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Cole, Brendan. "The mythic feminine in symbolist art idealism in fin-de-siècle painting." Thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/23189.
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Pilato, Caterina. "The Synthesis of Self: The Matrix of Idealism and The Art of Forgetting." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/16421.
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As the human animal is heading towards a post human existence there will be a historical process where the new being will be absent of its authentic history and therefore its animality. This research paper looks at historically human behaviour in its arrogance which has no conscience about that which is destroyed in the pursuit of lifestyle, industry, production and ultimately the dehumanisation of the differing other. As this 'other' is obliterated as the quest for this quasi utopian state, albeit a state of a numbed and programmed existence as a contrived manufactured idealism for human perfection, the human being is reinvented to be used as a commodity of sorts which is controlled to belong to this proposed superior sense of culture. This research paper and art practice looks at the possibility of this kind of dystopian nightmare as man tries to master nature, and there is the morphing and matrix of the creatures animal being with the manufactured high end product, as things go awfully wrong in the post human quest for perfection and supremacy. The problem with humanity's inability to deal with the differing other results in the setting of such restricted standards which creates a cold war of societal disparity. We live in a world where ‘Animals’ have no history yet we as humans never cease to reconstruct our societies and our narcissistic identities, and in this regard we investigate humanity's sense of supreme ontological entitlement in their behaviour as a species. Animal desires and instincts historically have been covertly disguised under the veil of politeness but we must question the moral and ethical dimension of the potential for the post human as our animal desires will not cease but the void of the gloss and wax of societal delusions creates destruction and in its reinvention it is erasing history into a fairytale like past as it is wanting to assert its reinvented ‘being’ as a superior creature in a convoluted hierarchy.
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Boorman, H. "Herwarth Walden and Der Strum 1910-1930 : German cutural idealism and the commercialization of art." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380948.
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Santos, Cecília Mendonça de Souza Leão. "A Temporalidade do Belo: Caminhos para uma filosofia da arte pós-idealista a partir de Gadamer." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/9651.
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The present paper consists in exploring the philosophical inquiries on aesthetic objects as developed by the german idealist tradition in order to evaluate how Hans-Georg Gadamer ´s take on the subject provides an overcoming of the said tradition. The role played by works of art in the history of philosophical thinking is accurately embodied by “Oldest Programme for a System of German Idealism”, which is profoundly connected to the constuction of modern subjectivity. Under the light of the desconstruction of the category of subject undertaken in the twentieth century, which took shape in the thought of Martin Heidegger, new parameters become necessary in order to properly understand the relationship of mankind with beings that exceed the concept of being “present-at-hand” (Vorhandenes) and manifest themselves as something radically different: the true works of art. Following that trail, we shall demonstrate how articulating a new conception of temporality, specific to the aesthetic being, allows philosophical hermeneutics to understand, by the standards of our own time, what sort of truth is disclosured in artworks. Through the proper regarding of the singularity of the temporal mode of being of artworks, which is given as simultaneity, we will show how works from the past become contemporary before our eyes. Recognizing the temporal mode of art´s existence opens a path for contemporary philosophy of art that by forgoing any normative criteria to define what is art, gains the ability to illuminate the phenomenon of transformation performed by such works in human existence – whether they may belong to the past or to our current time.
O presente trabalho consiste, num primeiro momento, em demonstrar como se deu o desenvolvimento das investigações filosóficas sobre os objetos estéticos dentro do escopo do idealismo alemão, para revelar de que maneira Hans-Georg Gadamer se apropriará desta tradição para superá-la. Defendemos que o papel que as obras de arte adquiriram neste período histórico da filosofia, encarnado com precisão em “O Mais Antigo Programa Sistemático do Idealismo Alemão”, está irrevogavelmente atrelado à construção da subjetividade moderna. Sob a luz da desconstrução da categoria de sujeito empreendida no século XX, que tomou forma no pensamento de Martin Heidegger, tornam-se necessários novos parâmetros para compreender a relação que a humanidade guarda com os entes que, escapando a conceituação de “entes simplesmente dados”, emergem como algo radicalmente diverso: as genuínas obras de arte. No segundo momento de nossa pesquisa, demonstramos como o desenvolvimento de uma nova concepção de temporalidade, própria ao ser estético, a hermenêutica filosófica inaugura a possibilidade de, a partir de nossa própria época, compreender que sorte verdade é desvelada em tais obras. A partir da compreensão da singularidade do tempo dos entes artísticos, dado na forma de uma simultaneidade, mostramos como é possível que a arte do passado se atualize diante de nós. Ao reconhecer o modo temporal da existência da arte, traçamos o caminho de uma filosofia da arte contemporânea que, ao abrir mão de quaisquer critérios normativos para definir o que é arte,ganha a possibilidade de iluminar o fenômeno da transformação que tais obras realizam em nós – sejam elas do passado ou hodiernas.
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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Potter, Matthew Charles. "The critical turn in British art : the influences of German idealism on British art critics, theorists and practitioners in the late nineteenth century." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416017.
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Griffin, Daniel. "The Role of Poetry and Language in Hegel's Philosophy of Art." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/philosophy_theses/90.
