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1
Kucera, Patrick James Zachary. "Themes on the cross and redemption sermons based on liturgical year 'B' /." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
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Deacon, Vivien. "The rock-art landscapes of Rombalds Moor, West Yorkshire : standing on holy ground." Thesis, University of York, 2018. http://etheses.whiterose.ac.uk/21345/.
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This study adopts a landscape approach to all the rock-art sites on Rombalds Moor in West Yorkshire, 252 unmoved sites, to consider views of and from the sites. British rock-art is generally believed to date from the later Neolithic to the later Bronze Age, but a case is made for it perhaps beginning in the later Mesolithic. What is known of environments for the Moor over this whole period provides a basis for a reconstruction of rock-art landscapes. A case is made for the applicability of ethnography from the whole circumpolar region to the personal construction of people’s landscapes in prehistoric Britain. All sites were visited, and the sites and their views recorded, both as written records and as photographs. The data was analysed at four spatial scales, from the whole Moor down to the individual rock. Several large prominent carved rocks, interpreted as natural monuments, were found to be visible from many much smaller rock-art sites. Several clusters of rock-art sites were identified. An alignment was also identified, composed of carved stones perhaps moved into position, and other perhaps-moved carved stones were also identified. The possibility that far-distant views might be significant was also indicated by some of the findings. The physicality of carving arose as a major theme. The natural monuments are all difficult or dangerous to carve, leading to considerations of risk, including being seen to embrace risk. Conversely, the more common, simple sites mostly required the carver to kneel or crouch down. This leads to comparisons with what is known of North American rock-art, where some highly visible sites were carved by religious specialists, and others, much smaller and inconspicuous, were carved by ordinary people. This was not an expected finding for British rock-art, and further research is indicated.
3
Bell, Aileen E. "The white knight: Edwin Austin Abbey's "Quest for the Holy Grail" in the Boston Public Library." Thesis, The University of Arizona, 2002. http://hdl.handle.net/10150/278796.
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The Boston Public Library was founded on the principle that it would serve the needs of Boston's entire populace, without respect to class, race, or gender. However, despite this democratic ideology, the nineteenth-century library, in its practices and artistic expressions, articulated an elite conception of the perfect American. Edwin Austin Abbey's Quest for the Holy Grail (1890--1902), painted for the library building of McKim, Mead, and White (begun 1883), embodies the cosmopolitan, Protestant, Anglo-Saxon, and masculine values of Boston's elite through its American Renaissance style, its subject, and its iconography. In particular, the figure of Galahad, the hero of Abbey's mural, conforms to models of spirituality, race, and manhood that legitimated the power and social position of the financial, political, and cultural elite that administered and constructed the library.
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Premack, Laura Chasteen John Charles. "The Holy Rollers are invading our territory Southern Baptist missionaries and the early years of Pentecostalism in Brazil, 1910-1935 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1068.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Mar. 27, 2008). " ... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of History." Discipline: History; Department/School: History.
5
Waltz, Connie Lou. "Sources and iconography of the figural sculpture of the Church of the Holy Cross at Aght'amar." Connect to resource, 1986. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228504313.
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Greenwood, Toby. "What Makes Art Good?A Case Study of Children’s Aesthetic Responses to Art Works." Thesis, University of Canterbury. Educational Studies and Human Development, 2011. http://hdl.handle.net/10092/5751.
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This study explores what 10-12-year-old students say they like and value in works of visual art. As the participants talk about their own and other people‟s art works they are formulating and expressing aesthetic responses and beginning to shape their individual aesthetic awareness. Because of the age of the participants, the exploration is framed in terms of “what makes art good”.
The research was prompted by the introduction and implementation of the New Zealand Curriculum (2007), which not only positions art as a core area of learning, but also outlines values and key competencies that characterise a constructivist approach to knowledge. Such an approach requires active engagement by learners and suggests that it is important for teachers to understand their students‟ values and views. However, in the field of art education there is little published material that examines the views and reactions of students. A broadly qualitative approach to the case study was taken, drawing particularly on phenomenography and narrative.
The study found that 10-12 year-old students do actively make judgements about art works, and while there are common themes that occur repeatedly, the bases of such judgement vary from student to student. The study also found students‟ ways of approaching art-making varied, with some, for example, concerned predominantly with the technical process while others were more interested in imagery or narrative intention.
The thesis argues that it is important for teachers to be aware of how their students individually process their aesthetic responses in order to develop relevant and appropriate programmes.
7
Sadovski, Katarina. "Slovenian Art after the year 1980 and the group Irwin." Master's thesis, Akademie múzických umění v Praze. Filmová a televizní fakulta AMU. Knihovna, 2008. http://www.nusl.cz/ntk/nusl-78097.
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Ve své diplomové práci se zabývám slovinským uměním po roce 1980. V první části přibližuji politické pozadí tehdejší doby a jeho vliv na Interrupted Histories, subkultury a slovinské umělce, kteří vzešli z této scény. Ve druhé části hodnotím NSK a NSK state, skupinu Laibach a především kolektiv Irwin, kterému věnuji ve své práci větší pozornost. Zaměřila jsem se na jejich činnost a na jejich hlavní myšlenku, která říká, že žádný totalitní systém se nesmí opakovat. Snaží se přenášet svůj uhel pohledu na veci tím, že oživují původní totalitní systémy. V roce 1980 získala slovinská fotografie svou nezávislost.
8
Wehmeier, Jennifer ML. "Constructing a pantheon of allies princely portraits and all'antica palace decorations in Renaissance Italy during the reign of Holy Roman Emperor Charles V /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1610113721&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Anderson, Kathy. "Making their marks : teachers' understandings of art assessment at Year 11." Thesis, University of Canterbury. School of Christchurch College of Education, 2003. http://hdl.handle.net/10092/3616.
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This thesis investigates understandings that secondary school art teachers hold
about assessment of year 11 students' artwork. My experience as an art educator
has lead to my interest in this area. Boughton (1997) also argues that there is a
need for more systematic investigation to underpin the practices of assessment in
art.
An analysis of the fields of art education and assessment provided the context for
the study and also informed the research process and research question. The
field of art and art education is historically and theoretically contested and this
influences curricula design and examination prescriptions creating a complex
field for teachers to be involved in.
A qualitative approach was chosen using unstructured interviews, participant
observations in classroom settings and document analysis. Three female and
three male teachers participated. The schools were similar sizes and included
state, private, co- educational, single sex and semi rural. All teachers were
trained and three were practising artists.
Kvale cited in Hill (2001) explains how unstructured interviews allow openness
to changes in sequences and forms of questions in order to follow up the answers
given and stories told by participants. This was important in this study as the
conversations of teachers refocused discussions during follow-up visits.
Assessment events were videoed and replayed to participants to stimulate
discussion. A qualitative approach was seen as appropriate for this project as the
field of art education that teachers work in is continually being redefined and
reconstructed.
The writing process continually evolved as I read the literature. Burr (1995:4)
provided insights into social constructionist methods describing how II our
current accepted ways of understanding the world is a product not of objective
observation of the world, but of the social processes and interactions in which people are constantly engaged with each other." As my writing evolved, the
research question was redefined. Originally the research focus had been to find
out how teachers went about assessing art. This was refocused into how they
position themselves and are affected by the competing discourses in art
education. It seemed that the data analysis and writing processes informed each
other.
The findings revealed three interconnecting layers, which provided insights into
teachers' assessment practices. These layers included new assessment discourses
such as standards based and formative assessment methods, summative
assessment and national examination discourses, and traditional views about
intelligence. The teachers' assessment methods were dominated by summative
pressures, which resulted in professional concerns for teachers. These included:
knowing what was acceptable practice,; needing to have agreement; maintaining
standards; and establishing subject status for art education. The influence of
traditional ideas about academic intelligence also seemed important to these
teachers and contributed to maintaining the status of art education. These
teachers used ideas about academic intelligence to categorize students' abilities
and to inform assessment judgements.
The thesis concludes by asking why art teachers have continued to value
summative assessments, which have resulted in a narrow formalist approach in
classroom practice and continual controversy about assessment judgements. It
seems that the status of art education is validated through examination results. It
appeared from this study that positioning art within an academic examination
structure has compromised the curriculum basis for art education.
