Dissertations / Theses on the topic 'Hainan in art'

This thesis examines the characteristics of the spirits Ezili, Legba, and Ogou, in order to determine which aspects of their manifestations incorporate themes of syncretism from Catholic tradition, and which aspects reflect visual tradition that emerged from distinctly Haitian tradition. Elements of Catholic and African traditions, discernable within Vodou iconography, act as a basis upon which the practice was further augmented. These adaptations reveal the mixing of cultures and continuation of tradition that is of central importance to the development of Vodou, as reflections of the process through which the religion overcame the social problems faced by the practitioners, as well as the culturally devastating consequences of Haitian colonial history. These diversifications from the Christianity and African traditions reflect the ingenuity and resourceful nature of Vodou, which through its fluid nature, can be transformed to accommodate the needs of the devotees.

Through a postcolonial methodology, this thesis demonstrates that through the syncretism of Catholic themes, the influence of the West African origins of the Vodou, and the unique experiences of the people in Haiti, the iconography of Vodou visual culture interacted of other religions as it evolved into a distinctly Haitian practice. By looking at the spirits Ezili, Legba, and Ogou, alongside their counterparts of the Virgin Mary, St. Peter, and St. George (or St. James) this essay will outline the syncretization of these spirits with Christian icons, while making parallels to the development of Christian iconography which borrowed from pagan imagery in an effort to place the importance of a figure within a pre-established lineage that placed importance on the image.

Cette these illustree presente une interpretation, basee sur des observations personnelles, des cultures amerindiennes haida et coast salish de la cote nord-ouest. Elle etudie dans quelle mesure a survecu depuis la colonisation du xixeme siecle la spiritualite qui s'exprimait autrefois dans la litterature orale, l'art visuel et les ceremonies. Elle compare des recits anciens et sacres a des adaptations recentes parfois controversees. Avec bill reid, auteur et sculpteur haida, elle illustre le lien entre la litterature orale des mythes et legendes et l'art visuel. Elle explore ensuite en detail cet art : dans ses principes generaux puis dans l'etude d'artistes representatifs. Elle montre le fil tenu qui, de charles edenshaw a bill reid, a permis a l'art haida de renaitre et de se transmettre a des artistes tels robert davidson et jim hart : grace a eux, l'art visuel haida passe a nouveau par les ceremonies et acquiert une spiritualite renouvelee. Par contraste, cette these montre comment, chez les coast salish, les ceremonies (secretes) n'ont jamais disparu alors que l'art salish n'est ni aussi developpe ni aussi connu que l'art haida. Elle etudie le cas special de susan point, sculpteur salish de renom, et l'importance du tissage dans le renouveau recent de l'art salish. Elle montre que, si levi-strauss a pressenti la particularite des masques sxwayxwey, wayne suttles a demontre leur vrai role purificateur et spirituel. Elle insiste sur le contraste constant entre apparence et realite dans la culture salish. Elle compare enfin la fonction de l'art religieux amerindien et occidental dans les bestiaires de la cote nord-ouest et de la france du moyen-age
This illustrated dissertation gives an interpretation of two north west coast native cultures (haida and coast salish) based on personal observations. It is a comparative study of past and present artistic and spiritual traditions after a long interruption due to colonization. Oral literature as well as visual art and ceremonies are examined while the links between the three are underlined. The prestigious haida art is studied through the examples of four famous artists : charles edenshaw in the past, bill reid, robert davidson, and jim hart in present days. Coast salish art, though much less developed, is proven highly valuable through the examples of contemporary powerful carver susan point and weavers debra and robyn sparrow who have renewed the former weaving tradition. Close attention is paid to the coast salish need for private spiritual knowledge and to the power of that knowledge expressed in continuing discrete ceremonies (as opposed to the more visible, recently revived ceremonies of the haida). The study of sxwayxwey masks, by levi-strauss and especially by wayne suttles, stresses various aspects of the secretive salish culture and the difference between appearance and reality. Finally, beyond the local context, this dissertation addresses the role of religious art, especially animal representation, on the north pacific coast as compared to medieval art in france. This final discussion on art concludes the dissertation although a few personal remarqs end this paper on a subjective note