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Hegel's view of poetry clarifies the overall role of language in his system and allows him to makes sense of a difficult linguistic issue: how to distinguish between poetry and prose. For Hegel, this distinction is crucial because it illuminates the different ways poetry and prose allow us to understand ourselves as members of an ethical community. In this paper, I argue, using Hegel, that the distinction between poetry and prose can only properly be understood in terms of their fundamentally different kinds of content instead of in terms of any formal differences between the two. Then, I address an objection to Hegel by Paul de Man which uses Hegel's concept of memory to collapse the distinction between poetry and philosophical prose. Finally, I argue that Hegel can respond to this objection by showing how de Man misunderstands how philosophical thought conceptually develops from memory.
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Warrick, Steven. ""Does Your Faith in God and Country Need a Boost?" Reflections of Idealism and Identity and the Art of Bill John Roth." TopSCHOLAR®, 1997. http://digitalcommons.wku.edu/theses/359.
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The life and art of Bill John Roth offer a paradox to the study of folklore and folk art. The personal and public nature of Bill's art is exemplified through his mural Geographic Hieroglyphics In God's Own Handwriting. On the surface the art and artist are seemingly detached from the community, but upon closer investigation this is not the case. I have explored the notion of "outsider" art, the problems associated with artistic interpretation and the difficulties of labelling artists according to academic and elitist standards. Thus the contextual background of the artist and community are important aspects of this study and of any study concerned with the nature and process of creativity. The final product is not the only standard by which folk art should be judged. The ideas and thought processes behind the objects are what really contribute to the nature of the finished product. The purpose of this thesis is to use Bill's art as an example of the complexity involving the conflict between individual creativity and community tradition. Is this solely the artwork of an individual artist or work that represents involvement in the community? Through observation, analysis, tape-recorded interviews and public performances of identity, I have concluded that Bill's art is a product of community involvement. While his work challenges the traditional notions of folk art, it is contextually folkloric in nature.
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Vines, Jacob L. "Encounters with the American Prairie: Realism, Idealism, and the Search for the Authentic Plains in the Nineteenth Century." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2511.
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The Great Plains are prevalent among the literature of the nineteenth century, but receive hardly a single representation among the landscapes of the Hudson River School. This is certainly surprising; the public was teeming with interest in the Midwest and yet the principal landscape painters who aimed to represent and idealize a burgeoning America offered hardly a glance past the Mississippi River. This geographical silence is the result of a tension between idealistic and empirical representations of the land, one echoed in James Fenimore Cooper’s The Prairie, Washington Irving’s A Tour on the Prairies, and Margaret Fuller’s Summer on the Lakes, in 1843. Margaret Fuller’s more physical and intimate Transcendentalism unifies this tension in a manner that heralds the rise of the Luminists and the plains-scapes of Worthington Whittredge.
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Silva, Lucas Eduardo da. "Estética e contemporaneidade: por uma outra filosofia da música nova." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-22092016-144019/.
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Com a finalidade de propor uma abordagem filosófica em torno de diversos problemas atuais da estética musical, em especial buscando identificar e situar uma crise existente na sua elaboração disciplinar, serão lançados nesta tese estudos sobre a problemática relação da estética com outros campos do conhecimento, tanto aqueles vinculados às ciências empírico-matemáticas quanto às ciências humanas. Questões centrais sobre a relação entre as artes e a filosofia, sobre o papel e a situação do esteta moderno, e sobre as tendências da composição musical contemporânea também serão abordadas, sempre no intuito de apresentar possibilidades epistemológicas para uma nova estética musical que sejam consubstanciais aos problemas das artes e da música contemporânea, bem como elementos para definições de arte e da música que sejam alternativas à histórica pregnância na modernidade do pensamento de vanguarda. Para tanto, esta tese se divide em quatro grandes ensaios, pretendendo-se que possam ser tomados, para além de sua unidade temática e estrutural, também isoladamente.In this dissertation, studies about the problematic relationship of aesthetics with other fields of knowledge, as those bound to empirical-mathematical sciences as well to human sciences, will be launched with the goal of proposing a philosophical approach around various current musical aesthetics problems, specially aiming to identify and to situate an existent crisis in its disciplinary elaboration. Main questions about the relation among arts and philosophy, about the role and situation of the modern aesthete, and about trends of contemporary musical composition will be broached as well, always intending to present epistemológical possibilities to a new musical aesthetics that are consubstantial to the problems of arts and contemporary music, as well as elements for definitions of art and music which may be alternative to historical impression of modernity on avant-garde thinking. Therefore, this dissertation is divided in four great essays, with the intention that they may be taken, over and above its thematic and structural unit, also separately.
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Rebaï, Elyssa. "Esthétique et poétique des jardins : entre art et science, parcours et discours dans la fiction sandienne." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL007.
