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Dissertations / Theses on the topic 'Home exhibitions'
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Ryan, Deborah S. "The Daily Mail Ideal Home Exhibition and suburban modernity, 1908-1951." Thesis, University of East London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283702.
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This thesis examines the ways in which the Daily Mail Ideal Home Exhibition educated (, and entertained the public in the first half of the twentieth century by promoting a modern way of life, helping to establish a commercial culture of homemaking. By exploring the ways in which the Exhibition represented popular conceptions of the 'modern' within their social and historical contexts, the thesis challenges the dominance of Modernist aesthetics and values on writing on design, architecture and consumption. Chapter one explores the unease felt by a particular group of writers towards the Ideal Home Exhibition, which it locates in relation to a wider intellectual condemnation of modernity and suburbia. Chapter two looks at the founding of the Exhibition by the Daily Mail in 1908. Chapter three analyses how the Daily Mail and the Exhibition constructed an 'ideal audience' and why the idea of an 'ideal home' was so appealing. Chapter four looks at the ways in which ideas about 'labour-saving', which were part of a concern with national efficiency that drew on the doctrines of scientific management, have constructed the 'ideal home' as a site of change and experimentation. Chapter five explores how the 'Tudorbethan' semi and the popular appropriation of the Modern Movement in the Exhibition represented tensions between the longings for the past and aspirations for the future. Chapter six investigates the representation of non-English peoples and places and the display of Empire in the Exhibition. Chapter seven looks at how the Exhibition addressed the question of the 'house that women want', focusing on the actual participation of women in the Exhibition, as 'natural' experts and paid professionals. Chapter eight makes some conclusions on the ways in which the audience's experience of 'suburban modernity' in the Exhibition was dependent on the interaction of the themes outlined in the earlier chapters. The thesis ends with a review of the past, present and future of the Ideal Home Exhibition.
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Clarkson, Verity. "The organisation and reception of Eastern Bloc exhibitions on the British Cold War 'home front' c.1956-1979." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/99502e86-6691-4cc6-82a2-df6c575d6cc9.
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This thesis investigates government-sponsored exhibitions originating in the USSR and Eastern Europe held in Britain between 1956-1979. These incoming manifestations of cultural diplomacy were a locus for cultural exchange during the ideological conflict of the Cold War, providing temporary public spaces in which cultural artefacts from the eastern bloc – perceived as an unfamiliar, isolated and rival territory – were displayed and responded to. This research scrutinises the organisation and reception of these usually reciprocal displays of art, historical artefacts, and commercial goods on the British Cold War ‘home front’.
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Thörn, Kerstin. "En bostad för hemmet : idéhistoriska studier i bostadsfrågan 1889-1929." Doctoral thesis, Umeå universitet, Historiska studier, 1997. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-79135.
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The purpose of the present dissertation is to examine the placing of the housing question on the agenda of social policy, the implications of housing for society, and the possibilities for simple shelter to be transformed into real family homes. The debate emphasizing the dwelling as the smallest social component and the home as the most important place for the raising of citizens has been studied. The dissertation consists of four essays, each of which can be seen as a separate study yet at the same time as interrelated due to the overall theme of the dissertation, housing and the home. The period under investigation is 1889-1929 and the place is Stockholm. The first section deals with philanthropic building activities, described through four representative examples: Föreningen för Välgörenhetens Ordnande, Stockholms Arbetarehem, Govenii Minne and Ella Heckscher's home for tubercular female workers. This section opens with two introductory chapters treating the philanthropic attitude toward housing and the relation of the family to the housing question, respectively. The theme of the second section is the significance of aesthetics for the home. This section also opens with two introductory chapters, whereof the first describes the aesthetic ideals of the epoch and the second presents the so-called "aesthetic educators". A number of pamphlets written about the home are discussed, as well as a selection from the home exhibitions of the day. In a closing chapter, the entrance of the architects into the housing-question arena is presented. The third study deals with politics in the broad sense of the term. The interest of social reformers for the housing question is traced by examining organizations like Studenter och Arbetare and Centralförbundet för Socialt Arbete. The second chapter deals with the contributions of academics to the housing question. The social democratic women belonging to the Stockholm's Women's Club are heard from, and the engagement of women in this question is further delineated through studying periodicals like Morgonbris and Tidevarvet. In the closing chapter, the establishment and treatment of the housing question within the municipal council of Stockholm is discussed. The fourth and final section treats the HSB. First, the origins of the HSB in 1923 via the tenant's movement and guild socialism are discussed. Thereafter the organization and membership of the HSB is described. A brief biography of Sven Wallander, the leading figure of the HSB is provided, followed by a chapter on the periodical Vår Bostad. The final two chapters discuss the materialized ideas themselves: the buildings built by the HSB and the homes which were set up in them, stimulated by the actual physical buildings and discussions about the right way of living in them. The story of the home has solid empirical grounding. This study has been conducted from different perspectives in order that a more nuanced knowledge might be acquired. Vision and practice have proven to be so closely interwoven that it is not always possible to distinguish between them.digitalisering@umu
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Warren, Geoffrey Richard. "The Daily Mail Ideal Home exhibition 1944-1962 : representations of the 'Ideal Home' and domestic consumption." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/6729/.
