, Aesthetics, and Cultural Trope (1850-1940)." Thesis, University of California, Berkeley, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10251445.

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My dissertation explores a cultural history of the body as reflected in meditative and therapeutic forms of the Chinese martial arts in nineteenth and early twentieth-century China. Precursors of the more familiar present-day taijiquan [special characters omitted] and qigong [special characters omitted], these forms of martial arts techniques focus on the inward cultivation of qi [special characters omitted] and other apparently ineffable energies of the body. They revolve around the harnessing of “internal strength” or neigong [special characters omitted]. These notions of a strength derived from an invisible, intangible, yet embodied qi came to represent a significant counterweight to sports, exercise science, the Physical Culture movement, physiology, and other Western ideas of muscularity and the body that were being imported into China at the time.

What role would such competing discourses of the body play in shaping contemporary ideas of embodiment? How would it raise the stakes in an era already ideologically charged with the intertwined issues of nationalism and imperialism, and so-called scientific modernity and indigenous tradition? This study is an inquiry into the epistemological and ontological ramifications of the idea of neigong internal strength, tracing the popular spread of the idea and its impact in late Qing and Republican China vernacular discourse. I pay particular attention to how the notion of “internal strength” might shed light on thinking about the body in the period. Using the notion of neigong as a lens, this project examines the claims of the internal forms of Chinese martial arts, and the cultural work that these claims perform in the context of late Qing and Republican China. I locate the nineteenth and early twentieth centuries as the key formative period when the idea first found popular conceptual purchase, and explore how the notion of neigong internal strength became increasingly steeped in the cultural politics of the time.

Considering the Chinese internal martial arts not only as a form of bodily practice but also as a mode of cultural production, in which a particular way of regarding 'the body' came to be established in Chinese vernacular culture, may additionally yield rich theoretical fodder. How might such claims about a different kind of “internal strength” revisit or disrupt modernist assumptions about the body? The project highlights the neglected significance of the internal martial arts as a narrative of the Chinese body. More broadly, it suggests fresh avenues for scholarship on the body, in showing how these other-bodily "ways of knowing" took on meaning in the period and beyond.

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Sawitzki, Roberta Cristina. "Processos de aprendizagem em uma ONG : um estudo de produção teatral à luz da perspectiva cultural CULTURAL." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/55123.