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Cette thèse intitulée « Esthétique et poétique des jardins : entre art et science, parcours et discours dans la fiction sandienne» vise à étudier la place qu’occupe le jardin essentiellement dans les romans, contes et nouvelles de George Sand. L’enjeu de cette recherche est de démontrer que le jardin chez Sand ne se réduit pas à un simple arrière-plan, à un élément de fioriture, ou à une pure thématique. Il revêt au contraire chez l’auteure une ampleur considérable allant jusqu’à devenir un objet spéculatif capable de repenser tout à la fois les genres et les esthétiques et de susciter de riches réflexions en rapport avec l’art (peinture, architecture, dessins) et la science (botanique, écologie, horticulture, minéralogie) au XIXe siècle. Le jardin occupe aussi une place de choix dans l’œuvre de Sand en vertu de ses diverses fonctions diégétiques, poétiques et symboliques au sein de la diégèse, mais aussi en raison de son aptitude à être un lieu de cheminement au sein duquel le promeneur peut se promettre divers plaisirs et évolutions. Le jardin devient en ce sens un monde complet en soi, un lieu riche et influent, un véritable creuset de signes et de significations dont se sert l’auteure pour véhiculer son idéologie, ses goûts esthétiques, ses pensées intimes, son idéalisme, ainsi que sa philosophie de la vieThis thesis entitled "esthetic and poetic of gardens: between art and science, path and speech in Sandian fiction" aims to study the place of garden especially in novels, tales and short stories of George Sand. The challenge of this research is to prouve that the garden for Sand is not just a backdrop, an element of flourish, or a pure topic. In contrast, it takes on a considerable scale in the author's work, even becoming a speculative object able to rethink genres and esthetics at the same time and generating rich reflections related to art (painting, architecture, drawings) and science (botany, ecology, horticulture, mineralogy) in the 19th century. The garden occupies a prominent place in the work of Sand due to its various diegetic, poetic and symbolic functions within the diegesis, but also because of its aptitude to be a pathway within which the walker can promise himself various pleasures and evolutions. The garden becomes in that way, a complete world by itself, a rich and impactful place, a veritable crucible of signs and meanings that the author uses to convey her ideology, her esthetic preferences, her intimate thoughts, her idealism, as well as her life philosophy
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Poirier, de Clisson Geoffroy. "L’image de la Femme ou le renversement symboliste de l’idée de vérité." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040218.
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Le symbolisme, d’abord inféodé à la conception idéaliste de la vérité et du beau, expose en réalité, dans sapratique et dans ses oeuvres une position ambiguë. Le symbole compris comme le médium par lequel sedévoilerait une vérité idéale semble en fait valoir en et pour lui-même, indépendamment de tout principesupérieur. L’image de la femme, est, chez les symbolistes, le point nodal du basculement de la théorie de lavérité. De la Femme dans l’Art ! dit Charles Maurice, Elle en est l’objet et le but… L’image de la femme, loinde conforter la conception idéale de la vérité, manifeste au contraire une certaine forme de subversion. Lessymbolistes vénèrent la femme. Non pas parce qu’elle est « le signe du vrai », selon la formule de Plotin, maisparce qu’elle est le symbole même de la superficialité de la représentation. Chez les symbolistes, c’est donc parla représentation de la femme (fuyante, fardée, fatale…) que s’accomplit le renversement de l’idée même devérité. A cet égard, le symbolisme est donc bien davantage un anti-platonisme qu’un idéalisme. La vérité,débarrassée de son substrat s’affirme pour elle-même, dans sa complète autonomie. Ce renversement de lanotion de vérité ne peut s’effectuer, cependant, sans une remise en question radicale du sujet et sans unquestionnement fondamental sur le rôle de l’artiste dans le dévoilement de la vérité. C’est la raison pourlaquelle le symbolisme, au tournant du XIXème et du XXème siècle se tournera vers de nouvelles expériences(affirmation du moi, surréalisme, abstraction…) dont l’objectif sera d’éprouver les limites du moi et derenouveler ainsi le perpétuellement questionnement de l’art sur le réelSymbolism, first subservient to the idealistic conception of Truth and Beauty, actually exposes in its practiceand in its works an ambiguous position. The symbol seen as the medium unveiling an ideal truth appears to beindeed an autonomous object, giving up reference to any higher principle. The image of woman is among thesymbolists, the node of the failover of the theory of Truth. Women in Art! Charles Maurice said, she is theobject and the purpose of art... The image of woman, far from strengthening the ideal conception of Truth,rather shows some form of subversion. The symbolists worship women. Not because her beauty is "the sign ofTruth," to quote Plotinus, but because woman is the very symbol of the superficiality of representation. Withthe symbolists, the representation of women (evasive, fake, fatal...) accomplishes the reversal of the idea ofTruth. In this regard, the symbolism is much more an anti-Platonism than an avatar of idealism. Truth, strippedof its substrate, asserts itself in its full autonomy. This reversal of the notion of Truth can’t be done, however,without a radical rethinking of the notion of subjectivity and without a fundamental questioning on the role ofthe artist in the pursuit of Truth. That is why Symbolism, at the turn of the nineteenth and twentieth century,will experience new artistic ways (self-assertion, surrealism, abstraction...) with an objective to test the limitsof self and to renew the perpetual questioning of art on reality
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Bowman, Pamela. "Ideals and Realities." Diss., CLICK HERE for online access, 2005. http://contentdm.lib.byu.edu/ETD/image/etd1082.pdf.
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Griffiths, Martin. "Realism, idealism, and international politics : a reinterpretation /." London ; New York : Routledge, 1992. http://catalogue.bnf.fr/ark:/12148/cb374085815.
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Martin, Wayne M. "Idealism and objectivity understanding Fichte's Jena project /." Stanford (Calif.) : Stanford University Press, 1997. http://catalogue.bnf.fr/ark:/12148/cb37080405t.
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Cole, Brendan. "Jean Delville's l'Esthetique Idealiste : art between nature and the absolute (1887-1906)." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340064.
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Darcq, Laure. "Le Théâtre de Joséphin Péladan : répertoire analytique de l’œuvre du dramaturge & contribution à l’histoire des idées et à l’étude de l’évolution dramatique de la fin du XIXe siècle au début du XXe siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30016.