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This thesis investigates the ideals of home, and their determination, promoted in the representations of the Daily Mail Ideal Home Exhibition during the period 1944 to 1962 in order to explore how, through their dissemination, the Exhibition intervened in the definitions and politics of home. The thesis discusses popular ideals of home that emerged from the circumstances created by the Second World War. It situates the Ideal Home Exhibition in the immediate postwar exhibition context in order to reveal the relationship of the Exhibition to issues of design and the commercial interests of its exhibitors. The Exhibition is discussed as a business, assessing the objectives of the organisers and the nature of the 'audience' it attracted. The representations made by the Exhibition, particularly those in the 'Village of Ideal Homes' are examined in order to identify historical shifts in ideals of home in relation to housing design and the issues and political objectives of postwar reconstruction. It is then discussed as an intervention in the development of postwar consumerism, and as an intervention in the rise in postwar owner-occupancy. Finally, the Exhibition's representations are discussed in relation to its ideological address of nationalism, class and gender, and their construction of the 'ideal family' as the occupants of the 'ideal home'. The thesis questions the notion that the Exhibition had an ideal of home, and suggest that instead it was constructed from ideologies of home. The Exhibition is seen as an ideological apparatus that promoted ideals of consumption and property ownership through an address of class hegemony.
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Bergeron, Édith. "Homme de papier /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.
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Mémoire (M.A)-- Université du Québec à Chicoutimi, 1992.Ce travail de recherche a été réalisé à l'UQAC dans le cadre du programme de maîtrise en arts plastiques extensionné de l'UQAM à l'UQAC. CaQCU Bibliogr.: f. 34-35. Document électronique également accessible en format PDF. CaQCU
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Wawzonek, Donna. "Constructions of home, the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0004/MQ32384.pdf.
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Wawzonek, Donna (Donna Lee) Carleton University Dissertation Art History. "Constructions of home; the interrelationship between gendered exhibition sites and contemporary Canadian installation art." Ottawa, 1997.
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Parsai, Parvin. "A Case Study of Preschool Children Exhibiting Prosocial and Empathic Behaviors During Sociodramatic Play." University of Toledo / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1418299494.
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Anderson, April. "DOUBLE DUTY: PROCESSING AND EXHIBITING THE CHILDREN'S HOME SOCIETY OF FLORIDA COLLECTION AS AN ARCHIVIST AND PUBLIC HISTORIA." Master's thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2922.
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The Children's Home Society of Florida, often referred to as "Florida's Greatest Charity", is the state's oldest non profit welfare agency. Founded in 1902, the society was instrumental in creating and reforming child welfare laws as well as helping countless children in the state of Florida find loving homes. This paper focuses on the archival processing of the Children's Home Society of Florida Collection papers and the creation of a subsequent web exhibit. The role of archivist and public historian is examined to see how each profession works toward a common goal.M.A.