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Esse estudo teve por objetivo compreender os processos de aprendizagem a partir das práticas de produção teatral dos espetáculos teatrais de uma organização não governamental à luz da perspectiva cultural. Desenvolveu-se uma pesquisa de natureza qualitativa, utilizando as técnicas de entrevista em profundidade com roteiro semiestruturado, entrevistas semiestruturadas, entrevistas informais, observação participante, grupo focal e pesquisa documental para coleta de dados. A observação participante envolveu 13 meses de pesquisa de campo, com suporte de anotações em diário de campo, fotografias, vídeos e registros sonoros. Os registros foram decorrentes de momentos formais e informais, quando realizou-se as distintas entrevistas, grupos focais, acompanhamento de ensaios, apresentações dos espetáculos, reuniões, festas e gravações de videotapes, com coleta de dados espontâneas realizadas com profissionais dos elencos do Projeto Vida Urgente no Palco da Fundação Thiago de Moraes Gonzaga. Também foram pesquisados documentos, tais como: folders, flyers, banners, propagandas, material didático, vídeos, manual de descrição de cargos, organogramas, organização de itinerários de apresentações, fichas de avaliação das escolas etc. Para realizar o tratamento e a interpretação dos dados coletados, utilizou-se a análise interpretativista. Entre os principais resultados encontrados tem-se: sob a ótica dos membros do Projeto Vida Urgente no Palco, pôde-se compreender que esses entendem a produção teatral de forma difusa e associada, predominantemente, ao trabalho do produtor teatral. Além disso, percebe-se uma confusão entre os termos produção teatral, produção cultural e produção artística. Sobre as práticas de produção teatral, foi possível identificar que nessa organização ela ocorre em três fases distintas: a pré-produção, a produção e a execução. Os profissionais envolvidos nessas etapas variam de ano para ano, no entanto, as tarefas costumam ser divididas e realizadas coletivamente. Todos entendem como elementos que identificam e diferenciam o trabalho do Projeto Vida Urgente no Palco: a preocupação em passar a mensagem, a maneira tradicional de pensar uma montagem de teatro, ou seja, vinculada ao texto; não haver muito espaço para criação de personagem; ser um processo coletivo e colaborativo. Percebeu-se que suas práticas eram permeadas de momentos de humor, descontração, colaboração, interações e compartilhamento de conhecimento tácito. As práticas de produção teatral também permitiram visualizar momentos de justaposição de ordem e desordem – preservação e inovação ocorrendo simultaneamente – principalmente em função da escolha do campo de estudo (Fundação Thiago de Moraes Gonzaga), que atua há mais de 10 anos por meio do teatro. Em função desta organização trabalhar há bastante tempo com espetáculos, houve a possibilidade de encontrar uma cultura e um know-how próprios, que a diferencia das demais, e, por isso, encontrou-se várias linguagens comuns como ações rotineiras e artefatos materiais compartilhados que permitiram examinar a fecunda tensão entre aprender e organizar. Em relação à aprendizagem dos membros do Projeto Vida Urgente no Palco, pôde-se encontrar como principais processos a aprendizagem na prática, aprendizagem de um ofício, embora também tenham apontado outros processos de aprendizagem que possibilitaram desenvolver o conhecimento sobre seu trabalho, tais como: aprender com experts, aprender observando, aprender pela troca, aprender em cursos, aprender sozinho, aprender com os próprios erros, aprender pela reflexão e aprender resolvendo problemas. Dentre os principais momentos e facilitadores de aprendizagem, destaca-se a justaposição de ordem e desordem pela prática do humor e da improvisação, manutenção versus inovação.
This study aimed to understand the learning processes from the practices of theatrical stage production of a non-governmental organization in light of the cultural perspective. A qualitative research was developed using techniques of in-depth interviews with semi-structured script, interviews with semi-structured script, informal interviews, participant observation, focus groups and documentary research for data collection. Participant observation involved 13 months of field research, with support of daily field notes, photographs, videos and sound recordings. The records were a result of formal and informal moments, when different interviews, focus groups, rehearsals, performances of the plays, meetings, parties and recordings of videotapes were carried out, with spontaneous data collection by professionals of the team of the project Vida Urgente on the Stage of the Thiago de Moraes Gonzaga Foundation. Were also analyzed documents such as: folders, fliers, banners, advertisements, teaching material, videos, manual of job descriptions, organization charts, organization and schedule of performances, evaluation reports of the schools, etc. Interpretative analysis was used to conduct the processing and interpretation of the data collected. Among the main results we have: from the perspective of members of the Project Vida Urgente on Stage, we understood that they see theater production in a diffuse and associated manner, predominantly, related to the work of theatrical producer. Furthermore, we perceived confusion between the terms theatrical production, cultural production and artistic production. On the practices of theatrical production, it was possible to identify that in this organization it occurs in three distinct phases: pre-production, production and performance. The professionals involved in these phases vary from year to year, however, the tasks are usually divided and accomplished collectively. Everyone understands as elements that identify and distinguish the work of the project Vida Urgente on the Stage: the concern in getting the message out, the traditional way of thinking a theatrical set-up, i.e., connected to the text; the lack of room for character creation; that it is a collective and collaborative process. It was noticed that their practices were permeated by moments of humor, fun, collaboration, interaction and sharing of tacit knowledge. The practices of theatrical production also allowed us to visualize moments of juxtaposition of order and disorder - preservation and innovation occurring simultaneously - mainly due to the choice of the field of study (Thiago de Moraes Gonzaga Foundation), which has operated for over 10 years through theater plays. Since this organization works for a long time with performances, it was possible to find a singular culture and know-how, which differentiates it from others, and therefore we found several common languages as shared routine actions and material artifacts that allowed us to examine the fruitful tension between learning and organizing. Regarding the learning process of members of the project Vida Urgente on Stage, we could find as the main one learning in practice, learning a profession, but they also have pointed other learning processes that enabled the development of knowledge about their work, such as: learning from experts, learning by watching, learning by exchanging, learning in courses, teaching yourself, learning from their own mistakes, learning through reflection and learning by solving problems. Among the key moments and facilitators of learning, we highlight the juxtaposition of order and disorder through the practice of humor and improvisation, maintenance versus innovation.
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Rodríguez, Russell C. "Cultural production, legitimation, and the politics of aesthetics : mariachi transmission, practice, and performance in the United States /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.

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Wang, Li. "Cultural Representations of the One-child Policy in Chinese Literature and Film since 1978." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/20558.