10
Fleming, Miri 1947. "First year of discipline-based art education implementation by classroom teachers." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/276746.
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The subject of art in Arizona elementary schools is often taught by general classroom teachers with no art training. In an attempt to rectify this situation, The 1986 Arizona Institute for Elementary Art Education, following the example of the Getty Institute for Educators on the Visual Arts, created Staff Development and Curriculum Implementation Programs for these teachers. This study evaluates the Curriculum Implementation Program of Year One of the Arizona Institute. Data for the study were compiled from 10 classroom observations and 23 interviews of Institute participants by two evaluators. The components of discipline-based instruction taught during Summer Staff Development were implemented by all participants. Implementation was on at least a mechanical level of use, and the evaluators' results showed interrater agreement.
11
O'Brien, MaryEllen. "The ars moriendi tradition a hermeneutic of the art of holy dying in history and contemporary practice /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Stevens, Anthea. "Sine macula sunt : the Holy Innocents and their portrayal in Italian art c. 1200 to c. 1500." Thesis, Courtauld Institute of Art (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540536.
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Woolston, Winter. "Year Burning Iconography In Post Classic Mesoamerican Divinatory Codices." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1416243069.
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May, Wanda Tignor. "What art means to third and fourth graders : a two-year case study /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249066419.
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Ki, Dongyoun. "Holy War in Exodus 14-15 a comparison of the concept of war in Exodus 14-15 with that of the ancient Near East /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.
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Bushnell, Taissa. "Thronis meis binis : validation through history in the court art of Charles IV." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31093.
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Bohemian art of the second half of the fourteenth century is closely associated with the personality of Charles IV, Emperor of the Romans and King of Bohemia (1316--1378). In an effort to legitimize his reign as ruler of the Holy Roman Empire and to raise the profile of his ancestral Bohemian lands, he leaned on the power of history to reveal his heritage as stemming, on one side, from an illustrious line of emperors including Charlemagne, and on the other, from the dynasty of Bohemian sovereigns. He recognized that art could display this legitimization and so implemented a programme of historicism in his artistic commissions. His impact on Bohemian art was indirect as well: his ideas influenced the art patronage of his closest court advisers, as seen in this paper through the examples of two illuminated manuscripts, the Evangeliary of John of Opava and the Liber viaticus.
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Smith, Maria Carmen. "Reaching for Understanding: Exploring the Potential of Four-Year-Old Children to Understand Works of Art." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4176/.
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This study was designed to examine how four-year-old children might be able to respond and interpret works of art. Informed by Jean Piaget's and Lev Vygotsky's theories of cognitive development, and building on Micheal Parsons' and Abigail Housen's theories of aesthetic development, the study investigated whether or not four-year-olds are able to expand their initial responses to achieve deeper levels of understanding about works of art.
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Lowndes, Gabrielle. "An expressive-psychoanalytic approach to the reconstruction of personal experience : an opportunity for middle year males." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2006. https://ro.ecu.edu.au/theses/349.
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This exegesis provides a theoretical background that supports and accommodates the Artist-Researcher's exhibition and visual diary. Efland's, (1990) Expressive Psychoanalytic model, reinforces the notion that through creating, individuals construct their experiences through the making processes. This self-responding approach focuses on emotionally centred expression, fusing the practical with feelings about relationships. The exegesis underscores the essential therapeutic role of visual arts in education. The Artist-Researcher's exhibition centres upon a personal exploration of her adolescent years in London, when she dealt with a complex family break up. She combines studio practise, personal text and computer graphics to reconstruct childhood experiences by confronting her parent's marriage break down. This selfanalytical approach provides the underlying function for the exhibition. The work examines a personal context for an application into teaching. Through self-discovery and reconstruction, she develops the basis for a teaching tool for middle year male students to gain confidence in expressing complex emotional issues.
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Erolin, Caroline. "Does virtual haptic dissection improve student learning? : a multi-year comparative study." Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/f0e893a7-b29f-4cee-93f8-24cf06ca21ae.
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The past decade has seen the release of numerous software packages aimed at enhancing anatomical education. However, there has been little research undertaken by the manufacturers of these products into the benefit or otherwise of these packages for student learning. In addition, while many of the existing software packages include interactive three-dimensional models, none of them truly offer virtual dissection i.e. the cutting through anatomical layers with a haptic (tactile) interface. This study investigated the haptic ‘dissection’ of a three dimensional digital model of the hand and wrist in anatomy education at both undergraduate (UG) and postgraduate (PG) levels. The model was used as a teaching and revision aid both prior to and after dissection of a real cadaver. A haptic enabled version of the model, allowing for real-time cutting was compared with a non-haptic version, using instead a keyboard and mouse ‘point and click’ style interface. Both versions were tested on students of gross anatomy in relation to test results and student experience. The model was based upon Computerised Tomography (CT) and photographic slice data from the Visible Human Project female data set. It was segmented and reconstructed using Amira® 5.2.2. From here each structure was exported as a separate STL file and imported into Geomagic Freeform® Modelling TM. Once imported into Freeform® Modelling TM, the individual structures each required varying degrees of re-modelling where detail had been lost during the segmentation process. Some smaller structures such as the nerves, veins and arteries were modelled freehand. The final model could be dissected using FreeForm® ModellingTM, the same software in which it was created. Using FreeForm® ModellingTM as a prototype VR dissector, each anatomical structure could be selected and virtually ‘dissected’ with the PHANTOM® Desktop™ haptic tool. Three methods of interacting with the model were identified: 1) using a cutting tool to cut through the selected layer; 2) using a selection paintball to first select and then delete the layer; and 3) using planes to cut the selected structure in standard anatomical views. The study ran over five successive years and was split into three discreet phases. Phase one compared the results of PG students across control, non-haptic and haptic groups. Phase two compared the results of UG students between control and haptic groups. Phase three compared the results of UG students across control, non-haptic and haptic groups. Due to small group sizes and a largely non-normal distributions the results were analysed using Mann-Whitney U tests. Results for all phases indicate that use of the model, both through haptic and non-haptic interfaces produced some significantly improved test results. The non-haptic version of the model performing equal or better than those with access to the haptic version. This is likely due to cognitive load being adversely affected by the addition of the haptic device. Some students reported that the haptic device was not intuitive to use and took some time to get used to, if at all. No student used either version of the model for more than five hours, with over 40% using it for less than one hour. It is possible that with increased exposure to the haptic device students may find it easier and thus beneficial. The findings of this study indicate that when used for a short period of time only ( < 5 hours) the haptic device may impede rather than enhance learning.
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Wood, Mary Catherine Lee. "Statuary at the Evangelical Lutheran Church of the Holy Trinity in Lancaster, Pennsylvania Matthew, Mark, Luke, John, and a community with a mission /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 83 p, 2007. http://proquest.umi.com/pqdweb?did=1338866141&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Kiefer, John. "Sacred containers/sacred cups." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1129631.
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Since the 1960s, following the dramatic changes in the Roman Catholic Church, the design of the chalices used at the communion service became simplified; many of them becoming so plain that they are only wine goblets devoid of any decoration. As Catholics implement the changes of the Second Vatican Council, we have a growing desire for sacred vessels that better reflect a sense of awe.The purpose of this creative project is to explore symbolism used in chalice design. Traditional and newer symbols are incorporated into the chalices produced in this project.My creative process involves a community of people. Teachers, fellow students, friends and members of my church shared their knowledge, ideas and insights to enrich the final products.The sense of the sacred is not limited to God because God is present within each person. To be aware of the sacred in my own designs I need to be in touch with the sacred within me.<br>Department of Art
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Kitching, Dornehl. "Experiences of novice art teachers in high schools." Thesis, Cape Peninsula University of Technology, 2017. http://hdl.handle.net/20.500.11838/2515.