Department of History
Arts and Humanities
History MA
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Veasey, Melanie. "'Reforming academicians' : sculptors of the Royal Academy of Arts, c. 1948-1959." Thesis, Loughborough University, 2018. https://dspace.lboro.ac.uk/2134/34791.
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Post-war sculpture created by members of the Royal Academy of Arts was seemingly marginalised by Keynesian state patronage which privileged a new generation of avant-garde sculptors. This thesis considers whether selected Academicians (Siegfried Charoux, Frank Dobson, Maurice Lambert, Alfred Machin, John Skeaping and Charles Wheeler) variously engaged with pedagogy, community, exhibition practice and sculpture for the state, to access ascendant state patronage. Chapter One, The Post-war Expansion of State Patronage , investigates the existing and shifting parameters of patronage of the visual arts and specifically analyses how this was manifest through innovative temporary sculpture exhibitions. Chapter Two, The Royal Academy Sculpture School , examines the reasons why the Academicians maintained a conventional fine arts programme of study, in contrast to that of industrial design imposed by Government upon state art institutions for reasons of economic contribution. This chapter also analyses the role of the art-Master including the influence of émigré teachers, prospects for women sculpture students and the post-war scarcity of resources which inspired the use of new materials and techniques. Chapter Three, The Royal Academy as Community , traces the socialisation of London-based art societies whose memberships helped to identify sculptors for potential election to the Royal Academy; it then considers the gifting of elected Academicians Diploma Works. The empirical mapping of sponsorship for elected sculptors is investigated to determine how the organic profile of the Royal Academy s membership began to accommodate more modern sculptors and identifies a petition for change which may have influenced Munnings s speech (1949). Chapter Four, The Royal Academy Summer Exhibitions , explores the preparatory rituals of the Selection and Hanging Committees, processes for the selection of amateurs works, exhibit genres and critical reception. Moreover it contrasts the Summer Exhibitions with the Arts Council s Sculpture in the Home exhibition series to identify potential duplications. Chapter Five, Sculpture for the State , considers three diverse conduits facilitating the acquisition of sculpture for the state: The Chantrey Collection administered by the Royal Academy and exhibited at the Tate Gallery; the commissioning of Charles Wheeler s Earth and Water (1951 1953) for the new Ministry of Defence, London; and the selection of Siegfried Charoux s The Neighbours (1959) for London County Council s Patronage of the Arts Scheme . For these sculptures, complex expressions of Britishness are considered. In summary this thesis argues that unfettered by their allegiance to the Royal Academy of Arts its sculptors sought ways in which they might participate in the unprecedented opportunities that an expanded model of state patronage presented.
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Silva, Dafne Reis Pedroso da. "Hoje tem cinema: a recepção de mostras itinerantes organizadas pelo Cineclube Lanterninha Aurélio." Universidade do Vale do Rio do Sinos, 2009. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2641.
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O objetivo geral desta pesquisa foi investigar o processo de recepção das mostras itinerantes de cinema organizadas pelo cineclube Lanterninha Aurélio, buscando compreender os sentidos, usos e apropriações que os receptores realizam das exibições e as mediações que as configuram. Para dar conta das especificidades do problema/objeto investigado, trabalhei os conceitos de midiatização e midiatização cinematográfica, e o desenvolvimento desses processos no contexto brasileiro, considerando as atividades cineclubista e as práticas das sessões itinerantes de cinema. Articulei perspectivas teóricas para a compreensão da recepção, desenvolvendo conceitos sobre recepção, mediações, consumo, apropriação e recepção de cinema. Acerca das estratégias metodológicas, realizei pesquisa sistemática com seis receptores das sessões itinerantes e cinco cineclubistas. Desde uma perspectiva multimetodológica, articulei um conjunto de procedimentos que incluíram questionários fechados, entrevistas estruturadas de aplicação flexí
The general aim of this research was to investigate the process of receiving the itinerant film exhibitions organized by Lanterninha Aurélio film club and to understand the meanings, uses and appropriations that the audience apprehended about the exhibition and the mediations that establish them. Thinking about the investigation of this specific problem/object, I worked with the concepts of midiatization and film midiatization and with the development of these processes in Brazilian context, considering the film clubs activities and the itinerant film sessions practices. For that purpose, I articulate some theoretical perspectives for understanding the reception using some concepts as reception, mediation, consumption, media appropriation and film reception. About my methodological strategies, I conducted systematic interviews with six persons of itinerant film sessions and with five members of film clubs. From a multi-methodological point of view, I prepare a set of methodological procedures that included cl
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Vaughters, Amy Lillian. "Delineated Space." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/58.