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This dissertation focuses on the cultural representations of the one-child policy ever since 1978. The artistic discourses about the one-child policy provide a fantastic space to explore China’s post-socialist society and contending ideologies. It also sheds light on the intricate relation between aesthetics and politics and these among the state, family and individual. Moreover, as discourses, artistic narratives and images also participate in the redefining of reproduction/one-child policy. Therefore, inquiries into the interaction between aesthetics and politics enrich our understanding of how reproductive ideals are constructed, negotiated and transformed. This dissertation can be divided into five parts. In the introduction part, I introduce issues related to the one-child policy, materials which I use and my main approaches to interpret them. Chapter Two explores how post-1978 family planning films and novel envision the ideal reproductive lives of peasants through the construction of ideal reproductive subjects, especially ideal female models. These artistic works also show changed representations of the ideal role models. Chapter Three looks into the patriarchal reproductive subject in Mo Yan’s Frog which centers on the conflict between state power and traditional male-centric reproductive culture. Although there are ambiguities, the novel demonstrates that the state has failed to transform peasants’ traditional reproductive ideas. Chapter Four deals with women’s exploration of reproduction from the 1980s on. The writings of some female authors demonstrate a consciousness of independent female reproductive desire. In some works, we can even see the emergence of a new kind of female reproductive privacy. In these works, reproduction becomes the female protagonists’ personal, private matter and women’s subjectivity is seen in their ability to make reproductive decisions according to their own interests. In the Coda, I talk about my future research plans. Overall, in this dissertation, I trace the political, economic, cultural, and technical factors that contribute to the gradual emergence of pluralism in reproductive ideas and practices. My dissertation demonstrates the dynamic interaction among different forces affecting reproduction, one of the most strictly controlled realms in Chinese life. Although reproduction is still mainly dictated by the state current two-child policy, a push towards greater individual autonomy is starting to gain momentum.
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Rezzieri, Raphaela. "A sedução estética em letras cuiabanas : políticas culturais em Mato Grosso : o caso da Fundação Cultural (1975-1995)." Universidade Federal de Mato Grosso, 2014. http://ri.ufmt.br/handle/1/507.

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Essa dissertação propõe uma reflexão sobre o processo de construção do imaginário acerca do sujeito cuiabano. Para o desenvolvimento dessa pesquisa, analisamos o período que compreende parte dos governos militares e do início da abertura política no país. Durante a administração militar, ocorreu em Cuiabá um intenso processo de modernização, marcado pela destruição dos antigos símbolos da cidade, e também pela intensificação das relações capitalistas. Para apreendermos esse movimento entabulado pela intelectualidade local, partimos do constructo literário difundido pela Fundação Cultural de Mato Grosso, entidade que atuou no Estado, colocando em prática as orientações e procedimentos estabelecidos pelas políticas nacionais de cultura que estavam sendo gestadas. A partir do material editado e publicado pela referida instituição, denotamos como ocorreu a valorização de alguns símbolos da identidade local e como estes contribuíram para sedimentar a ideia sobre a legitimidade do ser cuiabano.
This thesis proposes a reflection on the process of building the imaginary cuiabano about the subject. For the development of this research, we analyze the period covered by the military government and the beginning of political liberalization in the country. During the military administration, occurred in Cuiaba an intense process of modernization, marking the destruction of the ancient symbols of the city, and also by the intensification of capitalist relations. To apprehend this movement established by the local intelligentsia, we set the literary construct broadcast by the Mato Grosso, the state entity that acted Cultural Foundation, putting into practice the guidelines and procedures established by national political culture that were being gestated. From the edited and published by this institution material, the recovery of some symbols of local identity and how these contributed to cement the idea of the legitimacy of cuiabano be denoted as occurred.
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Breggin, Benjamin. "The aesthetics of race in turn-of-the-century Germany : Marie Madeleine in her literary and cultural context." Thesis, University of Edinburgh, 2004. http://hdl.handle.net/1842/23776.

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Marie Madeleine was the nom de plume of Gertrud von Puttkamer, born Gertrud Günther in East Prussia in 1881. Starting with a collection of poems, Auf Kypros (1990), which caused a sensation on account of their erotic content, Marie Madeline published popular, often best-selling novels, short stories, plays and poetry. Her early work, from 1900 until the end of World War I, offers an unprecedented window into the culture of turn-of-the-century Germany and is a particularly revealing testimony of the pre-fascist German fascination with racial typology. This dissertation offers biographical information and a general introduction to the work of this now forgotten author. It then goes on to employ her prolific prose works as an axis for a comprehensive study of racial conceptions in the entire spectrum of turn-of-the-century German literature, from journalism and popular literature to works belonging to the canon. Particular reference is given to the writing of the young Thomas Mann and of Edward von Keyserling. The background of racial theory – the parallels that can be found between the literary portrayal of race and the writings of such theorists as Gobineau, Nietzsche, Julius Langbehn and Houston Stewart Chamberlain or the lesser known Heinrich Driesmans, Carl Heinrich Stratz and Ludwig Woltmann – are explored in depth. The emphasis is on the literary and theoretical representation of the Slavic, Latin and Teutonic peoples, with whom Marie Madeleine’s work was principally occupied. The dissertation thus endeavours to establish the Slavic Latin peoples as major figures of alterity alongside Jews in turn-of-the-century German literature. Ultimately, the dissertation shows that despite the chauvinism of certain theorists, the turn-of-the-century German obsession with race was characterised primarily by a whimsical and relatively benign aestheticism. It is an obsession that is best explored as the product of the turn-of-the-century German obsession that is best explored as the product of the turn-of-the-century German inclination to aestheticise all aspects of life, which ultimately succeeded in breaking the boundaries between art and science. It was part of the same cultural tide that brought on the Lebensreform and even Jugendstil.
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Martin, Deborah. "Gender, politics & aesthetics in Colombian women's cultural production 1940-2005 : Débora Arango, Laura Restrepo & women's documentary." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612030.