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La thèse, composée de quatre volumes, propose l’ensemble de l’œuvre du dramaturge, à savoir les quinze pièces – dont sept sont inédites –, selon ses différentes caractéristiques : théâtre idéaliste (collaboration artistique), renouvellement de la tragédie antique (scènes de plein air), drames historiques (volonté d’accéder aux théâtres nationaux), adaptations dramatiques (traduction et translation). Les pièces, retranscrites, annotées (variantes et notes), sont accompagnées d’études (introduction et notice). L’introduction générale permet de présenter et de saisir le théâtre de l’écrivain, ses expériences scéniques ainsi que ses considérations sur l’art dramatique. L’édition critique a pour but de donner à lire l’œuvre injustement négligée, en rappelant le rôle important de ce théâtre dans l’histoire des idées et dans l’évolution artistique et littéraire de la fin du XIXe siècle jusqu’au début du XXe siècleThis is to prepare the scientific edition of the complete theatre work of Joséphin Péladan. The thesis in four volumes offers all of the work of the playwright, namely fifteen plays – seven of which are unpublished – according to its different characteristics: idealistic theater (artistic collaboration), renewal of ancient tragedy (outdoor scenes), historical dramas (willingness to access the national theaters), dramatic adaptations (translation and transposition). The plays, transcribed and annotated (variants and notes), are accompanied by some analysis (introductions and detailed descriptions). The general introduction presents the playwright and allows to understand his complete work, his stage experience and his reflections on the art of drama. The critical edition of the theatrical works of Joséphin Péladan aims to render accessible his plays unjustly neglected in spite of his profound influence on the theatre creation during the late 19th century and the early 20th century
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Kartchner, Eric J. "Unhappily ever after : deceptive idealism in Cervante's marriage tales /." Newark : J. de la Cuesta, 2005. http://catalogue.bnf.fr/ark:/12148/cb399919807.
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Kaercher, Julianne C. "Female duality and Petrarchan ideals in Titian's Sacred and profane love." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1237842179.
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Boswell, Schiefer Ellen W. "Miracle at Monte Oliveto Renaissance Benedictine Ideals and Humanist Pictorial Ideals in Perspective." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337363195.
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Griffith, Meghan E. "Lilly Martin Spencer and Robert Scott Duncanson: Following Nineteenth-Century Ideals." Marietta College Honors Theses / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1244570258.
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Caps, Annie. "Fuzzy robots utopian ideals, immortalization of youth, and the innocence of childhood /." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002543.
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Hockemeyer, L. "Italian ceramics 1945-1958 : a synthesis of avant-garde ideals, craft traditions and popular culture." Thesis, Kingston University, 2008. http://eprints.kingston.ac.uk/20224/.
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Italy's post World War II art and artisan produce and her small and medium scale ceramic production between 1945 and 1958 has been characterised I by an apparent aesthetic synthesis of avant-garde ideals, craft traditions and popular culture. This thesis examines this particular occurrence through a multi and interdisciplinary approach. It has profited from the application of methodologies deriving from the different fields of history, ceramic-, art-, applied art-, design and architectural history and from information obtained from economic and naval histories and tourist guides. This has enabled on the one hand to explain this phenomenon and to situate the ceramic manufacturing sector and the objects within their socio-historical, economic and cultural framework and on the other to employ the objects themselves to challenge dominant ideas within contemporary design-, art-, craft- and ceramic history. The majority of the data that informs this work derives from the analysis of primary sources collected and researched in Italy such as the objects and works themselves, contemporary magazines, archives and interviews. Whilst the time-span has been defined by the perceived birth and decline of the synthesis phenomenon, the period studied in this thesis includes a brief introduction to the tradition and revival of Italy's post-unification ceramic culture and industry and the general aesthetic and artistic developments which have significantly influenced the post 1945 developments. This is followed by an in-depth account of the aesthetic panorama of Italian ceramics between 1945 and 1958 through the works of its protagonists and an analysis of ceramics used as an ornamental medium in architectural structures and modem interior decorating schemes and exteriors. Another part analyses the ceramic industry from a production, economical, commercial and consumption point of view and establishes its significant role not only in relation to Italy's overall economic reconstruction efforts but in the creation of the image that constituted the ideals associated with the 'Made in Italy' label. The last part examines Italian ceramic culture between 1945 and 1958 in its contemporary design, art and craft context. It will present the history of Italian material culture and design as based on an evolutionary model which is incompatible with modernist-lead design histories. In addition, this thesis challenges the under-representation of Italian ceramics within 20th century British ceramic, art, craft and design history and the British approach to ceramic writing and aims to incite further multi and interdisciplinary approach to the history of design.
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Nechvatal, Joseph. "Immersive ideals / critical distances a study of the affinity between artistic ideologies in virtual reality and previous immersive idioms /." Newport : University of Wales College, Newport, 1999. http://www.eyewithwings.net/nechvatal/iicd.pdf.
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Thesis (Ph.D.)--University of Wales College, Newport, 1999.CAiiA Research Centre (Centre for Advanced Inquiry in the Interactive Arts) Thesis submitted to the University of Wales for the degree of Doctor of Philosophy. Includes bibliographical references (p. 400-456). Available in PDF via the World Wide Web.
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Brill, Anna. "Wilde and Wonderful: The Ultimate Aesthete's Redefinition of Individualism, as an Idealist, and then as an Outcast." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/cmc_theses/506.