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This document is a detailed description of the work produced throughout my graduate study in the Department of Photography and Film at VCU. Topics discussed in relation my photographic process include: stage, memory, character, the forgotten, and nostalgia.
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Ivanov, Gunnela. "Vackrare vardagsvara – design för alla? : Gregor Paulsson och Svenska Slöjdföreningen 1915–1925." Doctoral thesis, Umeå University, Historical Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-275.
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This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).
Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.
Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.
Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.
Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.
Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.
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Pettersson, Isak, and Gabriel Rosenberg. "Hur energi fotavtryck kan förmedlas genom interaktion i augmented reality." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279569.
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Global uppvärmning är ett av nutidens största hot mot mänskligheten. Idag syftar många projekt och initiativ till att minska utsläppen av CO2, bland annat genom att inspirera människor till att minska sina individuella utsläpp. Som en del av Homo colossus at Expo2020, ett projekt med målet att engagera och informera människor om hur vår livsstil påverkar vår planet, har ett första designförslag för en visuell augmented reality (AR) installation utvecklats. Mer specifikt ett fysiskt vykort som förmedlar ett energifotavtryck till läsaren och vars bud- skap är tänkt att förstärkas med interaktiva AR-element. AR är en relativt ny teknik med en enorm potential för framtiden och ett ämne där det finns stor efterfrågan på forskning om var tekniken kan appliceras. Denna studie har syftat till att vidare utforska installationer i utställningsmiljöer med fokus på AR som medium och vi har även undersökt hur man bör designa installationer med AR för att förmedla budskap genom interaktion. Detta har utforskats genom en Research through design metodik där idéskapande workshops, möten med experter och ett användartest på en utvecklad prototyp har utförts. Resultatet från studien visade på att det är viktigt med en personlig koppling till innehållet för att skapa reflektion kring energifotavtryck hos användaren. En stark koppling mellan de AR- element som visas och den energiförbrukning som de representerar visade sig även vara en stor faktor till hur effektivt budskapet togs emot hos användaren. AR-elementen visade vidare på en markant förbättring gällande engagemang och ökad förståelse hos användaren. Vi ser en stor framtida potential i AR som ett medium i att förmedla budskap och studien har likaså väckt en rad nya frågor inom ämnet som vi uppmanar kommande arbeten till att utforska vidare.Global warming is one of humanity’s biggest threats. Today, many projects and initiatives aim to reduce CO2 emissions, among other things by inspiring people to lower their individual emission. As part of Homo colossus at Expo2020, a project with the goal of engaging and informing people about how our lifestyle affects our planet, a first design proposal for a visual augmented reality (AR) installation has been developed. More specifically, a physical postcard that conveys an energy footprint to the reader and whose message is intended to be reinforced with interactive AR elements. AR is a relatively new technology with enormous potential for the future and a topic where there is great demand for research on where the technology can be applied. This study aims to further explore installations in exhibition environments with a focus on AR as a medium. We have also explored how to design installations with AR to convey messages through interaction. This has been explored through a Research through design methodology where idea-generating workshops, meetings with experts and a user test on a developed prototype have been conducted. The results of the study showed that it is important to have a personal connection to the content in order to create a reflection on the energy footprint of the user. A strong link between the AR elements displayed and the energy consumption they represent also proved to be a major factor in how effectively the message was received by the user. The AR elements further showed a mayor improvement in commitment and increased understanding of the user. We see a great future potential in AR as a medium in conveying messages and the study has also raised a number of new issues within the subject that we encourage future studies to explore further.