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Clements, Neil. "The Ivory Tower and the Control Tower : formalist aesthetics and cultural affiliations in British abstract art, 1956-1968." Thesis, Glasgow School of Art, 2017. http://radar.gsa.ac.uk/5606/.

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This thesis addresses British art of the late 1950s and 1960s, and specifically traces how formalist aesthetics and broader cultural factors influenced abstract art being made at this time. As such it is concerned with defining how particular artworks, while not depicting the environment in which they were produced, can still be demonstrated to embody it through other means. Opposing a binary separation of pop figuration and formalist abstraction prevalent in other scholarship dealing with the period, this text instead outlines a scenario where formalist strategies of art-making were themselves ideologically predicated on a number of other societal factors. These factors include the semantic economy underpinning the field of branded advertisement, the increasingly afunctional appearance of industrially styled commodities, and an image of ‘classless’ professionalism cultivated to combat an existing political Establishment. Additionally, this study includes an examination of the influence exerted on British abstraction by American sources, and revisits the critic Norbert Lynton’s observation regarding the ‘Mid-Atlantic’ position many practitioners found themselves occupying stylistically. At the heart of such an enquiry is an attempt to account in concrete terms for characteristics differentiating British artwork from that being produced elsewhere. It is structured as three chapters, looking at the work of Richard Smith at a time during which he was resident in both London and New York, that of a number of sculptors who participated in the Whitechapel Art Gallery exhibition New Generation 1965, and the development of Jeremy Moon’s painting practice. Brought together these three case studies combine to suggest an autonomous and vital sensibility, one quite distinct from developments being made either in Continental Europe or the United States.
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Wu, Guanda. "Negotiations of Cultural Aesthetics in the “Reforms” of Mei Lanfang and the “Mei Party” Members to Jingju in China’s Early Republican Era (1912-1937)." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1271281752.

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Archer-Straw, Petrine. "Negrophilia Paris in the 1920's : a study of the artistic interest in and appropriation of, Negro cultural forms in Paris during that period." Online version, 1994. http://bibpurl.oclc.org/web/34427.

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Mauri, Luján Anna. "La postmodernidad como dominante cultural y fenómeno sociológico: las propuestas estéticas contemporáneas." Doctoral thesis, Universitat de Barcelona, 1993. http://hdl.handle.net/10803/672101.

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Algo tan aparentemente inofensivo como un prefijo -"post"- ha revolucionado el debate cultural de la pasada década de los años ochenta al asociarse a la raíz "modern", una de las más privativas de nuestro siglo. Juntos han espoleado casi todos los ámbitos de las ciencias sociales, planteando esta pregunta como una letanía: ¿Existe un "después" para el proyecto de la modernidad?. Esta sociedad lingüística, que cuenta ya con una breve historia de su gestación, desarrollo e instauración, ha dado lugar a variados términos y a variadas acepciones de estos. En esta investigación, centrada en el ámbito de las artes plásticas, el término utilizado es el de "postmodernismo" (Capítulo 1). Pero no es posible crear un modelo verosímil de este si no es a partir de su oposición con los términos modernismo, vanguardia y tardomodernismo. El término "vanguardia", por su naturaleza "histórica", se presenta en la investigación como el referente más eficaz para ensayar una definición del "postmodernismo" insertada en la diacronía (Capítulo 2). El termino modernismo, por su parte, facilita una definición insertada en la sincronía, a través del análisis, desde la perspectiva del "postmodernismo", de dos de sus conceptos constitutivos en el ámbito de las artes plásticas: la historia y la autonomía (Capítulo 3). Todos estos pasos previos son imprescindibles para plantearse un ensayo interpretativo sobre la manifestación del postmodernismo en las artes plásticas cuya hipótesis principal es la siguiente: el postmodernismo genera objetos metaculturales para la representación de la postmodernidad; o dicho de otro modo, la interpretación de las artes plásticas en la década de los ochenta no puede tener lugar sin hacer referencia a la constelación alegórica del postmodernismo: la muerte del sujeto y de la razón en el arte. Estas alegorías marcan hasta tal punto la interpretación de las artes plásticas, que estas no tienen identidad autónoma.
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Burbach, Karolina. "Schwarz Rot Gold is the New Black : The production of patriotism in German fashion - The case of Eva Gronbach." Thesis, Stockholms universitet, Centrum för modevetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-30334.