Cette étude est née d’un trouble, d’une difficulté à situer certains objets visuels aux frontières entre deux champs disciplinaires : l’art et le design graphique. L’interrogation d’un corpus mixte, centré sur les années 1950 à 1970 et touchant particulièrement la France, l’Italie, la Pologne et les États-Unis, essaye de comprendre comment s’est construite une histoire partagée, avec des phases de rencontre, de rapprochement ou de défiance, d’autonomie et d’ouverture, d’incorporation et de rejet. Le premier temps s’intéresse à la pratique artistique du décollage, principalement à travers le travail de Raymond Hains et Mimmo Rotella, pour ensuite excéder la question de l’affiche et se pencher sur l’existence d’un « décollage » et d’une liquidité optique et typographique. La deuxième partie se concentre sur les relations entre la France et la Pologne. L’étude attentive du contexte polonais et du développement d’un affichisme d’auteur, notamment autour de la figure d’Henryk Tomaszewski, conduit à s’intéresser attentivement au parcours du graphiste Roman Cieslewicz qui s’installe en France en 1963, permettant à la fois de porter un regard de biais sur la vie culturelle hexagonale et de mieux cerner l’anti-mouvement Panique auquel il prend part. Le dernier fragment se focalise plus particulièrement sur les États-Unis par l’intermédiaire de trois exemples : la relecture partielle de Fluxus au filtre du design graphique de George Maciunas, un regard sur les positionnements de l’artiste Ed Ruscha et l’étude d’un design graphique féministe à Los Angeles
This dissertation discusses the interaction between two different disciplinary fields – art and graphic design – and seeks to understand how a divided history occured. It focuses on France, Italy, Poland and United States, especially on the years 1950-1970. The first part examines the artistic practice of décollage, principally trough the examples of Raymond Hains and Mimmo Rotella, then explores Optical and typographical liquidity. Chapter two focuses on the links between France and Poland. Paying close attention to the polish context and the rise of a singular affichisme, centred around Henryk Tomaszewski, then we emphasize the carreer of Roman Cieslewicz who moves to France in 1963. He takes an important part in cultural french live and at the same time he is involved in « anti-movement » Panique. The last chapter focuses on United States trough three examples : the links between Fluxus and the graphic design of George Maciunas, the stimulating and insidious work of Ed Ruscha and an attention to feminist graphic design in Los Angeles

Purpose: Over half the HIV-infected persons in the Caribbean, the second most HIV-impacted region in the world, live in Haiti. Using secondary data from a parent study, this research assessed the effects of psychological and social factors on antiretroviral therapy (ART) adherence among Haitian, HIV-positive, female alcohol users. Theoretical Foundation and Research Questions: Using the Theory of Planned Behavior/Reasoned Action and the Information, Motivation, Behavior skills model as guiding theoretical frameworks, the study examined the effectiveness of an adapted cognitive behavioral stress management (CBSM-A) intervention in improving ART adherence. The effect of psychological factors (depression, anxiety, beliefs about medicine, and social support), social factors (stigma, relationship status, and educational attainment), and alcohol on adherence to ART was assessed. Methods: The sample consisted of 116 female ART patients who were randomly assigned to the CBSM-A intervention or the wait-list control group. Participants completed intervention sessions as well as pre- and post-test assessments. Analyses of variance, t-tests, and point biserial correlations were used to test hypotheses. Results: Surprisingly, ART adherence rates significantly decreased for both groups combined [F (1, 108) = 8.79, p = .004]; there was no significant difference between the intervention and control groups with regard to the magnitude of change between baseline and post assessment. On average, depression decreased significantly among participants in the CBSM-A group only [(t (62) = 5.54, p < .001)]. For both groups combined, alcohol use significantly decreased between baseline and post-assessment [(F (1, 78) = 34.70, p < .001)]; there was no significant difference between the intervention and control groups with regard to the magnitude of change between baseline and post-assessment. None of the variables were significantly correlated with ART adherence. Discussion: Adherence to ART did not improve in this sample, nor were any of the variables significantly associated with adherence. The findings suggest that additional supportive and psychological services may be needed in order to promote higher adherence to ART among HIV-positive females. More research may be needed on this sample; a focus on mental health issues, partner conflict, family and sexual history may allow for better targeting and more successful interventions.