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Planel, Alice. "Artists of Algerian origin exhibiting in France 1989-2012 : an analysis of selected artists' work and its reception : the urban, the home and the Arab woman, and the 'global' art world." Thesis, Kingston University, 2013. http://eprints.kingston.ac.uk/28772/.
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This thesis investigates the work of a selected number of artists of Algerian origin who rose to prominence in France between 1989 and 2012 and analyses the reception of their work in French institutions of art. The artists are Adel Abdessemed (b.1971), Kader Attia (b. 1970), Faycal Baghriche (b. 1972), Samta Benhyahia (b.1950), Zoulikha Bouabdellah (b. 1977), Mohamed Bourouissa (b. 1978), Katia Kameli (b.1973) and Zineb Sedira (b.1963). This is the first in-depth study on these artists's work within a French exhibiting context and it also represents the first critical analysis of the impact that collective memory, French cultural policies and an emerging discourse ofa 'global' art world system has had on the reception of their work. Based upon extensive primary research on the exhibiting practices of French institutions and responses of the French press, alongside interviews with the artists, the thesis engages with art historical, sociological and cultural memory methods in order to examine the emergence and reception of these artist' work. The analysis also brings into focus the aesthetic preoccupations of the artists and their diverse contexts of production. Chapter one presents a critical overview through a historiography of major . exhibitions of artists of Algerian origin in French institutions of art between 1989- 2012. The following four chapters are structured through themes that are recurrent in the artists's work: the urban, the home and the Arab woman and the global world. Chapter two focuses on Abdessemed and Attia's engagement with urban themes, and questions the impact of collective narratives of the 'banlieue' on their work. Chapter three analyses the representations of the self and the domestic in the early work of Benyahia, Bouabdellah, Kameli and Sedira, and proposes that their critical diasporic narratives problematize the dominant discourses of collective memory in France. An analysis of the work of Abdessemed, Attia and Sedira in chapter four foregrounds the discontinuities and continuities within a 'global' world-order with specific reference to Franco/Algerian crossings. Overall, through a detailed analysis of the institutional contexts of France and the 'global' art world, the thesis offers an institutional critique arguing that diasporic experiences - evident in the work of artists of Algerian origin - are rarely acknowledged or debated in French institutions, while artistic nationality is over-determined. Informed by Isobel Armstrong's concept of a 'radical aesthetic' and Deleuze and Guattari's notion of the rhizome, the thesis also argues that aesthetics and contexts of production need to be acknowledged in the analyses of the artist's work.
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Smith, Allison Hope. "162 Springcrest." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1524231199349606.
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Pfeffer, Miki. "Exhibiting Women: Sectional Confrontation and Reconciliation in the Woman's Department at the World's Exposition, New Orleans, 1884-85." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/339.
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At the World's Industrial and Cotton Centennial Exposition, the Woman's Department offered women of all regions of the country an opportunity to exhibit what they considered "woman's work." As women came together and attempted sectional reconciliation, controversy persisted, especially over the selection of northern suffragist Julia Ward Howe, author of the "Battle Hymn of the Republic," as the Department's president. However, during the course of the event, which lasted from December 16, 1884 to May 31, 1885, New Orleanians and other southern women learned skills and strategies from participants and famous women visitors, and these southerners insinuated their voices into the national debate on late-nineteenth-century women's issues.
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Bonnet, Claire. "FEMME: extinct stereotypes." Thesis, Konstfack, Grafisk design & illustration, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6950.
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My research is about stereotypes of women. Responding to scepticism towardsfeminist movements, my degree project aims to challenge the power structure of today’s Western society. How does visual communication play a big role in creating and/or reproducing inequalities? I have created a retro-futuristic exhibition, placed in an imaginary museum. In a utopian world based in 2050, the exhibition femme: extinct stereotypes, aims to show, explain and deconstruct how women were portrayed around 2020; how society and (pop)culture were deforming humans into stereotypical women.I have created a speculative scenario through different objects and artifacts displaying the expectations and instructions on how women should or should not behave. By showcasing the past and its conventions, this retro-futuristic exhibition questions their normality and rationality.
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Hållen, Nicklas. "Travelling objects : modernity and materiality in British Colonial travel literature about Africa." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-46365.