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This thesis is a theoretically guided empirical discussion of fashion and its role within the production of national identity in Germany. In recent years, a new patriotism in contemporary German fashion could be observed, starting with the fashion designer Eva Gronbach in 2001. I will approach the term patriotism with the aid of one of Michel Foucault's key terms, the notion of the episteme. In my case study, singular fashion images from three consecutive collections by Gronbach are examined with regard to their role in the discourse of German patriotism. But I am not only interested in the "how" of this discourse. Building up upon Antonio Gramsci's notion of "cultural hegemony", I also explain the recent rise of this fashion patriotism. Thus, my discourse analysis of Gronbach's fashion becomes embedded in social struggles and transformations in Germany. Argueing that fashion is a discursive practice that can show up as well as promote changes in discursive formations, I assume a dialectical structure-agency conception: On the one hand the case of Gronbach hints at the deeper structural problematic of patriotism and social cohesion which allowed Gronbach to become popular. On the other hand, this structure is also produced via discursive practices such as Gronbach´s. The what I term "inclusionary patriotism" comprises cultural normalisation. Thus, the case of Gronbach demonstrates a "constrained heterogeneity" with regard to the discourse of patriotism in Germany, in which diversity is only acceptable within certain discursively constructed limits.
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Choi, Keeryong. "Invented exoticism : the development of artistic forms and inlaid colouring technique to explore the aesthetics of the cultural uncanny in an individual's visual experience with glass." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20943.

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This practice led research explores the possibility of cultural dislocation intrinsic to my glass art practice. The research on cultural dislocation is explored through both my practice and viewers’ interaction with the major works created during the investigation. The development of Korean glass art in the late 1980s provides an important example of the influence of a universalised culture in the course of adopting, adapting, and assimilating it, and why the artistic medium of glass is still perceived as ‘foreign’ by some artists and viewers in Korea. The artistic aim in creating a vase form, by combining porcelain and glass, is deeply inspired by the history of the materials in Western and Eastern cultures, including the history of European (or Western) imperialism and the influence of the colonial legacy on the development of glass art in Korea. By creating a formal visual vocabulary that informs the possibility of expressing the cultural ambiguity of the material, the resulting artworks were made to deliberately not fit into either Korean or British visual culture. Instead the works were created to fit into a pseudo Korean-British or British-Korean image intended to challenge the individual’s projected expectation of another culture (derived from cultural stereotypes). This research addresses the possibility of highlighting the individual’s cultural stereotypes, cultural relocation and bicultural identity in art. Applying the results related to these findings to the ‘aesthetics of the cultural uncanny’ present in my creative practice, the research was directed by the following research aims: - To extend the discourse about the uncanny to my artistic approaches by identifying what the exotic implies for individuals, both in Britain and Korea. - To develop the use of the experience of the uncanny as an expressive tool within my own creative practice through the medium of glass introducing an unexpected juxtaposition by combining English manufactured porcelain elements. - To develop an artistic language with respect to cultural stereotypes within contemporary glass art by analysing individuals’ engagement with my artwork.
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Björfeldt, Emmy. "Estetikens betydelse för barns lärande i förskolan : Förskollärares arbete med estetik i förskolan." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-64693.