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Oscar Wilde redefined the relationship between Life and Art, and attempted to live in the style of the characters in his works: pursuing Beauty. His view of Life as imitating Art played a crucial role in his definition of Individualism. In his works, he explored how one develops one's personality and Individuality, and society's role in suppressing the Individual. He firmly believed that Life and ugliness were inextricably intertwined, and that society's moral structure was to blame. Popular in his time as an artist, he made it a point in his writing and in his work to stand apart from society. Ultimately, society cast him out; while in prison, he experienced an aspect of Life that he had been avoiding his entire life as an aesthete, and thus altered and expanded his ideal of the Individual. In falling from grace and in being forced to live in the ugliest of realities, he developed a fuller idea of what it means to live beautifully.
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Klotz, Christian. "Kants Widerlegung des problematischen Idealismus /." Göttingen : Vandenhoeck & Ruprecht, 1993. http://catalogue.bnf.fr/ark:/12148/cb37043699f.
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Caps, Elizabeth. "FUZZY ROBOTS: UTOPIAN IDEALS, THE IMMORTALIZATION OF YOUTH, AND THE INNOCENCE OF CHILDHOOD." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3147.
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Ideals, aesthetics, forms, and concepts have resurfaced in various cultures throughout time. I am interested in the idea of the recurring themes that exist in the collective unconscious. I create monolithic figures that exhibit these archetypal qualities. Heavily influenced by film, animation, video games, and contemporary art, I create figures and paintings that are manifestations of my subconscious. These manifestations personify utopian ideals, the immortalization of youth, and the innocence of childhood.M.F.A.
Department of Art
Arts and Humanities
Studio Art and the Computer MFA
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Heidemann, Dietmar Hermann. "Kant und das Problem des metaphysischen Idealismus /." Berlin : W. de Gruyter, 1998. http://catalogue.bnf.fr/ark:/12148/cb39263559z.
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Zabel, Julia. "Deviations from chain ideality : are they detectable in simulations and neutron scattering of polyisobutylene ?" Phd thesis, Université de Strasbourg, 2013. http://tel.archives-ouvertes.fr/tel-01064158.
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The Flory ideality hypothesis states that flexible polymer chains in a melt assume the shape of three-dimensional random walks leading to so called Gaussian coils. The basis of this hypothesis is that any local conformational information decays exponentially along the chain backbone and thus has no influence on the long range conformation. Additionally it is argued that the excluded volume shielding of neigbor chains cancels out any swelling effects. Neutron scattering (NS) experiments dating back 30 years confirm the postulated Gaussian coil shape of polymers. This leads to a pillar of polymer theory: Any flexible polymer can be described as a three-dimensional random walk. Advances in simulation technics and computing power have opened the door to the possibility of studing very long chains. This allowed for a closer look at the chain structure of polymer melts and revealed deviations from ideality. This deviation is very slight and thus great care must be taken to distinguish it from noise. So far the deviation from the Gaussian coil structure was only studied for coarse-grained models. The scope of this thesis is to explore if these deviations are also measurable in atomistically realistic simulations and modern day NS experiments.
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Stevenin, Anne-Blanche. "Luc-Olivier Merson (1846-1920) : de la peinture d’histoire à la peinture décorative." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040268.
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Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècleIn 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography
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Nechvatal, Jospeh. "Immersive ideals/critical distances : a study of the affinity between artistic ideologies based in virtual reality and previous immersive idioms." Thesis, University of South Wales, 1999. https://pure.southwales.ac.uk/en/studentthesis/immersive-ideals--critical-distances(da015b14-2ee9-4d37-ad31-0b3f8ab7dda5).html.
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My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion -1 have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understands, historical human self-understands which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy.
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Breckenridge, Jenna. "Being person driven in a service driven organisation : a grounded theory of revisioning service ideals and client realities." Thesis, Queen Margaret University, 2010. https://eresearch.qmu.ac.uk/handle/20.500.12289/7406.
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This thesis presents a classic grounded theory study of Condition Management Programmes, which form part of the UK Government Initiative Pathways to Work. Condition Management Programmes provide short, work focused interventions to help people claiming incapacity benefits to return to employment. Delivered jointly between Jobcentre Plus and the NHS, or by providers within the private and voluntary sectors, health care practitioners working in Condition Management Programmes are often faced with competing priorities. This thesis has identified practitioners’ concern with being person driven in a service driven organisation, and presents the emergent grounded theory of Revisioning Service Ideals and Client Realities which explains conceptually the means through which this concern is continually resolved. Practitioners are conceptualised as ‘revisioning’ or making thoughtful, situational adaptations to their practice which either deviate from or retreat within service boundaries. By cycling iteratively between deconstructing and reinstating service ideals, practitioners are able to create a reverberating equilibrium between the expectations and realities of practice, negotiating a person driven approach without compromising service structures completely. The theory has been developed using the full complement of classic grounded theory procedures and is based on interviews with 35 practitioners and observations of 26 practitioner-client sessions. Additional informal observations, programme documentation, client case notes and extant literature were also included as data. The theory adds to current Condition Management literature by explaining the differences across and within programmes, highlighting some important considerations for future development and evaluation within welfare to work. Furthermore, the theory of Revisioning Service Ideals and Client Realities, on account of its conceptual nature, also demonstrates relevance outwith its substantive area. Most notably, offering contributions to current research on treatment fidelity, theories of organisations and bureaucracy, and professional and clinical reasoning by offering a conceptual explanation of the behaviour of practitioners in daily practice.
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Rusconi, Gloria. "Beauty Without Pity, Ambition Without Remorse: Lucrezia Borgia and Ideals of Respectable Femininity." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1619440010113221.