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Thesis (MEd)--Cape Peninsula University of Technology, 2017.<br>The teaching profession is unique in this sense that in no other employment industry, are beginner employees straight out of university expected to do the work and hold the responsibilities equal to that of a senior or more experienced colleague. This idea is held as one of the main reasons why teachers need support in their first few years of teaching (Darling-Hammond, 2010; Le Maistre & Paré, 2010). From my own experience as well as that of the novice art teacher participants in this research, it was clear that art teachers in their first three years of teaching experience positive encounters as well as several challenges. Challenges varied from the lack of support and orientation from school management to several other factors that contributed to a demanding workload and stress. The theoretical framework that informs this research is grounded in the combination of theoretical perspectives developed by Geert Kelchtermans (1993; 1994; 1999) namely the narrative-biographical perspective and the micro-political perspective. Participants were interviewed and requested to attend a focus group session where they were asked to create a River of Life representation of their experiences since starting their art education careers. The transcripts were analysed in conjunction with the drawings to forge connections between the participants’ feedback to establish themes. The themes of this particular research relate mainly to the common experiences that the participants face as novice art teachers and the support they receive from their school management and education authorities.
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Angers, Philippe 1968. "Principles of religious imitation in mediaeval architecture : an analysis of the Holy Sepulchre in Jerusalem and its European copies from the Carolingian period to the late Romanesque." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98534.
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This study concerns the concept of sacred architectural imitation, using the Platonic notion of mimesis which then later finds expression in the medieval idea of imitatio. In Religious as well as in artistic and architectural forms of expression, the notion of imitation is indeed a very central and complex issue. At the heart of this concept is the question of meaning, or, more precisely, the transference or translation of meaning; from original to copy, from prototype to reproduction.<br>In order to better illustrate and understand the principles guiding the notion of medieval sacred architectural imitation I have chosen to focus on five specific instances surrounding the replication of the Holy Sepulcher in Jerusalem, arguably the most revered landmark in Christendom.<br>A close examination of the relationships which exist between model and copy will bring to the fore the dynamics which govern the process of mimesis by which meaning is reproduced in the architectural replicas.<br>From this comparative analysis will emerge a more universal picture of the medieval concept of religious imitation. Indeed, if anything, a preliminary survey of the great many imitations of the Holy Sepulcher spread throughout Europe reveals to the observer a surprising trend, namely a consistency of inconsistencies in their effort to "copy".<br>The present study will demonstrate that these seeming inconsistencies within the application of the mimetic process nevertheless reveal a somewhat unexpected structure.<br>From the pattern of these inconsistencies will emerge a clearer picture of the principles governing the transfer of sacred meaning via the method of imitatio during the Middle Ages.
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Hamilton, Adrianne. "Translating the Sacred: Piety, Politics and the Changing Image of the Holy House of Loreto." Thesis, Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7765.
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Weddell, Di, and n/a. "The relationship of colour systems to the perceptual discrimination of colour in Year 7 students." University of Canberra. Education, 1995. http://erl.canberra.edu.au./public/adt-AUC20061110.113934.
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Colour mixing is fundamental to learning to paint. Students in visual
art classes in secondary schools face problems in manipulating paint
and discriminating colour. The kinds of base paints to be presented
to students could be an important factor in learning about colour
relationships and pigments.
The purpose of this study was to determine whether Year 7 students
generating colour mixes with paint using a triad of magenta, cyan
and yellow were able to mix and discriminate more colours than if
they used a triad of red(scarlet red), blue (ultramarine light) and
yellow (lemon yellow) which is a base triad commonly used in
schools.
The Weddell Colour Discrimination Test was developed for use in
this study which was a test that involved colour mixing with paint.
The study used quasi-experimental designs for both a pilot study and
a main study.
Results indicated a significant difference in the ability to mix paint
advantage of groups that used cyan , magenta and yellow.
Implications for the use of particular colour triads in art classrooms
and methods of teaching colour theory have emerged from this
study. The Weddell Colour Discrimination test instrument developed
in this study could be useful as both a diagnostic tool and a teaching
tool as well as a data gathering method for further research.
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Wittber, Zoe. "Primary students’ engagement with the visual arts and their transition into Year 7." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1986.
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Visual Arts education is fundamental to an effective school curriculum for primary and secondary students. It provides students with opportunities for expression and personal growth, essential to a holistic education. Recently, in Perth, Western Australia (WA) several secondary Visual Arts educators expressed what they saw as a significant deficit in the outcomes of Making and Responding in Visual Arts, evidenced in their Year 7 students who had recently graduated from primary school. Consequently, this research investigated the extent of Year 7 students’ prior Visual Arts experiences upon entry into secondary school.
The research engaged a qualitative research approach to gather rich narratives regarding Visual Arts experiences from both primary and secondary teachers. These teachers reflected on their own perceptions of Visual Arts education in contemporary Perth. This project provided new insights into the current state of Visual Arts education in the eastern suburbs of Perth. In particular, it identified what Visual Arts exposure the students have within primary education and, subsequently, implications for the secondary context. Although this is a relatively small study, the findings reinforce that there is a Visual Arts education deficit in local primary schools, particularly in the generalist classrooms investigated.
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Stanley, Denise Y. "Teaching Is My Art Now." Thesis, The University of Sydney, 2008. http://hdl.handle.net/2123/2653.
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This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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Stanley, Denise Y. "Teaching Is My Art Now." University of Sydney, 2008. http://hdl.handle.net/2123/2653.
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Doctor of Philosophy<br>This arts-informed inquiry is grounded in the lived experiences of five self-proclaimed artists including the researcher, who have turned to careers in teaching at varying stages of their lives. The stories of their transitions and evolving identities as both artists and teachers provide the investigative focus for this study. Although this research is relevant to teachers more generally, it specifically focuses on those who have chosen to teach Visual Arts. Particularly suited to a postmodern, arts-informed inquiry, the diverse forms of knowing that create our everyday experiences are acknowledged. The researcher became the bricoleur who collaged the individual stories of the first year artist-teachers into an integrated work of art. This constructivist approach included the use of visual imagery to transcend linguistic description. Through artworks, photographs, a self-narrative and novelette, the multiple ways these early career Visual Arts teachers came to understand themselves and their journeys are explored. This study has the potential to inform novice teachers of the transitions they may experience as they enter the teaching profession. Possible challenges, including the recognition that idealised beliefs might be traded in for more realistic representations, are discussed along with the notions of teaching as an art and the concept of resilience.
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Zhou, Yang. ""Sposalizio di S. Caterina" of Adriaen Isenbrant: diagnostic analyses of the painting with the aid of restoration." Master's thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/27682.
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Abstract: This study investigates the conservation status, previous intervention, executive techniques and pigment materials of the painting “SPOSALIZIO DI S. CATERINA”, attributed to Adriaen Isenbrant back to 16th century. The analysis was carried out based on the combination of scientific examination and restoration exploration. The scientific examination includes both in-situ non-invasive techniques and laboratory micro-destructive techniques. Non-invasive examination consists of the application of ultraviolet fluorescence (UVF), infrared reflectography (IRR), infrared false color (IRFC) and energy dispersive X-ray fluorescence (ED-XRF), whereas micro-destructive analysis comprises optical microscope (OM). The obtained results revealed that the painting was in a relatively good condition with several times of previous restoration, it was painted with typical Flemish painting techniques and materials in 16th century: a panel made of chestnut wood, a preparation layer composed of lead white colored in pale grey and brownish-orange, few of underdrawings and some pentimenti, with the palette composed of cinnabar and red ochre for red, verdigris or malachite for green, azurite for blue and yellow ocher for yellow. Moreover, this study provides an evidence that restoration, in particular during the cleaning of the painted surface and panel restoration process, is also acting as a very useful tool for painting investigation, being complementary with scientific examination, therefore it is of necessity to correctly and timely gather the information during the restoration process.
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Martin-Mckenzie, Justine. "An investigation of gender difference in four year old children's visual art experiences at kindergarten : research project report." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2004. http://hdl.handle.net/10092/2802.
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This study investigates whether what children make and/or create in the visual art area
of collage/construction is influenced by their gender and whether children's gender
makes them play differently. The purpose of the study was to discover the similarities
and/or differences with girls and boys play in the visual art area of
collage/construction.
Data was collected through the use of participant observer observations. The research
utilized anecdotal notes and narrative descriptions to describe the visual art work that
was undertaken by boys and girls playing at collage in a kindergarten. Data was
coded using organisational categories. They were, engagement in the process, subject
matter, talking about their work and the resources used. Once coded, data was
analysed from these.