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This study examines the functions of objects in a selection of British colonial travel accounts about Africa. The works discussed were published between 1863 and 1908 and include travelogues by John Hanning Speke, Verney Lovett Cameron, Henry Morton Stanley, Mary Henrietta Kingsley, Ewart Scott Grogan, Mary Hall and Constance Larymore. The author argues that objects are deeply involved in the construction of pre-modern and modern spheres that the travelling subject moves between. The objects in the travel accounts are studied in relation to a contextual background of Victorian commodity and object culture, epitomised by the 1851 Great Exhibition and the birth of the modern anthropological museum. The four analysis chapters investigate the roles of objects in ethnographical and geographical writing, in ideological discussions about the transformative powers of colonial trade, and in narratives about the arrival of the book in the colonial periphery. As the analysis shows, however, objects tend not to behave as they are expected to do. Instead of marking temporal differences, descriptions of objects are typically unstable and riddled with contradictions and foreground the ambivalence that characterises colonial literature.
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Chen, Yu-Yin, and 陳譽尹. "On My Way Home Mixed Media Photo Creative Exhibition." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/fk9kq9.
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碩士國立臺灣藝術大學
廣播電視學系應用媒體藝術碩士班
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The theme of this project, On My Way Home, captures the melancholy of the traveler’s homesickness. The essence of photography is to “truthfully document all the surrounding and happenings”, from travel to people and events, capturing the emotion and the moment in time. With literature review, author analyzes the definitions, characteristics and philosophies behind documentary photography, travel and home. Utilizing multimedia, and esthetics such as uniform and change to delve in depth into the skill set, shutter speed control, and emotional state of the photographer. Enters into the psychological analysis of photograph compositions, and the amount of information passed through the imagery, are all part of the theoretical structure behind the photo exhibition. Lastly, the complete artist statement, process and conclusion are included in this paper. The project documents the attractive sceneries on the traveler’s journey, compares of depicting the simple happy family life. Photography creates heartfelt stories with photos to reflect the reality and imagery intended by the photographer. Thus the comparison presents every traveler’s back story; no matter how wonderful the journey, a traveler always yearns to go home. This reflects life is like a journey, and our end goal is to have a home, the ultimate warmth and comfort lifestyle. Other than to express feelings towards the idea of home through photography and exhibition, author hopes to remind attendees of their own homes, and thus remember to go home, and spend more time with their families. As for travelers, the exhibition hopes to serve as a trigger to memories they have of home.
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Silva, Rita Machado da. "Uma Cenografia de Exposição Itinerante no Teatro MaizUm, «Jorge Ferreira de Vasconcelos, Um Homem do Renascimento»." Master's thesis, 2016. http://hdl.handle.net/10362/20397.
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Este relatório de estágio consiste na busca de algumas respostas a questões direcionadas para a Cenografia, mais especificamente para a cenografia de Exposições. As questões passam por, qual a diferença entre cenografia e cenografia de exposições? Quais as melhores opções a nível cenográfico, no que diz respeito às exposições? Quais os cuidados específicos a ter em conta, na criação de uma exposição itinerante e na cenografia da mesma? Em que consiste o planeamento de uma exposição itinerante?
Para ir ao encontro dessas respostas, durante três meses, estagiei no Grupo de Teatro Maizum, no qual pude explorar e refletir sobre as questões já referidas, e colocar novas questões.This work, an internship report, consists of a search for some answers focused on the scenography field of study, regarding specifically the Exhibitions scenography field. To address those questions an internship took place for three months at the Teatro Maizum where some pertinent issues were explored and reflected upon. What is the difference between set design or stage scenography and the specific scenography for an exhibition? What are the best scenography options for exhibitions? What specific cautions should be taken into account when creating an itinerant exhibition and its scenography? What is the planning of an itinerant exhibition? Other issues arose such as the conventional role of the architect or set designer in the final results in this type of creation. Thus this report will attempt to give some indications for future studies on Exhibition Scenography as well as raising new and pertinent interrogations in this field of study
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Chen, Hui-Shan, and 陳惠珊. "The Exhibition Farmers Marketing Efficiency and Satisfaction of The Taipei Hope Farmers Market." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/08167699474725220902.