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Wilson, Elizabeth Danielle. "I Want a Man Who: Desires, Wishes, Ideals, and Expectations in Women’s Online Personal Ads." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284691475.
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Largent, Mark Aaron. ""These are times of scientific ideals" : Vernon Lyman Kellogg and scientific activism, 1890-1930 /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2000. http://www.lib.umn.edu/articles/proquest.phtml.
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Heinz, Marion. "Sensualistischer Idealismus : Untersuchungen zur Erkenntnistheorie des jungen Herder (1763-1778) /." Hamburg : F. Meiner, 1994. http://catalogue.bnf.fr/ark:/12148/cb35709541d.
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Bowman, Brady. "Sinnliche Gewissheit : zur systematischen Vorgeschichte eines Problems des deutschen Idealismus /." Berlin : Akademie Verl, 2003. http://catalogue.bnf.fr/ark:/12148/cb39943890q.
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Belfiori, Francesco <1989>. "Sacra dell'Italia medio adriatica in età repubblicana. Aspetti materiali, profili ideali, interazioni culturali." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amsdottorato.unibo.it/9710/1/Belfiori_Francesco_tesi.pdf.
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La ricerca tenta di descrivere le fisionomie storico-archeologiche della colonizzazione romano-latina dell’Italia medio adriatica dalla prospettiva dei fenomeni religiosi e delle dinamiche attinenti al culto. Ci si interroga, in particolare, sui rapporti tra romanizzazione e sfera del “sacro” e su quali siano stati gli esiti e i riflessi sul piano religioso della dialettica culturale tra Tirreno e Adriatico in età repubblicana. Ovvero, su come le dinamiche proprie del culto e del rito fossero coinvolte, riflettendoli, nei più ampi processi di scambio e di interazione culturale correlati alla colonizzazione romano-latina del comparto medio adriatico della Penisola tra III e I secolo a.C.
Partendo dalla sistematizzazione razionale di una base documentaria significativa e attraverso il riesame critico di un dossier storico-archeologico eterogeneo, la ricerca procede con taglio tematico verso la ricostruzione dei cd. “sacra coloniali” e dei principali aspetti che concorrono alla definizione di una fenomenologia del sacro della colonizzazione romano-latina dell’Italia medio adriatica.The study focuses on religious dynamics and cultic processes in the broader context of Roman-Latin Republican Colonization of Middle Adriatic Italy (current southern Romagna, Marche, northern Abruzzo regions; Regiones V and VI of the administrative partition of Augustan Italy). Relationships between either ‘Romanization’ and Religion are discussed, within the wider panorama of historical changes and cultural interactions enacted by Roman and Latin Republican Colonization of this part of Italian peninsula. The work moves from the rational systematization of a significant and heterogeneous data set and, through the critical and thematic re-examination of the whole dossier, attempts to define archaeological and historical features of Roman Religion within colonial milieu, with particular attention reserved to dynamics and processes of cultural interaction between Rome, Latium, and local frameworks in Republican period (3rd – 1st centuries BC).
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Richard, Thomas. "Prolégomènes à une herméneutique existentielle des antéformes architecturales." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3002.
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Dans l’historiographie contemporaine, le déconstructivisme constitue un moment significatif d’une expression négative de la forme. En effet, la morphologie architecturale met en vue une recomposition à partir d’une décomposition : elle affirme et présente un processus de négation. Comment comprendre ces formes architecturales paradoxales qui expriment leur propre abolition et quelles sont les différentes manifestations de cette négativité morphologique dans l’architecture contemporaine ? En effet, bien que se défendant de toute attention à la forme, les architectures qualifiées de non-rhétoriques par l’historien J. Lucan (A. Lacaton & J.-P. Vassal, OFFICE Kersten Geers David Van Severen etc.), en cherchant précisément à faire disparaître toute expressivité morphologique, ne participent-elles pas d’une même visée que le déconstructivisme, lequel opère ce retrait de la forme de manière explicite ?Une première partie de cette recherche se propose d’explorer différentes approches d’architectes et de philosophes qui ont consacré une partie ou l’ensemble de leurs travaux à l’imagination et à la poïétique des formes : J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand. Dans une deuxième partie, dans le sillage de l’œuvre d’H. Maldiney qui établit un parallèle entre Art et existence, j’inscris ma recherche dans une herméneutique existentielle de ces formes négatives que j’ai nommées : antéformes. Mon hypothèse s’attache à proposer qu’au fondement négatif de notre rapport au monde répond une mise en forme négative des morphologies architecturales. En attaquant leur propre forme, c’est-à-dire le sens de la mise en forme proprement dite, les antéformes posent la question de ce qui fonde leur existence et y répondent en projetant dans l’objet une manière de se rapporter au monde. Certains concepteurs contemporains donnent à voir en partie et projettent à leur insu leur propre expérience vécue et désirante de la quête cherchante de forme qui les habite lors de la conception. Dans cette recherche, je suggère ainsi d’établir une analogie entre l’état poïétique et l’expression d’une forme négativée de l’œuvre. En outre, je m’emploie à repérer, proposer et articuler dans une architectonique des antéformes, différentes modalités de néantisation de la forme architecturale pouvant correspondre à des styles ou orientations de la présence proposés par le philosophe. Je développe ainsi des schèmes stylistiques fondés sur des tendances pulsionnelles ou qualités énergétiques tensives. Enfin, je propose que les antéformes expriment un ça-voir poïétique de la crise qui les fondent, les émotivent, et témoignent de cette épreuve surmontée. Il s’agit ici de réactiver la double implication originaire du verbe poïen : à la fois