Analysis revealed a tendency for both boys and girls to engage in stereotypical play in
relation to both the use of resources and the final products that they made. The
observation data showed a strong link between the boys' creations and risk taking
themes. Boys were also heavily influenced television inspired ideas. The girls were
more content with utilizing items that were readily available in the kindergarten, and
made items that were safe, which I interpreted as, objects they knew the teachers
would like. Findings indicate that boys can be helped to realize ways of being
creative in the curriculum area of visual arts. Providing new and varied resources,
that are of interest to boys and which enable them to risk take, will promote
participation and will also bring boys back to play themes on consecutive days. This study may be of interest to teachers wanting to achieve gender equity within an
early childhood setting. It suggests ways of making sure that the curriculum area of
collage/construction is enticing for boys as well as girls.
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Trapp, Richard M. "A collected comparison between art department chairpersons and their supervisors in selected midwestern four-year colleges and universities." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558366.
Full textAbstract:
This comparative study examined the leadership role of art department chairpersons in selected midwestern four-year colleges and universities. It compared the leadership role of the art department chairperson to his/her immediate supervisor's perception of that same role.Literature relating to leadership and leader behavior for chairpersons in administration and art education administration was reviewed. The Leadership Behavior Description Questionnaire-Ideal (LBDQ-Ideal) and a demographic data survey were used. A one-way analysis of variance (ANOVA) was used to measure statistical significance in Initiating Structure and Consideration.The population comprised forty-one colleges and universities with enrollments of 3500 or more students in eight midwestern states. Responses were needed from each art department chairperson and his/her immediate supervisor to have matched pairs for the study. Art department chairpersons were sent a demographic data survey to identify their specific environment and background.CONCLUSIONSThere is no significant statistical difference in the leadership role of art department chairpersons and their immediate supervisors' perceptions of that same role using the LBDQ-Ideal in the subscale areas of Initiating Structure and Consideration.RECOMMENDATIONS(1) A study is needed to develop and incorporate into existing art education specific programs for art department chairpersons and/or or art administrators and for those interested in becoming an art department chairperson.(2) A study is needed to develop strategies to increase the awareness of fellow staff and immediate supervisors as to the role and responsibilities of art department chairpersons.(3) A study is needed to develop in-service and pre-service training programs to emphasize the importance of skill development in both task-related (Initiating Structure) and people-related (Consideration) dimensions of effective educational leadership.(4) A study is needed to more fully examine the leadership differences between art department chairpersons with M.F.A. degrees and those with Ed.D/Ph.D. Degrees.(5) A study is needed to assess the leadership differences between art department chairpersons with prior public/private school experience and those with no prior public/private school experience.(6) A study is needed to determine the leadership role of art departments as a part of the total Fine Arts curriculum and program in most colleges and universities.<br>Department of Art
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Thomas, Kerry Anne Art College of Fine Arts UNSW. "A qualitative analysis of creativity as misrecognition in the transactions between a visual arts teacher and their senior art students in the final year of schooling." Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/43097.
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This thesis researches the proposition that student creativity occurs as a function of misrecognition in the culturally situated context of art classrooms. Following Pierre Bourdieu??s socio-cognitive frameworks of the habitus, symbolic capital and misrecognition this study uses these concepts as a means of navigating teacher-student relationships at moments of creative origination. These concepts predict that exchanges between teachers and students are sites for transactions of symbolic capital where the teacher??s pedagogical role is objectively repressed through the mechanism of misrecognition. The study seeks evidence for creative autonomy as misrecognition as it takes place in classroom transactions and that differing levels of ??tact?? are employed in these exchanges. It emerges that the social reasoning that underscores these exchanges is inferentially sensitive to different contextual points of view, expressed in open secrets, repression, denial and euphemisation. The study finds that the artworks produced evidence degrees of originality that vary in character according to the subtlety of misrecognition that is transacted in these pedagogical exchanges. The case of an art teacher and an art class in the final year of schooling is examined in detail. The design employs an idiographic, qualitative methodology. Methods include observations and interviews which are augmented by digital records. Results are interpreted using a form of semantic analysis and triangulation. Four functions are distilled from the results. These functions govern the way in which misrecognition performs as a contradictory logic in the relationships between the teacher and students which works towards affirming the group??s belief in creative autonomy, while paradoxically, all members take advantage of the contextual inputs that are available. Creative autonomy is revealed as a fiction, nonetheless, a fiction worth nurturing for the successful realisation of creative ends. The study concludes that creativity cannot be strictly taught or learned. Nor is it innate and autonomous. Rather it encompasses a socially intelligent uptake in the culture of artmaking. What is possible is dependent on shared beliefs, desires and intentions which are transformed over time. Broader implications are suggested focusing on the significance of collaboration in creative education and the impact for educational systems, schools and undergraduate programs in art education.
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Morris, Julia Elizabeth. "Assessing Western Australian Year 11 students’ engagement with responding in Visual Arts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1627.
Full textAbstract:
Responding to visual arts is an important outcome of both the Western Australian and the Australian (F-10) Curriculum in Visual Arts (ACARA, 2014; Curriculum Council, 2008; School Standards and Curriculum Authority, 2014a). Responding is important because it facilitates students’ development of visual literacy, or the ability to decode and recode meaning through visual media (Flood, 2004; Flood & Bamford, 2007; Avgerinou & Petterson, 2011). This mixed methods research study investigated Western Australian students’ engagement in responding within Year 11 Stage 2 Visual Arts. A diagnostic instrument was created to quantitatively assess the engagement of 137 Year 11 Visual Arts students. Additionally, 10 students and 11 Visual Arts teachers participated in semi-structured interviews to explain and extend the quantitative findings. Five Heads of The Arts and eight Principals also participated in interviews to position the students’ engagement with Visual Arts responding within a broader school context. The findings of this research emphasise the importance of diagnostically assessing students’ engagement, particularly within senior school (Years 11 and 12) Visual Arts courses that emphasise responding in student assessment. Additionally, early childhood intervention is important for students to learn the foundational skills and knowledge required to be successful in senior school Visual Arts. In addition, professional learning is essential to support Visual Arts teachers to respond to the increasing complexity of visual culture and critical theory in the curriculum. Professional learning is also important to shift school culture from the perception of Visual Arts responding as part of academic rigour and assessment, to a perception of responding as necessary to students’ development as active citizens in a visually saturated twenty-first century life-world.
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Penkrat, Tatiana. "Image and liturgy the history and meaning of the Epitaphion /." Theological Research Exchange Network (TREN), 2008. http://www.tren.com/search.cfm?p015-0478.
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Armstrong, Amatullah. "The artist transformed : Sufi views on the development of the self and art." Thesis, Queensland University of Technology, 1997.
Find full textAbstract:
Abu Madyan Shu'ayb, the exalted Sufi Shaykh of twelfth century North Africa and a contemporary of Shaykh Muhyi-d-Din Ibn al' Arabi, used to say to his disciples, "Feed us with fresh meat." He did not want them to merely relate what another person had to say about Knowledge of Allah. He wanted his disciples, those who struggled on the Sufi Path, to bring forth from the depths of their own hearts that particular Knowledge which Allah had given to each
of them. Shaykh Ibn al-'Arabi often quotes the famous Sufi axiom, "Selfdisclosure never repeats Itself" that is, Allah never reveals or unveils Himself in the same manner in two successive moments to any two creatures within His Creation - ever. The Artist Transformed: Sufi Views on the Development of the Self and Art is a meal containing portions of the fresh meat about which Shaykh Abu Madyan Shu'ayb used to speak. The meat is neither raw nor undercooked nor burned. It is fresh in that it brings forth, for the first time, certain aspects of the Spiritual
Doctrine and Methods of Tasawwuf, explaining them and then relating them to the Sufi artist and his world. This meal is not to everyone's taste. It will only be agreeable, health giving and even delicious to those men and women who genuinely yearn for and seek Knowledge of the Divinity.