Texte remanié de: Diplôme d'études approfondies--Lille, 2000. Titre de soutenance : Pour une étude du domaine comtal de Hainaut dans la seconde moitié du XIVe siècle, propos sur les plus anciens documents relatifs au domaine de Bavay, Bouchain, Le Quesnoy et Maubeuge.
Glossaire. Index.

A travers trois univers distincts – le monde médiéval dans Livres des guerriers d’or ; la vie tumultueuse d’Erich Sebastian Berg avec Les sept noms du peintre ; l’enfance du Christ revisitée par Douze Années dans l’enfance du monde – Philippe Le Guillou propose trois variations romanesques autour de la relation père – fils. Avec pour mode de reconnaissance l’ambivalence affective, la violence des sentiments devient réelle valeur esthétique ; aussi est-il nécessaire d’étudier comment, dans ce triptyque, se décompose, s’évanouit puis se reconstruit la figure du père. Trois chapitres illustrent ce cheminement : le premier, à partir de l’élimination systématique du père naturel, recompose les étapes menant à l’idéalisation du maître, substitut du père naturel. Le deuxième s’enquiert des problèmes liés à l’imitation engendrés par l’identification au maître. Face au dilemme désir/crainte de se fondre, l’imitation demeure le seul espoir pour répondre à la continuation et satisfaire la dette aux ancêtres. Enfin, le troisième s’interroge sur les intentions réelles, fantasmées ou parodiques du meurtre du père. Au cœur de cette étude, le mythe inversé d’Abraham. Paradoxalement, toutes les attaques visant le père renforcent son influence. Tuer le père signifie éprouver le père, c’est-à-dire la tradition. Plate-forme expérimentale, le triptyque expose les mécanismes de la transmission. La lutte de l’écrivain pour la conservation du moi se fond alors dans celle pour la sauvegarde du passé
Through three distinct universes – the medieval world in The Books of the golden warriors ; the turbulent life of Erich Sebastian Berg with The Seven names of the painter ; the rewritten childlife of Christ thought Twelve years in the childhood of the world – Philippe Le Guillou proposes three novelistic variations about the father/son relationship. With the affective ambivalency by way of recognition, the violence of feelings becomes a real aesthetic value ; so that in such a triptych an analysis must be conducted of the way in which the father figure decays, disappears, then reconstrucs itself. This development is illustrated in three chapters : the first one starting from the systematic elimination of the natural father recomposes the steps leading to the idealization of the master, a substitute for the natural father. The second one investigate the problems connected with the mimetic response resulting from the identification with the master. Confronted with the fear – desire fusion process, the mimetic response remains the sole hope of meeting the consistency and paying the debt due to the ancestors. Finally, the third one questions the intents of the father’s murder, whether real, fantasmagoric or parodic. At the heart of this analysis lies the reverted myth of Abraham. Paradoxically, every attack aimed at the father strengthens his influence. Killing the father means testing the father, in other words tradition. The triptych, an experimental platform shows the process of transmission. The writer’s fight for retaining the ego blends into that of saving the past