accomplissement et novation. Tout travail poïétique, en tant qu’il demeure porté par une exigence de singularité, implique l’imprévisibilité de l’objet qui émergera de son processus de conception. Les antéformes sont un appel à concevoir au sens plein du terme tout autant qu’un appel à un rapport propre (authentique) à l’existence ; lequel s’envisage, non comme un Moi ou un cogito qui se pose, mais comme le processus d’individuation d’un Soi. Celui-ci ne peut exister sans un travail incessant de désindividuation préalable dont les antéformes sont le témoignage. L’acte poïétique invite, non à choisir parmi des possibles préalables, mais précisément à engendrer sa propre forme d’être au mondeIn contemporary historiography, deconstructivism is a significant moment in a negative expression of form. Indeed, architectural morphology puts forward a recomposition from a decomposition: it affirms and presents a process of negation. How can we understand these paradoxical architectural forms that express their own destruction? What are the different manifestations of this morphological negativity in contemporary architecture? Although defending themselves from any attention to forms, architectures described as non-rhetorical by the historian J. Lucan (A. Lacaton - J.-P. Vassal, OFFICE Kersten Geers David Van Severen, etc.), by seeking precisely to remove all morphological expressiveness, would they not participate, like deconstructivism, which removes forms explicitly? First, we explore different approaches of architects and philosophers, such as J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand, who devoted some or all of their work to the imagination and the poïetics. Second, in the spirit of H. Maldiney, which draws a parallel between Art and existence, I build my work on the existential hermeneutics of these negative forms, which I have named: antéformes. My hypothesis is that the negative basis of our relationship to the world responds to a negative shaping of architectural morphologies. By attacking their own form, that is to say the manner in which they are shaped, the antéformes question their own existence and respond to it by projecting into the object a way of relating to the world. Some contemporary designers partially reveal and project their own experience of searching for the form, that drives them during conception.In this research, I suggest an analogy between the poietic state and the expression of a negative form of the work. Besides, I work to identify, propose and articulate in an architectonic of the antéformes, different aspects of the nothingness of the architectural form that may correspond to styles or orientations of presence proposed by philosophers. I thus develop stylistic schemes based on drive tendencies or tensile energy qualities. Finally, I propose that the antéformes express a poietic sense of crisis that melts them, emotes them, and testifies to this experience.The aim here is to reactivate the dual implication originating from the poien verb : at once accomplishment and novation. Any poetic work, as it remains driven by a requirement of singularity, implies the unpredictability of the object that will emerge from its design process. The antéformes are a call to conceive in the full sense of the word as well as a call for a proper (authentic) relationship to existence; which sees itself, not as the emerge of the self or cogito, but as the process of individuation of a Self. This one can not exist without an incessant work of preliminary désindividuation for which antéformes are the testimony. The poietic act invites, not to choose among possible prerequisites, but precisely to generate its own form of being in the world
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Chapman, Scott T. (Scott Thomas). "Invertible Ideals and the Strong Two-Generator Property in Some Polynomial Subrings." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331673/.
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Let K be any field and Q be the rationals. Define K^1[X] = {f(X) e K[X]| the coefficient of X in f(X) is zero} and Q^1β[X] = {f(X) e Q[X]| the coefficent of β1(X) in the binomial expansion of f(X) is zero}, where {β1(X)}^∞ i=0 are the well-known binomial polynomials. In this work, I establish the following results: K^1[X] and Q^1β[X] are one-dimensional, Noetherian, non-Prüfer domains with the two-generator property on ideals. Using the unique factorization structure of the overrings K[X] and Q[X], the nonprincipal ideal structures of both rings are characterized, and from this characterization, necessary and sufficient conditions are found for a nonprincipal ideal to be invertible. The nonprincipal invertible ideals are then characterized in terms of the coefficients of the generators, and an explicit formula for the inverse of any proper invertible ideal is found. Finally, the class groups of both rings are shown to be torsion free abelian groups.
Let n be any nonnegative integer. Results similar to the above are found in the generalizations of these two rings, K^n[X] and q^nβ[X], where the coefficients on the first n nonconstant basis elements are zero.
For the domains K^1[X] and Q^1β[X], the property of strong two-generation is explored in detail and the following results are established: 1. K^1[X] and Q^1β[X] are not strongly two-generated, 2. In either ring, any polynomial with a constant term, or of degree two or three is a strong two-generator. 3. In K^1[X] any polynomial divisible by X^4 is not a strong two-generator, 4. An ideal I in K^1[X] or Q^1β[X] is strongly two-generated if and only if it is invertible.
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Duarte, Duarte Luis Anselmo. "Ideales de la misión medieval en la conquista de América /." Madrid : Fundación universitaria española, 2001. http://catalogue.bnf.fr/ark:/12148/cb38825418n.
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Chandler, David Lee. "Juan José de Aycinena : idealista conservador de la Guatemala del siglo XIX /." Antigua (Guatemala) : South Woodstock (Vt.) : Centro de investigaciones regionales de Mesoamérica ; Plumsock Mesoamerican studies, 1988. http://catalogue.bnf.fr/ark:/12148/cb36150535f.
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Jacobs, G. Tony. "Reduced Ideals and Periodic Sequences in Pure Cubic Fields." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804842/.