From the Sufi perspective, fresh and spontaneous Knowledge,
which enters the purified human heart in the flash of a second, is the only knowledge worthy of being called True Knowledge. This endless unfolding of True Knowledge from the Essence Itself is Real Islam; the Total and Perfect Submission to Allah and the Unconditional Love of Him which marks the final unending stage in the Holy Prophet Muhammad's Art and Science of Self-Transformation. "Islam is a spiral, having its beginning with us in the law
of the community and its end is with God in infinitude.
Anyone ascending this ladder continues towards God in infinitude. Thus, every moment, he gains increased knowledge and consequently surrenders himself, more and more, to God ... This is not idealistic talk, because it has a practical beginning that is placed firmly on the ground in order to lead everyone upwards in itlaq, infinitude, at varying degrees of achievement, each according to his level of knowledge. Everyone is ascending this ladder; 'Above every knowledgeable one is another who is even more knowledgeable' ([The Holy Qur'an] 12:76), until knowledge itself culminates with [God] the 'Knowledgeable of all the unknown' ([The Holy Qur'an] 9:78)." This Art and Science of Self-Transformation is known as Tasawwuf. Within Tasawwuf True Knowledge is called ma 'rifa. It indicates Heart Knowledge not head knowledge. Ma 'rifa cannot be learned. It is the Knowledge which is not to be found in books. Ma 'rifa is the very core of Tasawwuf. This thesis concentrates upon the Art and Science
of Transformation and the Spiritual Methods which aim at purifying the heart in readiness to receive ma 'rifa.
From the Sufi viewpoint, the here below cannot be understood
without Illumination from Above. Therefore, all Sufi writings begin from Above, from the Source, from Allah. There is a distinction to be made between Sufi writings and writings about Sufism. Sufi writings refer to works by people who are themselves initiates of a Sufi Tariqa (Path or Order). They are writings from the inside. In contrast, writings about Sufism are studies and observations from the
outside, by people who are not connected to a Sufi Tariqa. This thesis has been researched and written from within the Living Tradition of Tasawwuf by a Western initiate in an authentic Sufi Tariqa, the Tariqa al-Burhaniyya ad-Dasuqiyya ash-Shadhiliyya. Thus the scope of this thesis is to examine both the Spiritual Doctrine and Methods which permeate the traditional world of the Sufi artist. Every moment of his existence and every aspect of the world in which he lives and creates are penetrated and permeated by the Divine Word of the Holy Qur'an. Therefore, the Spiritual Doctrine and Methods of Tasawwuf, which spring directly from the Holy Qur'an, are the central concern of this thesis.
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Mercader, Saavedra Santiago. "Els monuments de Setmana Santa de la catedral de Barcelona: Art i litúrgia (De l'època moderna als nostres dies)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/132250.
Full textAbstract:
Aquesta tesi doctoral té com a objecte l’estudi dels monuments de Setmana Santa, és a dir les cases de reserva, on entre el Dijous i el Divendres Sant es guardava el Sant Sacrament per a la comunió dels fidels. Partint de l’exemple específic de la catedral de Barcelona, s’explica la història d’aquestes obres, una de les majors manifestacions de l’art efímer en l’època moderna i contemporània. La tesi no només es planteja com un estudi històrico-artístic, sinó que aporta interpretacions tant sociològiques com teològiques, sobre el sentit i ús d’aquestes peces, sotmeses als canvis i transformacions operades en el sí de la societat dels darrers segles. La ritualització de la missa també té protagonisme en tant que el monument hi jugava un paper cabdal en la litúrgia religiosa dins l’església. La rellevància d’aquestes obres d’art queda palesa amb la participació d’artistes tan notables dins el nostre panorama com: Antoni Viladomat, Josep Sunyer i Raurell, Josep Oriol Mestres, August Font i Carreras i Enric Sagnier, entre d’altres. A més de donar a conèixer copiosa informació inèdita sobre aquest camp de recerca, poc atès al nostre país, la tesi s’enriqueix mercès a la troballa i recuperació d’algunes obres d’art que es donaven per desaparegudes i que, per fortuna, s’han conservat i estudiat. A tal efecte, la tesi també pretén obrir nous camps de recerca i ajudar a conèixer més sobre aquesta matèria.<br>This work is focused on the study of Monuments of Easter in Barcelona’s Cathedral along modern and contemporary ages. We call “monument” as the liturgical and artistic piece that is dedicated to keep the Holy Sacrament from Thursday to Friday inside churches and that later, is given to remember the Sacrifice of Christ to catholic community. The study is based on Barcelona’s cathedral, and it explains all the ephemeral structures (most of them made of woodworks, paintings, sculpture pieces and architectonic designs) that were used to look after the Holy Form for this important calendar days. This thesis is presented not only as an study of historical and artistic meaning, but provides both sociological and theological interpretations around this sort of pieces. Besides, our study explains the prominence of the monument that played a crucial role in the religious liturgy inside Church. The relevance of these works is shown with the participation of important Catalan painters, sculptors and architects such: Antoni Viladomat, Josep Sunyer, Josep Oriol Mestres, August Font, Enric Sagnier, etc. Finally this work unveil new information coming from archives and gets enriched of some additional artistic pieces that were given for missing but that luckily have been saved and studied. To sum up, this research tries to open new fields of study about this subject.
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Scarparolo, Gemma E. "Character cars : How computer technology enhances learning in terms of arts ideas and arts skills and proceses in a year 7 male visual arts education program." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/662.
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'The possibilities that the technology can offer are seemingly endless and remain to be fully explored in [visual] art education." (Callow. 2001. p,43) The aim of this research is to investigate whether the integration of Visual Arts Technology Tools (TECH-TOOLS) into Traditional Visual Arts Programs (TRAD-['ROG) enhance the students' learning in terms of Arts Ideas (AI) and Arts Skills and Processes (ASP) and whether it is a cost effective option for Western Australian primary schools. To determine whether it is worth the inclusion of TECH-TOOLS in terms of enhancing learning. this research will statistically state whether the combination of TECH-TOOLS and Traditional Visual Arts Media (TRAD-MEDIA) enhance the expressive outcomes of Year Seven boys' artwork. The comparative case study method has been chosen as the most suitable method to enable the Researcher to establish the impact that combining TECH-TOOLS with TRAD-MEDIA have upon Year Seven boys' artwork. The Control group only used TRAD-MEDIA and the Experimental group used both TRAD-MEDIA and TECH-TOOLS to create a piece of artwork based on the chosen theme, Character Cars. There were 23 students in the Control group and 24 students in the Experimental group, however not all students attempted or completed the task for reasons which will be explained in Chapter Four. Each group was involved in three sequenced activities based on the chosen theme, with the second activity varying only according to the media used to complete the task. Combinations of quantitative and qualitative methods have been used in this research. To present quantitative data which provides insights into whether Visual Arts (VA) teachers should be combining TECH-TOOLS with TRAD-MEDIA in their Visual Arts Programs (VAP), each piece of artwork was assessed and analysed using descriptive analysis of the data. Each participant completed a written feedback form outlining their attitudes, feelings and thoughts about their artwork and the media that they used. The Researcher and an independent Visual Arts Education (V AE) expert also took anecdotal records during the VA activities with the aim of recording the participants' involvement and enjoyment of the activities. This study is significantly different from the current research in this area u!; it will: provide quantitative data which will demonstrate Whether the combination of TECH-TOOLS and TRAD-MEDlA enhances students' artwork; link the relevant literature and findings of this study to the Western Australian primary school context; provide links to the Western Australian Curriculum Council's Curriculum Framework; and comment on the influence of gender in VAE. All of these factors contribute to the uniqueness of this study.
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Sun, Linda. "Translocation this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design) in the year 2004." Full thesis. Abstract, 2004.
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Wilson, Poe Emma. "Vitrification of day 5/6 human morulas/blastocysts: A 10 year retrospective study in a private assisted reproductive techniques [ART] clinic." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/96876.
Full textAbstract:
Thesis (MMed)--Stellenbosch University, 2015.<br>ENGLISH ABSTRACT: This study was designed to retrospectively evaluate the established embryo vitrification/warming programme currently implemented at Drs Aevitas Institute for Reproductive Medicine and to look at factors that might play a role in optimizing the pregnancy outcomes thereof.