Full textAbstract:
碩士國立臺灣大學
農業經濟學研究所
101
The purpose of the study aims to analyze the marketing effectiveness and exhibition satisfaction received by exhibiting Taipei Hope Farmer’s Market. The study implements questionnaire survey to exhibiting farmers who have a booth at the Taipei Hope Farmers’ Market. A total of 301 valid questionnaires were issued and the questionnaires recovered underwent statistical analysis to analyze the characteristics variables of exhibiting farmers and the post-exhibition marketing effectiveness, as well as the satisfaction difference towards the exhibition site. The empirical results of the study show that: 1.The post-exhibition marketing effectiveness for exhibiting farmers in general shows a growth. 2. There is significant difference between the questionnaires on the four post-exhibition marketing effectiveness, including the monthly order for exhibiting farmers in 6 months after the exhibition as compared to order quantity without exhibition, the overview of post-exhibition sales growth, the post-exhibition orders from consumers attending the exhibition, and the time to receive exhibition consumer orders after the exhibition, with some farmer’s characteristic variables. 3. There is significant difference between the factors related to exhibiting farmers’ gender, age, education, residence area, and post-exhibition marketing effectiveness. 4. Exhibiting farmers tend to hold higher satisfaction towards the software service provided by the exhibition administration than the hardware facilities at the exhibition site. 5.There is significant difference between the questions regarding the four satisfaction dimension, including hardware facility mostly valued by exhibiting farmers, the satisfaction towards exhibition site management, intention to recommend exhibition site, and the comments on whether if the establishment of exhibition site helps the promotion of agricultural products, with the characteristic variables of some exhibiting farmers. The study proposes recommendations in accordance with the empirical results in attempt to provide reference of future improvement on service quality and orientation of management for the administration of Hope Farmers’ Market. Keywords: Farmers’ Market, Exhibition and Marketing Effectiveness, Satisfaction, Taipei Hope Farmers’ Market
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Willemse, Emma Wilhelmina. "The phenomenon of displacement in contemporary society and its manifestation in contemporary visual art." Diss., 2010. http://hdl.handle.net/10500/4343.
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As an alternative to existing research which states that the phenomenon of displacement resists theorisation because of its complex nature, this study conducts a Phenomenological examination of the nature of displacement in which the interlinked losses in the key concepts of the consciousness of the displaced, namely Memory, Land and home and Identity, are navigated. It is shown that the current consciousness of society mimics these losses with the effect of displacement being experienced as a state of mind by contemporary society. By comparing selected artworks of artists Rachel Whiteread and Cornelia Parker, it is established that although manifested in diverse ways, contemporary artworks reflect displacement according to a set of broadly defined visual signifiers. The visual documentation of a site of displacement in the North West Province of South Africa and subsequently produced artworks underline these findings and highlight the elusive attributes of loss inherent in the displacement phenomenon.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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Lo, Siao-Lan, and 羅曉嵐. "A Theoretical Impact Study of Human Evolution on the Exhibition of Peking Homo erectus at Zhoukoudian Site Museum." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/xvnz3q.
Full textAbstract:
碩士國立臺北藝術大學
博物館研究所碩士班
99
Human origins and Peking Man’s life are hot and controversial issues in Paleoanthropology. These controversy will influence the content and design of museum exhibitions. The main purpose of this study is to review those diverse schools of thought and to explore how the curators choose the controversial opinions on human evolution and how to explain it. The cases used for of this study including Zhoukoudian Peking Man Site Museum, Anne and Bernard Spitzer Hall of Human Origins at American Museum of Natural History, and Ancient Chinese gallery, Human Story at the National Museum of Natural Science. The permanent exhibit of Zhoukoudian Peking Man Site Museum is based on fossil evidence to reconstruct the Peking Man as a mighty hunter；AMNH is focused more on molecular biology to support Out of Africa hypothesis, thus, the diorama of Peking Man had become the animal’s prey, not the hunter；the exhibition of NMNS used most of the scholars’s opinions, that the Peking Man porfrayed as hunters and they lived in the caves. In addition, the exhibition of is human evolution is in favor of Out of Africa hypothesis. This study compared the exhibits of human evolution and reconstructed the life style of Peking Man in different nature history museums around the world. In addition, this study also attempts to understand what the factors affect the exhibition''s contents and designs. Finally, the author suggests that the exhibitions of human evolution in Taiwan should rethink and provide the visitors in more multi-perspective exhibitions in the nearest future.