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The “infrastructure” of quadratic fields is a body of theory developed by Dan Shanks, Richard Mollin and others, in which they relate “reduced ideals” in the rings and sub-rings of integers in quadratic fields with periodicity in continued fraction expansions of quadratic numbers. In this thesis, we develop cubic analogs for several infrastructure theorems. We work in the field K=Q(), where 3=m for some square-free integer m, not congruent to ±1, modulo 9. First, we generalize the definition of a reduced ideal so that it applies to K, or to any number field. Then we show that K has only finitely many reduced ideals, and provide an algorithm for listing them. Next, we define a sequence based on the number alpha that is periodic and corresponds to the finite set of reduced principal ideals in K. Using this rudimentary infrastructure, we are able to establish results about fundamental units and reduced ideals for some classes of pure cubic fields. We also introduce an application to Diophantine approximation, in which we present a 2-dimensional analog of the Lagrange value of a badly approximable number, and calculate some examples.
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Plewes, Cathy T. "First Nations, the church, state, and image, policy and ideals reflected in the Indian Act of 1876." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22099.pdf.
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Plewes, Cathy T. (Cathy T. Ann) Carleton University Dissertation Law. "First Nations, the church, state, and image; policy and ideals reflected in the Indian Act of 1876." Ottawa, 1997.
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Liebig, Yvonne D. "Body Ideals and Weight Bias: Does Ethnicity Make a Difference?" Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5360/.
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The current study investigates whether there are there ethnic differences between Caucasian, African American, and Hispanic women in (a) weight bias, (b) body ideals, (c) social awareness and internalization of appearance standards and (d) physical activity in relation to these constructs. Participants included 130 Caucasian, 103 African American, and 52 Hispanic undergraduate female students. Participants completed a demographic survey, the Antifat Attitudes Test, the Figure Rating Scale, the Sociocultural Attitudes toward Appearance Questionnaire, and the Multiethnic Identity Measure questionnaire. No significant ethnic group differences in weight bias emerged. Differences were found for participants' perceptions of the culturally ideal female body shape, as well as awareness and internalization. No relationship was found between physical activity and weight bias, body ideals, and appearance standards. Future researchers should use health weight classifications, in addition to ethnicity, to examine weight bias, body ideals, and physical activity.
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Brown, Bryce Dean. "Whitman's Failures: "Children of Adam" in the Light of Feminist Ideals." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc503937/.
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Walt Whitman was a feminist, and this assertion can be supported by excerpts from his prose, poetry, and conversation. Furthermore, the poet's circle of associates, chronology, and place of residence also lend credence to the hypothesis stating Whitman's subscription to feminist credos. A pro-feminine attitude is evident in much of Whitman's work, and his ties to the women's rights movement of the nineteenth century do influence the poet's portrayal of women. But the section of poems titled "Children of Adam" proves to be an anomaly in Walt Whitman's feminist attitudes. Instead of portraying women as equals, able to walk a path of equanimity with males, the women of "Children of Adam" are often obscured in linguistic veils or subjugated to the poet's Adamic rhetoric.
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Jiang, Yimin. "Grosse Musik ist tonlos : eine historische Darstellung der frühen philosophisch-daoistischen Musikästhetik : mit einem Ausblick auf die Idee der absoluten Musik in der Musikästhetik der deutschen Frühromantik /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb357643876.
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Chen, Joy Hsuan-ann. "We are the Hollow Children: The Inverted Society Built from Japan's Traditional Ideals in Diabolik Lovers ~ Haunted Dark Bridal ~." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/319959.
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au, e. debozy@central murdoch edu, and Eva Dobozy. "Education in and for Democracy and Human Rights: Moving from Utopian Ideals to Grounded Practice." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050310.92906.
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This thesis is set in the Western Australian education system and centres on the question of how primary schools can actively foster conditions conducive to creating and sustaining education in and for democracy and human rights. In Australia, as elsewhere, there is a widespread acceptance of the need for democratic education also referred to as civics and citizenship education. The perceived lack of public understanding of democratic principles and practices has, in the last decade, led various Australian governments to commit significant resources ($ 31.6 million) to civics and citizenship education programmes such as Discovering Democracy (DD).
This thesis argues that political engagement and civic learning is most effective when schools commit themselves to deliberately embedding a set of democratic educational principles in everyday practices. In contrast to traditional approaches to citizenship education that tend to focus on the operational aspects of representative governments, institutions and history, this thesis argues that education for Democracy and Human Rights (DaHR) can be effectively achieved through the fostering of DaHR in education. In this task the thesis draws on the Convention on the Rights of the Child (CRC). The CRC is rooted in a range of basic values about the treatment of children in schools and elsewhere, and encompasses basic rights to which children are entitled.
The study empirically investigates through up close observations, interviews and surveys the efficacy of pedagogy for civic and citizenship learning in four schools identified as places of strong democratic practice. This study was able to identify particular commonalities between the four case study schools that were conducive to creating and sustaining democratic principles and practices. These schools, although very different in their composition, were lead by principals who shared the view that children under their care were subjects in the making with increasing rights and responsibilities rather than objects to be manipulated, controlled and protected. The findings suggest that experiencing democracy and human rights in daily school life in a variety of situations and on a number of different levels can effectively contribute to the learning of the meaning and advantages of democratic values such as the rule of law, participatory decision-making and due process. It also concludes that there may be a relationship between parental socio-economic background and the possibilities available for students to engage in effective civic learning and citizenship practices. The relationship between socio-economic background and other structural factors including gender and ethnicity in relation to possibilities of civic learning needs to be investigated in a larger study.