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The aim of the study is to examine how preschool teacher looks at aesthetics and how they are using the aesthetics of everyday activities. As a method I have used a qualitative interview form, and I interviewed four preschool teachers. My study is based on a socio-cultural perspective with the direction of Vygotsky's theory of the child's interaction and learning. The results showed that preschool teachers who participated in my survey agreed that the aesthetics and the aesthetic forms of expression are important for children's learning. That offers all kinds of aesthetics and all sorts of materials and the chance to give an expression of what you think is fun is important for my respondents.
Syftet med den här studien har varit att undersöka hur förskollärare ser på estetik och hur de använder estetik i den vardagliga verksamheten. Som metod har jag använt mig av en kvalitativ intervjuform och jag intervjuade fyra stycken förskollärare.  Min studie utgår ifrån ett sociokulturellt perspektiv med riktning mot Vygotskijs teori om barns samspel och lärande. Resultatet visade att förskollärarna som deltog i min undersökning var eniga om att estetik och de estetiska uttrycksformerna är viktigt för barns lärande. Att man erbjuder all slags estetik och alla möjliga material och chansen att ge ett uttryck i det man tycker är kul är viktigt för mina respondenter.
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Vieira, Leonardo Caldas [UNIFESP]. "Tradução, adaptação cultural e validação de face e conteúdo do Psychosocial Impact of Dental Aesthetics Questionnaire para uso no Brasil." Universidade Federal de São Paulo (UNIFESP), 2010. http://repositorio.unifesp.br/handle/11600/10124.

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A estética dental é um conceito de percepção subjetiva e varia de indivíduo para indivíduo, sendo difícil de ser avaliada apenas clinicamente. O Psychosocial Impact of Dental Aesthetics Questionnaire (PIDAQ) é um questionário específico para avaliação da estética dental composto por 23 itens abrangendo quatro dimensões, autoconfiança dental, impacto social, impacto psicológico e impacto estético. Objetivo: Traduzir para o português, adaptar culturalmente e validar psicometricamente o PIDAQ para uso no Brasil. Métodos: Os métodos utilizados foram propostos por GUILLEMIN, BOMBARDIER, BEATON em 1993, e dividem-se em três etapas: tradução, adaptação cultural e validação psicométrica. Resultados: Uma mudança foi realizada em uma questão ainda durante a tradução. Nenhum item foi alterado durante a adaptação cultural. A reprodutibilidade foi comprovada com coeficientes de correlação linear de Pearson entre r=0,936* e r=0,982* e coeficientes de correlação intraclasse entre ICC=0,935* e ICC=0,982*. Os valores psicométricos obtiveram resultados do coeficiente de correlação linear de Pearson de r=0,949*, do coeficiente de correlação intraclasse de ICC=0,946* e do alfa de Cronbach de =0,972*. Conclusão: O PIDAQ foi traduzido, adaptado culturalmente e validado para uso no Brasil.
TEDE
BV UNIFESP: Teses e dissertações
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45

Bann, Erin Elaine. "Effects of media representations of a cultural ideal of feminine beauty on self body image in college-aged women : an interactive qualitative analysis /." Thesis, Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://hdl.handle.net/2152/1624.

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46

Wu, Guanda. "Negotiations of cultural aesthetics in the "reforms" of Mei Lanfang and the "Mei Party" members to jingju in China's early republican era (1912-1937)." Oxford, Ohio : Miami University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1271281752.

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47

Neto, João Batista. "A luta como herança: recepção estética e turismo nas ruínas da Redução de São Miguel Arcanjo (RS)." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27131/tde-22072009-181256/.

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As ruínas da Redução Jesuítica dos Guarani de São Miguel Arcanjo (RS) são um Patrimônio Cultural da Humanidade e recebem milhares de turistas por ano. Elas contemplam uma grande igreja em ruínas e o maior acervo público de imagens missioneiras, localizado no Museu das Missões. O objetivo desta tese é destacar como a arte barroca guarani é percebida por estes visitantes, utilizando como metodologia a Recepção Estética na Arte. Para tanto, foram aplicados um questionário misto (com questões qualitativas e quantitativas) e uma série de entrevistas. Este estudo se insere na transdisciplinariedade entre o Turismo Cultural e a Arte, sendo a Recepção Estética uma ponte entre ambas as áreas.
The Redução Jesuítica dos Guarani de São Miguel Arcanjo ruins (RS) are a Humanity Cultural Heritage, which makes it receive thousands of tourists each year. They are conceived by a big church in ruins and the biggest public group of missionary images, located on the Mission Museum. This doctorate thesis aims at showing how the Guarani baroque art is seen by these visitants, using as its methodology the Aesthetics Reception in Art. For this purpose, a varied questionnaire (with qualitative and quantitative questions) and a set of interviews were established. This study deals with the transdisciplinarity in Cultural Tourism and Art, being the Aesthetics Reception a link between both areas.
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48

Weiser, Wolfgang. "Present Poise In Momentum : Embodied learning of applied aesthetics in our sense of balance – a study about sensorial cultural use of balance." Thesis, Linköpings universitet, Pedagogik och didaktik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-123563.