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Chang, Yuan-Fu, and 張元福. "Discussion on Preservation of Indigenous Traditional Architecture from the Perspective of Conservation of Cultural Heritage............. Take the example of a Exhibition of a traditional Kavalan family home." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/q5bchf.
Full textAbstract:
碩士樹德科技大學
建築與室內設計研究所
106
Taiwan’s indigenous cultural parks (hereinafter referred to as “cultural parks”) are based on the purpose of cultural preservation. In recent years, tribal peoples of the indigenous ethnic groups have been promoted to come to cultural parks to undertake the construction of traditional aboriginal traditional buildings, and the construction process has been recorded in words and images. The results report compiled by the tribe found that the content of some of the results reports did not fit well with the record items planned by the cultural park. Looking at the preservation of the existing cultural asset preservation law, this standard stipulates the maintenance of the architecture of the historic building plan, and discusses the model for the preservation of the traditional cultural heritage of the traditional ethnic minority buildings in the cultural park. After 2 years of opening of tourists visiting traditional buildings of the Kalalan, due to the typhoon’s decaying pedestal base, the cultural park once again came through the construction and record-keeping process of the Khumālan tribe. However, the results of the two efforts were reviewed. When documenting the contents and documents, the contents of the report records of the two previous Khumalan traditional house building records were discovered, and it was recorded that the implementation style, historical allusions, and traditional meanings of the traditional construction method of the ethnic group were different. The same tribe tribe came to build. However, records from different tribal associations show different records of building materials and achievements. What are the causes of the differences? This is worth studying in the issue of cultural preservation. It was observed during the construction of the 2nd time the construction of the Kamaran family houses that tribal people would add some of the traditional building materials to some of the enhanced building material additives in the construction of the building after the previous construction. The group observed that there were people living in the house and those who used to be fired in the house. Their traditional display buildings were well-preserved. In this pure display building, there were buildings where the people lived and there were workers who lived in the house. What is the difference in preservation and maintenance? Whether it becomes a topic for the maintenance and management of cultural parks to demonstrate traditional architecture is also worth discussing here. The preservation of cultural assets is the highest standard for the preservation of domestic cultural assets, and the traditional construction method of indigenous peoples is also part of the intangible culture. This article considers the criteria for repairing historical buildings and sets out a set of standards by collating relevant documents. Work process guidelines provide tribal references to show the true traditional architectural styles and historical allusions of tribal buildings belonging to various ethnic groups of indigenous peoples.
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Lehkoživová, Irena. "Mezi architekturou a uměním: Recepce vzájemných vztahů." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-398615.
Full textAbstract:
Irena Lehkoživová Between Architecture and Art: Reception of Mutual Relationships Doctoral thesis Abstract My doctoral thesis deals with the relationship between contemporary architecture and fine art. I track examples of such concepts and approaches in which architecture and art permeate and influence each other. Besides, I examine how selected authors approach the chosen topic. A detailed analysis of the work and ideas of individual selected architects or artists is thus complemented by clarification of their methods and starting points. The aim of this work is to look at the predefined studied subject and the context behind it, to explain the associated concepts, strategies and the functioning of mechanisms, and the transfer of themes, procedures and techniques of creation. The thesis consists of three chapters, separate case studies. The first chapter follows the tendencies and changes in displaying architecture, which, under the influence of art, tends to create more complex viewing experiences. I describe here two examples and approaches that come out of this tendency. In the first part, it is the approach to the exhibitions of the Swiss duo Herzog & de Meuron, the second part is devoted to the architectural installations, which under the influence of installation art allow the visitor a direct...