This dissertation is a fragment of a larger -project that explores the works of five major oral mythtellers from Haida Gwaii, whose myths were transcribed in 1900 and 1901 by John Swanton: Haayas of the Hliiyalang Qiighawaay (Isaac Haias), Kingagwaaw of the Ghaw Sttlan Llanagaay (Walter Kingagwo), Gumsiiwa of the Xhiida Xhaaydaghaay (Job Moody), Ghandl of the Qayahl Llaanas (Walter McGregor) and Skaay of the Qquuna Qiighawaay (John Sky). While this larger frame constitutes the overall context, the thesis itself focuses on several myths that in their turn form only a small part of a larger whole, a part that is representative and unique at the same time: Skaay's Qquuna Cycle. The focus of the dissertation thus mirrors the structure of Skaay's work, which consists - to use one of Skaay's central images - of a series of boxes within boxes. The method of investigation is polyphonic, that is, a variety of different voices and discourses - including academic monologues, fictional dialogues, narratives, poems, autobiographical accounts, and various quotations - combine in order to do justice not only to the complexity of the myths but also to their inherent openness that allows a myriad of different readings, each of which depends on the concrete situation in which the myth is read or told (including social, historical and political conditions), the cultural background of the listener / reader and his or her familiarity with Haida culture, the individuality and predispositions of the listener/reader, and much more. What is in the innermost box of the myths, the dissertation concludes, will be something different for each listener/reader. Since the most important voice in the polyphonic choir is that of the mythteller, Skaay in this case, the analyzed myths are quoted in full length in Haida. Most of them are accompanied, for copyright reasons, not by Robert Bringhurst's poetic translations (which are easily accessible in Skaay's Being in Being) but by a modified version of Swanton's translations from 1905.

This study aims to investigate the connection between religion and immigration. It delves into immigrant religious institutions in an effort to discover how immigrant's sense of belonging to their host and home nations was formed after migration. Within this context, this study will show how religious sites can become powerful sites for cultural reproduction and ethnic identity reaffirmation. Focusing on Haitian immigrants this work will shed some light on the origins of two Haitian Pentecostal congregations in Toronto and Montréal. It will also outline the manner in which members of these congregations conceptualize their belonging in Canadian society by deconstructing my collaborators accounts of their perceptions of the use of language in the church. In particular, I will be looking at the effects of transnationality and state policies. Lastly, the study will show that religion plays a fundamental role in shaping an immigrant's sense of belonging. It will do so by illustrating how ethnic identity reproduction, more specifically how the use of native vernaculars fortified congregant commitment to the institution, reproduce ethnic identity, and engendered a sense of community.

The cedar dugout canoe is iconically associated with First Nations peoples of the Pacific Northwest coast, but the vital contribution it made to the economic and social development of British Columbia is historically unrecognized. This beautifully designed and crafted oceangoing vessel, besides being a prized necessity to the maritime First Nations peoples, was an essential transportation link for European colonists. In speed, maneuverability, and carrying capacity it vied with any other seagoing technology of the time. The dugout canoe became an important site of engagement between First Nations peoples and settlers. European produced textual and visual records of the colonial period are examined to analyze the dugout canoe as a site of intercultural interaction with a focus upon the European representation. This research asks: Was the First Nations' dugout canoe essential to colonial development in British Columbia and, if so, were the First Nations acknowledged for this vital contribution? Analysis of primary archival resources (letters and journals), images (photographs, sketches and paintings) and colonial publications, such as the colonial dispatches, memoirs and newspaper accounts, demonstrate that indeed the dugout canoe and First Nations canoeists were essential to the development of the colony of British Columbia. However, these contributions were differentially acknowledged as the colony shifted from a fur trade-oriented operation to a settler-centric development that emphasized the alienation of First Nations’ land for settler use. By focusing research on the dugout canoe and its use and depiction by Europeans, connections between European colonists and First Nations canoeists, navigators and manufacturers are foregrounded. This focus brings together these two key historical players demonstrating their “entangled” nature (Thomas 1991:139) and breaking down “silences” and “trivializations” in history (Trouillot 1995:96), working to build an inclusive and connected history of colonial British Columbia.
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