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The purpose of this study lies in investigating the embodied learning of applied aesthetics in our sense of balance in the educational space and how it can contribute to change one of a present major public health related problem, the problem of sedentary behaviour in school and society. The investigation is not an effect study, but aims to question our sensorial cultural practice of applied aesthetics, by looking at how we use our ability to balance in the educational space.  Introducing and including elements from the field of art, the aesthetics field of knowledge and life science, the question of acknowledging embodied learning is explored mainly in the sensorial cultural praxis of our ability to balance. Embodied praxis is represented by the Alexander Technique and Elsa Gindler’s concept, with relation to modern neuromechanics. An educational view of knowledge that unilaterally enhances and rewards abstraction as well as theoretical thinking, by validating matrices and merit points, creates unbalance. Treating this unbalance solely with physical exercises enhances the conflict of how to use learning time in school and seems not to lead to a solution. By seeing the educational space as a space of embodied practice the investigation is built around participants’ sense of balance in embodied learning during a school day. The established sensorial cultural practice of how we are using our sense of balance in movement responses is observed during a school day and in a complementary inquiry explored and discussed with the children. Also the time of sitting is measured. The qualitative analysis or reading in this research of embodied learning is done by analysing directions or pointing in poise in momentum for finding inclusive or exclusive corresponsive sensorial tendencies in relation to sensorial cultural practice, including individual, social and regulative aspects. The minor quantitative part in this investigation is looking at the time spent sitting during the school day in the given conditions for defining the pupils’ sedimentary behaviour. The found embodied learning was not noticably acknowledged and not commented by the teacher.  The learning sessions were varying in space, form and in their content. In spite of the attempt of the teacher to create moveability, the children were sitting 54%  or more of the day in school. Inclusive dynamic responsiveness gave ability to balance and promoted embodied learning. Isolated or excluded responsiveness did not noticably engage the sense of balance and did not promote embodied learning. It resulted into pointing or directing downwards and leaning forward, backward or inwards into supportive furniture in accordance with gravitation. The study finds that inclusive responsiveness increases aligned balancing in poise in momentum. In its conclusion the study recognizes the value and effect of physical activity, but argues that moving to be healthy is not effectively changing sedentary behaviour. It argues instead for embodied health sufficient moving on a general sensorial level.  To be able to use our sense of balance as function of intelligence, we still need to increase acknowledgment of our evolutionary inherited skill further.
Studiens syfte ligger i att undersöka möjligheten, att med embodied learning, lärandet genom estetisk sensorisk kommunikation och förtrogen inlärning, finna möjligheter att påverka ett av de stora folkhälsoproblemen, stillasittande beteende i skolan och i samhället. Arbetet utgör ingen effektstudie, utan syftar till att ifrågasätta vår sensoriska kulturella praxis och estetik, genom att undersöka hur vi använder oss av vårt balanssinne i skolan.  En pedagogisk syn på kunskap som ensidigt främjar och belönar abstraktion liksom teoretisk konception, genom meritpoäng och bedömningsmatriser, skapar obalans. Att genom enbart fysisk aktivitet försöka lösa denna obalans, förstärker konflikten om hur tiden i skolan ska fördelas och verkar inte leda till en tillfredsställande lösning av problemet.  Studien har en tvärvetenskaplig karaktär, där utbildningsvetenskapliga aspekter, konstnärlig forskning och naturvetenskap först presenteras och sedan inkluderas i frågan om hur embodied learning i relation till vår färdighet att balansera är igenkänd i skolans sensoriska kulturella praxis och estetik. Embodied praxis och dess användning, representerad genom Alexandertekniken och Elsa Gindlers koncept, är sedan närmare diskuterad, samt dess relation till modern neuromekanik. Genom att se skolan som en plats för embodied praxis, estetisk sensorisk praktik och förtrogenhetspraktik, bygger undersökningen på deltagarnas användning av balanssinnet, sett i hållningen i ögonblicket under en skoldag. Etablerad sensorisk kulturell praxis om hur vi använder vår förmåga att vara i balans observeras från ett intersubjektivt perspektiv. Detta kompletteras med samtal och enstaka explorationer, som utgör endast en mindre del i undersökningen. Även tiden för stillasittande mäts.  Den framtagna empirin av embodied learning analyseras kvalitativt. Detta sker genom att analysera riktningar i hållningen i ögonblicket, för att hitta inkluderande eller exkluderande motsvarande sensoriska tendenser i relation till individuell, social och reglerande sensorisk kulturell praxis. Den mindre kvantitativa delen i denna undersökning består av att mäta tiden som eleverna sitter under skoldagen, för att kunna analysera elevernas sedimentära beteende.   Resultaten visar att embodied learning inte var märkbart igenkänd och inte kommenterad av läraren. Undervisningspassen var varierande i rum, form och innehåll. Trots lärarens ihållande försök att skapa rörlighet, satt barnen minst 54 % av skoldagen. Inkluderande dynamisk sensorisk korrespondens resulterade i en väl fungerande funktionell användning av balanssinnet och främjade embodied learning. Isolerande eller uteslutande respons främjade inte den funktionella användningen av balanssinnet eller embodied learning märkbart. Resultatet visar också att elevernas hållningar största delen av tiden, visade riktningar som pekade nedåt, de lutade sig framåt, bakåt eller inåt och sjönk ner i möblerna i enlighet med tyngdlagen. Visade de en inkluderande korrespondens, ökade balanssinnets fungerande i hållningen i ögonblicket. Studien tillstår i sin slutsats att fysisk aktivitet är nödvändig och har effekt, men argumenterar, att röra sig för att vara frisk är inget effektivt sätt för att förändra stillasittande beteende. Resonemanget i studien leder i stället till att vi behöver röra oss generellt på ett införlivat hälsofrämjande sätt. För att kunna använda oss av vårt balanssinne på ett intelligent sätt, behöver vi fortfarande fördjupa förståelsen av vår evolutionärt nedärvda färdighet ytterligare.