Vitrification is the achievement of a “state of suspended animation” wherein molecular translational motions are arrested without structural reorganization of the liquid. In embryo vitrification it involves placement of the embryo in a very small volume of vitrification medium that must be cooled at extremely high cooling rates. The vitrification medium contains cryoprotectants to prevent any cryoinjury from occurring to the embryo.
This process was initially proposed to effectively manage supernumerary embryos, but it has also provided a viable method of reducing costs for additional embryo transfers as well as the reduction of the incidence of multiple births. Patients who are at risk of ovarian hyper stimulation syndrome (OHSS) can also have all of their embryos vitrified in advance to reduce the likelihood of adverse clinical symptoms if a pregnancy is established.
Throughout the period in which vitrification has been in practice, there have been advances in technology as well as continual research being conducted to establish whether newly suggested techniques do, in fact, optimize the outcomes of vitrification. Focus has subsequently been applied to the carrier device used for vitrification, the day on which the embryos are vitrified and stored, as well as the number of embryos transferred in each respective cycle, all to ensure the most favourable outcome.
This retrospective study confirmed the use of the Cryotop® as the most viable carrier device for successful survival and pregnancy outcomes. Transfer of day 5 vitrified embryos resulted in significantly higher pregnancy rates compared to day 6 vitrified embryos. Results also indicated that the number of embryos transferred does indeed have a significant effect on the pregnancy outcome and consequently we can possibly argue against the implementation of single embryo transfer in the vitrification programme. Investigation into the effect of female age, specifically oocyte age, on each of these categories indicated that reduced age can be associated with optimal outcomes; however this could not be proven statistically in this cohort of patients.
To further look at optimization of the vitrification/warming programme, a Literature Survey was conducted to ascertain the results after Assisted Hatching in frozen/warmed human embryos. Assisted Hatching has been proposed as a solution to Zona Pellucida hardening, which has been found to occur during vitrification. The need for further studies and a meta-analysis of the literature is confidently proposed, as well as a Prospective Study to evaluate the effect of Laser Assisted Hatching in the human blastocyst vitrification/warming programme at Drs Aevitas Institute for Reproductive Medicine.<br>AFRIKAANSE OPSOMMING: Hierdie studie is ontwerp om die gevestigde embrio vitrifikasie/ontdooi program by Drs Aevitas Instituut vir Reproduktiewe Medisyne, retrospektief te evalueer en die faktore te optimaliseer wat swangerskap uitkomste kan beïnvloed. Vitrifikasie is die proses waardeur die molekulere aktiwiteit binne die embrio in ‘n staat van arres gehou word sonder om die strukture binne die sitplasma te versteur. Dit behels die plasing van ʼn embrio in 'n klein hoeveelheid vitrifikasie medium wat teen 'n hoë tempo afgekoel word. Die vitrifikasie medium bevat kriobeskermmiddels wat die embrio tydens die vitrifikasie proses teen moontlike skade beskerm.
Hierdie proses is aanvanklik voorgestel om oortollige embrio’s doeltreffend te bestuur. Dit bied ʼn koste effektiewe metode vir embrio terugplasing, en verlaag die insidensie van veelvoudige swangerskap. Vitrifikasie bied pasiënte met ʼn hoë risiko vir ovariale hiperstimulasiesindroom (OHSS) ‘n alternatief om nadelige kliniese simptome te vermy indien ʼn swangerskap bereik word.
Tegnologiese vordering en voortdurende navorsing ondersoek voortdurend nuwe tegnieke vitrifikasie uitkomste te optimaliseer. Fokus word geplaas op die draertoestel wat gebruik word vir vitrifikasie, die dag waarop die embrio's gevitrifiseer en gestoor word, sowel as die aantal embrio’s wat met elke vitrifikasie siklus teruggeplaas word.
Hierdie retrospektiewe studie het bevestig dat die gebruik van die Cryotop® die mees suksesvolle toestel vir oorlewing en swangerskap uitkomste is. Die terugplasing van dag 5 gevitrifiseerde embrios het beduidende hoër swangerskapsyfers as dag 6 embrios tot gevolg gehad. Die resultate het ook aangedui dat die aantal embrio's wat teruggeplaas word 'n beduidende uitwerking op die swangerskapsyfer het. Daar kan dus moontlik teen die implementering van 'n enkel embrio-terugplasing neiging in die vitrifikasie program geargumenteer word. Resultate het ook getoon dat optimale uitkomste verwant is aan ʼn laer oösiet ouderdom, alhoewel dit nie in die groep pasiente statisties bewys kon word nie.
'n Literatuurstudie oor AH (Assisted Hatching) op gevitrifiseerde/ontdooide menslike embrio’s is uitgevoer om die vitrifikasie/ontdooi program verder te optimaliseer. AH bied ‘n oplossing vir Zona pellucida verharding, wat tydens vitrifikasie plaasvind. Verdere studies, 'n meta-analise van die literatuur, sowel as 'n prospektiewe studie om die effek van laser AH in gevitrifiseerde/ontdooide menslike blastosiste by Drs Aevitas Instituut vir reproduktiewe medisyne te evalueer, word voorgestel.
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Chen, Wei-Hao. "The living housing the dead this exegesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Bachelor of Art and Design (Honours) in Spatial Design in the year 2005." Abstract Full dissertation, 2005.
Find full textAbstract:
Exegesis (BA--Art and Design) -- AUT University, 2005.<br>Print copy accompanied by CD. Includes bibliographical references. Also held in print (v, 56 leaves : col. ill. ; 22 x 30 cm. + CD) in City Campus Collection (T 725.59701 CHE)
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Langham, Karin. "Exploring Maori identity (Whakapapa) through textile processes : a visual arts program for year 11 students." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2010. https://ro.ecu.edu.au/theses/1862.
Full textAbstract:
In 2007 the Curriculum Council of Western Australia (CCWA) introduced a new Visual Arts Course of Study (2007), which contains a postmodern perspective and is inclusive of social criticism, multiculturalism, feminism and non-Western art forms. In keeping with the new Visual Arts Course of Study in this Creative Visual Arts Project, I have used the CCWA course outcomes as a framework to develop a visual arts program that is a vehicle for exploring individual personal identity, and has the potential to increase self-esteem in students in Western Australian secondary schools.
The research stems from my personal view that students can benefit significantly from investigating their identity, enabling them to situate their self in a stronger position in their present day life-world when they have a more definite sense of who they are and where they come from. I have placed myself in the position of ‘the subject’ in order to transfer the process into a visual art program that can be utilised within the classroom. The visual arts program is underpinned by Efland’s expressive psychoanalytic model for aesthetic learning, which posits that art is self-expression, a form of learning that contributes to emotional growth. Visual art awakens intellectual inquiry in an individual, increases cognitive potential through enabling personal liberation, and is an adjunct to informing society and culture.
The research project culminates in an exegesis and an exhibition of artworks that communicate personal memories and significant historical events exclusive to my whakapapa (Maori genealogy). The artworks are a vehicle for exploring my individual self-identity, enabling me to connect more deeply with my Maori cultural roots. The research paradigm utilised is narrative inquiry, a process of collecting and structuring stories that is characteristic of the traditional Maori practice of storytelling. This project has resulted in a reinterpretation of the perception of myself within my personal life-world. I have a deeper understanding of my cross-cultural roots, a stronger sense of who I am, and a sense of empowerment. I believe Year 11 students can also achieve this outcome through the visual arts program, using it as a tool for investigating their own identity, challenging cultural, social and gender limitations that impact on them, and ultimately empowering their personal life-world.
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Cayuela, Vellido Begoña. "Tradiciones y transmisión iconográfica en el arte altomedieval. La iconografía del sacrificio de Isaac en el arte hispánico (siglos VII al XII)." Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/129907.