This interdisciplinary study in educational science includes elements from the field of art and aesthetics as well as life science.  The investigation is not an effect study. It is about our sensorial cultural use of balance, from the perspective of an embodied practitioner.

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49

Beitmen, Logan R. "Neuroscience and Hindu Aesthetics: A Critical Analysis of V.S. Ramachandran’s “Science of Art”." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1198.

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Neuroaesthetics is the study of the brain’s response to artistic stimuli. The neuroscientist V.S. Ramachandran contends that art is primarily “caricature” or “exaggeration.” Exaggerated forms hyperactivate neurons in viewers’ brains, which in turn produce specific, “universal” responses. Ramachandran identifies a precursor for his theory in the concept of rasa (literally “juice”) from classical Hindu aesthetics, which he associates with “exaggeration.” The canonical Sanskrit texts of Bharata Muni’s Natya Shastra and Abhinavagupta’s Abhinavabharati, however, do not support Ramachandran’s conclusions. They present audiences as dynamic co-creators, not passive recipients. I believe we could more accurately model the neurology of Hindu aesthetic experiences if we took indigenous rasa theory more seriously as qualitative data that could inform future research.
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50

Santamaria, Laura. "From good to great : using cultural codes to improve the design and value proposition of sustainable product-service system innovations." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/26968.

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Modern lifestyles in the developed regions of the world operate beyond our planet's resource capacity. Over-consumption has not only proven detrimental for the environment, but has also undermined our capacity to achieve deep life satisfaction and societal well-being. Embracing more sustainable ways of consuming and producing is key in order to foster the conditions for humanity to flourish. Strategies for disrupting the dominant consumption patterns lie within the next challenges, as adoption of sustainable innovation is still disappointingly low and needs to be accelerated. Design for Sustainability has contributed important technological advances to improve production and life cycle efficiency (i.e. eco design, cradle to cradle). However, it is increasingly recognised that sustainability is not just a technical matter, but ultimately a cultural issue. One of the problems is that people perceive sustainability as a loss, rather than a gain. Therefore, to drive demand, there is urgency to better understand users aspirations and expectations, i.e. the cultural and socio-symbolic aspects of consumption that influence decision-making. This thesis argues that the perceived value of sustainable innovations can be enhanced by paying more attention to the elaboration of meanings or symbolic value they bring to bear for the user, which can be achieved by strategically framing innovations using high-value contextual signifiers (cultural codes). Drawing on cognitive science, cultural studies and applied semiotics, this research contributes a theoretical framework and case studies of how these theories can support the design process in mapping sociocultural contexts, in order to elaborate sustainable innovations that are perceived as aspirational and relevant. The theory is applied to the case of sustainable Product-Service Systems (PPS bottom-up social innovations) due to the opportunities these pose for systemic disruption, and the cultural barriers for adoption. Through a series of Participatory Action Research interventions, the investigation developed three case studies of how of the framework may benefit sustainable PSS value proposition framing and design, with one application in the context of design education to support the development of designers critical and sociocultural deconstruction capacity and skills. Finally, in exploring the potential that cultural codes offer to improve the design and value proposition of sustainable innovations, this thesis contributes and advances a new perspective for understanding symbolic aspects of consumption, and highlights opportunities for sustainable design to have greater influence in societal transformation.
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