Full textAbstract:
Esta tesis estudia la iconografía del sacrificio de Isaac en un grupo de obras medievales hispanas, cuya cronología abarca desde el siglo VII al siglo XII. El trabajo se centra en investigar las formas de transmisión de modelos de un determinado repertorio figurativo al que se aplica el método iconográfico como herramienta de análisis, con un enfoque en el que preocupan especialmente las interacciones entre texto e imagen. La historia que se narra en Génesis 22 ha generado un aparato exegético, cuya bibliografía es prácticamente inabordable, que ha servido al cristianismo para asimilar el tema del Antiguo Testamento desde múltiples perspectivas, entre las que destaca la interpretación tipológica de la Pasión de Cristo. Asimismo, la historia bíblica ha sido representada con profusión en el arte cristiano desde sus inicios. Por tanto, se trata de una imagen elaborada a partir de un texto preexistente. El planteamiento inicial supone una serie de modelos y de patrones iconográficos estables cuyas desviaciones se pueden explicar tomando como base una fuente literaria. Esta tesis evalúa y analiza los límites de esta hipótesis. Una investigación de estas características solo es posible si se dispone de un corpus que incluya un sucinto estado de la cuestión para cada obra a estudiar, con el aparato descriptivo, crítico y bibliográfico más actualizado y relevante posible. La sistematización de este catálogo a partir del corpus es una de las aportaciones de esta tesis, ya que puede servir para futuras investigaciones que precisen de los datos recopilados.
La decisión de elaborar un catálogo iconográfico ha situado a esta investigación en unos parámetros tanto teóricos como metodológicos que se han ido estableciendo puntualmente. Se entiende la iconografía como un proceso de análisis que describe verbalmente el contenido de las imágenes mediante un sistema de decodificación que, idealmente, es gradual, y que va de la identificación a la interpretación, pasando por la descripción minuciosa de dichos contenidos para inferir el tema representado. La evaluación de este método analítico se hace a partir de un repaso historiográfico que contextualiza su validez, y continúa con un breve recorrido por las aplicaciones concretas en las representaciones del sacrificio de Isaac en el arte, así como una revisión de las cuestiones más importantes que han suscitado estas aproximaciones iconográficas. Por otra parte, se pone de relieve que el análisis iconográfico conduce, de manera natural, a la ordenación taxonómica con lo que la elaboración de catálogos se presenta como una tarea ineludible. Se considera que el principio heurístico de la catalogación es válido no sólo en un proceso de sistematización tradicional del corpus, sino que se indican sus posibilidades de migración al mundo digital. Por ello, una de las decisiones asociadas con la creación del catálogo ha sido el desarrollo de un programa informático, denominado Iconoteca, para gestionar la información que se iba recopilando durante el proceso de investigación que incluyera el material gráfico asociado a cada una de las obras estudiadas.
El grueso de la tesis lo constituye el catálogo, que ha sido concebido como una herramienta de consulta cuyo manejo pueda hacerse de una manera aleatoria y modular. El resultado de este tipo de aproximaciones taxonómicas constituye una base firme para elaborar y contrastar hipótesis, como por ejemplo, evaluar las relaciones texto-imagen centradas en el tema iconográfico del sacrificio de Isaac. Este enfoque se ha desarrollado en el último capítulo y ha consistido en una revisión y un análisis en profundidad de algunas particularidades iconográficas del tema en el arte medieval hispano que, aunque conocidas, no siempre habían recibido una atención específica, y para las que se propone una interpretación renovada.<br>This thesis studies the iconography of the sacrifice of Isaac in a group of Hispanic medieval works dating from the seventh century to the twelfth century. The research focuses on the modes of transmission of models and visual patterns of a particular figurative repertoire applying the iconographic method as an analytical tool, where a particular concern is the interactions between text and image. The story, arising from Genesis 22, has generated an exegetical apparatus whose bibliography is almost unreachable and has served to Christianity to assimilate the subject of the Old Testament from multiple perspectives, among which the most important is the typological interpretation of the Passion of Christ. Therefore, the premise is that of an image produced from an existing text. The initial approach departs from the assumption of the existence of a stable iconography whose deviations should be explained better if we assume a literary source for every single iconographic motif. This thesis analyses the limits of this hypothesis. A research of this nature is only possible with a corpus that collects as much information as possible for each artwork to study, along with the most current and relevant data in order to provide a descriptive, critical and bibliographical apparatus. The systematization of this catalogue is one of the contributions of this thesis, because it can serve for future research.
The decision to develop an iconographic catalogue as a research tool implies a theoretical and methodological contextualization. On the other hand, it emphasizes that iconographic analysis leads, naturally, to the management of taxonomies. Furthermore, the creation of this catalogue is an unavoidable task. The heuristic principle of cataloguing constitutes the premise not only in the process of traditional systematization of a corpus, but also in the migration to the digital world. Therefore, one of the decisions associated with the creation of the catalogue has been the development of computer software, called Iconoteca, in order to manage all the information collected during the research process to include not only the artworks but also the images associated on each item.
The bulk of the thesis consists of the corpus of artworks with representations of the sacrifice of Isaac. The text design of the corpus functions as a query tool and the reader can consult the catalogue modularly in a random manner. The result of such taxonomic approach provides a sound basis for developing and testing hypotheses, such as the relationship between text and image in the iconography of the sacrifice of Isaac. The last chapter develops this approach and consists of a review and a thorough analysis of some iconographic peculiarities of the subject in Spanish medieval art. These peculiarities, although known, had not always received specific attention and this thesis proposes a renewed interpretation.
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Joe, Damen. "Mapping the self-portrait navigating identity and autobiography in visual art : this thesis is submitted to the Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design) in the year 2005 /." Click here to access this resource online, 2005. http://repositoryaut.lconz.ac.nz/theses/1341/.
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Thesis (MA--Art and Design) -- AUT University, 2005.<br>Cover title. Includes bibliographical references. Also held in print (xxii, 85 leaves : col. ill. ; 30 cm.) in City Campus Collection (T 707 JOE)
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Payne, Rachel Ann. "11.30 on a Sunday morning : a micro-ethnographic study exploring how year 7 learners negotiate meanings when working with an artist in a contemporary art gallery." Thesis, University of Bristol, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.730878.
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Hamilton-Wieler, Sharon Jean. "A context-based study of the writing of eighteen year olds : with special reference to A-level Biology, English, Geography, History, History of Art and Sociology." Thesis, University College London (University of London), 1986. http://discovery.ucl.ac.uk/10019612/.
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The development of written literacy has been a major concern of educators and language scholars throughout the latter half of the twentieth century. Theoretical discussions and empirical investigations of language acquisition, development, and use have contributed to an increasing understanding of writing as emerging from a network of interrelationships among context, task, text, language, and cognition. In my first chapter, I look at some of this work of recent years which elaborates upon these interrelationships within a general view of writing as a cognitive act emerging from varied layers of contextualizing influences. What this work reveals is the need for extensive empirical investigations into the nature of these contextualizing influences in order to understand more fully the shaping power of these interrelationships. In view of this need, this study sets out upon a context-based investigation of the writing of sixth formers in six different A-level subjects in order to see how writing emerges from the classroom (and wider) contexts. The task of the next two chapters is to present the empirical data base for the ensuing analysis of classroom language environments. Chapter two elucidates the setting up and carrying out of the investigation, explaining the most critical decisions involved in designing the study, describing the strategy for laying out the ethnographic material accumulated during the period of research, and introducing the teachers and students involved in the research. Chapter three offers six views of writing in A-level classrooms, in the form of contextualized vignettes which try to evoke the language atmospheres of the respective classrooms. These vignettes examine the nature of knowledge which is drawn upon in assigned writing, how students are enabled to transform this knowledge into written text, and how particular written texts relate to the writing registers and conventions generally expected in each discipline. The A-level examination system is shown to be a major contextualizing factor in shaping students' acid teachers' perceptions of the nature of writing which is most appropriate for engaging with the evidence of the six different disciplines. The fourth chapter synthesizes and comments upon the 'thick description' of writing in the six A-level classrooms. In so doing, it proposes an account of the relations between knowledge and composing within the classroom context, showing how different writing tasks bear differently upon levels of knowing in ways which may be characteristic of particular subject areas. It further shows writing to be, for both students and teachers, the site of competing claims upon this knowledge, in terms of demonstrating or extending it. Within these claims, the six teachers converge upon one major aim, somewhat differently conceived and executed within each subject area, of enabling their students to compose "lucid argument" in response to particular topics. It is this enabling process, the range and sensitivity of strategies which teachers develop in order to help their students transform information, knowledge, and understanding to written text, which chapter four identifies as the key contextualizing influence in shaping the writing of the students in these six classrooms. Chapter five takes a thorough analytical look at these enabling strategies, at how and why they are presented in the classroom, at how they are interpreted and taken on board by the students, and at how they are manifested in written text. This chapter is the focal point of the study, drawing upon the theoretical and empirical work discussed in the first chapter in order to explore some of the implications of these strategies in relation to the view of writing as emerging from a network of interrelationships among context, task, text, language, and cognition which informs this investigation. It chapter six, I show how looking at writing in context opens the door to a complexity of issues about the composing of written text. The data reveal writing in its educational context to be the site of conflicting aims which position both teachers and students in serious dilemmas. It is in the reconciliation of these dilemmas that the findings of the study and the implications of these findings have value.
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Larsson, Andreas Hiroui. "Seduced by (a) last year : Interdisciplinary Music Motivated by Non-Idiomatic Improvisation, The Non-Productive Attitude, and Pluralist Aesthetics." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3694.
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In my master’s project I investigated an interdisciplinary musical practice based on my artistic and educational background in art, music and philosophy. I chose one concept per discipline: non-idiomatic improvisation from the field of music, the non-productive attitude from art, and pluralist aesthetics from philosophy. I used the three concepts to find materials for my project: both musical materials, for example live improvisation and recordings, and non-musical materials, for example photographs and texts. The materials I found made up the components of a performative piece of music and became musical through contextualisation and metaphor. The photographs, recordings and texts were collected from different periods in my life and represented my interests, relations and values during my different educations. The ensemble that I assembled to perform the music consisted of people that were close to me on both a personal and professional level to emphasise that the music was based on my educational background and personal narrative. Initially I was less interested in the sonorous outcome of my project and I would have accepted it based solely on its interdisciplinary motivations. During my studies I realised that involving musical parameters to a greater extent enhanced the interdisciplinary and non-musical aspects of my project. An important learning outcome of my project was that focusing on the musical particularities of my artistic practice strengthened its interdisciplinary character. This is something that I wish to investigate further as a continuation of this project.<br><p>Seduced by (a) last year (Larsson 2020) </p><p>Andreas Hiroui Larsson: composition, cymbals, drums, text, and voice</p><p>Johan Jutterström: saxophone, speaker, USB, and voice</p><p>Johanna Arve: beamer, speaker, USB, and voice</p>
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Hauenfels, Theresia. "Visualisierung von Herrschaftsanspruch die Habsburger und Habsburg-Lothringer in Bildern." Wien Praesens-Verl, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2704892&prov=M&dok_var=1&dok_ext=htm.
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Hoffman, J. Starr. "Passionate transformation in vernicle images." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4701/.
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This thesis will examine the iconography of late-thirteenth- through fifteenth-century images of St. Veronica's veil, also known as vernicles. In the late Middle Ages, vernicle iconography changed from iconic representations of Christ's face toward graphic imagery of Christ's suffering during his Passion. These passionate transformations, as I have called them, were affected by the Roman Sudarium relic, popular devotion to Christ's suffering and humanity during his Passion, and the Catholic ritual of Mass. This thesis will consider how the function of vernicle images during Mass was reflected in their iconography throughout Europe between 1250 and 1500.
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Coulangeon, Cécile. "L’architecture religieuse des Xe et XIe siècles dans le sud-est du Domaine royal capétien." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100155.
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Le sud-est du Domaine royal capétien est longtemps resté ignoré des études sur les débuts de l’architecture romane. Ceci est en grande partie lié à la position marginale qu’il occupe par rapport aux grands ensembles de l’historiographie, un état de fait qui découle comme nous avons eu l’occasion de le montrer d’une longue évolution historique depuis l’époque celtique où la zone fut subdivisée entre Sénons et Carnutes. Les premiers souverains capétiens ont toutefois porté un intérêt particulier à cette région, tentant au XIe siècle d’unifier l’espace compris entre leurs trois grands centres : Orléans, Étampes et Melun, face aux poussées de leurs rivaux bléso-champenois. L’activité architecturale semble alors battre son plein, avec de très nombreuses constructions, certes secondaires, mais témoignant d’un certain dynamisme architectural à cette époque. L’examen des monuments les plus importants, confrontés aux autres réalisations phares menées par les Capétiens dans le reste de leur Domaine royal, permet d’envisager le développement d’une politique édilitaire, favorisant certaines formes architecturales monumentales comme la tour-porche ou le chevet dit harmonique, dans une volonté claire de la part des nouveaux souverains de s’imposer visuellement dans le paysage, de se positionner en héritiers de leurs prédécesseurs carolingiens et de s’imposer face à leurs contemporains ottoniens, en reprenant certaines de leurs formes architecturales les plus emblématiques. Ces résultats ne doivent pas cacher en revanche des questions laissées en suspens, notamment en ce qui concerne les datations des édifices considérés ici. L’architecture apparaît en effet assez uniforme, entre petit appareil de tradition antique, opus spicatum, remplois de sarcophages haut-médiévaux et débuts du moyen appareil ; et les critères de datation généralement admis s’opposent à ceux des rares décors conservés<br>The southeast of the Capetian royal Domain remained for a long time unknown by studies on the beginnings of Romasnesque architecture. This is largely connected to the marginal position which it occupies compared with the large sets of the historiography, an established fact which ensues as we had the opportunity to show it of a long historic evolution since the Celtic period when the zone was subdivided between Sénons and Carnutes. The first Capetian sovereigns however carried a particular interest in this region, trying in the 11th century to unify the space between their three big centers : Orléans, Étampes and Melun, in front of pushes of their bléso-champenois rivals. The architectural activity then seems to be in full swing, with very numerous constructions, certainly secondary, but testifying of a certain architectural dynamism at that time. The examination of the most important buildings, confronted with the other key realizations led by the Capetians in the rest of their royal Domain, allows us to envisage the development of a artistic policy, favoring certain architectural monumental forms as tower-hall and harmonious bedhead, in a clear will on behalf of the new sovereigns to stand out visually in the landscape, to position in heirs of their Carolingian predecessors and to stand out in front of their ottonian contemporaries, by taking back their most symbolic architectural forms. These results can’t hide on the other hand questions left unsettled, in particular as regards the datings of buildings considered here. The architecture indeed seems rather uniform, between walls with small rubbles, opus spicatum, re-uses of high-medieval sarcophagus, and beginnings of carved stone ; and the generally admitted criteria of dating oppose those of the rare preserved decorations
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Dari, Sana. "La peinture orientalise en Palestine et en Syri à la fin du XIXe et au début du XXe siècle : "la connotation religieuse et le tabou local"." Paris 1, 2001. http://www.theses.fr/2001PA010537.
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La dimension religieuse, qui apparait comme un caractère distinctif de la scène orientaliste en Syrie Palestine dans la deuxième moitié du XIXe et au début du XXe siècle était absente de l'école française un siècle plus tôt. Par sa précision topographique et son interprétation religieuse, la peinture orientaliste de Syrie Palestine s'apparente aux œuvres préraphaélites. En fait, le recours à la dimension religieuse, intensément exploitée par une société coloniale britannique, le Palestine exploration fund, entretient la confusion entre ce qui relève de l'art et ce qui relève du discours officiel. Cela apparait notamment dans l'idéalisation de Jérusalem, qui falsifie et occulte le caractère arabe de la cité. L'apparent emprunt aux thèmes quotidiens, qui semble imposer l'œuvre orientaliste comme un portrait ethnographique de l'Orient, est une reformulation de la réalité d'après une projection iconographique occidentale, y compris par le recours à une typologie et une toponymie bibliques. On distingue alors dans les scènes orientalistes des écoles anglaise, française, allemande et américaine, ce qui est purement imaginaire et ce qui est imaginaire recycle dans un cadre colonial. Pourtant, W. H. Hunt, simplement mu par le souci vériste, a réussi à composer à l'apogée de sa création poétique une œuvre qui offre un échantillon de réalité ethnographique.